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2021 Repress

Rone is a stalwart of the French electronic scene and returns with his fourth album, 'Mirapolis', a synesthetic journey with features from Bryce Dessner (The National), Baxter Dury, John Stanier (Battles) and Saul Williams. The artwork was created by the critically acclaimed director Michel Gondry.
Stepping into Rone's music is like sleepwalking through a vividly colourful dream, eventually stumbling across a strange, scintillating Megapolis of saturated light and colours: 'Mirapolis'. Its twelve tracks / districts, each with their own specific planning, pulsate as though animated by their musical mastermind.
The project was an opportunity to get reacquainted with long- time stage and studio partners John Stanier, Gaspar Claus and the Vacarme band and Bryce Dessner (guitarist for The National,) while bringing in new collaborators (and thus, new interpretation of Rone's dreams). We find American slam-poet Saul Williams, who happened to be in Paris for a moment and contributes a searing anti-Trump screed, Baxter Dury, who brings an irresistible East London touch to 'Switches', a kind of fan fic that reimagines the Beatles' Sergeant Pepper lounging pensive in a club chair, Israeli electronic music muse Noga Erez, who inspired 'Waves' which, despite being recorded remotely, betrays a euphoric partnership, and finally, Kazu Makino, Blonde Redhead's bewitching singer and multi- instrumentalist, who contributes to the album's closer, the gauzy 'Down For The Cause'.
Rone remains a producer of grand instrumental pieces, which cannot be easily categorized in the architectural canon of our electronic music galaxy. Hypnotic, cinematic opening track 'I Philip' is an offshoot from the score for the first French virtual reality fiction, built around Philip K Dick - the perfect gate into a city that then opens up myriad temporal perspectives.

From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others.
Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV.

This Tezeta album, the band’s second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible.
Profoundly engaging; it's an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears.

Virtually unknown recording outside Ethiopia.
Documents Mergia & Walias legendary early period.
Follow-up to reissue of hugely popular seminal Ethiopian instrumentals LP Tche Belew (ATFA012)

Cassette-only, released in 1975 on the band’s in-house label to fund their record store.
Beautifully-rendered instrumentals of classic Ethiopian standards.

Red Vinyl

This recording comprises some of the earliest Nitzer Ebb material ever, Basic Pain Procedure was a cassette-only release, until 2012 when Pylon Records released it on vinyl. This recording was primarily a tool to attract attention from record labels, but was also available for purchase at the time. It was recorded in Essex countryside in 1983, a year after the band played their first ever show at the Chelmsford, YMCA and was virtually the extent of their then live set.

Incredible Bongo Band was formed by MGM A&R Michael Viner in 1972 to record the soundtrack to a now virtually anonymous B-Movie entitled 'The Thing With Two Heads'. "The IBB" transformed from a loose studio collective to an instrumental pop covers consortium, interpreting classics of the day in their inimitable percussive fashion. Viner recorded them at MGM studios during downtime, assembling line-ups from whichever musicians were available at the time, leading to a unique blend of multi-talented musicians that included Jim Gordon, King Errisson, Jerry Scheff, and Perry Botkin Jr. The full bands' line-up is shrouded in mystery, but their legacy is undeniable. They spawned cult-classic records that would become a goldmine for hip hop breaks and attain sampling immortality.

'Apache', which was written and made famous by the British band The Shadows, is legendary in the worlds of dance music and hip hop. It was a staple for DJs such as Kool Herc and Grandmaster Flash as they invented their world-shaking take on the art of DJing at the Bronx block parties of the ‘70s. Over the years it has become a hip hop and breakers anthem and is revered as 'the break' of all time (at least in the top three) with the rhythms of this LP even helping to coin the term 'breakbeat'.

