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Often dubbed reggae's answer to the Buena Vista Social Club, the notorious Jamaican collective prove that they are still on top of their game with a new album, which journalist David Katz already declaring it was "their best one yet".

In addition to the usual cast of Inna de Yard legends, this new album features the pristine vocals of '70s icon Johnny Osbourne and '60s memorable duo Keith & Tex. Thirteen songs of pure emotions, exceptional musicality and authenticity gathered on a riveting album which promises to be a firm favourite amongst reggae lovers and general music fans alike.

Often dubbed reggae's answer to the Buena Vista Social Club, the notorious Jamaican collective prove that they are still on top of their game with a new album, which journalist David Katz already declaring it was "their best one yet".

In addition to the usual cast of Inna de Yard legends, this new album features the pristine vocals of '70s icon Johnny Osbourne and '60s memorable duo Keith & Tex. Thirteen songs of pure emotions, exceptional musicality and authenticity gathered on a riveting album which promises to be a firm favourite amongst reggae lovers and general music fans alike.

Ghana gilt seit vielen Jahrhunderten als Land der Geschichtenerzähler. Diese große Tradition muss aber nicht unbedingt mit Worten oder der Stimme fortgeführt werden. Peter Somuah spinnt das Storytelling mit seinem Instrument: Als junger Trompeter begibt er sich zwischen dem Highlife seiner Heimat, seinem Idol Miles Davis und der kosmopolitischen Musiksprache seines neuen Zuhauses Holland auf eine faszinierende Suche nach Identität. Diese Reise ist sein „Letter To The Universe“.Als Somuah mit seiner Band im Juli 2022 beim North Sea Festival umjubelt von der Bühne geht, ist dem Publikum klar: Hier ist ein außergewöhnlicher neuer Künstler am Start. Es ist sein erster großer Festival-Auftritt, bislang hatte er nur in Clubs gespielt.

Das berühmt-berüchtigte jamaikanische Kollektiv, das oft als die
Antwort des Reggae auf den Buena Vista Social Club bezeichnet
wird, beweist mit seinem neuen Album, das der Journalist David
Katz bereits als "ihr bisher bestes" bezeichnet hat, dass es
immer noch auf der Höhe der Zeit ist. Neben der üblichen
Besetzung von Inna de Yard-Legenden sind auf dem neuen
Album auch die unverfälschten Vocals der 70er-Jahre-Ikone
Johnny Osbourne und des unvergesslichen 60er-Jahre-Duos
Keith & Tex zu hören. Dreizehn Songs voller purer Emotionen,
außergewöhnlicher Musikalität und Authentizität sind auf einem
fesselnden Album versammelt, das sowohl bei ReggaeLiebhabern als auch bei Musikfans im Allgemeinen zu einem
festen Favoriten zu werden verspricht.

Das berühmt-berüchtigte jamaikanische Kollektiv, das oft als die
Antwort des Reggae auf den Buena Vista Social Club bezeichnet
wird, beweist mit seinem neuen Album, das der Journalist David
Katz bereits als "ihr bisher bestes" bezeichnet hat, dass es
immer noch auf der Höhe der Zeit ist. Neben der üblichen
Besetzung von Inna de Yard-Legenden sind auf dem neuen
Album auch die unverfälschten Vocals der 70er-Jahre-Ikone
Johnny Osbourne und des unvergesslichen 60er-Jahre-Duos
Keith & Tex zu hören. Dreizehn Songs voller purer Emotionen,
außergewöhnlicher Musikalität und Authentizität sind auf einem
fesselnden Album versammelt, das sowohl bei ReggaeLiebhabern als auch bei Musikfans im Allgemeinen zu einem
festen Favoriten zu werden verspricht.

Rewind LTD launches the first vinyl release featuring our friend from Paris - Jeff The Fool, in the company of his French friends on remixes Crowd Control, Wilt, Ghetto 25.

Antoine is a lover of smooth deep house melodies and hip hop, as well as seductive French and Russian words cut into his samples.

The original versions begin with a magnificent fusion of jazz, funk and house vibes,having honed his already recognizable style in his studio and using samples in a compartment with analog synthesizers, Antoine declared himself in his native France, and far beyond its borders.

Soul Farmer is a smart, fast and rhythmic track with sample editing and an infectious groove in collaboration with Ghetto 25, next comes an energetic, dynamic remix from Wilt, this is a club house track with a touch of techno and a slight sourness, which will obviously work on the dance floor, the boss of the famous label Happiness Therapy - Crowd Control finishes this journey, this is a subtle but sublime remix, with dreamy pads and a classic bass part, emphasizing the now familiar and memorable melody of the original.

Back in 2019, Leng Records offered a debut to a previously unheralded producer, Takovoi. Three years on, the Russian nu-disco specialist returns to the label with a five-track EP that displays the depth and quality of his rapidly evolving trademark sound.

The Perfect Match EP delivers a range of grooves and stylistic approaches while showcasing the producer’s love of dreamy Balearic chords, soft-touch synth sounds and colourful melodies.

He sets the tone with the EP-opening title track, ‘Perfect Match’ where sustained, sun-down chords, yearning lead lines, cascading piano motifs and twinkling electronics ride a shuffling, post-electro beat and a warm, undulating bassline. ‘Homesickness’ sees Takovoi wrap waves of rising and falling synth sounds and melancholic melodies around a deep, hypnotic nu-disco groove, while the slow-motion sensation that is ‘Dreams’ brings throbbing analogue bass, sustained piano chords, sparkling electronics and the gentlest of beats.

Takovoi’s dancefloor credentials come to the fore with ‘Bubbles’, a slowly building Balearic nu-disco gem that layers up echo-laden percussion hits, eyes-closed melodies, and drowsy synth sounds over a bustling beat that sits somewhere between deep house and TR-808-driven broken beat.

This off-kilter approach to beat programming continues on the EP’s inspired closing cut, ‘Another The Same’, where hazy female vocal samples, immersive chords and reverb-heavy musical motifs gingerly dance on a bouncy and densely layered 4/4 beat. When the main melody makes its presence felt midway through, the track is elevated to a whole new level altogether. It’s a fittingly impressive end to Takovoi’s new EP for Leng.

First repress since its original release in May 1998

Celebrating twenty-five years since its release as rgirl2 – the label’s first LP – Rocket Girl is reissuing its seminal compilation A Tribute to Spacemen 3 on double vinyl with spot varnish sleeve in May 2023.

