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Record Kicks presents "Yours Truly", the new album by Bordeaux's "Soulboy", Mr. Alexis Evans.

Like fine Red Wine, "Soulboy" Alexis Evans gets better with Age. The best evidence of this is his brand new album "Yours Truly", set for release on February 3rd, 2023 on LP, CD and digital via Milan-based label Record Kicks. Produced and mixed by Louis-Marin Renaud (Lou Doillon, Theo Lawrence, Desmond Myers), "Yours Truly" is the third studio album by Bordeaux-based singer-songwriter Alexis Evans and sees the light 4 years after his previous LP "I've Come A Long Way", defined "Soul album of The Year" by Rolling Stone France. "Yours Truly" consists of 12 brilliantly soulful cuts that take direct inspiration from 60's & 70's classic soul music adding a sound that is firmly rooted in the new millennium.

Anticipated by the first single "Mr Right On Time", the album was recorded between Bordeaux and Nantes during 2021 and beginning of 2022. The idea behind the new album was to find a unique sound, mixing classic 60's & 70's soul music with more contemporary influences such as hip hop beats, jazz, reggae, and Caribbean sounds. To do that, Alexis paired up with producer Louis-Marin Renaud, known for his work with French-English singer, actress and model Lou Doillon and country-soul rising star Theo Lawrence, who took part in the arrangements and mixed the album.

"All instruments were recorded live, some titles were completely live and others got modified, cut, sampled, depending on the tunes in a kind of beatmaking way. It was a very fun and fulfilling project that will sound awesome on stage for sure," explains Alexis.

Lyrically, the album could be described as soulful everyday rhymes. "Love may be the number one subject in soul music and clearly has its place of honor in a few songs ("Close to me", "What is this feeling"), while other songs tend to deal with it in a more cynical but poetic way, for instance on "Mister right on time", in which beauty remains in simplicity," states Mr. Evans. He continues: "Another topic of the album is abandonment ("It matters to me", "The only apple", "Close to the water"). Whether it is the fear of being left behind or the sadness after a loss, this album still bears some traces of lockdown and I was aiming at giving another perspective on different matters, looking at them in a dreamlike way." The themes of the album are reflected in the cover artwork, made by Adrià F Marquès.

Alexis Evans, songwriter with a timeless style based in Bordeaux, France, found the love of music and learnt to play guitar thanks to his father, an English musician. His inspirations range from Marvin Gaye and Sam Cooke to David Bowie. At the age of 17 he debuted with his first project "Jumping to the Westside", with which he was awarded the "Cognac Blues Passion" prize and flew to the "International Blues Challenge" in Memphis, Tennessee, where he impressed the American audience even though he was still a teenager. Mr. Evanshas built a household name in the scene as the "enfant prodige of soul" starting with his first album, released in 2015, and consolidated his reputation with his second long play "I've Come a Long Way", released in 2019 on Record Kicks. Rolling Stone France described it as "The Soul album of the year", while Blues & Soul Magazine and BBC 6 defined him as "One of the most exciting additions to the international Soul Scene". Following the release of the album, Alexis toured in France and Europe extensively, stopped only in 2020 by the Pandemic. Thanks to the forced break, Alexis started to lay down the new album, and he's now ready to present the fruit of his hard work: "Yours Truly".