“Bongo Rock” is significant, for being one of the musical cornerstones of rap ... it is certainly one of the most sampled LP’s in history, if not the most sampled. Almost every history-minded hip-hop DJ has a copy, and the first few bars of “Apache,” can send crowds into overdrive.” According to Kool Herc, the stylistic pioneer many people consider to be the father of hip-hop music, the Bongo’s “Apache” is “the national anthem of hip-hop.” NY Times.

Sampled over 600 times, including... Nas, Beastie Boys, Moby, Mick Jagger, Kanye West, Sugarhill Gang, Jay-Z, Aphex Twin, DJ Shadow, Massive Attack, Ultramagnetic MC’s, Unkle, LL Cool J, 2 Live Crew, 4 Hero, Fatboy Slim, to name a few…

The real story of “The IBB” is far greater than the recordings themselves and ultimately shows how a distinctly powerful musical performance can get the recognition it deserves, no matter how anonymous its origins.

James are proud to announce the release of their new album All The Colours Of You. Their 16th studio album will be released on 4th June with the title track available today (1st March) across all DSPs. All The Colours Of You follows the release of LIVE In Extraordinary Times, a live recorded version of their last studio album Living In Extraordinary Times, which peaked at #1 in the midweeks.

The album will be their first on a new record label, Virgin Music Label & Artists Services (formerly known as Caroline International), and at their new publishing home Kobalt Music, both of which they recently signed to, reinforcing the endless and restless ambition they have as they approach their fourth decade as a band.

Recorded in part before the Covid pandemic struck, the album was produced by the Grammy award-winning Jacknife Lee (Taylor Swift, U2, REM’s, Snow Patrol, The Killers). On production duties with James for the first time, he bought a fresh approach to their sound, working remotely from his studio, reimagining their early demos, and capturing the band in all their virtual glory.

The result is a record with the most arena ready tracks of their 38-year career, the sound of one of Britain’s best bands, deconstructed and reassembled by one of the world’s most renowned producers.

As a band, The Cobbs are virtually unknown but its members were in fact the Revolutionaries i.e. the 1970s CHANEL ONE studio band!

Check this line-up: Sly Dunbar: Drums, Rad Bryan: Guitar, Ranchie McLean: Bass, Ansel Collins: Keyboards!

Initially released separately on Trojan‘s Amalgamated label in 1969 and never repressed since, these two organ driven wild instrumentals were produced by Joe Gibbs.

These two rare tracks exemplify the Skinhead reggae style and are a prime example of the very best Boss Reggae instrumentals of the time.

Roman Flügel is a magician. This statement is far from being a hyperbole. Just put the needle down on any record – I mean any! – of his ( collaborations included) since the early nineties and see for yourself: none of them are without that special effect. The magic works instantly. And as the thing with magic goes: it’s challenging to explain it. But I guess that is what makes it magic.

Eating Darkness is the title of his newest spell. Affected by the fundamental shock that any system got in 2020 – but not the result thereof – it is an album that could absorb it – as its name might suggest. Music and nightlife work hand in hand as escapism and as anchors or as the undercoat of social interactions. They enable people to deal with hardships as well as the burden and the joy of life. That is the starting point and hope of Eating Darkness: the outlook and invitation to enrich each and everyone’s existence.

Bound to the single LP format and reminiscent of a time with format limitations, the nine tracks are testament to Flügel’s weakness for the art of pop music with the use of little and especially short motifs. Furthermore equipped with a clear instrumentation and without any camouflage, Eating Darkness corresponds to his idea of a virtual band.

As it happens, the opener is called The Magic Briefcase. That sits not only well with my first sentence, but pretty much embodies the album and Roman Flügel’s apparatus in an alternative title: Crystal clear sounds and melodies bounce on and off the dance floor, living room and club are pulled together and transcendental moments take turns with the tangibility of reality. After all, that is how a real magician allures you.

