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MASK unveil the final entry in its untitled release series.
Berlin-based label MASK records has become known for releasing a string of vinyl-only EP’s by unnamed producers which have seen the support of respected artists such as Jimpster, DJ Bone, Ben Sims,
Santiago Salazar, Laurent Garnier, Ryan Elliot, Marcel Dettmann, and the Blessed Madonna amongst others. Now, the tenth and final instalment of the series consists of an eclectic collection of techno and house cuts, all recorded on tape during an analog live session in the artist’s studio.
The A1 eases you into the record through glitchy textures, swelling synths and broken beats before the A2 gets you into a rapturous tracky groove offset by lo-fi vocals and dreamy pads. The A3 takes a darker turn through hypnotic drums and a droning bass, readying the listener for the B-Side which continues this raw energy.
The B1 picks up the pace with energetic drums and clean ride cymbals while the B2 incorporates floaty arps and a tantalising repeating vocal. ‘B3’ closes out the release with a retro 80s synth feel, putting a wrap on yet another incredible vinyl EP by this exciting underground label.

Needwant Records arrive with the latest in their ever-evolving roster showcasing the sounds of underground city life, proudly presenting label newcomer NATE08's kaleidoscopic debut LP, 'Furaha'.

London-based label Needwant Records have been tirelessly advancing dance music's esoteric fringes for well over a decade, with their immaculately curated catalogue routinely moving dancers and garnering respect and plays from the industry's most revered tastemakers. Here, the newest recruit to the label's glittering line-up, Mumbai-based musician, producer, and DJ, NATE08 brings forth his breathtaking inaugural album.

Equally adept as a producer, session bass player, and genre-spanning selector, Nathan Thomas has become an irrepressible force in India’s blossoming underground music scene. The Mumbai-based musician’s solo project, NATE08, treads the groove-oriented territories of funk, r&b, and house – with his elegantly spun productions firmly rooted in dance music's glorious heritage while imbued with a future-facing production gloss.

Title track 'Furaha' blissfully sets the tone for what's to follow, with dextrous Latin guitar gliding over intricate percussive waves as heavenly chords fill the sun-kissed panorama. Upping the energy just a touch, Azamaan Hoyvoy's honeyed vocal enlivens the summer haze of 'Trigger Fool', arriving over evocative chords and laser tight four/four rhythms to create a stunning slice of low-slung future house deepness.

The funk-flecked bump of 'Bunker' sees Nathan's bass mastery arrive in full force, with spirited slaps propelling misty chords and sublime guitar licks across a loose-limbed beat. Continuing the horizontal sensations, the captivating chord progressions of 'Hold Up' soar over thick, rolling bass notes and shimmering synth swells.

Lead single 'Sunrise Sundown' is a stunning example of NATE08's organically spun deep house prowess, with Jitwam's soul-drenched vocals cascading over succulent chords and dancing synth melodies as smokey beats and pulsating bass cement the heads-down groove. Next, hypnotic fusion guitar refrains soar over lively percussion and gentle pads for a life-affirming Balearic voyage, maintaining the carefree spirit while enlivening the senses as the arrangement heads for the horizon.

The 'Let's Go To Ibar' interlude makes way for the mesmerising deep house flex of 'Want You', where Megan Murray's yearning vocal provides the seductive hook as acidic bass notes bounce over glistening chords and propulsive beats. A prime example of NATE08's futurist intentions arrives in the form of r&b-meets-house hybrid 'Feel It', with Lojal's striking performance flitting between searing soul and street-ready swagger powers over an intoxicating, organ-infused bed.

The forward-thinking two-step rhythm of 'Cold Muse' sees broken drums drive emotion-heavy chords and bewitching guitar licks over sensual bass, before closing track 'Primrose' sees the album home with a fitting flourish. Here, Naisha's heartfelt vocals sail across an ocean of glassy chords and staccato synths, with kinetically charged congas enlivening the groove as the magnetic bass adds body to the celestial instrumentation.

Dieses brandneue 3fach-Vinyl-Boxset enthält insgesamt 45 Tracks, darunter 12 brandneue Songs namens THE INSIDE OUTTAKES, 13 bisher unveröffentlichte Score-Tracks und die 20 INSIDE Originalsongs. Alles in einer atemberaubenden Box mit 3 Doppelcover-LP-Hüllen mit bedruckten Innenhüllen und individuellen, durchscheinenden RGB-Außenhüllen. Die Box enthält außerdem ein wunderschönes 24-seitiges Textbuch, eine 12x12inch Kunstkarte und 3 INSIDE-Fensteraufkleber.

Bo Burnhams Comedy-Special INSIDE gewann 3 von 6 Emmy-Nominierungen (beste Regie, bestes Drehbuch, beste musikalische Leitung) und wurde für den Grammy Award 'Best Compilation Soundtrack for Visual Media' eingereicht. Das Originalalbum war das meistverkaufte US-Comedy-Album 2021 und erreichte Goldstatus. In vielen weiteren Ländern gelangen ihm Chartplatzierungen (DE #57, AT #35, CH #97) bis zu Top 10-Erfolgen (USA, Kanada, UK, Irland, Dänemark, Norwegen, Neuseeland).