Country songwriter from Brooklyn's indie underground, Dougie Poole blurs the lines between genre and generation on his third solo album, The Rainbow Wheel of Death. Rooted in sharp songwritingvand the organic sounds of a live-in-the-studio band, it's a classic-sounding record for the modern world. The Rainbow Wheel of Death's title nods to the colorful pinwheel that appears onscreen whenever a computer's application stalls. For Poole _ who found himself working as a freelance computer programmer once the pandemic brought his touring schedule to a temporary halt in 2020 _ it's also a reference to the holding pattern that's left much of society feeling stuck, unable to move ahead in an uncertain world. That feeling was pervasive when he in his New York City bedroom and wrapping up the songwriting process in the recording studio itself. Once hailed as the "patron saint of millennial malaise" for his sardonic wit and topical, tongue-in-cheek songwriting, Poole broadens his reach here. "High School Gym" builds a bridge between 2020s lo-fi textures and 1980s pop vibes, while "Must Be In Here Somewhere" _ whose narrator sits at a lap top, searching through "every server burning in North Carolina" for a digital souvenir of a long-lost relationship _ mixes modern concerns with classic country instrumentation. If records like 2017's Wideass Highway and 2020's breakthrough release The Freelancer's Blues told stories about uninspired Millennials languishing in dead-end jobs and no-good relationships, then The Rainbow Wheel of Death focuses on more universal issues like mortality, love, and the passing of the time. With The Rainbow Wheel of Death, Dougie Poole breathes new life into country music, retaining the acclaimed elements of his previous work _ drum machines, synthesizers, and his deep-set voice _ while pushing toward something warm, organic, and prismatic.

One for the G-funk heads, this album is on a limited run 300 2LP only.

For their eighth reissue, NBN Archives dips right back in the Bay Area, unearthing a G-Funk gem by San Francisco rapper Tha Dangla. “Straight Max’n” originally came out in 1996 on G-Note Records and produced entirely by G-Note who delivers nothing but smoothed out productions fitting perfectly with Dangla’s funky flow. Despite being considered a Gangsta Rap artist, Tha Dangla remains positive and uplifiting on most of the tracks. The eponym track “Straight Max’n”, “Dangla’s Love” and “Homies Dedication” feature Iyesha Johnson and Latonya Coleman on background vocals, adding a nice touch of R&B to the project.

Unfortunately « Straight Max’n » was his first and only album as Ramadan "The Dangla" Smith was shot and killed in 2007. He was the younger brother of Edward "The Fast 1" Smith and first appeared on his solo album “Down 4 The Cause” that came out the same year on G-

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Highly topical with their upcoming sophomore full-length album, "Peace
And Conflict", through The Sign Records
- Reissue of the critically acclaimed self-titled debut album, from 2019.Produced
by Ola Ersfjord (Lucifer, Primordial, Dead Lord). - The album got massively hyped
worlwide, taking the band all over Europe in three separate head-line tours around
France, Germany, Spain, Switzerland and Sweden. - Sweden Rock Magazine,
Sweden's leading Rock magazine described the album as - "Glowingly performed
and with a clear direction towards future great deeds. You can't ask for more from
this fully- fledged debut album" - The vinyl reissue is pressed on Black/ White
Splatter vinyl, and Purple vinyl, each limited to 500 copies. - For fans of early
Rush, Thin Lizzy, Spiders, Blues Pills, Graveyard, MaidaVale, and Swedish Rock!

Sydney Sprague makes music for the end of the world. With everything seemingly imploding in on itself, there’s one thing we can all try to be authentic and it’s the one word that best describes Sydney’s songwriting. Sydney carries the same fire, creativity, and wit of her 90’s pop idols, combined with her familiar-yet-surprising hooks and hard hitting, topical lyrics.

Lavinia Meijer is a pioneering and exciting musician and composer, and one of the most important harpists of her generation. Known for her passion in broadening the possibilities of the harp – both in terms of sound and appeal
– she’s garnered worldwide critical acclaim for her intelligent, inventive interpretations of both orchestral repertoire and more contemporary music, playing alongside the likes of Philip Glass and Ólafur Arnalds, and performing works by Radiohead in classical venues.

Four years in the making,AreYou Still Somewhere? sees Meijer combine original compositions with her long stated dream of interpreting modern composers and musicians for harp. Works by Ryuichi Sakamoto, Ólafur Arnalds, and Alexandra Streliski all feature, as do collaborations with Dutch pianist Pieter de Graaf and punk legend Iggy Pop.

