Buscar:three of you

Greg Puciato, the enigmatic singer known for his diverse list of projects, from the incendiary The Dillinger Escape Plan to the brutalist electro-pop outfit The Black Queen and the unabashedly thrashy Killer Be Killed, releases his debut solo album, Child Soldier: Creator of God this Autumn via Federal Prisoner. The Los Angeles-based singer premiered the single “Fire For Water” on BBC Radio 1’s Rock Show with Daniel P. Carter and followed with the debut of a video for the three-minute track via Revolver. The video was edited and directed by Puciato and fine artist Jesse Draxler, Puciato’s Federal Prisoner co-founder. Puciato played all of the instruments on the song with the exception of drums, which were done by Chris Pennie (the last original material the pair worked on together was The Dillinger Escape Plan’s 2004 Miss Machine), who also contributed additional programming. “I started writing in May or so of 2019, for what I thought would be the next Black Queen album, except that’s not at all what came out. So, just like with everything else that’s been born from necessity, it felt like the right time to create a home for anything that I do that didn’t fit neatly under any other existing roof. The misfits needed a place to go,” explains Puciato about releasing his first solo 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.

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.

"The anger and depression got to me, and I couldn't hold it in anymore
So, I got into a room with my demons and we just hit record," shares indie singersongwriter Leslie Mendelson. The resulting album, playfully titled, ' If You Can't
Say Anything Nice' ,' is viscerally themed, imaginatively arranged, cinematically
dynamic and textured, oozing raw elegance. " I deal with depression and anxiety,
and I've never really sang about it before. It also felt like what was going on with
society was also affecting me, in terms of gun violence, the opioid crisis, and the
all hatred in the news and media. It felt like it was time to speak out," Leslie
explains. Leslie has released two prior albums, including her Grammy Awardnominated debut, 'Swan Feathers,' one EP, and three singles. Her first album
exhibited a production sheen she opted to strip away on her sophomore album, '
Love & Murder.' Her latest, ' If You Can't Say Anything Nice ' ,' is a gutsy album that
splits the difference between her previous albums in terms of production, but
also features some garage- rock bluster. " The best time to make a rock n' roll
record is when you're broke and pissed off, " she says, with a good-natured laugh.
For the album, Leslie worked with longtime co-writer and guitarist Steve McEwan
who co-produced the album alongside bassist and engineer Lorenzo Wolff.

OVERVIEW: When an ancient monster that laid waste to planets when the dinosaurs roamed Earth is accidentally released from its underground prison, there's only one kaiju you can count on to defend us all: Mothra! Directed by Okihiro Yoneda with a story by the great GODZILLA creator Tomoyuki Tanaka, REBIRTH OF MOTHRA sees the legendary lepidopteran protect the human race from Belvera, the evil sister of Mothra's twin priestesses. She wants to destroy the world with the superspace demon beast Desghidorah, a three-headed extraterrestrial dragon. But Belvera and her monster aren't counting on the larva of Mothra joining the fight. Enter Mothra Leo! Brought into score REBIRTH OF MOTHRA was Toshiyuki Watanabe, son of the great tokusatsu and anime composer Michiaki Watanabe (YOKAI MONSTERS: 100 MONSTERS, MAZINGER Z), who lived up to his legacy by supplying a bold and thrilling orchestral score. Watanabe's music is full of ethereal beauty, with a fantastic opening title cue replete with a glorious female choir to celebrate Earth's greatest defender and full-blooded brass magnificence as Mothra and son fight against the evil Belvera and Desghidora. And of course, it wouldn't be complete without Yuji Koseki's classic Mothra's Song: Over time, oversea, like a wave - our guardian angel! (Charlie Brigden)

Finnish Disco and Electronic Music from Private Pressings and Unreleased Tapes 1980–1991

Hot on the sold-out heels of the three previous Svart-issued early 80’s synth pop and underground electronic music compilations (Satan in Love, Dance For Your Life, Cold War On The Rocks comes the last part of the quadrilogy: Black Hole, that reaches the final frontier of collectable cult synth disco music: privately released and completely unreleased music from 40 years ago. Black Hole has been again compiled by Mikko Mattlar, whose encyclopedic knowledge in the field of Finnish electronic music produces 20 cuts of electro-cult has helped him dig up 20 cuts of rare groove from obscure regional compilation records, seven inches of which only a test pressing exists, demo tapes and privately financed singles. Stylistically the compilation moves from 1979 disco funk as performed by Peak Funktion on their unreleased record to homebrewed synth visions by late 80’s bedroom wizards. Interesting curiosities among the 20 tracks include the riveting dance number by Jarkko Väljä, who received some fame back in the day as a Michael Jackson impersonator, and released one 7” single, that has become an expensive rarity. Another thing you wouldn’t believe existed at all if it wasn’t included here is “Israel Is Real” by We, a short-lived gospel vocal quartet, accompanied here by a drum machine and a synthesizer, which makes for an unforgettable and surprisingly catchy four minute piece of underground gospel disco from 1983. The compilation Black Hole – Finnish Disco and Electronic Music From Private Pressings and Unreleased Tapes 1979-1991 will be released by Svart Records on double vinyl and CD on October 14th.