Widely acclaimed at the time of its release (garnering rave reviews in the UK, US, Canadian and European music weeklies and monthlies), the collection sounds as fresh and inventive as it did three decades ago. Launched at a time when tribute albums were prevalent, A Tribute to Spacemen 3 stands apart from other covers albums in that it not only redecorates S3’s songs in a bold new palette of colours, but also acts as a time capsule documenting a very specific wave of 90s US and UK bands that shared many sensibilities – ‘post-rock’ might be the catch-all genre, but their music also encompassed psych, slowcore, analogue electronica, dream pop and space rock to varying degrees – and many of whom (Mogwai, Low, Arab Strap, Bardo Pond) have gone on to reap major critical and commercial success, and are still thriving today. In 1998 the LP was a gateway for fans of Spacemen 3 to discover these relatively unknown experimental artists operating on small independent labels either side of the Atlantic – today it is a celebration of the timeless innovation and longevity of that scene.

As author Richard Milward states in Rocket Girl 20, the 2019 book illuminating the history of the label: ‘In no way is the LP a collection of imitators simply regurgitating Spacemen 3’s songs sound-for-sound – rather, the compilation celebrates the purity and bravery of Pierce’s and Kember’s song writing (themselves never averse to a transformative cover version) while showcasing the originality and diversity of those bands they have inspired.’ It is the simultaneous simplicity and otherworldliness of S3’s songs that make them perfect fodder for reinterpretation, the band’s ‘three chords good, two chords better, one chord best’ mantra providing a solid, tantalising foundation for these bands to experiment with freely. Throbbing and humming with equal parts euphoria and melancholia, over the course of the album’s 69 minutes the tracks slide from slithering stoner psych (Asteroid #4’s ‘Losing Touch With My Mind’) to hymnal delicacy (Amp’s ‘So Hot (Wash Away All of My Tears)’ and Mogwai’s crisp, glockenspiel-chiming ‘Honey’) to zero-gravity lounge jazz (Transient Waves’ closer, ‘Billy Whizz’). There are radical reworkings: the oozing fuzztone lava of Bardo Pond’s ‘Call the Doctor’, and not least Arab Strap’s startling take on S3 live mainstay ‘Revolution’, replete with aggressive, crunching drum machine and the lyrics delivered down the telephone in Aidan Moffatt’s laconic Falkirk drawl – ‘a change, a solution, a wee… a wee revolution’ – before its explosive climax.

Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.

The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.

The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.

This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.

‘Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This first in the series pays homage to the style of music heard in the Oblivion releases that Source Direct delivered through Bassment Phil’s Street Beats imprint between 1995 & 1996.

Forbidden Affections is a classic Deep Amen track, made with tracks like Sands Of Time and Secret Liaison very much in mind. Right from the onset where the pads are given plenty of time and space to draw you in, it is completely faithful to that mid-90’s SD style. All the trademark break switches and deep 909 sub lines are present, and the palette of sounds are all drawn from those same sources that first inspired the SD sound (as such it is Atmospheric Jungle with a strong Techno persuasion). The finishing touches come from the achingly gorgeous female vocal ad-libs that were also such a trademark of the early, more atmospheric SD tracks.

Hidden Rooms is perhaps even more authentically SD, especially with its focus on arrangement, and the way it uses the selection of samples that are once more drawn from those same Deep Techno sources. The interaction between the rolling curls and cuts of the Apache at the start, and the crisp injection of the Think breaks at the drop comes straight out of the early SD portfolio. The bass drops down super deep underneath the drum work, punctuated by exposed electro hits and well-chosen samples. It is the haunting keys nearly 4 minutes in however that give this track the authentic SD twist more than anything, calling tracks like Fabric Of Space and Made Up Sound very much to mind.

Drifting Through is the final track of the E.P. with its beautifully sharp rolling Hotpants/Worm combination. This track leaves plenty of space; dubbed out to just breaks and bass for much of the duration, with the occasional injection of an obscure electronic sample, or the sweet vocal ad- libs to hold the tune together. Further down the track there is a touch of the Jazz influence as the Rhodes chords add an extra level of harmonic warmth.

Look out for Volume II where we will be returning to the distinctive flavours of the original Mirage releases on Odysee!

Foyer Red’s debut LP, Yarn the Hours Away, plays out as a collection of short stories, each with its environment and protagonist(s) meticulously crafted by the band, with lead singer, vocalist, and clarinetist Elana Riordan at the helm. Foyer Red’s debut EP, Zigzag Wombat, showcased their playfully chaotic arrangements, which bridge art-punk, math rock, and sweetly sung indie with a dash of the zoomies.

The band synthesizes their homespun take on magical realist indie rock that was centered on their EP with their varied musical influences; taking cues from the otherworldly melodies of Cate Le Bon, Yucky Duster’s jangle-filled crayon rock, and the organized chaos of Deerhoof’s iconic polyrhythms. The songs that makeup Yarn the Hours Away are fantastical, surrealist stories that hinge on contemporary, post-digital life.

The lead single “Etc” captures this dynamic perfectly. Anchored by Eric Jaso’s hypnotizing bass line, the song unfolds with off-kilter call-and-response vocals between Riordan and Kristina Moore, their stilted deliveries bouncing around the mix. The track is searching but discontent with the algorithmic and claustrophobic realities of daily life: singer/guitarist Mitch Myers throws the song for a loop singing, “gathering information / will set you free once you’ve reached / 37 percent / of the database.” While there’s paranoia and cynicism undergirding the lyrics, the song itself is a thrilling and playful listen.

The songs on Yarn the Hours Away are uniformly exciting and compelling; each track feels distinct and sometimes even in direct conflict. The peppy opener “Plumbers Unite!” belies its themes of gamification of our daily lives and delves into the science fiction and fantasy songwriting of Foyer Red’s debut EP. Centered around a relentless rhythm section, their dueling vocals never abate; Moore and Riordan’s honey-sweet but getting more frantic as the song progresses, while Myers’ erratic talk-singing culminates in one final frustrated scream. Juxtapose this with “Gorgeous,” a lovely song about Riordan and drummer Marco Ocampo’s relationship that sees the band slowing their pace into a blissful sway. Riordan coos and sighs over the track while recalling “Marco-isms”; botched colloquialisms that Ocampo uses.

“Gorgeous” shares little in common with “Pocket,” a loose lamentation on late capitalism that touches on time travel and human evolution. Moore and Riordan’s exclamations are chopped up and used as rhythm instruments, layered over the intricately frenetic guitars of Myers and Moore. Foyer Red thrives on these extremes and contradictions. Where their first release was self-recorded, this LP found them in Figure8 Studios with a deadline. “It was really liberating,” says Jaso. “We're all just kind of throwing in our own voices and challenging each other to make the songs better.”

Yarn the Hours Away comes from a lyric on the closer “Toy Wagon.” The song that first marked the time Moore and the rest of the band worked together, a promising spark of a thrilling collaboration to come. “It harkens back to all of us coming together and spending the hours together in music,” says Moore. “There are few moments where you get to relax and exhale,” adds Riordan. “It's what happened when the five of us got together and started writing. We just wrote all of these out there songs and we didn't see a reason to dial that back. Its natural form is in its chaos and layered craziness.”