Are You Still Somewhere? concerns self-reflection and inner growth, topics that have come to the fore over the last couple of years. Family too; looking back, longing, and living with one’s regrets are raked over in ‘Mom & Dad’, a track that features spoken word poetry from Iggy Pop. The 2022 Edison Award-winning album Are You Still Somewhere? includes a 4-page booklet.

After a rollercoaster two years promoting his last offering King Of Clubs in the middle of a global pandemic, alt-rock legend Jamie Lenman returns with the most intimate, most ambitious and most accessible album of his career. Recorded at The Chapel studios in Chichester over January and February this year with producer Mark Roberts, The Atheist is eleven tracks of guitar driven indie-pop, each laden with enough hooks to catch Moby Dick. With themes ranging from toxic friendships to socio economics to the religious topics inherent in the title, Lenman eschews the aggressive approach of previous records for a more melodic mood. “I’ve had a few of these songs kicking around for years, just waiting for the right album,” says Lenman. “Some of them were written for my first solo project Muscle Memory, some of them were even written whilst I was still in my band, but they were all too pretty. After twenty years of hard edges, particularly the ugly overtones of my last record, it was a relief to mellow out and just revel in the pure joyfulness of the thing.” From the huge earworm of Talk Hard to the stadium-sized chorus of Lena (Don’t Leave Me), the sheer catchiness of the material is undeniable, and was proven when Lenman took his new-look three-piece band to this year’s Download and played a set of entirely unheard tracks. The capacity crowd erupted into spontaneous sing-alongs despite never having heard a single note before, resulting in one of the surprise highlights of the weekend. Combined with dazzling artwork from renowned Washington Post/Wall St Journal illustrator Michael Parkin, Lenman will be unleashing his new softer side on an eager public later this year, alongside a string of live shows and the third iteration of his own mini-festival, Lenmania.

Essentia is not only the latin word for – you guessed that right – essential, but also the name of Krystal Klear’s return to Running Back. While trance might be a state of mind (according to DJ Dag), it’s also a tone theory with a very specific tool kit. Here you get the version that makes sense in the aural universe of a producer that got raised on a diet of hip hop, boogie and the foundation tunes in house music. Moderate in tempo, the result is still euphoric to say the least: melted brains, stimulated spinal cords and rave rampage included. Essentia balances the euphoric rush of its topical genre perfectly with the happy-sad moments after the rave. If that is not musical or emotional enough for your taste, you will find content in the Sunrise version. Excessive use of the well-beloved choir, breakbeats and - downs make it equally irresistible for sun-ups and love-ups.

Flip the coin for Winnies Karaoke. Stemming from the same source and session as Essentia. Named after the interactive entertainment bar in Chinatown NYC and made sometime in the early morning hours, its the quintessential Krystal Klear. Sawtooth boogie, if you will. It’s counterpoint is the Sundown mix. Techno prog for the tilted generation.
Sometimes, in the permanent search of happiness, the world of tomorrow needs the sound of yesterday made with the means and minds of today. Essential bliss.

Nico Santos
Nach seinem erfolgreichen Release des Albums „Nico Santos“, das u.a. Hits wie „Better“ mit Lena, „Play
With Fire“ und „Like I Love You“ mit Topic enthält, folgt nun der Re-Release als Vinyl. Inklusive der
Single „Running Back To You“ mit DJ Megastars Martin Jensen und Alle Farben, sind insgesamt 5 neue
Songs enthalten.
Streets of Gold
Mit seinem Megahit „Rooftop“ schoss Nico Santos im Jahr 2017 sprichwörtlich durch die Decke. Schon
nach kürzester Zeit wurde der Top 5-Track für mehr als 400.000 verkaufte Einheiten und 75 Millionen
Streams in Deutschland und Österreich jeweils mit einem Platin-Award ausgezeichnet. Und auch für die
im Juni 2018 veröffentlichte Nachfolgesingle „Safe“ konnte der 26-jährige Singer/ Songwriter Gold von
unseren österreichischen Nachbarn entgegennehmen. Nun erscheint sein Debütalbum „Streets Of Gold“
als um drei exklusive Bonustracks ergänzte Neuauflage erstmalig als schwarze 2LP Vinyl Edition!