"You and Me" by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010's indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, "You and Me" has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after "Eccentric Soul: The Prix Label" became Numero's worst selling compilation, we've reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

Flaminia’s first solo release on 47 features four mesmerizing techno rollers. London-based artist Flaminia makes her solo 47 debut with four sophisticated techno tracks that perfectly balance brooding intensity with dreamlike atmospherics. A producer with EPs on Samurai Music, VSK Series and her own label, Metempsychosis Records, Flaminia builds on her canon of previous work with 47033, adding to the label roster’s growing arsenal of expertly honed dance floor releases. On the A-side, two four-to-the floor heavyweights—”Pure” and “Burn Loudly”—offset bone-shaking kicks with plangent melodies that make these tracks uplifting despite their ferocity. The B-side takes a darker turn; “Back To Zero” is an icy broken beat that shines in its stuttering rhythmic complexity, while the closer, “Dissolved,” is just as foreboding: synths scrape and shatter like shards of glass against a spare and crunchy kick while Flaminia’s voice reverberates in the background. The entire package will be

Lilies (Gothenburg, SE) starts a new vinyl series focused on techno made with the bare hands: Lilieskalla. On the first record, DJ Lily presents five all analog creations. The sequences are one-take live recordings, shaping a stripped down and slowly changing sound based on a Buchla 208c.

arbitrary presents the third in the Black Box series of releases by Mads Emil Nielsen. The release, which showcases a more sample- and grid-based side of the Danish musician/composer’s work, is part of a sequence of publications with music and audio originally made for theatre, radio soundtracks and more.

Black Box 3 is based on sound pieces produced for Sprækker (Cracks), a dance performance & installation in Denmark, 2021. The starting points for these pieces are improvisations recorded with contemporary dancers, in which Nielsen guides the listener through a corpus of synthesizer recordings, everyday sounds and radio archives. These original recordings were reworked for this LP and edited into the six tracks in early 2022.

Written & produced, recorded and mixed by Mads Emil Nielsen, Copenhagen, 2021 / 2022. Acoustic sounds on Installation – 2 by Victor Dybbroe. Mastered and cut by Kassian Troyer at D&M, Berlin. Graphic design by Mads Emil Nielsen. Thanks to Aaben Dans, Thomas Eisenhardt, Catherine Poher, Chris Watson, Antoine Hubineau.

Brad P, Producer from UK/US, delivers a nice selection of Deep Techno and Future Jazz on the swiss label Moto Music. Besides DJing and producing Techno Music he also runs the label Inner Shift Music and Common Dreams together with Rai Scott

Corn, originally released in 2015, features nine tracks Russell recorded in 1982 and 1983. In collaboration with Russell"s partner Tom Lee, Audika"s Steve Knutson compiled Corn from Arthur"s original, completed 1/4" tape masters. Russell himself compiled this material on three separate test pressings-labelled El Dinosaur, Indian Ocean, and Untitled, respectively- in 1985. Russell fans know something of the Corn sound from Audika"s debut release, "Calling Out of Context" (2004), which included four songs from these sessions: "The Deer In The Forest Part 1," "The Platform on the Ocean," "Calling Out Of Context," and "I Like You!" This new collection includes rhythmic alternate versions of "Lucky Cloud," "Keeping Up," "See My Brother, He"s Jumping Out (Let"s Go Swimming #2)," "This Is How We Walk on the Moon," and "Hiding Your Present From You," along with "Corn," "Corn (Continued)," "They and Their Friends," and the closing instrumental "Ocean Movie," one of the most beautiful and curious Russell tracks ever to see the light of day.

Songs that inspired Flicker by Yoko Ono, Pentangle, The Kinks and Arthur Russell. “The idea was that I would be covering songs which helped in some way to colour in the edges of the picture of the influences that make up Flicker,” explains Andy. "The song ‘Jenny Holzer B. Goode’ on the album refers to a few of the female artists from the music and art worlds who I find inspiring, including Yoko Ono, so it felt right to include a cover of ‘Listen, The Snow Is Falling’, my favourite Yoko Ono song. “Pentangle’s ‘Light Flight’ came out in 1970, the year I was born, and I’ve loved it ever since I heard it on the 1997 folk compilation Transatlantic Ticket. “Nat Cramp, the head honcho of Sonic Cathedral, requested that I cover ‘The Way Love Used To Be’. I’d never heard this song despite being a big fan of The Kinks, but it’s lovely and it felt very natural to do a version of. All hail Ray Davies! “Arthur Russell has been a big reference point for all my music away from ‘band world’. There is something impressionistic and open-ended about his records. I guess you could describe the production style I’m trying for on ‘Our Last Night Together’ as ‘World Of Echo meets This Mortal Coil doing Skip Spence’.” A1 Listen, The Snow Is Falling A2 Light Flight B1 The Way Love Used To Be B2 Our Last Night Together