Reissue! In 2010, Madlib launched an ambitious series of releases known as the Madlib Medicine Show, which allowed the prolific producer to release new material on a monthly basis. The series touched on all the genres Madlib digs, and that’s just about any genre you can consider - from Jazz to Rock, Soul to Disco, myriad African musics, Brazilian and Reggae. On the 11th installment in series Madlib returned to his hip hop roots with Low Budget High-Fi Music. Featuring a run-down of regular Madlib collaborators who provide the Beat Konducta’s foil, it also included a hint of what was meant to come on the never-realized second Jaylib album, with a previously unreleased J Dilla collaboration.

Romano, bassist Jean-François Jenny-Clark and pianist Joachim Kühn.
They hadn’t rehearsed anything, as if entering the studio to record an
album without any plan was something normal. The musicians were
obviously very used to playing with each other, as the five tracks on
Our Meanings And Our Feelings seem to flow perfectly without any
hint of improvisation. The zokra, an oriental clarinet that Michel Portal
plays on “Walking through the land” and “Dear old Morocco” brings a
singular touch to this album. This singularity is transcended by
Joachim Kühn’s ability to easily go from the piano to the saxophone
alto, from supporting to soloing, before playing the bells, then the
tambourine, opening the soundscape. Our Meanings And Our
Feelings may not be the first French free jazz record – as it was
preceded by the fantastic Free Jazz by François Tusques, released in
1965 and on which Michel Portal plays as well - but it remains one of
the most important. Its incredible outburst of sounds and melodies is
completely free yet never turns into cacophony. 44 years after its
release, it is still urgent to listen to Our Meanings And Our Feelings
and what these five talented musicians had to tell us.

On June 27th, 1969, Michel Portal pushed the door of the Pathé
Marconi studios. With him were drummers Jacques Thollot and Aldo

Italian techno sensation Alignment is back with a fifth EP Close Your Eyes on Charlotte de Witte’s KNTXT label out on Friday 31st March.

Close Your Eyes is four tracks of thrilling all-out industrial assault from the Barcelona-based artist.

Title track ‘Close Your Eyes’ rips into a slamming turbo-charged beat accompanied by metal textures and warehouse atmospherics. Next up, ‘Deep Space’ is pure evocative melodrama, riding on a wave of ghostly vocals and piercing synth stabs. ‘Dance For Me’ ups the ante with a trance-tinged roller underscored by slamming bass, before ‘Fight For A New World’ closes out the EP with an epic journey to euphoria.

“I really thought of the Close Your Eyes EP as a travel in my current dreams and maybe a bit of my nightmares as well.” Alignment explains. “For this EP, I tried to combine the “original” Alignment influences with a touch of the new hard techno sounds.”

Charlotte de Witte adds: “Alignment is back, and his 5th release on the label is an absolute killer! I’ve been playing these tracks all over the world for the past couple of months and they don’t disappoint. I’m very excited to finally put them out there and have Alignment on board again!”

Italian-born artist Alignment, whose real name is Francesco Pierfelici, has emerged as an unstoppable force in the techno world in recent years. He has had an outstanding array of vital productions - with four previous EPs on Charlotte de Witte’s KNTXT label, including 2022’s acclaimed Attack - and his sound helps carry forward the diversity and musical
identity the label stands for. Describing his style as “a journey to the dark corners of one’s inner self”, Alignment’s industrial techno is reminiscent of an endless post-apocalyptic warehouse rave.

‘Close Your Eyes’ is another exhilarating offering from the new school techno giant. An EP you won’t want to miss.

Rave Or Die's sixteenth release signs a 100% frenchies masterpiece that will leave you breathless! As an absolute must-have for anyone who loves old-school music, this collectible double 10" features tracks from techno pioneers The Hacker, David Carretta, Terence Fixmer, and Umwelt.

Characterized by a fierce atmosphere over a classic Rave construction, The Hacker's highenergy "Reactor" on A side signs a nod to Circuit Breaker style. No doubt it will get your blood pumping!

David Carretta on the flip injects some New Beat and electro touches on his 4/4 flying gem, adding a unique flavor to the LP. Gold "Invasive Machinery" sounds like the perfect example of how the old and new can come together to create something beautiful. Terence Fixmer's "Detune My Brain" coming next is a milestone of a banger, with modulated vocals fusing into a sonic assault of mental acid sororities propelled by pounding beats. Ace!

Lastly, ROD mastermind Umwelt signs with analog "Mind War Acid," a vibrant tribute to Chaos A.D.'s "Mind War Electro" on Rephlex. This absolute tour de force driven by an insane 303 will make you want to dance until the end of world thanks to its gloomy and apocalyptic melodies.

Each track on this compilation is unique for sure, but they all come together to create an unforgettable listening experience covering every shade of the techno spectrum. Don't sleep on this one!

re:discovery records is proud to release for the first time, a vinyl edition of 'Two Zeroes' by Grain for it's 25th anniversary.

Grain was a west coast project that emerged out of the psychedelic music and art scenes in Los Angeles in the early 1990s. After a few of their tracks were featured on the key chill out compilations United State of Ambience 1&2 and Excursions in Ambience
and many local live performances, they released two ep's on local labels. Shortly after in 1998, 'Two Zeroes' the full length project appeared. A west coast chill out classic that unfortunately did not get much disribution outside the west coast let alone to the world.

To classify this album is very hard. Think early Jammin Unit with a touch of the Orb and dash of west coast breakbeat and chill out styles and you still can't fully pin it down. A unique album that sonically, was leaps and bounds ahead of most albums in this style thanks to sound designer, audio instalation architect, scientist and artist Jimmy Johnson along with illustrator and fellow sonic artist Peter Ehrlich. Featured on double vinyl with updated artwork by the original designer, Kevin Hanley and presented on beautiful gatefold with a shimmering silver vinyl to match. This could be one of the discoveries of the year for those that have never heard this album. Dare to Dream with us.

Underdog Recordings is Proud to present the Touchdown Ep by Dark Dean & Hankinson with crowd Hype from MC Shadow & also featuring MC Stevie A.

Originally started in 1993, one of Bournemouth's foundation Jungle Labels, Underdog Recordings taps into the wealth of Jungle talent on the south coast and the Destiny connection is strong with this release. Touchdown Junglist tracks started under lockdown by Dark Dean & Hankinson feature a sample of Fusion & Destiny's Master of Ceremonies & old friend MC Shadow. After an authentic old skool jungle mix was completed, it was decided to bring the track upto date with a 170bpm Future Mix to complement the '94 style original .