If you need to know anything about Australian-American pop trailblazer Betty Who, it’s that she is a survivor and an LGBTQ+ icon due to her infectious, always-inclusive artistry. Moving from the rigid major-label machinery to rediscovering her power as an independent artist, Betty Who is primed to kick off her latest, most triumphant chapter on her fourth studio album BIG!

Betty sings with as much pop exuberance as ever on the most open-hearted and personal work she’s ever produced. BIG explores many topics including self-love and acceptance, as well as career perseverance.

While frontman Tom Greenhouse’s off-kilter observations and bizarro anecdotes remain front and centre, this time round the band up their game with a more vigorous sound that keeps pace with Greenhouse’s wholly distinctive lyrical style. Greenhouse continues to revel in telling increasingly surreal short stories, rejoicing in the power of the deadpan one-liner and bedecking his songs with far-flung cultural references. But now the band employ a variety of techniques with improved pro- duction, from the impulsively bashed keyboards and jubilantly repetitive guitar stabs that have be- come their trademark, to flirtations with–heaven forbid!–melody, chord progressions and arrangements which elevate their tried-and-tested blueprint into a more exciting and cohesive whole.

Opener Musicians is the perfect embodiment of this conscious development. Here, Greenhouse re- counts a sarcastic tale of half-truths that see him galavanting around town trying to put a band to- gether. Sonically, it begins with a caustic callback to the group’s first EP Crap Cardboard Pet and its über-minimalist aesthetic. But by the end of the song a joyous festival of afrobeat-inspired in- struments including samba whistles, bongos and saxophones are added to the mix as the front- man, ironically, fails in his mission to recruit more players.

With Get Unjaded, the band have somehow conjured something close to pop, without abandoning the repetition and wit that’s relished by their early fans. I Lost My Head also adopts a jangle-pop sheen with a luscious synth melody, as the frontman ditches the spoken-word for a surly croon (his first known attempt at actual singing!) that provides a welcome breather from the onslaught of dense recantations that are the band’s bread-and-butter.

While the lyrics here are still often humorous and political, Greenhouse has also notably expanded his interests on this album to include a new host of topics. The influence of extraterrestrials, for ex- ample, infiltrates the subject matter frequently. On The UFOs, the mysterious protagonist Blinkus Booth’s isolationist lifestyle is apparently interrupted by the spectres of otherworldly visitors, while closer The Neoprene Ravine feels like an extract from a deep space rock opera. Here, jaunty and angular instruments pile-on as we are fed images of an interstellar Spinal Tap, the titular fictional band “The Neoprene Ravine” who are “the alien equivalent of the Velvet Underground” and include an alien Lou Reed yelping “too busy sucking on my little green ding dong!”.

Meanwhile, Hard Rock Potato is propelled by a vortex of keys and synths, a real noise-pop gem comprised of real guitar chords (!) and rock-orientated riffs. Here the stream-of-consciousness lyrics take shots at the sinister financial industry, and include one of the many top-tier one-liners on the album: “It’s not gambling if you’re wearing a tie (even if you’ve got no trousers on)”.

On Sod’s Toastie, The Cool Greenhouse have pushed their distinctive flavour of post-punk to the point of perfection – their incongruous riffs, alchemical instrumental chemistry, and irreverent spo- ken-word vocals are a delight throughout. Sod’s Toastie is hilarious at times, and at others just hilariously good – a not-so-difficult second album.