Deluxe gloss laminated gatefold reissue with bonus 7” The Silly Egg E.P . Pressed on half & half colour vinyl (Red/Turquoise) with a white vinyl 7”. Includes printed inner sleeve.
East London’s The Gymslips, Paula Richards, Suzanne Scott and Karen Yarnell, barged their way onto the post punk scene in 1981. They openly embraced drinking, Pie & Mash, monkey boots and double denim right from the start. Often credited with being the first female Oi! band, but they brought so much more to the table with their punky 60s influenced girl pop.
Formed in 1980, The Gymslips started playing live the following year, and opened for Dolly Mixture on a 1981 UK tour. The band referred to themselves as “Renees” a late 60s term for mod girls, the same subculture that named boys “Ronees”. Drummer Karen Yarnell told the NME that a “Renee was a girl who got as much shagging done as a bloke while also matching him for pint drinking, fag smoking, nose-picking, farting and the wearing of skinhead style double denim”.
They recorded 5 sessions for the John Peel show, after signing to Abstract Records their first single was a cover of Suzi Quatros 48 Crash, which was released in 1982. The following year they released Their sole album Rocking With The Renees along with 2 further singles “Big Sister” & “Robot Man”
After Karen Yarnell left to join Serious Drinking, this ended The Gymslips Mk 1. Although they were to return 2 years later with a new line up to release their final single “Evil Eye”

Over the better half of a decade, Time is Away, the London-based duo of Jack Rollo and Elaine Tierney, have made tender and heartfelt transmissions through countless mixes, sound works and radio. Exploring deeply human themes of memory, persistence and resistance using an assemblage of source material, the duo's unique mode of storytelling culminates in Ballads, a new suite of songs and, significantly, their first officially licensed compilation.

From the opening notes of Horvitz Morris Previte Trio's jazz romanticism to Gilles Chabenat and Frédéric Paris's lively reimagined standard, the haunting vocal seance of Tanto Pressanto and the mesmerising swirls of The Unthanks, Yuko Kono and Rachel Bonch-Bruevich, the spirit of Ballads roams through generations of affectionate songwriting and conjures images both candid and surreal. The voice of poet and longtime collaborator Christina Petrie appears briefly and contemplates the "sighs and replies… the space between verses" of the Ballad, its beauty, its place in our lives. What is the Ballad but a reflection of our soul? "Perhaps I'll wander in search of it", she bittersweetly concedes.

At the suite's cusp is an alternate version of David Lang's 'Just (After Song of Songs)', a thirteen-minute meditation on devotion which featured in Paolo Sorrentino's Youth (2015). The track's universal themes of faith and desire radiate throughout and elucidate Time is Away's peerlessly precise yet gossamer touch.

Dickie Landry & Lawrence Weiner's Having Been Built on Sand was conceived as a vinyl edition and released by the Rüdiger Schöttle gallery in Munich with sleeve design by Weiner. The piece consists of eight untitled tracks. Lawrence Weiner, Tina Girouard, and Britta Le Va recite text with Dickie Landry’s woodwinds, all recorded in the natural reverb of Robert Rauschenberg’s studio, a former mission and chapel in Lower Manhattan. Layering Girouard in English, Le Va in German, and Weiner in English and German blocks of related or physically proximal texts repeat, invert, and intersect with Landry’s music as a constant. The layers of text and sound have meanings that fluctuate in complexity and scope, and like much of Weiner’s work, beyond mere facts.

The first piece is a trio for Landry’s keening tenor, repeating winnowed but breathy lines that contrast with and buoy Le Va’s clear, husky phrases, building in intensity as Weiner, in English, offers statements that are caught just off mic. The third cut adds Girouard, and one can hear woven parallels in the two women’s voices, cadences, and pitches, with Weiner’s cutting inflection dancing amid them. Landry’s bass clarinet is rich in its warble, full and gentle with woody footfalls that demarcate shapes through the chorus. Vocal rhythmic cycles, wordless in nature, are the energy that courses through the fourth song, urgent and sweaty as Weiner recites statements of political position in the Middle Ages, Le Va declaiming alongside in German. On soprano saxophone for the fifth tune, Landry pierces and darts in a bright manner in a private dialogue with himself, echoing Steve Lacy as female voices nearly bury one

Pumpin South France sound...

With A collab between Uzi and Keja for the opening, creative drops and mental effects.
Then comes a Jarotek and Trizia Moth versus with a Old School inspiraly sound... And a deep drop. tribe is tribe...

The Flip starts with a Keja long 145 BPM tune. Mental Twirler at a sweet tempo... boostable.
Last tune is a superb ragga jungle banger from Uzi. A master piece... Short but wicked !!

Record comes with an Insert and a sticker.

ft. Cinna Peyghamy & Jay Duncan Remix

Soreab returns to Control Freak for a full length white label release - a masterclass in organic, dubbed-out, dancefloor psychedelia, featuring live recordings by sound artist and modular percussionist Cinna Peyghamy following a recent collaboration with Azu Tiwaline.

As a DJ, producer and co-founder of Baroque Sunburst, Italian-born Soreab has been a mainstay of London’s underground electronic music scene for over 5 years. On ‘Teleportation’, he manipulates and twists Cinna’s deft percussion work into a distinct range of UK styles, ranging from 170bpm euphoria to subby, half-time ex- plorations from the school of FWD>> and Plastic People.

On the B2, Jay Duncan (Phantasy Sound / Intergraded) takes a decidedly minimal tack on her remix of ‘Untitled 1’, with deep, dubby chord stabs and immersive rhythms for late night dancefloor revelations.