CLAMM could not have come from anywhere other than Melbourne, Australia. Theirs is a city that bleeds music. Iconic bands such as Eddy Current Suppression Ring and Total Control have built on the city's history of open-hearted, fist-in-throat, fiercely independent music. Scenes centring around labels like Antifade, Flightless and Cool Death have held the torch for countless groups as good as any in the world. However, CLAMM arrived completely apart from any established scene or sound. They began playing shows in 2019, sharing bills with virtually anyone who would have them. Jack Summers (vocals/guitar) and Miles Harding (drums) had been friends and musical collaborators since early childhood. Under various banners, they performed for years with friends and siblings across Melbourne's underground landscape. It wasn't until they found Maisie Everett (vocals/bass) that the CLAMM picture was complete. Debut album Beseech Me was recorded with Nao Anzai (Rolling Blackouts, Floodlights, NO ZU) and mixed and mastered by Total Control's Mikey Young.

The term "Guitar Hero" is bandied about loosely these days. Seems like all you have to do is look good holding the thing and you qualify. But if you ask the actual guitar heroes---like Brian May, Jeff Beck, and Eric Clapton---who THEIR Guitar Heroes are, Steve Cropper is definitely on the shortlist. If all he had done were the records with Otis Redding that would be enough, but shortly thereafter he was leaving his fingerprints on records by Wilson Pickett, Sam & Dave, Johnny Taylor, Albert King, and virtually anybody worthy who came within earshot of Memphis. He was a Guitarist's Guitarist, and a Songwriter's Songwriter.

Fire It Up is Steve Cropper's first album of new Soul/R&B material in 10 years. The album was produced by Steve and Jon Tiven, and will be released worldwide on April 23, 2021 via Mascot Label Group/Provogue.

Teenage Fanclub release a limited-edition double A side 7” ahead of their tenth studio album, Endless Arcade, released via their own label PeMa in the UK/Europe and Merge in the US.

The 7” vinyl features an edit of current single ‘Home’ (version only available on vinyl on this release) and previous single ‘Everything is Falling Apart’

Endless Arcade follows the band’s ninth album “Here”, released in 2016 to universal acclaim and notably their first Top 10 album since 1997; a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching; guitars chime and distort; keyboard lines mesh and spiral; harmony-coated choruses burst out like sun on a stormy day.
Endless Arcade was virtually finished by the time lockdown was announced, bar the odd tinker under the engine hood. For the track ‘Home' It seems timely, given how everyone has had to stay home under lockdown, the track typifies TFC’s relaxed groove, culminating in Raymond’s peach of a guitar solo. Norman’s search for ‘home’ could be literal: after all, he’s been living in Canada for the last 10 years. But it’s also figurative.

In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts - insecurity, anxiety, loss.

In 2018, Sean Worsey, a successful lawyer in California, began to receive some rather surprising emails. These were not from prospective clients, or about current cases he was working on, but rather queries from record collectors. They wanted more details about a pair of obscure, largely forgotten records he’d made in the mid 1980s as part of a virtually unknown band called Passion Theatre. To say he was surprised is an understatement. “People from around the world were emailing, calling and messaging us about the music, particularly a track called ‘Vacation Day’,” he says. “Our records were rare and gaining in value, mainly because there were not many manufactured at the time. By 2019, several individuals in the music industry had emailed me about licensing tracks.”

We eventually agreed with Sean to include ‘Vacation Day’, on Charles Bals’ second compilation, Retour Au Club Meduse. Impressed with the quality of the compilation Sean approached us again to discuss whether we would be interested in reissuing both of his old EP’s in full, an idea he’d been considering for a few months already. We jumped at the idea of course and have spent the last few months putting the reissue project together. The original studio tapes were long gone but a friend of Sean’s had some mint vinyl copies which we had shipped over from California to use as the master source, restored and mastered superbly by Technology Works in London. The striking original artwork from the two EP’s has been faithfully reworked into a gatefold double vinyl LP by designer Asger Behncke Jacobsen and features extensive interview/sleeve notes by Matt Anniss.

In the words of Sean Worsey - “One of the nicest things about the renewed interest in our music is that we can now enjoy it for what it is – back then we were a bit too worried about succeeding.”