Best listened to from inside the womb, Duster’s 1998’s debut Stratosphere simultaneously capped off and reinvented the slow core’s first wave. A four track dreamscape that will wake the neighbors and then lull them back to sleep. Hazy, arpeggiated guitars layer over a deliberate drummer with no real place to be, as semi-inaudible vocals warn of millennial malaise and subtly encourage the listener to “rock out, rock out, rock out, rock out.

“Music for dark spaces and closed eyelids, deeply psychedelic but without sprawl, ambient music with a serrated edge of punk.”—The Ringer

“Warm, fuzzed-out sounds that hit home like a tight, melancholic embrace from your favorite person.”—Vice

Yellow and black splatter

While frontman Tom Greenhouse’s off-kilter observations and bizarro anecdotes remain front and centre, this time round the band up their game with a more vigorous sound that keeps pace with Greenhouse’s wholly distinctive lyrical style. Greenhouse continues to revel in telling increasingly surreal short stories, rejoicing in the power of the deadpan one-liner and bedecking his songs with far-flung cultural references. But now the band employ a variety of techniques with improved pro- duction, from the impulsively bashed keyboards and jubilantly repetitive guitar stabs that have be- come their trademark, to flirtations with–heaven forbid!–melody, chord progressions and arrangements which elevate their tried-and-tested blueprint into a more exciting and cohesive whole.

Opener Musicians is the perfect embodiment of this conscious development. Here, Greenhouse re- counts a sarcastic tale of half-truths that see him galavanting around town trying to put a band to- gether. Sonically, it begins with a caustic callback to the group’s first EP Crap Cardboard Pet and its über-minimalist aesthetic. But by the end of the song a joyous festival of afrobeat-inspired in- struments including samba whistles, bongos and saxophones are added to the mix as the front- man, ironically, fails in his mission to recruit more players.

With Get Unjaded, the band have somehow conjured something close to pop, without abandoning the repetition and wit that’s relished by their early fans. I Lost My Head also adopts a jangle-pop sheen with a luscious synth melody, as the frontman ditches the spoken-word for a surly croon (his first known attempt at actual singing!) that provides a welcome breather from the onslaught of dense recantations that are the band’s bread-and-butter.

While the lyrics here are still often humorous and political, Greenhouse has also notably expanded his interests on this album to include a new host of topics. The influence of extraterrestrials, for ex- ample, infiltrates the subject matter frequently. On The UFOs, the mysterious protagonist Blinkus Booth’s isolationist lifestyle is apparently interrupted by the spectres of otherworldly visitors, while closer The Neoprene Ravine feels like an extract from a deep space rock opera. Here, jaunty and angular instruments pile-on as we are fed images of an interstellar Spinal Tap, the titular fictional band “The Neoprene Ravine” who are “the alien equivalent of the Velvet Underground” and include an alien Lou Reed yelping “too busy sucking on my little green ding dong!”.

Meanwhile, Hard Rock Potato is propelled by a vortex of keys and synths, a real noise-pop gem comprised of real guitar chords (!) and rock-orientated riffs. Here the stream-of-consciousness lyrics take shots at the sinister financial industry, and include one of the many top-tier one-liners on the album: “It’s not gambling if you’re wearing a tie (even if you’ve got no trousers on)”.

On Sod’s Toastie, The Cool Greenhouse have pushed their distinctive flavour of post-punk to the point of perfection – their incongruous riffs, alchemical instrumental chemistry, and irreverent spo- ken-word vocals are a delight throughout. Sod’s Toastie is hilarious at times, and at others just hilariously good – a not-so-difficult second album.