For Fans Of: Om Unit, Shackleton, Al Wootton

Limited pressing of just 300 hand-stamped records - don’t miss your chance to grab one

Mastered & cut by Ruy Marine @ D&M, Berlin

Ingredient is the elegant collaboration of Toronto poets, composers, producers and dear friends Ian Daniel Kehoe and Luka Kuplowsky. Their self-titled release is an enigmatic electronic avant-pop record attuned to the micro and macro perspectives of the natural world. Ingredient is an album whose lyrics are more poem than lyric, and whose songs exist in a merger of house music, philosophically-minded lyricism and contemporary R&B. One might recall electronic and art-pop luminaries such as Yukihiro Takahashi, The Blue Nile, and Arthur Russell, or connect it to contemporaries like Nite Jewel, Westerman and Blood Orange. A distinct world of dance, of questions, of secrecy and ultimate softness.

Eight years of friendship forges strange telepathy.

In the summer of 2020, Ian Daniel Kehoe was entrenched in a new feeling of heaviness; psychosomatic symptoms had started to proliferate; stress made new pores across the body, bending sensitivity into pain. His days were met with confusion, detachment, sleeplessness and pain without causation. Disfigured, he felt that what had been central and centering was blown out to the periphery of things. In a moment of self-preservation he reached out to his dear friend Luka Kuplowsky to make an album together. For Kehoe, it was an instinctual grasp for the anchoring truthfulness of deep friendship and the potential for a dedicated creative collaboration. Kuplowsky’s presence was light, supportful and curious, eager to explore musically the sounds they were mutually drawn to: house music, ambient pop, dub. The duality between Kuplowsky and Kehoe – between the Aflight and the Unmoored – is a portrait of a friendship whose exchanges came easy and produced an outpouring of song. Creation and therapy crisscross. In email correspondence that catalogs their process of collaboration, affection abounds: “feels bare without the Luka Licks”, or “Love you so much”, or “Kinda just overwhelmed with deadliness coming in at all angles.” When their voices first come in together on “Wolf,” that harmony arrives in a dramatic avant-pop sound that is bold and wondrous.

Kuplowsky and Kehoe both arrive at Ingredient as established artists whose works are committed to language’s propensity to provoke and mystify. Kuplowsky’s 2020 album Stardust is an idiosyncratic and otherworldly blend of pop and jazz romanticism grounded by Cohen-esque vocals and a stirring philosophical curiosity. Kehoe’s entrance into the new decade has hatched four records of pop experimentation, most recently 2022’s Yes Very So, a euphoric and bold album of poetic synth-pop and meditative ambient instrumentals. Kuplowsky and Kehoe’s union as Ingredient is a beautiful and unusual chemistry that integrates their distinct approaches while bringing forth a newness: a sound that alternates between cinematic technicolor and dubbed out fogginess; a lyricism that exchanges their lucid and clear poetics for a playful and obtuse verse. The album intuitively taps into the opposing emotional states of Kuplowsky and Kehoe during the conception of the record, contrasting the buoyancy of trumpeting keyboards (“Resurface”), angelic synthesized voices (“Come”), and rolling bass (“Photo”) with the record’s underlying darkness of whirring buzzsaw textures (“Transmission”), whooping sirens (“Wolf”) and murky ambience (“Illumination”). Lyrically, this duality arises in the record’s flux between openness (“Variation”, “Raindrop”) and existential dread (“Wolf”). “Illumination” most clearly crystalizes this opposition, reconciling the verses’ neurotic yearning for enlightenment with the chorus’ liberating doctrine of negation: “no more devotion… no more delusion”. Amidst the gradations of light and dark, Kuplowsky and Kehoe trade indelible, lush melodies as though their voices are made of a substance that melts easily one into the other. The harmony of poetry, sound, and texture cuts through your brain fog like a wet diamond.

Ingredient’s self-titled record was assembled by Kuplowsky and Kehoe over the course of six months in a home studio they frequented daily. Amidst synthesizers and drum machines they composed, re-composed, and workshopped a wide array of music, ultimately focusing on a set of eight songs that lived in a shared musical and philosophical world. Recording days often ended in basketball games at a local court or a rooftop commune over a pot of tulsi tea and a crossword puzzle. Kuplowsky brought in the Blue Cliff Record – the classic anthology of Chan Buddhism – whose inscrutable and sublime insights remained constant throughout the recording process as an activator of reorientation and reflection. While Kehoe was frequently rendered physically immobile by bouts of anxiety, a patience and mutual caring governed the pace of their creation; rest, stretching and meditation became equally important as the act of arrangement. Invited into their intimate circle of composition was Thom Gill, whose heavenly voice uplifts “Variation” and “Raindrop,” and Karen Ng, whose alto sax simmers and dances around the funky strut of “Raindrop.”