The FIXX has been heralded as one of the most innovative bands to come out of the “MTV” era. For four decades, the style and substance of the band has always created a special connection with its audience. The FIXX’s themes are often complex, introspective and thought-provoking, but not without widespread mass appeal. The band has garnered three #1 hits, five more in the Top 5 and a dozen which reached the Top 10. With millions of albums sold worldwide, songs such as “One Thing Leads To Another,” “Red Skies” and “Saved By Zero” remain everyday staples on the playlists of the Rock, AAA and Alternative radio stations that continue to break new acts inspired by the era that The FIXX helped to define. The FIXX’s classic lineup remains intact, Cy Curnin (vocals), Jamie West-Oram (guitar), Rupert Greenall (keyboards), Dan K. Brown (bass guitar) and Adam Woods (drums). The alt rock pioneers return with their new studio album EVERY FIVE SECONDS,their first in nearly a decade, on June 3, 2022!

Heady with hooks and unforgettable melodies, gliding on deeply danceable grooves, always with Air Waves’ innate compassion, concision and uncanny pop sense shining throughout. A masterpiece that’s beautifully simple, instantly accessible and entirely addictive. Featuring Cass Mccombs, Skyler Skjelset (Fleet Foxes, Beach House), Luke Temple, Brian Betancourt (Hospitality, Sam Evian), Rina Mushonga, Frankie Cosmos, Lispector, David Christian, Ethan Sass, and Ben Florencio. ‘The Dance’ has waited three years to see the light of day and it comes to us now, blinking, smiling in the widening light of 2022 feeling more needed and necessary but also more joyous than ever before. It’s both a snapshot of these songs as they were recorded but crucially, in the intervening time those songs have had additional arrangements crafted by Nicole, created remotely and virtually, with a few like-minded collaborators. The result is simultaneously Air Waves freshest, most spontaneous yet finessed album yet. Nicole Schneit released their first independent album in 2009 under the Air Waves moniker, a name inspired by a Guided By Voices song - subsequent albums like 2010’s ‘Dungeon Dots’ (which featured a guest vocal from fellow Brooklynite Sharon Van Etten), 2015’s ‘Parting Glances’ and 2017’s stunning ‘Warrior’ crystallised Schneit’s vision of loose-but-focused, convivial but startling pop. ‘The Dance’ continues that trajectory but finds Schneit opening up their music to a more fluid sense of space and movement, while keeping their lyrical eye between the personal and the political, from the specific to the universal with a haiku-like directness and suggestion. You won’t find a better soundtrack for the solidarity, strength, romance and movement we all need right now than ‘The Dance’ - Air Waves’ best album yet // “There is a rawness, both musical and emotional, proving that the simplest ways to communicate feelings are sometimes the most effective” Pitchfork // “More varied and ambitious than ever” Stereogum // Track List A1 The Roof (feat. Luke Temple & Rina Mushonga) A2 The Dance A3 Star Earring (feat. Lispector) A4 Alien (feat. Cass McCombs) B1 Black Metal Demon (feat. Frankie Cosmos & Merce Lemon) B2 Treehouse B3 Wait B4 The Light B5 Peer Peer

Revered indie trio The Staves' debut album 'Dead & Born & Grown' is celebrating its 10th Anniversary on the 12th November 2022. To celebrate 10 years of their debut album the band will be re-pressing Dead & Born & Grown on recycled colour vinyl.

The album was produced with Glyn and Ethan Johns, who have worked with a plethora of huge artists from past and present between them, including The Beatles, The Rolling Stones and Led Zeppelin, as well as the likes of The Vaccines, Kings of Leon and Kaiser Chiefs. The Staves are three sisters from Watford who share vocal duties in addition to some contributions on guitar and ukelele.