First pressing of 400 units comes as yellow vinyl! "I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, 'Ah!-(etc)' made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose' it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something" And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein_ after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for "one-man-band-home-recording-pop-songs of idiosyncratic character." A quick follow up to his more power pop and pub rock LP only "Hard Feelings" offering in the summer, "Ah-(etc)" finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60's and 80's. As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along_ Stoltz former bandmate, Echo & the Bunnymen's Will Sergeant adds electric guitar to "The Quiet Ones" a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover "Moon Shy", where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF's Dirty Ghosts sings on "She Like Noise", a song Stoltz wrote for her in celebration of her love of seeing live bands. The album was mastered by Mikey Young in Australia.

The 12" EP A Momentary Convergence of Differently Paced Trajectories is a heterogenous dj-oriented release, prelude and companion of Maurizio Ravalico's first solo percussion album Nobody's Husband, Nobody's Dad, released in November 2018 with the Funkiwala label. It comes in 180gms vinyl on a hand-numbered run of 300 individually screen-printed 320gsm brown card sleeves.

THE MUSIC

Side A opens with a full-size batucada version of Fear of Mapping, one of the tracks from No Fiction Now!, the 2013 debut album of Maurizio's trio Fiium Shaarrk.

It is followed by a personal take on one of Collocutor's second album tracks, Here to There to Everywhere, arranged here as a spacey 5/4 drum'n'bass epic.

Side B contains an old-school jungle remix of Just Bring Your Toys, one of the tracks from Maurizio's forthcoming album, by the Italian d'n'b veteran Enjoy (Omni Music, Bustle Beats). The EP closes with an edited version of the same track: a taste of the album.

Despite being both loosely presented as remixes, neither of the two arrangements on side A makes use of samples from the respective releases, and any material not progammed or played anew by Maurizio comes from either unreleased off-cuts or preliminary demos.

"One of the finest avant-garde percussionists in the world. Maurizio Ravalico is incredible to watch and hear. Catch him live somewhere soon!"- Jean-Claude Thompson, IfMusic uk

"Creative, deep and intriguing. Percussion avantgarde at its best." - Vince Vella, Dj, producer, Havana Cultura

Italian-born visionary cross-genres percussionist Maurizio Ravalico has been one notably eclectic presence in the London music scene since his arrival in the UK, in 1991.

Regularily seen on stage and on releases with the like of Jamiroquai and the James Taylor Quartet throughout the nineties, as well as with virtually every salsa and Cuban-oriented projects to originate from London in the same period, he has subsequently collaborated on many of the projects of the experimental music label Not applicable (Icarus, Isambard Khroustaliov, Alex Bonney, Tom Arthurs) since 2005, and is now an established name in both the London and Berlin improv and experimental scene, having played with John Edwards, Oren Marshall, Steve Beresford, Pat Thomas, Frank Paul Schubert and many others.

Maurizio Ravalico's peculiar approach to percussion is one of the distinctive traits of Tamar Osborn's modal jazz 5-piece band Collocutor (On the Corner records) and of the pan-European trio Fiium Shaarrk (on BBC3 Late Junction's 12 Best Albums of 2017). Maurizio Ravalico also collaborates with the string quartet Phaedra Ensemble, the composer Fred Thomas and the French contemporary dance company Silenda.

**400 ONLY REPRESS PHOTOLUMINESCENT COLOUR VINYL///!! 200 FOR EUROPE** “I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, ‘Ah!-(etc)’ made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose’ it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something” And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein… after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for “one-man-band-home-recording-pop-songs of idiosyncratic character.” A quick follow up to his more power pop and pub rock LP only “Hard Feelings” offering in the summer, “Ah-(etc)” finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60’s and 80’s.