The lyrics on Ingredient reflect the persistence of change, the infinite variability of nature where randomness and divergence are no accidents. In Daoism, duality, in the form of Yin and Yang, is not contradictory as it is in Western idealist philosophy, but rather composes the eternal and lived paradox of our changeless-changing universe: changeless because all is change, and changing because the dynamism of the Dao makes each moment transformational. Kuplowsky and Kehoe refract this way of seeing the world, as in Variation: “Variation in the natural world / there it is.” Ingredient is an experience of the manifold ways of saying there it is of the transformational world, and there it is, unfolding. Elsewhere, change and ephemerality is addressed through the record’s preoccupation with non-human perspectives, reorienting the listener to the wolf, the mouse, the emerald frog, the centipede, the bird, the fly in the lamp. The album cover visualizes this fascination with the striking image of a reddish-orange frog atop a defamiliarized landscape of dark green leaves. Mirroring the exploratory process of the record’s collaboration, the frog also signals the amphibian’s natural inclination to leap into boundless potential. Kuplowsky and Kehoe’s lyrics manifest philosopher and ecologist Timothy Morton’s concept of “the mesh,” drawing attention to the “vast, entangled web” of interconnectedness that connects all life forms and interweaving the songwriters’ shared wonder into the Animal’s unknowability. As Luka narrates in the breakdown of the dance-floor ready “Photo,” “the closer we observe things, the further they retreat into abstraction.” In Ingredient’s ecosystem, perception is a reversible fractal where the world’s minutest details mirror the shape of the cosmos.

According to the Dao, the path to healing starts by reorienting perception away from the self and toward the self’s subsumption in Totality. For Kehoe, collaborating with Kuplowsky became the reorientation necessary for the self-preservation he was seeking, opening up a shared creative practice to navigate and soften the complexity of his psychological shattering. The album begins with Kuplowsky intoning “colossal faith” which bounces around the stereo field in a cloud of echo, and it is the enormity of “faith” that centers both Kuplowsky and Kehoe’s collaboration and their inquisitiveness in the vast mysteries of our very being. Truth in Ingredient is not an essential nugget, but a bending of the light – it is the equivocal entanglement of how we are in nature as nature, but with a plea or prayer under our breath that marks our felt distance from what we are a part of: “carry me towards the mountains of my birth / returning to the nest / the silence of the earth.”

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

Black Truffle is pleased to announce Uri Katzenstein’s Audio Works, produced in collaboration with Holon’s Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein’s absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist’s audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (and in some instances unheard) at the artist’s death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice. Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein’s time living in New York in the 1980s. Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterised the New York scene at this time, many of Katzenstein’s recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world. Katzenstein’s electronic production calls up touchstones of skewed 80s art pop like Laurie Anderson, Ambitious Lovers, and Scritti Politti, but imbued with DIY directness and economy of means. The arrangements of synths, percussion, and noise elements are invigoratingly raw and, at times, almost austerely minimal. On ‘Intermission’, thick distorted chords accompany a wandering portamento melody, inhabiting the wayward carnival space of Roedelius’ most unhinged efforts. Many of the tracks centre on Katzenstein’s multi-tracked vocal performances, often moving between multiple languages, (most commonly English, German, French, and Hebrew). A bewildering range of vocal approaches are present on these pieces, from sweet wordless harmonies to hammed-up growls and monastic recitations. On ‘Skin O. Daayba – Complex Habits no. 3’, improvised resonance singing against a backdrop of echoing electronics and radio snatches. ‘Half Monk Half Herring’ layers multi-lingual syllabic fragments, crossing sound poetry techniques with melodic invention in a way rarely heard outside of Caetano Veloso’s Araçá Azul. On ‘Attempt to Raise Hell’, Katzenstein’s distorted voice spits out streams of alliterative nonsense (‘the hemlock of Henry, he was a hermit…purple pumpkin pulsates to pops’), while on the hilarious ‘Eric’, Katzenstein appears to instruct a small boy simultaneously in basic French and German conversation. On ‘Chicken’, vocal harmonies accompany the pecking and clucking of the titular fowl. Moving from bent, outsider synth pop to snatches of Jo Jones-esque automated instrumental clang and absurdist linguistic experiments, these are far more than footnotes to an artist’s gallery works. Accompanied by extensive, beautifully written liner notes by Roee Rosen and the little information that exists on the individual tracks, Katzenstein’s Audio Works inhabits an outer fringe of DIY pop and sonic experiment reminiscent of Pascal Comelade or Die Welttraumforscher, where accessible forms convey radical interrogations of song, word, and sound.

Reissue of Makaya McCraven"s modern classic, International Anthem debut "In The Moment" (2015) One venue, 28 shows and 48 hours of live, improvised music. These are the ingredients for Chicago-based drumme Makaya McCraven"s album In the Moment. However, McCraven, as the producer he also is, has not just thrown some random sounds together. Instead, he has carefully culled, cut and remixed the music into a coherent whole and 19 complex and catchy compositions emerge from his hands.