Add in the much requested Dub Mix of Good Samaritan featuring another Destiny soldier, MC Stevie A that has only previously been available in the digital format and the haunting vocals of Carmen Naida on Good Vibrations and you have a fully loaded 4 track Ep on vinyl, the 16th release from Underdog On a limited Translucent Blue 12" Vinyl

Croatian DJ & producer heavyweight Insolate debuts on Luke Slater's legendary Mote-Evolver imprint with a massive four-tracker of pure bred techno ready for the dance floor. After leaving her signature on highly respected labels such as DJ Deep's Deeply Rooted, Developer's Modularz, Ben Sim's Symbolism as well as her Out Of Place imprint which she operates along with Volster, she now delivers 'Push' a finely crafted EP of peak time material. Opening the A side, fierce workout 'Outer Bass' is showcasing a sinister driving energy that is followed by the raw frenetic groover title track 'Push'. On the flip side 'Blow' is a trippy, no-compromise cut, while closing, classy atmospheric track 'Desire' finishes off the EP with its effortless soulful touch and elegant, melodic synth pads flying by.

Hania Rani announces "On Giacometti" a tender meditation on the life and art of Alberto Giacometti and family. "On Giacometti" is a collection of beautiful recordings inspired by the renowned artist and family and features some of Rani's most profoundly delicate compositions to date. Invited by film director Susanna Fanzun, to score her forthcoming documentary on the legendary artist Alberto Giacometti, Hania Rani took herself to the Swiss mountains to compose in blissful isolation. As Rani explains eloquently below the compositions are based on improvised melodies, simple harmonies and structures and inspired by the silence of the mountains as Rani returns to her main instrument, the piano. The results are beguilingly reminiscent of her beloved debut album Esja, but with subtle extra layers of synthesiser, and on two tracks cello from friend and long-running collaborator Dobrawa Czocher.

'On Giacometti' is presented as a limited edition LP with bespoke packaging featuring Les Naturals - Chocolat (Gmund) sustainable recycled paperboard made from 100 % recovered paper with Foil Artwork by Łukasz Pałczyński. Plus Double sided printed insert and download code inside.

Hania Rani "On Giacometti":
‘When I was asked to compose a soundtrack for a movie about the family of Giacometti I didn't think twice.

Alberto Giacometti, a Swiss artist, who worked mainly as painter and sculptor has been one of my favourite artists for a long time. His individual style, aesthetics and the character of his creative process is still fascinating to me on many levels, so being able to dive even deeper into his universe, getting to know not only him but also his family was an opportunity that I couldn't miss. Little did I know how far this "yes" will take me - not only mentally and on a creative level but also physically. Thanks to the director of the documentary - Susanna Fanzun and by a stroke of luck and a couple of extra questions I decided to move for a couple of months to the Swiss mountains, not far away from the place where Giacometti was born and where the place he called home was, although he didn't live there. Susanna showed me a place close to her hometown where I could rent a studio and work on the soundtrack but also for my other projects. It was the middle of a winter, the area was full of ice and snow, just like only it can happen still in the mountains. The residency house was located in a valley surrounded by high mountains and the sun in the winter season was not coming up for too long during the day. I remember she told me about it and added "that not everyone is feeling well there, but I hope you will". I did.

Being almost separated from reality, the city and its entertainments, people rushing and everything that usually takes my attention I could fully concentrate on the music and soundtrack, spending most of the day with my own thoughts and having enough space to experiment and be free in a creative process. This soundtrack would probably be a very different thing if composed in a place that I am usually living in. I took this a chance to explore something new about myself as a composer and human being, taking the opposite direction that I would usually choose for myself.

The album "On Giacometti" includes the excerpts from the soundtrack, the most representative tracks and those which became a strong voice itself. Based a lot on improvised melodies, simple harmonies, structures and silence it reminds me of my debut album "Esja" which was partly composed and recorded in another chilly place - Iceland. All these components, both mental and physical, guided me back to my main instrument - piano, which I tried to redefine again with a language of the space that I was working in. The space is usually the key element that gives me the answer about the arrangement or character of the project. Space seems to be the first to appear and music is the invisible power which is changing its angels.’ Living surrounded by mountains makes you change the perspective and understanding of scale as Alberto Giacometti once famously wrote in a letter: It gives an impression that things that are actually far away, like mountains, are close and the other ones that are not so far away, like people, seem small, watched from a distance. You feel like touching the mountain top with your finger could be as easy as touching the tip of your nose. The snow additionally protects the whole area from the noise, each sound lands softly on the ground accompanied by echoes of immeasurable space. Each scratch or whisper is becoming an autonomic entity, opening the gate to the world of ghosts and lost spirits. It's easy to think that time stands still there, while nothing is moving and changing at the first sight. But the ubiquitous ice and snow reveal the passage of time, transforming frozen paysage into the wild stream of water - each day, hour and second. Melting and vanishing, clearing the space from white powder and noise consuming surface. Invisible process for a one night traveller, becomes painfully real for longer time settlers. Time flows with each new wave of sound coming through the river, reminding us that we are part of the cycle, which endlessly repeats itself.

Drop a needle on Psyché's debut album and you'll see visions, or rather Mediterranean visions, be they of waves of heat shimmering above dunes of sand, or of women dancing around a bonfire on a rocky plain, or of bushy cliffs overlooking emerald-green and turquoise sea. The name Psyché is of course ancient Greek for 'soul' or 'mind', signifying the band's love of psychedelic funk, but also the wide range of Mediterranean influences – from Southern Europe to the Balkan Peninsula, and from Anatolia to the Maghreb – that provide an endless source of inspiration for their hypnotic sound and minimalist style.

Psyché members Marcello Giannini (Guru, Nu Genea, Slivovitz), Andrea De Fazio (Parbleu, Nu Genea, Funkin Machine) and Paolo Petrella (Nu Genea) have been active in the Naples music scene for almost two decades, most notably during the first wave of the new Neapolitan Power movement (Slivovitz, Revenaz Quartet). Over the years they have often crossed paths and collaborated on side projects in various genres (math-rock duo Arduo and, more recently, synth-pop duo Fratelli Malibu), before working together as the rhythm section of Nu Genea's live band. Following their first tour with Nu Genea in 2018, they started Psyché with the intent of exploring more minimalist styles and making music with just a few elements.

A unique combination of psychedelia, groove and improvisation, the music of Psyché goes back to the roots of our future; it evokes visions of a mythical past, blending centuries-old music traditions and mixing them with modern genres. Like a warm Mediterranean breeze, it travels across lands, seas and eras, distilling essential rhythms and cosmic pulsations.