As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along… Stoltz former bandmate, Echo & the Bunnymen’s Will Sergeant adds electric guitar to “The Quiet Ones” a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover “Moon Shy”, where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF’s Dirty Ghosts sings on “She Like Noise”, a song Stoltz wrote for her in celebration of her love of seeing live bands.

The album was mastered by Mikey Young in Australia.

Limited edition 12” LP - 180 gram silver marble vinyl. In response to a
world struggling with disruption and discord, Tony Tixier has instinctively turned towards his music as a way to re-establish the sundered
connections of everyday existence.
‘I Am Human’, a series of remotely records duets - available only on limitededition vinyl - was created when he returned from a sell-out US tour to find himself locked down in his Paris apartment.
An escape route appeared out of a happy combination of chances: a loan of a new piano from Yamaha and an encounter with a neighbour, David Freiss, who turned out to be an expert sound engineer. Tixier conceived a plan to spontaneously record a series of pieces, all in one take, and then send them out across the world to a chosen band of his closest musical accomplices - Scott Tixier, Hermon Mehari, Ben Leifer, Logan Richardson and Adrien Soleiman - musicians with whom he felt so closely in tune that the enforced separation of time and space could be overcome - and invited them to overdub a response to create a series of virtual duet recordings “Each track is dedicated to a friend, someone I feel close to - I sent them the track in the morning, and by the afternoon I had the track back with their parts.”
Each side of the vinyl release is opened with a performance of an original solo piece by Tixier, both recorded back to back. ‘Leaking Life’ is a meditation on the passing of time and a call to action to make the most of every day. ‘Humain’ is an expression of his own identity “A presentation of myself - I don’t see myself as mixed race - I am 100% black, 100% white, 100% human.”
Tixier has travelled the world with the likes of Christian Scott and Keyon Harrold and performed for audiences across four continents, but this is his most personal, direct work to date. Reaching out across the world, sustained by a network of friends, he has delivered a statement for our times that transcends the limitations of remote recording with the sheer force of its emotional connection. Personnel: Tony Tixier (piano), Scott Tixier (violin), Hermon Mehari
(trumpet), Ben Leifer (double bass), Logan Richardson (alto saxophone), Adrien
Soleiman (tenor saxophone)

2023 Restock

Within the elusive confines of this film awaits an unreleased album that defies categorisation by a musician who in a different time and space would be revered amongst some of the most important exponents of progressive rock, dark ambient, Krautrock and pioneering synthesiser composition - not to mention sound design and art-house film scores. As a protégé of François Bayle and Luc Ferrari who had studied classical music before immersing himself in found-sound manipulation and oscillators, Alain Pierre quickly became an enthusiastic go-to man for sound sculpture and technical studio proficiency in Belgium’s small film industry.

To the many generations of dedicated fans of the visual work of Philippe Druillet it might seem virtually impossible to adequately “score” the alien, futurist landscapes of the man who many called the “space architect” (on account of his space age reductions of Gothic cathedrals, Art Nouveau, and Indian temples), but once you have heard the sonic reactions of Alain Pierre on this the first-ever dedicated Druillet documentary, Ô Sidarta, complete with his own equivalent sound palette, it will be difficult to “hear” Druillet’s world via any other composer. Despite Druillet’s truly incredible record sleeve designs for projects like cosmic disco ensemble Black Sun, concept albums such as Attention by Jean-Pierre Mirouze (composer of Le Mariage Collectif), Parisian metal bands like Sortilège, gatefold portraits of Jimi Hendrix, later period albums by William Sheller and most relevantly on albums by Igor Wakhévitch (Docteur Faust, 1971) as well as separate releases by both Richard Pinhas and Georges Grünblatt (both from the cosmic prog outfit Heldon), it is fair to say that this criminally unreleased album by Alain Pierre would conjure up the closest synergy between sound and vision that either artist would come close to.

The almost twelve of continuous music that Alain Pierre supplied for Ô Sidarta in 1974 fortunately appears in its entirety, unedited, as it does here for the first time ever away from its original broadcasts. Broadcast on Belgian and French TV that autumn, the film received a warm reception from Druillet fans, prospective film producers and space rock fans lucky enough to catch the short feature.