“You and Me” by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010’s indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, “You and Me” has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after Eccentric Soul: The Prix Label became Numero’s worst selling compilation, we’ve reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

“You and Me” by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010’s indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, “You and Me” has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after Eccentric Soul: The Prix Label became Numero’s worst selling compilation, we’ve reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

"You and Me" by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010's indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, "You and Me" has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after "Eccentric Soul: The Prix Label" became Numero's worst selling compilation, we've reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

"You and Me" by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010's indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, "You and Me" has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after "Eccentric Soul: The Prix Label" became Numero's worst selling compilation, we've reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

From their new millennium rise to MTV superstardom through pop-punk’s modern resurgence that has introduced their iconic, multi-platinum sound to new audiences around the world, SIMPLE PLAN have been an indelible part of pop culture for more than two decades because they’ve never lost sight of what got them there in the first place: their fans.It’s this same sense of mutual respect that’s fully on display on “The Antidote,” the first single from their sixth studio album, HARDER THAN IT LOOKS., their first new music since 2016’s Taking One For The Team, and the most authentically Simple Plan album since 2004’s Still Not Getting Any. Free agents for the first time in their storied career, the band kept their circle tight during the recording process, enlisting longtime songwriting partners like We The Kings’ Travis Clark and producers Brian Howes and Jason Van Poederooyen (who worked on the band’s 2011’s album Get Your Heart On!) and Zakk Cervini (blink-182, Good Charlotte). From the skyscraping choruses of “Congratulations” and “Ruin My Life” (ft. Sum 41’s Deryck Whibley) to the unflinching poignancy of the album-closing “Two,” which instantly ranks alongside “Perfect” and “Untitled (How Could This Happen To Me?)” as one of the band’s best closers ever, HARDER THAN IT LOOKS certainly respects Simple Plan’s storied career – and the same spirit that helped the band sell 10 million albums worldwide – without being overtly reverent. The album-opening “Wake Me Up (When This Nightmare’s Over)” is a cathartic rush of familiarity and freshness – not to mention a bit lyrically prescient, as the COVID-19 pandemic hit shortly after the band wrapped the album. (“We certainly didn’t set out to write a pandemic album,” Bouvier says with a laugh. “It’s funny how some of the songs might seem like that, though.”) There are even spiritual successors to early material, like the glass-half-full skate-punk-leaning “Best Day Of My Life,” quite a 180 for a band who put a song called “The Worst Day Ever” on their genre-defining, Platinum-selling 2002 debut No Pads, No Helmets...Just Balls. But you won’t find an ounce of fat on the 10-song album, no obvious plays to recapture the radio waves they claimed in the early aughts with smash hits like “I’d Do Anything,” “I’m Just A Kid” and “Addicted.”

Like a rediscovered Viking burial ship, Electro Nova compiles near-mythical drone recordings produced in 1998 and described by Helge Sten aka Deathprod as some of the most important music to ever come out of Norway. It's the work of Kåre Dehlie Thorstad and compiles two of the earliest releases on Smalltown Supersound, back when it was basically no more than a bedroom operation. It’s taken over two decades, but finally the label have given the material a first ever proper release on vinyl, complete with mixing and mastering by Deathprod. If you’re into the ice cold swells of anyone from Thomas Köner to Harley Gaber, Biosphere, Kali Malone or, of course, Deathprod - this one's as essential as they come.

Kaare Dehlie Thorstad's Elektro Nova produced just two releases during the late ‘90s that have since slipped into drone lore - Trans-Inter-Ference and Elektro Nova/Electro Nova. Admired not only by Deathprod and Joakim Haugland of Smalltown, but also by his contemporaries Lasse Marhaug and Biosphere, his work has evaded pretty much any attention outside of Norway these last two decades. Following a chance meeting with Thorstad at Oslo airport a few years back, Smalltown were prompted to give the recordings a second wind, presenting what is essentially a captivating new release, and crucial addition to the Norsk drone canon.

As the story goes, Thorstad was studying photography in the late 90’s in Scotland, but instead of delivering a photo for his final exam he made a record - a double album (2CDs) and a 10” to be precise. That should provide some idea of the textural synaesthetic and landscaping qualities evoked by his music, which he ended up sending to a then-young Smalltown label, who were mostly issuing tapes at the time. With no proper distribution the records largely bypassed wider attention, and become a personal favourite of Smalltown’s Joakim Haugland, as well as avowed fan Helge Sten (Deathprod), who helped render its diaphanous scale in mix down, and Lasse Marhaug who describes them as "two perfect records that deserved much bigger attention”.

Between its jaw-dropping opener; the post-apocalyptic vision of its untitled part; and the cinematic white-out of the 10” tracks; Thorstad comes as close as we’ve ever heard to evoking the inhospitable nature and stark beauty of the wild far north. We can hear those landscapes palpably internalised and alchemically transmuted into its coarse grained textural swells and a reverberating multi-dimensionality, variously sustained to extents that evoke an abandonment of the senses, or likewise squashed and isolated to imply the relative anxiety relief of atmospheric flux, where a few degrees temperature rise or a drop in the wind speed can make the difference between life and death.

Impressively, Thorstad realised after the release of Elektro Nova and just two live shows that he couldn’t really follow up the work and instead pursued a career as professional cyclist, eventually combining his visual skills to become a pro cycling photographer. In that sense, he’s a bit like composer-turned-tennis coach Harley Gaber, whose almighty ‘The Winds Rise In The North’ (1976) is in some ways richly prescient of this work. Like Gaber, Thorstad can remain safe in the knowledge that his contribution to the drone sphere will endure for the ages, especially with this important, impressive new edition.

RE-CUT 2022 !!!