This special-edition recycled vinyl is made from 100% PVC recycled material, using waste material and clippings from previous pressings and are re-used. The result is that each vinyl is unique with its own colour combination therefore the colour you receive will be randomized.

Betty Boo is a Brit and Ivor Novello Award winning singer/songwriter/producer from West London. After a chance meeting in McDonalds on Shepherds Bush Green, she ended up supporting Public Enemy on tour in the US with her Hip Hop trio The She Rockers. In 1989, she featured as guest vocalist on The Beatmasters Top 10 single - Hey DJ/I Can't Dance (To That Music You're Playing). Betty Boo released two albums - Boomania and GRRR! Its Betty Boo - and then mostly retired from the public eye. Earlier this year, she released the Human League sampling banger Get Me To The Weekend - her first solo music in three decades.
2022 sees the return of Betty Boo as a brand new album is set for release entitled Boomerang.

Betty Boo is a Brit and Ivor Novello Award winning singer/songwriter/producer from West London. After a chance meeting in McDonalds on Shepherds Bush Green, she ended up supporting Public Enemy on tour in the US with her Hip Hop trio The She Rockers. In 1989, she featured as guest vocalist on The Beatmasters Top 10 single - Hey DJ/I Can't Dance (To That Music You're Playing). Betty Boo released two albums - Boomania and GRRR! Its Betty Boo - and then mostly retired from the public eye. Earlier this year, she released the Human League sampling banger Get Me To The Weekend - her first solo music in three decades.
2022 sees the return of Betty Boo as a brand new album is set for release entitled Boomerang.

By the late 1980's Ton Lebbink was a well respected figure in Amsterdam's alternative scene: he was the drummer for the Amsterdam post punk group Mecano, a true punk poet and worked as a bouncer at Amsterdam's main music venue Paradiso. He released two solo albums, both in his unique narcotic style: laying absurd Dutch wordplay over stripped down frigid instrumentals. As the decade came to an end, Ton - already well in his forties - moved away from the often destructive and dangerous nightlife. After a series of odd jobs Ton started as a fitness instructor at an Amsterdam gym called Splash. Meanwhile, the 90's brought the latest musical craze to Amsterdam: House music began to flourish through clubs like RoXy, iT and Mazzo. With House being the ideal score for his fitness classes, the once well known cult figure faded into anonymity at a 120 beats per minute. His musical endeavours were focusing more on finding the right beats for aerobics exercises with self-devised exercise - eventually leading Ton to bootleg some of them on cassette tapes himself. In parallel to this radical shift, Ton did not stop making music. On the contrary, piles of demos showed high activity but in a direction no one was looking. Inspired by music to move to, Ton recorded hours of music that activated the body while staying true to his playful mindset. Discarding his voice as an instrument, the Roland W-30 sampler became his tool to communicate. Gathering vocal snippets from close friends, barflies and pets, a repertoire developed where witty repetitiveness could exist. Going through a vast collection of demos, pictures and many anecdotes, Rubber has been able to create an EP that gives insight into Ton's overlooked 90's era. Three playful dance tracks by Ton Lebbink taking his complete own take on the Amsterdam House revolution of the 90's. Full of inventiveness: hip-shaking grooves, hypnotic beats and rousing vocals. Tracks to move to and tracks to groove to. Essential dancefloor workout tunes for you and me. Ah yeah!

The super group Deltron 3030 is composed of producer Dan the Automator, rapper Del tha Funkee Homosapien and DJ Kid Koala and sometimes features guest artists who also take on varying futuristic pseudonyms. Originally released in 2000 on the now-defunct 75ARK record label, this hip hop concept album was released the same year as the Gorillaz' first 12" and is on a similar plane. Following the release of Deltron 3030, all three members participated in the Gorillaz' self-titled debut album. With Del aka Deltron Zero on vocals, Dan the Automator aka The Cantankerous Captain Aptos on production, and Kid Koala aka Skiznoid the Boy Wonder on turntables, this album takes the listener on a paranoid journey set in a dystopian year 3030 dealing with viruses, the apocalypse, an oppressive government, and a war waged against a huge company called the Corporate Bank of Time that rules the universe, all to the well-crafted and consistent musical backing of the Automator. Appearances by Damon Albarn (The Gorillaz, Blur), Prince Paul, Peanut Butter Wolf, DJ Money Mark, Paul Barman, Mark Bell (Bjork, production), Sean Lennon, and Mr. Lif compliment Del's vocal style and add the right amount of flavor to this classic period piece.