The album's opener "Kuma" (titled after the first ancient Greek colony on the Italian mainland, now an archeological site near Naples) is like a vibrant, magical wave. With its deliberately simple harmony and sharp guitar riffs, it travels across the Mediterranean from Italy to North Africa, first lapping gently on Greek and Turkish shores – with some compositional elements reminiscent of Italian pop legend Lucio Battisti – and then speeding up and landing on the driving, syncopated rhythms of afrobeat. While listening to it your eyes fill with images of small white houses shining in the sun, of fig trees heavy with fruit, of spice bazaars and colourful medinas, and you can almost feel the desert wind blowing in your hair.

The journey continues with two examples of Psyché's bold and elegant approach to contemporary afrobeat and cumbia fusion: "Cumbia Mahàre" and "Amma". The former combines minimal synths and exhilarating rhythmic patterns of drums, percussion, guitar and bass, drawing us into the movements of an imaginary ritual dance (the term mahàre was used in Southern Italian dialects to indicate witches). Next is the cinematic and mysterious ambiance of "Angizia" (a snake goddess worshipped by the Marsi in ancient Italy), another fascinating mixture of different sonic traditions and cultures where hip-hop/funk drums are blended with Maghreb influences, Balkan echoes, and hypnotic, Theremin-like synths that have sort of a sci-fi movie quality to them.

The title track "Psyché", with its uptempo afro-rhythms, ethereal vocalizations and refined percussion, is almost a manifesto of the band's style and confirms the freshness of their minimalism, which is not afraid of taking in the sun of lands confined between the sea and the desert. The following "Manea" (named after the Roman-Etruscan goddess of the dead) is an afro-funk number with smooth and introspective dreamy jazz touches, and with an arrangement dominated by a guitar that, dripping notes like drops of water, creates a delicate, cinematic sound. Next, we come to "Hekate" (the Greek goddess of magic, witchcraft and crossroads), a track that fuses psychedelia, spacious Latin guitars and a fast, tight groove. The album comes to a close with the exquisite melodic ballad "Kelebek", which seamlessly combines hip-hop drums and dreamy guitars, and whose warm, flowing sonorities and evocative atmospheres conjure the image of a butterfly (which is what kelebek means, in Turkish) floating over the Mediterranean and, from there, the world.

After a meteoric rise in 2018 following the release of his debut album, 'Free Me', J.P. Bimeni's remarkable and soul stewed journey continues with the release of the classic Jackie Edwards track 'Keep on Running'. Recognised as a stone-cold soul music canon afer the UK's Spencer Davis Group's 1965 stewarded the song to top of the pops in 1965, Bimeni adds his sweet Burundian touch aided and abetted by the Black Belts and a terrific hammond organ. 'I Miss You ' is on the flip and features on the long player - a devilishly emotional lament that harks back to the motor city cerca late '60s. BBC 6Music and Craig Charles awarded Bimeni and his band 'Album of the Year' at the end of 2018 and critics and fans have been blown away since his album and remarkable story came to light. Bimeni is a royal refugee turned soul survivor with a remarkable story of resistance having fled Burundi's civil war after three attempts on his life, landing in Wales as a teenager. On his debut album Free Me, Burundian-born JP Bimeni astonishes with a voice that recalls Otis Redding in his prime whilst resonating with the soul of Africa. Living in London since the early 2000s, Bimeni songs of love and loss, hope and fear deliver with a conviction that comes from the extraordinary experiences life has thrown at him. With classic 60s-sounding Motown and Stax-inspired grooves the album was written by musical director Eduardo Martiìnez and songwriter Marc Ibarz and Bimeni imbues these tales of love and loss with his tragic experiences making 'Free Me' a deep soul soundtrack to his pained life: 'When I sing I feel like I'm cleansing myself: music is a way for me to forget'. For Bimeni, music is a way to survive: 'You can't entertain the pain of your problems all the time - you have to put them away and let something else fill the space where it's just been pain, worry and terror.' He's a spiritual soul singer yet also a soul-singer with spirit, and his infallible positivity can be an inspiration to us all: 'It's my dream to return to Burundi one day - but I always remember that getting shot enabled me to meet the world."

Birds chirp through a tape-hiss breeze atop a bed of airy pads, and a cleareyed, forlorn guitar springs forth: this is the beginning of the debut album from Sans Merit, a new rock project from Griffin James, otherwise known as Francis Inferno Orchestra.

For over a decade, the Melbourne-raised—and now L.A.-based—producer has been indulging his indie and alt interests, and this fuzzed-out bedroom janglepop and shoegaze LP, Early Grave, is his first extensive deliverance.

The album represents a gestalt of sorts: years of approaching different genres and songwriting styles, and producing not “in the box,” with soft synths and
samples, but with live instruments (and sometimes a band), has led to this focused and succinct thirteen-track musical journey.

In pursuit of a pure and low-key aesthetic, James recorded demos on phones and chose to rely heavily on budget instruments, clapped-out synths, and
crappy amps, and would often cut tapes live in bedrooms, lay down vocal takes in closets and put microphones to broken speakers, all in part of the quest of using limited resources to create a truthful body of work. The finishing touch is a thick coating of nostalgia ooze; soundbites from internet clips flitter throughout the record, and goofy sound effects flicker above like dying incandescent bulbs.

A dream-pop album for our times: its lyrics are off-kilter romantic musings, sarcastic self-loathing mumbles, reflections on the unrealness of real life.

Vinyl reissue of the fifth volume of the 1997 “The Mood Mosaic” series.

Pink vinyl

Tygers of Pan Tang are an English heavy metal band who are seen as an essential part of the New Wave Of British Heavy Metal. They formed in 1978 and were active until 1987. In 1999, the band reformed and continue to record and perform. In 1980, they released their debut studio album Wild Cat, which reached #18 in the UK Album chart. The 10-track set includes the singles “Don't Touch Me There”, “Suzie Smiled”, and “Euthanasia”, and was received with much critical acclaim.

Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

After an explosive performance at Wacken Festival, the mighty heavy metal newcomers ROADWOLF are back with pure power to unleash their highly anticipated sophomore record! The first single, “On The Run”, starts off the record with a bang, featuring electrifying guitar riffs, a pulsating bassline, and driving drums that set the tone for the entire album. The band wears their influences proudly on their sleeves as you can hear their inspiration from legends like Judas Priest, Saxon, and Dio. Single Blurb: Single 2 ROADWOLF is tearing up the heavy metal scene with their latest epic release! As one of the leading acts in the new wave of traditional heavy metal, they've shared the stage with some of the genre's most iconic names like Enforcer, Skull Fist, and Bullet. With "Supernatural," the band showcases their versatility, delivering a touching ballad-like verse before unleashing a full-blown metal extravaganza during the chorus. Get ready to rock out with ROADWOLF, the masters of heavy metal power! Single Blurb: Single 3 With the success of “On The Run”, ROADWOLF launch through your speakers once again with the release of their next single “Midnight Lightning”! The title track brings out ROADWOLF’s heavy metal prowess with soaring vocals and scorching guitar solos, reminiscent of Judas Priest. Join the band on this electrifying ride, bolting along lightning crashes as the clock strikes midnight. ROADWOLF is guaranteed to get the crowd head banging and moshing in frenzy with this new powerful single! Album Blurb: Brace yourself for an ear-shattering, face-melting experience as Austrian heavy metal sensations ROADWOLF unleash their highly-anticipated sophomore album, Midnight Lightning, out on May 5, 2023 via Napalm Records! With their debut album, Unchain the Wolf (2020), the band firmly established themselves as purveyors of classic heavy metal, drawing inspiration from legendary acts such as Judas Priest, Saxon, UFO, Dio and Ozzy Osbourne. Since its release, the band has turned heads on stage, performing at renowned metal festivals such as Wacken and sharing the stage with notable acts such as Enforcer, Skull Fist, Bullet, Lizzy Borden, Vicious Rumors, and Night Demon. Now, they bring the madness directly to you with their all killers no fillers album Midnight Lightning!

One day, you wake up with a cloud in your head. You feel out of place and uninspired, and juggle so many worries the balance is skewed. That was Armin van Buuren three years ago. He put so much love and passion into his work and found it hard to cope with the fact that not everyone can be pleased. Something needed to change. So, he reformed his life routines, took up meditation to calm the storm and did everything he could to negate the numbness. And what he ended up with was a newfound love for music and an incredible three-part album: Feel Again.

From "No Fun" and "Computers Take Over The World" to "One More Time", "Come Around Again" and "Roll The Dice", the Feel Again album sonically represents the journey of an artist extraordinaire radically looking for harmony within himself. Its 34 tracks may be different in terms of sound, but together, they reflect an equilibrium that could only come from a man in balance.

From reconnecting to friends, family, and fans to finding inner peace, Feel Again means acknowledging harsh truths, finding out what really matters and letting that power a new step forward. Because in the evergreen words of Armin van Buuren himself, “we're still learning and will never stop learning till the day we die”.

Feel Again is available as a deluxe limited edition box set, including 3 LP's, which are housed in printed innersleeves. The set also includes 5 exclusive Armin van Buuren lithos. This deluxe boxset is limited to 3000 individually numbered copies on turquoise marbled (LP1), white marbled (LP2), and orange marbled (LP3) vinyl.

Take a look at the cover of Rodney Crowell's brilliant new album, The
Chicago Sessions, and you might recognize a familiar callback to the
legendary songwriter's 1978 debut "In a lot of ways, this album feels like that very first record to me," Crowell reflects.

"When my daughter Chelsea suggested we lay the artwork out similarly, the connection made perfect sense. There's something very simple, very innocent about it. It's just me and the band in a room together, loose and live and having fun." Produced by Wilco's Jeff Tweedy, The Chicago Sessions is indeed a throwback to Crowell's early days of making records, but it's no nostalgia trip. The
songs here are vital and timely, touching on everything from love and mortality to race and religion, and the performances are nothing short of intoxicating, fueled by raw guitars, honky-tonk piano, and tight, punchy drums. Tweedy wields a light touch as a producer, his influence subtle yet unmistakable, and engineer Tom Schick's mixes are dynamic and alive, alternately lush and spacious in all the right
places with a spotlight fixed firmly on Crowell's warm, weathered vocals throughout. Put it all together and you've got a masterful, cross- generational collaboration that manages to feel both fresh and familiar all at once, an incisive, engaging collection that balances careful craftsmanship with joyful liberation at every turn

Short Bio: It only takes a few seconds exposure to the rolling riffs of opening track “Tom Cruise Control” to be reminded that this is Gozu’s world, we’re just living in it. Given that it has been five years since the Boston quartet dropped the monstrous Equilibrium, returning with Remedy is one hell of a way to make sure that everyone - whether previously familiar with them or otherwise - realizes that they are perhaps the most badass of American rock bands, for they have taken everything to the next level. “There is a certain maturity mixed with a childlike enthusiasm to play music, and we all are better players now than on Equilibrium,” says vocalist/guitarist Marc Gaffney. “We have all really tried to look at what we enjoy but more what we do not enjoy. Playing music is a gift and when it becomes A Nightmare On Elm St Part 37.3, you are done.” The result is nine tracks of their signature combination of fuzzy 70s inspired riffs, rich, catchy, grunge-esque vocal melodies and a touch of old school trippy psychedelia written and played with the utmost passion and enthusiasm, eclipsing everything else in their catalog. “The band wanted a very heavy groove-oriented album with singalong choruses. We also wanted sonically to hit you in the chest, like a three-combination, left-right-left, like Micky Ward. Harmonies and melodies were something we really looked at and wanted to shine, and thick guitar tones, driving bass and drums were under the microscope.”

Lucy has been a prominent figure on the UK folk scene for many years with her
skills much in demand by a plethora of esteemed folk artists, which has meant
her solo career has taken a back seat. Until now.
'We are only Sound' was recorded in the glorious medieval surrounds of Much
Wenlock Abbey, home to Nick Drake's sister Gabrielle who gifted the recording
space - as well as the use of her brother's instruments - through a mutual friend.
Specifically, Nick Drake's piano and guitar were tuned and used in the recording
bestowing a unique quality to the album. Songs were recorded together, in one
room, in one take.
Lucy's crystalline vocals are highlighted by sparse accompaniment: the exquisite
melodies interwoven with intricate - yet delicate - guitar playing and subtle
electronic touches. Songs are introspective and dreamy, written over a span of
eight years during which Lucy experienced motherhood, breakups and all that
comes with such heart and life changing events. "I think these themes and ideas
are universal," she says. "They would resonate for other people too." Lucy
continues, "I find it hard to articulate my thoughts in sentences - it's much easier
to muse through them in songs. It's how I work through my feelings. There's a lot
of wonderings in them, but no answers".
Lucy is joined by Kris Drever (Lau) on guitar and vocals, Ben Nichols (Nadine
Shah) on double bass, Tom Lenthall on piano, Neil McSweeney on bass and M G
Boulter on slide guitar.