Red plate for the first time... The color it should be all time actually ^

Today Chicago-based percussionist, composer and producer Makaya McCraven announces the details of his new album In These Times, which is set for release on September 23rd via International Anthem / Nonesuch / XL Recordings. The first offering from the new album is a song tiled "Seventh String," which encapsulates the various musical dimensions present on McCraven's new album, a career-defining body of work that is a remarkable new peak for the already-soaring McCraven. In These Times is a collection of polytemporal compositions inspired as much by broader cultural struggles as McCraven's personal experience as a product of a multinational, working class musician community. It's the recording that he's been trying to create for 7+ years, as it's been consistently in process in the background while he's put forth a prolific run of releases including: In The Moment (2015), Highly Rare (2017), Where We Come From (2018), Universal Beings (2018), We're New Again (2020), Universal Beings E&F Sides (2020), and Deciphering the Message (2021). With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators - including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill - the music was recorded in five different studios and four live performance spaces while McCraven engaged in extensive post-production work at home. Featuring orchestral, large ensemble arrangements interwoven with the signature "organic beat music" sound that's become his signature, the album is an evolution and a milestone for McCraven, the producer. But moreover, it's the strongest and clearest statement we've yet to hear from McCraven, the composer. Profiled in the New York Times, Vice, Pitchfork, Rolling Stone, the Guardian, and NPR, among other publications, Makaya and the music he makes today is what Passion of Weiss explains, "is part of a necessary conversation about the next evolution of the Black improvised music known colloquially as 'jazz.' He's found the threads connecting the past with the present, and is either wrapping them with new colors and textures, or he's plucking them gleefully like the strings of a grand instrument." McCraven, who has been aptly called a "cultural synthesizer" and "beat scientist," has a unique gift for collapsing space, destroying borders and blending past, present, and future into poly-textural arrangements of post-genre, jazz-rooted 21st century folk music. In These Times encompasses his artistic ethos, his experiences, identity and lineage, while pushing his music to new heights.

Whenever you think you've seen it all, SNC Recs comes round the corner with a brand new banger. Drum roll please for SNC007, shaken not stirred - the first Various Artists EP of the Ingolstadt based record label.

Fresh approach - with well known favorites. All artists on the EP have released solo or split EPs on SNC already. So you can look forward to The Duty Freedom, Raphael Schön, Maurice Paloni and Salomo. SNC 007 will make you shed a tear on the dancefloor with a late summer acid anthem from The Duty Freedom on the one hand, and on the other hand wrap you in a cozy blanket knitted from Salomo’s legendary soundscapes. However, the record not only creates romantic feelings, but also delivers breaky and trancey vibes by the Bavarian based producers Raphael Schön and Maurice Paloni, where you certainly won’t be able to stay still. What else could you ask for?

On this 7”, we present two lost jazz tracks by the trombonist and Horace Tapscott-collaborator, Lester Robertson. Lester has worked with some of the greats of jazz including Gerald Wilson, Anita O'Day, Lionel Hampton and Roy Porter Sound Machine on the classic 'Jessica' album.

Lester was a member of Horace Tapscott's The Pan-Afrikan Peoples Arkestra and features on the iconic underground jazz albums 'The Call' and 'Live At I.U.C.C.'. The Arkestra was set up in 1961 in Los Angeles and over the years has included wonderful, inspirational musicians such as Adele Sebastian, Kamasi Washington, Dwight Trible, Phil Ranelin, Arthur Blythe, Jesse Sharps and Nate Morgan.

These two recordings have recently been discovered on an archived master tape that little information on it other than Lester's name and the track titles. Sadly, the other players on the tracks aren’t credited on the tape, so a line-up can’t be 100% confirmed. Still, the magic of what they laid down in the session pays testament to their artistry. First up is the lively popping track 'Akirfa' in which Lester gets space to let rip and exercise his talents. On the flip is the euphonious 'Untitled Ballad', a mellifluent lullaby for an end-of-the-day wind-down.

Lost for a while, but thankfully not forgotten, these beautiful recordings finally get their chance to shine.

The 'Privacy Angels' dwell in a liminal zone, a folk magical world sprawling within some remote nodes of the digital universe. An a-chronic plane of contradictions in which the spiritual and the machinic exist in a contrast that, instead of leading to mutual annihilation or subjugation, produces weird forms of life and uncanny forms of beauty. Like flowers sprouting from glitching fluxes of data transmissions, in the corrupted memory of a heavenly landscape. It is the vision of Italian (though London-based) musician and multidisciplinary artist Nicola Tirabasso, channeled through his usual musical avatar VISIO, a dimension he came in contact with while retreating in his native Sibillini Mountains in Marche, central Italy. A type of forced hermitage dictated by the global pandemic and whose idyllic premises were constantly unbalanced and contaminated by the constant presence of the digital world. But again, it is by means of this contrast that art is born. While channeling the magic, the fables and even the superstitions the locals have imbued the region with, Tirabasso developed them into audial spirits of electronic abstraction. A juxtaposition of mystic retreat and information-age alienation that, for some brief, ineffable and baffling moments, seemed to make him able to hear the angels. The album itself is a collection of digitally broken folk songs and logarithmic chants of praise. Acoustic instruments are broken down, replicated and re-materialization, while computer-generated ghosts and synthetic tones are allowed to exist and resonate in ancient spaces. Most of the actual recordings have been in fact made at desecrated XVI church in a town near Montappone, not far from the birth place of XX century painter Osvaldo Licini, whose influence echoes all throughout the region. Licini’s idiosyncratic mix of primitivism, futurism and orphic realism similarly echoes all throughout the record, with VISIO even paying tribute to his painting ‘Angelo Ribelle’ in titling one of the tracks. Collaborations made in person and through file-swaps have traversed the album’s conception and enrich its palette by presenting different versions of reality. Haunter co-founder Daniele Guerrini (Heith) co-produced every track with Tirabasso and gave a fundamental contribution to the album’s final form. Elsewhere, City and Kenichi Iwasa evoke their own privacy angels and let them dance with VISIO’s. Be it, in the depths of the earth or in the dissolution of a digital cloud, it is just as possible to (un)know the divine. Genre: Electronic / Experimental Listen: Track list: 1. Moonchild 2. Extasi Exile 3. Youth Grows Forever 4. Untitled X 5. Blessed Mystery 6. Years Of Silence 7. angelo ribelle