Hame's music is all about shared feelings without the barrier of words. In this three tracker debut EP on the new label of Lola Haro called 'Small Steps', he found the sweet spot between housy energy combined with emotion.

His patiently evolving backgrounds combined with subtle energy buildups through themusic keep you in an hypnotic lock on the dance floor.

Hushed has a straight forward and groovy low end with energy right from the start, while slowly evolving in a viby detailed trip.

Relieve has a more subtle bassline combined with lush percussion elements and a melancholic,yet hopeful human touch - creating a feeling of acquiescence.

Moments Like Now is a groovy, deep, club night bomb. Its ever changing yet repetitive lead is carried by a deep sub bassline and a punchy kick that keeps you moving while textures pads and vocals guide you through the track.

On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums, he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and "Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786- 1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017 with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse, Viens-tu les rompre en songe à mes genoux ? Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us, Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me” (“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of female genius, combined in her work the themes of desire, dreams, melancholy and the relationship with nature.
“Ta forme est un éclair
Ton sourire est l’instant Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters) and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women, past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled by desperate and tormented love. I found it interesting, as a man coming from another world and time, to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms, as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference texts from the beginning of the century with this type of music. I wanted to use today’s techniques to tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite instrument, the piano, and his digital collage technique to use more extensive synth melodies, enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song", sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing, which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908)

Clear Vinyl

Laila Sakini and Lucy Van’s sought after 2017 EP Figures resurfaces on a newly expanded and remastered edition, deploying taut poetry and creeping electro-pulses for an alchemical suite of slowly encroaching trip hop x dub-pop.

Long before releasing her slow-burn classic ‘Vivienne’ and last year’s compelling Princess Diana of Wales album, Laila Sakini was at work with acclaimed poet Lucy Van for an impromptu session for a local noise and spoken word night in Naarm, Australia. Those initial ideas marinated and eventually resulted in ‘Figures’ - an EP that was originally released on tape via Purely Physical Teeny Tapes, offseting Sakini’s minimal production against Van’s text, spoken in a carefully enunciated dialect lifted and wrapped around Sakini’s nocturnes. It’s the sort of thing that reminds us of Tin Man & Rashad Becker’s ‘Wasteland’ sessions, fused with the spirit of the contemporary Naarm/Melbourne scene.

For all those references, Sakini and Van’s songs are displaced from the contemporary wellspring too. The dusky blue waltz of opener ‘Those Who See’ comes off like a lighter Leslie Winer or melodic, early AFX, as Van dryly intones “...all my enemies in an orgy, of IQ to body ratio,” while ‘Deep End’ sees them nudge into more claustrophobic introspection, before shoring up a dank sort of trip hop sleaze with the title song, slithering with a similar energy to early 90’s Autechre as the narration echoes to a blur.

The three previously unreleased songs flesh out the release into the full album it always should have been, cut of equally rare, hand-spun fabric. With its post-Sleng Teng B-line and noctilucent chords, ‘What You Need’ feels like an Eski rhythmic bump accompanied by sub-aquatic synth bass, and the opalescent, gumtree-shaking shimmer ‘Rough Desires’ secretes its intimations with an absorbingly hypnagogic slow-burn that pools into the perfect curtain closer; ‘Trees Make Me High’.

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a prolific phase of collaboration for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material.

Filled with graceful pop songs, autumnal folk tunes, and gentle yet risk-taking improvisations, »Tan-Tan Therapy« was the first Tenniscoats album to be released in Europe, after a run of albums on Japanese labels, and the excellent »Live Wanderus« (2005) on Australian imprint Chapter Music. It was also the first recorded evidence of their collaboration with the three members of Tape and that group’s extended musical family. It opens with one of Tenniscoats’ signature songs, the pop fantasia of »Baibaba Bimba«, with Tenniscoats singer Saya repeating a light-headed incantation over joyous brass. The essence of Tenniscoats is contained in »Baibaba Bimba«: uplifting melody and playful musicianship, tinged with distant echoes of winsome melancholy.

From there, »Tan-Tan Therapy« explores many hues of lustrous blue. »Oetu to kanki no Namoriuta (Given Song of Sob and Joy)« is an aquatic arbour, the musicians’ gentle performances growing together like vines and seaweed as Saya’s voice swims through the waterway. »Umbarepa!« is full of play and pleasure, sparkling with glockenspiel as snare drum tattoos push the song ever-forward. »Abi and Travel« floats past, a lovely instrumental built from shifting layers of synthesizer and pianet; »Good B.«, an extra track originally only available on the Japanese edition of »Tan-Tan Therapy«, is added to this reissue, and follows a similar thread, its humming pump and Hammond organs swirling under beautiful vocals from Saya and guest performer Kazumi Nikaido.