Throughout his career Alain’s commitment to conceptual music excelled within both cinematic realms as well as with the live arena. Never shying away from the constraints of transporting heavy synthesiser technolog and unpredictable analogue equipment to public spaces, Alain took his self-initiated “live” work very seriously. It was within his lesser-documented performances that you would find the closest sound to the music on Ô Sidarta, proving that the Druillet collaboration was naturalistic and conceptually close to Alain’s personal stylistic agenda. A rare recording of a one-off concert at the Université libre de Bruxelles in October 1976 reveals a very similar set of movements and soundscapes found on Ô Sidarta. This rare artefact has been included on the second side of this record under its original title Notions de physique intérieure (Notions Of Interior Physics) and stands as a perfect companion piece to Ô Sidarta - complete with a very similar “kit list” including the welcome addition of an Arp Sequencer, a Korg Vocoder and a Theremin (a back line whose total would far surpass any stationary studio of the era never mind a live show!).

By looking back at his original composition for one of his very first solo soundtrack commissions, Ô Sidarta, you can hear that back in 1974 Alain had already successfully managed to combine more unlikely musical influences, experimental techniques, and previously unheard soundscapes and studio tricks in to one twelve-minute score than most musicians fail to cram in to a whole discography. But still there is so much music yet to be discovered and Ô Sidarta is just the tip of the iceberg in the middle of a cosmic sea. Much like a character from one of Philippe Druillet’s books, Alain Pierre is a rogue pilot, steering his own ship in to the unknown, uncharted, unnoticed and quite unbelievable.

Philipp Gorbachev presents his latest 5-track EP "Nichego Ne Ponyal" on System 108. Philipp Gorbachev is amongst Moscow's most renowned dance music artists. The musician, DJ, and live performer is also known as the resident of MUTABOR, a member of ARMA17 and the System 108 community. His previous releases on Comeme, Trip, ARMA, and his own PG TUNE label contribute to a big variety of music genres: full live bands, church bell music, and techno. The new EP, which translates to 'I understood nothing' is an ode to isolation, where one's personal state of solitude simultaneously clashed with a global pandemic lockdown. The record was produced in the process of a fleeting stream of thought, and rather than relying on the use of automatization and the digital, it consists of recorded instruments. Drum machines, live drums, drum pads, keyboards, accompanied by bewildering vocals - all create an enticing audio tale that embodies the ethereal state of today's existence. Whilst being confined in the new secluded and virtual reality of the world, the artwork was devised via Facetime by photographer Nick Gavrilov, and just like the EP, it depicts the act of creation as such; Gorbachev's kitchen transformed into a temporary art studio where the interchange of imagination roamed free. The 'Nichego Ne Ponyal' EP is a result of Philipp Gorbachev's collaboration with System 108 and is the 3rd vinyl release of the creative platform, which is recognized for delivering outstanding events in Moscow's electronic music scene.

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.

2 x 180g Black 12” vinyl
20 page hardcover 12” art book
Song Machine Season One Deluxe CD
Download card for the full deluxe album
3 x 12” art prints
1 x 12” label copy sheet











j 10. Désolé (feat. Fatoumata Diawara) Extended Version










j 10. Désolé (feat. Fatoumata Diawara) Extended Version

Adda Kaleh is the collaborative effort of Adda Kaleh and Suzanne Kraft. Recorded over the course of almost seven years and despite local separation or virtual realities, it sums up the magic that already inhered in their debut song „Breaking“ for Gerd Janson’s „Musik for Autobahns“ compilation on Rush Hour. An eight track LP of crystalline chansons and pastels pop that features the skills of The Coober Pedy University Band aka CPUB (Tornado Wallace and William Paxton) on dub duties to complete the magical musical mysteries of Adda Kaleh
.