Lucy has been a prominent figure on the UK folk scene for many years with her
skills much in demand by a plethora of esteemed folk artists, which has meant
her solo career has taken a back seat. Until now.
'We are only Sound' was recorded in the glorious medieval surrounds of Much
Wenlock Abbey, home to Nick Drake's sister Gabrielle who gifted the recording
space - as well as the use of her brother's instruments - through a mutual friend.
Specifically, Nick Drake's piano and guitar were tuned and used in the recording
bestowing a unique quality to the album. Songs were recorded together, in one
room, in one take.
Lucy's crystalline vocals are highlighted by sparse accompaniment: the exquisite
melodies interwoven with intricate - yet delicate - guitar playing and subtle
electronic touches. Songs are introspective and dreamy, written over a span of
eight years during which Lucy experienced motherhood, breakups and all that
comes with such heart and life changing events. "I think these themes and ideas
are universal," she says. "They would resonate for other people too." Lucy
continues, "I find it hard to articulate my thoughts in sentences - it's much easier
to muse through them in songs. It's how I work through my feelings. There's a lot
of wonderings in them, but no answers".
Lucy is joined by Kris Drever (Lau) on guitar and vocals, Ben Nichols (Nadine
Shah) on double bass, Tom Lenthall on piano, Neil McSweeney on bass and M G
Boulter on slide guitar.

1st Science (Henrik Helenius) Has Been An Online Man Of Mystery For Some Time, And You'd Better Believe He Supplies The Goods Whenever He Resurfaces!

In The Early 1990s, Out Of The Uk's Rave Scene, 2 Genres Known As Breakbeat Hardcore And Jungle Were Spawned. A Decade Later, And A Modest Online Community Began To Try And Revive The Genres In The 2000s Within A Scene Dubbed "Hardcore Breaks". Henrik Became One Of Its Most Influential And Creative Contributors, Bagging Himself Appearances On The Likes Of Right Touch Records, Bat Beat Recordings (The Precursor To Renegadegenius's Paranoid Recordings) And Hardcore Lives, As Well As Becoming One Of The First Serious Juggernauts Of Sharing Music Online.

Based In Stockholm, In The Words Of Strictly Nuskool Blog, Henrik Swiftly Earned Himself The Title Of "The Swedish King Of Hardcore" Amongst Junglists... And That's A Tough Title To Pinch!

Skip Ahead To The Year 2023, And 1st Science Is Far From Done. Hell, Didn't You Know He's Only Just Started Tuning Up The Bunsen Burner? From The Ones Who Brought You "You Time" And "First Sign Of Trouble", Yes Yes, Erupt Proudly Presents A Shiny New Ep From The Man, Featuring 5 Of His Finest Tracks On Wax For The First Time. If You're Familiar With The Earlier Digital Release Of This Ep, Don't You Worry, For Being Patient You Get The Exclusive Bonus Track "Everlasting Night" Here.

So What Are You Waiting For? 1st Science Invites You To Participate In An Experiment Which Requires Your Subwoofers. An Absolute Treasure Trove For Any Techno, Breaks, Or Uk Retro Rave Lover.

Deprived of sanity, Paul Régimbeau aka Mondkopf found new territories of expression with »Spring Stories«, a collection of post-rapture moods full of glorious chaos, ready to absorb and re-ignite all that is worn.

As a phoenix raising from the ashes, »Spring Stories« captures the earth in full bloom. Darkness & Insanity looses it´s grips as the roots and fresh leaves creates a slow dance towards the sun. Similarly sine-wave drones move around exploding electric guitar improvisations as new light beams on shadow cast corners. The album feels like a 60ies jam set in the post-world psychedelic underground. Heavy, absurd, beautiful and ready to sooth burnt out, depleted minds. Paul has citied that he´s affected as much by folk improvisors such as Master Wilburn Burchette & Robbie Basho as well as the doom drone of giants Earth & Sunn O))). Spring Stories invokes on these, while feeling like a personal blow-out, coming right from the core. Touching and grand, like spring itself.

The album also features Frederic D. Oberland on two tracks playing variously Duduk & Alto Saxophone. Lastly, The Necks drummer Tony Buck shakes & rattles all over the final - and seriously epic - piece “Continuation”, as the world aligns while the sun rises over its near-dead shape.

Ein ganz besonderes Disney-Erlebnis: weltberühmte Film-Ohrwürmer in Interpretationen einiger der größten Pop-Jazz-Stimmen!

2016 erschien erstmals ”Jazz Loves Disney”, nach dem großen Erfolg dann 2017 der Nachfolger ”Jazz Loves Disney 2 - A Kind of Magic”.
Beide Doppel-LPs waren viele Jahre vergriffen und sind nun endlich in Neuauflagen wieder erhältlich.

Tom is in his purple period - and after nearly a decade of releasing delicately constructed songs that sit in the hinterland
between dance floor and home listening, he’s finally cracked the code for creating ABSOLUTE BANGERS, with all the class and lightness of touch present from his previous work.

Hidden Spheres is in turbo mode - and you’ve most likely heard these tunes without knowing it - TANZEN has been a staple in Bradley Zero’s set for the last year and has always, ALWAYS caused complete dance floor destruction. Add in the Italo flavoured Paula Tape remix and you have one of the most exciting dance floor propositions of the year.

RP Boo's essential first album, 2013's ‘Legacy’ caused a storm of acclaim worldwide as people finally started to piece together his true place in Footwork and the powerful legacy of his work as an innovator. In parallel with productions, his always on-point DJ sets have lit up festivals and clubs worldwide and continue to do so to this day, notably leading to him being named one of the ‘100 World’s Best DJs’ in a recent book by DJ Mag. Now on its 10th anniversary ‘Legacy Vol.2’ continues his story. Featuring tracks created between 2002 and 2007, this is a wonderous selection of material, some known, some unknown. The album kicks off with the dark and epic ‘Eraser’ created in September 2007, during a time RP was going to underground Footwork club War Zone on the west side of Chicago. The track was inspired by, and created to fuel, the “taunting words of intimidation” between dancers.” And now it makes for one intense album opener. Some cuts are inspired by everyday life – take for example 2005's ‘Pop Machine’, which was inspired by the time he was working at Speedway Oil Change who had a temperamental soda/pop machine. One day, a customer put money in the machine and nothing came out, so he continued to press the button, and for some reason RP found this funny so he went over to the machine and started pressing the buttons himself and everyone he touched started saying “Work!.” Inspired once he was back home in his studio he made ‘Pop Machine’ in tribute to the defunct machinery. When he came back to work the next day and played the track for all this co-workers it blew their minds and they also laughed with at how creative RP could get using things from his everyday life as inspiration. ‘Pop Machine’ also illustrates how RP’s Footwork uses repetition and minimalism as fuel. Years later RP Boo is still inspired by Foot Work – the art of dancing and working for dancers. He continues to shake up clubs and isn’t afraid to get out from behind the decks and drop some Foot himself. We’ll let the man himself have the final word - “What inspires me to keep going is seeing the people having an awesome time moving on the dance floor, as well as playing music that is a recognizable part of my life. I’m one with it.”