Throughout, you can sense the deep empathy the members of Tenniscoats and Tape have for one another. It’s a conversational, tender and, at times, fragile music that can only be created out of mutual trust and kindness, with each of the players contributing to the community of sound they’re building. There’s an element here, too, of feeling out the possibilities of what this creative meeting can achieve, something reflected in the loose-limbs sprawl of »Marui Hifo (Everyone)«, which echoes the seaside drift of Bristol post-rock group Crescent, and the following »One Swan Swim«, a dreamsong redolent of the sleepy sensorium of Robert Wyatt’s »Rock Bottom«.

The freedom and liberty at the heart of Tenniscoats is something Tape and their friends have picked up on, beautifully so, and run with during the entirety of »Tan-Tan Therapy«. This is music with its wings outstretched, wanting to take to the air, ready to fly.

Galaxy Heart is Moss' fourth record for Constellation and the companion album to 2021's Phosphenes. Galaxy Heart features guest appearances by Jim White (Xylouris White, Springtime, Dirty Three) and Thierry Amar (Godspeed You! Black Emperor).Jessica Moss is a violinist and composer based in Montréal. She uses amplified and processed violin and voice to create intricate works of expressive electronic, drone, experimental and post-classical Minimalism; her distinctive melodic sensibility often channels Klezmer, Balkan and Middle Eastern tropes, combined with an ear for the textural grit and timbral noise of post-punk, industrial and ambient metal. Moss played in cult agit-prop post-punk band Thee Silver Mt. Zion (2000-2015), has contributed to countless albums by the likes of Carla Bozulich, Vic Chesnutt and Matana Roberts, and most recently has guested on albums by Sarah Davachi and Big|Brave. She has released three solo albums on Constellation since 2017.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem. Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album. The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.” On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work. ‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve. Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy-nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.

For Fans Of: Aasha Puthli / Grace Jones / Minnie Ripperton/ The Supremes/ Love Apple / Kendra Morris. Previous debut 45 garnered much acclaim from KCRW, the BBC, Albumism, and countless more. The band consists of Piya Malik (El Michels Affair, former 79.5 and backing singer for Chicano Batman), Nya Parker Brown (former 79.5), and Sabrina Cunningham. Housed in a spot-glossed LP with exclusive lyric / photo insert. The highly anticipated debut LP from Say She She, the all female discodelic soul band that will transport you with their dreamy harmonies, catchy hooks and up tempo grooves! The band's sound is a hat tip to late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham - whose vocals soar through a set doused heavily with funky bass lines, rhythmic wah guitar, melodic synths and lilting bansuri flute lines, bursting into a seamless blend of dreamy harmonies and catchy hooks. A multicultural, multi-instrumental, collaborative melting pot, pulling sounds and styles from all corners of their record collections. The largely self-produced debut album ‘Prism’ features contributions from Dap Kings Joey Crispiano & Victor Axelrod, Max Shrager (The Shacks) Bardo Martinez (Chicano Batman) Nikhil Yearwadekar (former Antibalas) Andy Bauer (Twin Shadow) and Matty McDermot (NYPMH). “The funkiest sh*t we’ve heard in a while” (KCRW) // “A glorious overload of joyful elation and spiritual elevation”

For Fans Of: Aasha Puthli / Grace Jones / Minnie Ripperton/ The Supremes/ Love Apple / Kendra Morris. Previous debut 45 garnered much acclaim from KCRW, the BBC, Albumism, and countless more. The band consists of Piya Malik (El Michels Affair, former 79.5 and backing singer for Chicano Batman), Nya Parker Brown (former 79.5), and Sabrina Cunningham. Housed in a spot-glossed LP with exclusive lyric / photo insert. The highly anticipated debut LP from Say She She, the all female discodelic soul band that will transport you with their dreamy harmonies, catchy hooks and up tempo grooves! The band's sound is a hat tip to late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham - whose vocals soar through a set doused heavily with funky bass lines, rhythmic wah guitar, melodic synths and lilting bansuri flute lines, bursting into a seamless blend of dreamy harmonies and catchy hooks. A multicultural, multi-instrumental, collaborative melting pot, pulling sounds and styles from all corners of their record collections. The largely self-produced debut album ‘Prism’ features contributions from Dap Kings Joey Crispiano & Victor Axelrod, Max Shrager (The Shacks) Bardo Martinez (Chicano Batman) Nikhil Yearwadekar (former Antibalas) Andy Bauer (Twin Shadow) and Matty McDermot (NYPMH). “The funkiest sh*t we’ve heard in a while” (KCRW) // “A glorious overload of joyful elation and spiritual elevation”