What It Means To be Human is the second in a series of four albums from Jasper Høiby’s Planet B, featuring saxophonist Josh Arcoleo and drummer Marc Michel, that focus on global topics of vital importance - Humanity, Climate Change, Artificial intelligence and Monetary Reform. This album seeks connection. A connection between humanity and the planet, between the problems we all face and about an opportunistic optimism to fix them. The mastermind is Jasper Høiby, the esteemed and revered Danish bassist and the deeply reflective, expressive and visionary artist. Whilst there are many moments that display the virtuosity and hard-hitting grooves of Phronesis, the long-standing band that shot Jasper to the limelight, Planet B offers additional rewards of subtle expression. The music is captivating and highly absorbing, enhanced by soundscapes of electronics and interspersed with powerful, emotive speech by some unique and forward-thinking female minds including Grace Lee Boggs, Ruby Sales and Jane Goddall. They all share a profound understanding of the world, only achievable through practical wisdom, each offering their individual take on where we are as a species and what we can do to improve. At the heart of the album is the trio. A group of like-minded and creative souls where the focus is all about the collective sound. As a whole, the music is a powerful, mesmerising and poignant display of musicianship, integrity and storytelling. What it Means To Be Human is an album at the forefront of the creative European scene.

Italian sound artist GIULIO ALDINUCCI returns with his 4th album on KARL: "Real" is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed "Borders And Ruins" (2017), "Disappearing In A Mirror" (2018) and "Shards Of Distant Times" which all made it onto several year's best lists.

With now his 4thalbum for Karl, the sound artist from Siena / IT has proved a steady and prolific artist on the label roster. And each time, GIULIO ALDINUCCI delivers a new ambient masterpiece that clearly carries his signature as composer / producer and yet reveals a slightly different approach to his modus operandi. ALDINUCCI's massive layers of sound, built from field recordings and an array of electronic gear, blend droney ambient with heavenly voices / sacred music that create an atmosphere of a consolatory melancholy – alien, but with a graspable presence of human souls. And each album deals with a topic that ALDINUCCI came across in his observations of and reflections about today's society.

In the words of GIULIO himself:

"The digital media we live with shape and define reality by filtering it, letting us run the risk of living without our personal and unique one. My new album expresses a need of something unmediated and authentic. "Real" is a reflection on the endless possibility of sonic transformation, the ability we have to create new realities transmuting the soundscape around us and the inner soundscape inside us, even only by imagining it. A (deep)real experience permeated by dreamy lyricism."

Begging the Moon is a collection focused upon an early-to-mid 20th century style of Thai popular song, commonly named Phleng Thai sakon (meaning "song which is both Thai and universal"). With recordings taken from the end of WWII until the start of the 1960s, many of these tracks may also be referred to as Luk krung (meaning "child of the city") a more urbanised style of popular song that is in contrast to the Thai country music known as Luk thung ("child of the field").

Following the Thai cultural revolution of the 1930s and the following reign of west-leaning premier Plaek Phibunsongkhram, Thai culture began to adopt more and more western influences - with Thai traditional and classical music starting to incorporate western notation and particularly Jazz-orientated themes. Thai folk melodies were also adapted to create "ramwong" - a merging of popular western dance music styles such as the tango or rumba, spear-headed at the time by the pioneering Suntaraporn band.

In the years following the end of WWII, the Phleng Thai sakon began to gradually develop sub-genres such as phleng talad (market songs) or phleng chiwit (life songs) focused on rural topics, and sung with rural accents. A little while later this would lead to a formal demarcation in the music - with the polished and western ballad-orientated music known as Luk krung, and the more traditional/country style now dubbed Luk thung. The gap between the two would then widen, both musically and culturally, right up to the present day.

The recordings compiled here can broadly be categorised as being in the former Luk krung style, though some tracks may touch on rural subjects and motifs. However that is not to say they are overpowered by western musical influence - many of these tracks display potent aspects of traditional Thai music within their beguiling and romantic arrangements.

Thanks to Peter Doolan/Monrakplengthai.

Freedom is both an integral and multi-layered topic for improvised music, describing its mechanics, aesthetics, and values and often an underlying political dimension as well. In the case of free jazz specifically, the word carries additional weight given the music's deep connection to the black liberation movement of the 1960's and 70's.