Thanksmate have been working together for over a decade and are pioneers of their local scene. They run the notorious Soul Express event and their experiences of keeping its dance floor vibrant and bouncing feeds into this first new EP. It's a bright mix of disco, house and Italo that brings the party in a classy fashion.

Brilliant opening track and lead single 'Your Friend' showcases what Thanksmate is all about - buoyant grooves, big bass drums, lush synth work and a touch of '90s house class with some cult r&b vocals from the early 2000s. It's an irresistibly feel-good record that is well-executed and full of fun. 'M8s On LSD' is a more intense, heads down but just as characterful track with ravey melodic riffs and unrelenting drums run through with flashes of acid. 'Feelings' offers a third different look with exquisite synth craft glowing with plenty of Detroit warmth and soul over super-charged drums. An emotive vocal and cosmic keys finish this new school Italo anthem in style.

Thanksmate's unique mix of charm and colour is a perfect way to kick off what is sure to be an essential label from the tastemaking Marvin & Guy.

Murmer is the long-standing project for Estonian field recordist and composer Patrick McGinley, and in Tether, The Helen Scarsdale Agency welcomes Murmer back to our roster, over a decade since he graced us with his last production for the Agency. His field recordings often center upon the amplification and activation of resonance from a particular space, landscape, or object. Such sounds emerge from a condition as begin fleeting, inconsequential, or ephemeral and explode into that which alien, sublime, and profound. Here lies the tremendous prowess of the contact microphone, as wielded by an accomplished musician! The source material cited by McGinley includes cables, fences, wires, and vents.

There is a heft to many of these sounds as heard throughout all of "Taevast" with deep throbbing pulsations from arctic wind generating subharmonic patterns upon thick high-tension wires. Elsewhere the subtle dissonance from a rasping cooling fan blooms into a brooding ambience that is sublimely rich in its metallic timbres and complex reverberations. McGingley has long been an exemplary artist in the field of phonography even as he is less prolific than others. On Tether, he has produced a majestic if occasionally foreboding work on par with the mythic wire recordings of Alan Lamb, Jacob Kirkegaard's haunted resonance from Chernobyl, and much of the Touch catalogue for that matter!

Patrick McGingley on Tether:

In 2006, I made a collection of recordings at a mobile phone mast in Mooste, southeast Estonia. It is a guyed tower, 80 meters tall, affixed to 3 support points with heavy cables. I attached my self-made contact microphones to these cables with poster tack, and spent many hours over several weeks recording the various wind and weather variances (it was summer), and the birds that passed or settled on the tower or cables. This was one of my first visits to estonia, where i now live, and one of the things that marked me about that experience was the access: the tower had no fences or protections around it (I have not been back there recently to answer my own question of whether or not this is still the case); it stands in the middle of a field of tall grass along a dirt road in the countryside, just out of view of the few nearby houses, and during all the hours I spent there I was never disturbed or shooed away.

For more than 16 years, I have been thinking about this location and these recordings, and have made several attempts to work with them. I have used the sounds in installations a handful of times, and uploaded one short edit to the Aporee soundmaps, but have never managed to use them in any composed work. They always seemed too big for any structure I could provide them, whether I left them on their own, or partnered them with other sounds. Finally, in 2019, after putting them down and picking them up again repeatedly over so many years, they seemed to allow me in, although it took me another few years before they were happy with what I could offer. They stand now not quite alone - the majority of the layered sounds in the piece come from various edits of those cable recordings, but I added two other contrasting sounds, related to one another: one is snowflakes landing delicately on a plastic cakebox with microphones inside it, and the other is a frosted field of grass thawing on a lightly warming autumn morning (both these recordings can also be heard on their own on the Aporee maps).

Coming back to those cables brought to mind so many other wind-driven sounds that I had spent time with and recorded, but never returned to, that I began digging through my archives looking for them. I ended up with a pool of sounds from resonant wires, cables, fences, poles, fans, and vents, which became the basis for the 2nd work on this release. One of these sounds is among the first sounds I ever recorded, possibly within a month or so of buying my first microphone and minidisc recorder: the rhythmic fan of a beer cooler in a pub where I worked in North London in 1999. Other sounds in the piece include another phone tower, recorded on the northern coast of France in 2008, a telephone pole recorded in the Beaujolais region in 2010, the drone of ventilator fans at a factory in Tezno, Slovenia in 2012, an electric sheep fence in the Scottish borders in 2013, a hanging wire in a storage space in Rovaniemi, Finland in 2016, and, with no relation to cables or wind at all, calcium deposits being cleaned from the inside of an electric kettle here in Estonia in 2019.

I offer these two new pieces as my first solo publication since 2018, the first release on a physical medium since 2016. No one has ever accused me of working too fast, or being too prolific. I have a need, it seems, to leave a physical space of time around my work, before I can consider it 'finished'. Perhaps it is a simple need to forget how I did something, or that I did something; perhaps I have a need to be able to hear a work as a first-time listener would, before I can consider it ready for such an encounter. In some part of my mind I have to forget it before I can let it go. Well, I've just about forgotten that London beer cooler now, and that walk in the Beaujolais (with my father, who has since passed away), and that sheep fence next to our campsite in the borders, and that kettle that is now leaky. So I guess it's time.

THE SOUNDTRACK OF THE MOST CONTROVERSIAL FILM EVER.

FOR THE FIRST TIME IN FULL IN A SPECIAL DOUBLE VINYL EDITION!!! (NON-RETURNABLE)

This Legacy Edition of “Cannibal Holocaust” includes the film score remastered and released in its entirety for the first time ever on double LP; graphically speaking, it includes a gatefold cover with glossy title letters printed on a special soft touch paper, OBI and an 8-page booklet complete with reproductions of posters, lobby cards and photographs from the set, plus presentation essays written by Fabio Capuzzo (one of today’s best soundtrack experts), Stefan Dimle (Landberk, Anekdoten, Paatos, Morte Macabre) and Mikael Åkerfeldt.

AMS Records is proud to present a special edition of the “Cannibal Holocaust” soundtrack, exclusively released on the occasion of Record Store Day 2023. It is, of course, one of the many 'cannibalistic' movies, but perhaps it’s also the only one of its a genre that even today generates mixed feelings and strong controversy.

The excellent soundtrack, composed by Riz Ortolani, makes extensive use of string instruments, masterfully arranged and directed to match the strong contrast between the more relaxed scenes - the incipit of the film is memorable, with the main theme accompanying the spectator in a flight over the Amazon forest - and those full of rhythm and tension; in the first case, the strings go along with guitar arpeggios, while in the second they vibrate alone or together with glacial electronic beats. There are also funk-rock episodes such as in “Cameramen’s Recreation”, “Relaxing In The Savana” and “Drinking Coco”, while “Cannibal Holocaust (Terror)” is pure noise mixed with haunting percussion.