The Brattleboro, Vermont trio THUS LOVE stand together, a bond cemented by their experience as outsiders looking in. For THUS LOVE, DIY is an ethos that reflects not only their musical vision but their very existence as three self-identifying trans artists. From the band’s inception, Echo Mars (she/her), Lu Racine (he/him) and Nathaniel van Osdol (they/them) have lived together under the same roof, designed and produced their own merch, and created their own recording studio from scratch. “I realize that most artists don’t live this way,” says Mars. “But for us, it was never really a choice. The art we make is so tied to who we are and the community we’re a part of, that this is the only way we can possibly do it.”

The band was just starting to regularly headline renowned local venue The Stone Church when everything came to a screeching halt. Rather than idly wait, the band decided to take their future in their own hands. Armed with nothing but YouTube videos and her

innate curiosity, Mars constructed a makeshift studio in their apartment, recording during odd hours when their next-door neighbors were out and about.

The Posies released their third studio album Frosting On The Beater back in 1993. It featured a darker sound than their prior work, partly due to the production style of Don Fleming, who previously worked with Sonic Youth and Screaming Trees amongst others. The album spawned three singles, “Dream All Day”, “Solar Sister” and “Definite Door”.

Frosting On The Beater is available as a 2LP and includes an insert.

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

(Extended Reissue)

Double vinyl LP | Extended reissue
All tracks remastered from the original master tapes.

And here it is! For the first time ever, Zoo Folle in its full, extended glory.
This double LP contains both the soundtrack as released in 1974 (sides A and B) and previously unreleased gems (sides C and D).

Back in 2016 we put out the first official reissue of Zoo Folle. It sold out in a matter of months, leaving many vinyl collectors hungry for more. Quite serendipitously, the following year we found ourselves digging through Giuliano Sorgini's personal archives to prepare what would become Africa Oscura and stumbled upon a few mysterious reels that could be traced back to Zoo Folle. Imagine our joy when we realized that they contained the complete recording sessions of the original soundtrack, including unreleased material and never-before heard alternate versions! It was a no-brainer to start planning this extended reissue.

Already a phenomenon among collectors and experts, not only does Zoo Folle it keep winning more and more recognition, but, together with The Living Dead at Manchester Morgue and Under Pompelmo, it has established Sorgini as one of the great Italian composers of his generation.

And this is no coincidence. Zoo Folle is Sorgini's most committed and personal work. It reflects at once his beliefs as an animal rightist and his deep friendship with TV director and long-time collaborator Riccardo Fellini (brother of La Dolce Vita director Federico). It was Fellini himself who asked Sorgini to score his documentary on the living conditions of animals in zoos in Western metropolises (Rome, London and Paris in particular).

Originally broadcast by RAI in three primetime episodes, Fellini's exposé sharply contrasts the lives of caged animals with the freedom they experience in nature and wildlife reserves such as the Amboseli National Park in Kenya, Africa.

For his part, Sorgini offers perhaps his grandest score ever – a magnificent, multifaceted soundtrack that brings together a variety of instruments and the best musicians available at the time, from the lavish string orchestra recorded at the Fono Roma studios (a dream come true for someone who had not penetrated the inner circle of A-list composers like Morricone), to the angelic voice of Edda Dell'Orso, who conveys the sweetness and melancholy of the African sunset in Red, Old Skies.

Also performing on the soundtrack are exquisite soloists – all long-time friends of the composer. Nino Rapicavoli, for instance, whose flute adds a magical touch to the psycho-funk of Mad Town and the groove of Slaves, as well as Enzo Restuccia, whose afro-tribal percussions have made Ultima caccia a legendary track especially among lovers of Balearic grooves, and Enrico Ciacci, whose classical guitar soars beautifully over the nostalgic and poignant Chains. Not to mention the fact that Sorgini himself laid down the foundation tracks for the album in the small studio he had in the Prati neighbourhood in Rome, playing the piano, drums and several synthesizers.

So, what are you waiting for? Get your turntables ready for the full version of Amboseli (14 minutes of sheer bliss versus less than 6 in the original record) and for stunning, previously unreleased alternate versions of many other themes composed by Sorgini to celebrate the beauty of the savannah.