During the 13 years of existence of our label we have managed to turn many a dream project into reality and reissued countless numbers of forgotten and overlooked gems. There has, however, been one dream we've chased for years that is now finally manifesting itself on vinyl - the albums of the most remarkable Finnish post rock band Magyar Posse and especially the second of their three records, Kings of Time. Magyar Posse's debut album We Will Carry You Over The Mountains (2001) was already an impressive, ambitious work in which the band effortlessly mixed Goblin and Ennio Morricone influences into their melodic and atmospheric blend of instrumental post-something. It was, though, the second album Kings of Time, that took the band from the darlings of the local alternative music press to such levels of artistic expression that even the mainstream media had to pay attention. The album, consisting of seven untitled songs, sounds like music to an imaginary sixties new wave film that mixes Soviet space drama with spaghetti western gunfights on a scorching hot desert, all covered with slavic melancholy. The record was released originally covered in a striking red and black 20's Soviet avantgarde style cover design. The Svart Records vinyl reissue comes in a blue cover that better reflects the changed times. The vinyl also includes a booklet full of memorabilia and text that look back to the creation of this spectacular album.

During the 13 years of existence of our label we have managed to turn many a dream project into reality and reissued countless numbers of forgotten and overlooked gems. There has, however, been one dream we've chased for years that is now finally manifesting itself on vinyl - the albums of the most remarkable Finnish post rock band Magyar Posse and especially the second of their three records, Kings of Time. Magyar Posse's debut album We Will Carry You Over The Mountains (2001) was already an impressive, ambitious work in which the band effortlessly mixed Goblin and Ennio Morricone influences into their melodic and atmospheric blend of instrumental post-something. It was, though, the second album Kings of Time, that took the band from the darlings of the local alternative music press to such levels of artistic expression that even the mainstream media had to pay attention. The album, consisting of seven untitled songs, sounds like music to an imaginary sixties new wave film that mixes Soviet space drama with spaghetti western gunfights on a scorching hot desert, all covered with slavic melancholy. The record was released originally covered in a striking red and black 20's Soviet avantgarde style cover design. The Svart Records vinyl reissue comes in a blue cover that better reflects the changed times. The vinyl also includes a booklet full of memorabilia and text that look back to the creation of this spectacular album.

OVERVIEW: Press Club return with their third studio album, Endless Motion, to be released this October. Brave, energetic and expansive, the idea of motion has always been central to the Press Club ethos. Having made music together for 12 years, the Melbourne-based punk rock four-piece reject stagnancy, constantly pushing to change and thrive in a scene that largely stays the same. Endless Motion is the ultimate artistic statement about the past three years – a collective and global struggle that has provided the material and circumstances for Press Club to emerge as one of the most exciting and relevant bands of 2022.

OVERVIEW: Press Club return with their third studio album, Endless Motion, to be released this October. Brave, energetic and expansive, the idea of motion has always been central to the Press Club ethos. Having made music together for 12 years, the Melbourne-based punk rock four-piece reject stagnancy, constantly pushing to change and thrive in a scene that largely stays the same. Endless Motion is the ultimate artistic statement about the past three years – a collective and global struggle that has provided the material and circumstances for Press Club to emerge as one of the most exciting and relevant bands of 2022.

OVERVIEW: Press Club return with their third studio album, Endless Motion, to be released this October. Brave, energetic and expansive, the idea of motion has always been central to the Press Club ethos. Having made music together for 12 years, the Melbourne-based punk rock four-piece reject stagnancy, constantly pushing to change and thrive in a scene that largely stays the same. Endless Motion is the ultimate artistic statement about the past three years – a collective and global struggle that has provided the material and circumstances for Press Club to emerge as one of the most exciting and relevant bands of 2022.

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

Tracks for astral projection. Levon creates his own tonality using his original pitch designs to take the listener to a place that did not yet exist, whilst maintaining priority dance floor focus. The Niresa tracks are using such unique musical intervals that every listener can decide where the music is taking them, and there is no wrong answer. Levon says, "These are tracks for astral planing. The beauty of creating your own tonal dialog each time you work is that you can literally take the listener somewhere new and un-discovered with each new release