Nathan Fake's fourth album, Providence, crafted in the wake of a crippling two year spell of writer's block. Is his most personal and profoundly emotional work to date.
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Providence sees the British producer collaborate with vocalists for the first time, joining forces with Prurient (aka Vatican Shadow / founder of Hospital Productions) and Raphaelle Standell-Preston from Braids. Both arose from chance meetings in Geneva and Osaka as their tour schedules crossed. Prurient contributed the heavily distorted vocal to 'DEGREELESSNESS' - I was a huge fan of Dominic's (Prurient) music before we met and I love the way he situates his vocals in his productions. I really like how you can't make out what he's saying at all...' - whilst Raphaelle, who lends her voice to 'RVK', was introduced to Nathan by their mutual friend Jon Hopkins. I deliberately kept the first half of the track instrumental and I love the way her vocal lands,' he says. It's quite unexpected when she starts singing.'

It's the quickest album I've written and because of that it's got a close thread running throughout,' says Nathan of his creative process. It also has a distinct sonic signature as a result of the producer refreshing his set-up. I was feeling nostalgic and bought a cheap Korg Prophecy on a whim and it ended up being the backbone of the album,' he explains. I remember reading an article in Sound On Sound back in 1995-96 and I didn't really know much about music production then, but I remember thinking that it must be AMAZING. As it turns out, it's actually quite crap really... It's very hard to program, looks unimpressive, doesn't sound great (laughs), but I recorded it through loads of different pre-amps and tape and mixers and roughed it up. I'm always intrigued by low-end gear, I like the challenge and the limitations it poses.'

Norfolk born and bred, Nathan's first encounters with electronic music came via the radio (hearing the likes of Aphex Twin and Orbital) and reading about the equipment that they used in magazines. This was the stimulus for him to buy some gear and begin his own sonic experiments and, linking with James Holden in 2003, Nathan's early output came via his fledgling Border Community label. His debut album Drowning In A Sea Of Love' (2006) was a triumphant record, drawing a rapturous reception from the likes of Pitchfork, The Guardian and Mixmag (who hailed it among the best of the year). Recording two further albums for Border Community, Hard Islands' (2009) and Steam Days' (2012), Nathan found himself in frantic touring mode for two years and, in this nomadic state, found it impossible to write any new music. On his return, events in his personal life intertwined with, and exacerbated, this creative block. I didn't write any music at all for about two years,' Nathan explains. Overall there was roughly a three year break from writing.'

Emerging from this extended period of inactivity with renewed vigour and lust for life, Providence was recorded during the first six months of 2016 in Nathan's home studio / living room. The meaning behind the title is two-pronged: on the one hand it's a nod to the aforementioned Korg Prophecy synth that features so heavily on the record. But on a deeper level it means guidance or divine guidance' - not necessarily in a religious sense but more to be guided by a higher power - or more specifically to Nathan, music as therapy and a path out of a dark period in his life.

Welcome to the FLIP SERIES. It's a new series where a group or an artists are sharing an album together.

Japanese Jazz trio Nautilus are starting with the A-Side. Label head Oonops is working with them since 2017 and this is their eighth common project. He selected two of his favourite tunes from Nautilus back archive which are called "In The Rain" - a cover version of an old soul classic by The Dramatics from 1971 as well as "Kudu" by Eddie Henderson from 1976 (both previously only available on the Japanese market). Additionally there are three new cover versions which Oonops desired to get arranged: "Manhã" by Azymuth, "The Bottle" by Gil Scott-Heron and "Be Thankful For What You Got" by William DeVaughn! All classics and new reinterpreted in the typical Nautilus way.

For the flip side Oonops selected his favourite tunes by traditional Japanese singer Anna Sato & Nautilus drummer Toshiyuki Sasaki. They released two common digital albums named "Message & Message 2 - Reincarnation" and now found on this mini sampler on 12"-vinyl for the first time.

"Manhã" played by Gilles Peterson (BBC Radio 6 Music)

For all fans of this band: stay excited because a debut live tour for Germany in May 2022 is planned! credits released September 2, 2022

Arranged by: Toshiyuki Sasaki
Drums: Toshiyuki Sasaki
Keys: Mariko Nakabayashi
Bass: Shigeki Umezawa

A1 written by: The Dramatics
A2 written by: Azymuth
A3 written by: Gil-Scott Heron
A4 written by: Patrice Rushen
A5 written by: William DeVaughn

Flipside:
Drums arranged by: Toshiyuki Sasaki
Vocals arranged by: Anna Sato

Artwork and layout: Glueset
Photography Nautilus: Orie Ichihashi
Photography Anna Sato & Toshiyuki Sasaki: Rino Kojima
Conceptual project idea: Oonops

-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!

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

‘Was there ever a more perfect film for Glass’s lyrical manner? He refers to his own past, but the way in which the material is treated transforms it inevitably into that eternal present. Such a feeling of fragile beauty is a rare achievement.’ – Gramophone

‘Simple and complex by turn, Glass’s score adds dignity and depth to the movie, and to the tragedies and triumphs, big or small, of ordinary life.’
– Guardian

‘Underpinning the anguish at the heart of The Hours a beautiful score. Glass’s motifs capture the passage of time and the universality of human experience.’ – Classic FM’s Best Soundtracks

Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.

Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.

Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. ‘The inter-cutting of personal stories over a wide span of time,’ said NPR, ‘is held together by a single music approach.’

In his original liner note, Michael Cunningham wrote, ‘Each novel I’ve written has developed a soundtrack of sorts; a body of music that subtly but palpably helped shape the book in question. The one constant since I started trying to write novels, however – my only ongoing act of listening fidelity – has been the work of Philip Glass. I love Glass’s music almost as much as I love Woolf’s Mrs. Dalloway. Glass, like Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends; he insists, as did Woolf, that beauty often resides more squarely in the present than it does in the present’s relationship to past or future. So, when I heard he’d agreed to contribute the music to the film version of The Hours, it seemed both inevitable and too good to be true. I’m not sure if I can offer any higher praise than this: When I saw the movie with the music added, I thought automatically of how I could use the soundtrack, when it came out, to help me finish my next book.’

“This is a movie about art and how art affects life," explains Philip Glass. “The story is very complicated and the music could take on a very important role in the film, as I saw it – to make it viewable, to make it comprehensible, so the stories of the three women in the film didn’t seem separate, that they were tied together. The music had to be the thread that tied the movie together. There’s no question that the emotional point of view is conveyed by the music. Music is the arrow you shoot in the air. Everything follows that.’

Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, Glass had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theater, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, both released on Nonesuch, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include Glass’s memoir, Words Without Music, Glass’s first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima. In addition to The Hours (2002) and Kundun (1997), over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Music in Twelve Parts (1996), the soundtracks for Powaqqatsi (1988) and Koyaanisqatsi (1998), Glass Box (2008), and Kronos Quartet’s Performs Philip Glass (1995), amongst others.

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

DJ Scriby - Izingoma zeGqomu / DJ MARIIO - ZULU MAN / DJ Skothan – Nevegation. Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

Saxophone player Jakob "Dino" Dinesen and bass player Anders "AC" Christensen have been household names on the Danish jazz scene since the nineties, where they played together in the now legendary Once Around the Park. Here they are joining up with drummer Laust Sonne. Sonne is one of the most versatile musicians in Denmark and he has been the drummer in the popular Danish rock band, D-A-D, for over 20 years. He has also played drums in the avant jazz rock outfit, Bugpowder, and has made a career for himself with his own rock band, Dear. He has also recorded two solo albums and in 2007 he received the prestigious Danish music award, Ken Gudman Prisen. Anders "AC" Christensen has been a member of Paul Motian's ensemble and has played in Polish jazz legend Tomasz Sta?ko's band. In Denmark, he has played with the Hess brothers in Spacelab, for over 25 years. In 2009 he made his only solo album so far, 'Dear Someone', featuring Aaron Parks and Paul Motian. "AC" is highly in demand among Danish jazz musicians and he has even played in a lot of rock bands, like Sort Sol and The Raveonettes. Jakob Dinesen has made a long string of albums in his own name and has received several prizes. He has played with loads of internationally acclaimed jazz musicians, such as Paul Motian, Kurt Rosenwinkel, Eddie Gomez, Ben Street, Tony Allen, Nasheet Waits and Steve Swallow. He has also been a member of the acclaimed Danish jazz groups Hugo Rasmussen Allstarz and Beautiful Day and has played with Danish musicians as distinct as Thomas Blachman, Thomas Helmig and Lars H.U.G.. The three musicians have known each other for many years. In their younger days, they often ended up together, playing late night jams and gigs at parties. The corona outbreak in the first half of 2020 finally brought the three musicians together again, as most of their other plans were cancelled because of the virus. As a blessing in disguise, they began to play together again, in the rehearsal room. They found, and created, a space for their thoughts and ideas. A space for listening and playing.