The passionate and unclassifiable work of Calgary-based improviser Jairus Sharif embraces each of these definitions of freedom and others, albeit strictly on its own personal and idiosyncratic terms. Since early 2020, the 34 year-old autodidact has been generating a steady stream of homespun solo recordings that forge unprecedented connections between hip-hop abstraction, cosmic skronk, outsider jazz, and staunch post-punk DIY ethos.

Leading up to the pandemic, Sharif's immersion in spiritual and exploratory jazz had culminated in him deciding to purchase an alto saxophone. Unbeknownst to him this instrument would be a catalyst for him to discover his own ardently individualistic artistic voice.

Prior to that point, he had always been somewhat of a solitary musical traveler. In 2002, he acquired his first instrument—a pair of Technics 1200s — but struggled to find local collaborators that had equal investment in hip hop culture. Ultimately, Sharif picked up the guitar, turning to the resilient local punk community, that had also nurtured both of his mothers some time earlier.

As Black Lives Matter gained momentum in the wake of George Floyd's murder, Sharif was suddenly flooded with an acute awareness of his own identity. It compelled him to zealously plunge headlong into open-ended spontaneous solo creation. Water & Tools, his strange and stirring debut for Toronto's Telephone Explosion Records (home to full-lengths from the likes of Brodie West's Eucalyptus, Mas Aya, and Joseph Shabason), offers a glimpse into this ongoing hermetic journey.

As Sharif dedicated himself to uncovering his own deeper musical truths, he assembled a home studio in his basement, cobbling together a drum kit from bits his bandmate had left at his house pre-pandemic, chaining effects together and outfitting the entire space with microphones. Somewhere between the chaos of child's treehouse and the tidy import of a shrine, this space (pictured on the album's back cover) consecrated his own imagination. He laid it out to maximize access to any and every tool in his arsenal, providing him a freedom to explore that he had never permitted himself to consummate before.

Within this cozy private universe, his recent purchase—the saxophone—assumed new meaning. It furnished a tangible connection to the black radicalism that mobilized free jazz, but also something far more personal. From a technical standpoint, the instrument was completely unfamiliar to him, yet rather than this being a hindrance to Sharif, his inexperience opened fruitful path forward, unencumbered by preconceptions. Resolving to shirk formal training, convention, and build his own understanding of it from scratch, allowed him to access his most raw, fundamental creative impulses. The Saxophone's inseverable bond with breath compounded this effect, echoing revelatory discoveries he had been making about breathing through yoga, research, and psychotherapy. Of course, the parallels with BLM's harrowing rallying cry—“I can't breathe”—were not lost on him either.

Water & Tools is a dense, contradictory statement with a blustery surface that shelters a soulful heart. It's generous music, exuding profound vulnerability—grappling with the loss of one his mothers, Lisa—all the while brimming with electric wide-eyed wonder. Almost every one of the nine pieces seems to carry some semblance of a groove, while remaining completely untethered from pulse. For Sharif, this collection is an expression of newfound lucidity, however for the listener his sonic concoctions act as powerful psychotropics. At points, there's a timelessness that's conveyed through the music's processional, ritualistic tenor, and yet there's an endless amount of wild, futuristic detail waiting to unspool at any given moment. Similarly, while this recording emerges from Sharif's private pilgrimage and personal emancipation, he also leaves room for collaboration. Woven throughout Sharif's one-man-ensemble textures, one finds Maxmilian Turnbull (of Badge Epoque, U.S. Girls, and Cosmic Range infamy) providing sundry keyboards and treatments, as well as his mixing skills.

Whether conjuring effusive psychedelia or plumbing introspective depths, the music that Jairus Sharif produces is singular, visceral, and wondrously unpredictable. Water & Tools sketches a raw, firsthand account of his nascent explorations within his own unbridled imagination.

Talkbox is multidisciplinary artist Michael O’Mahony’s third album and his first for 33-33. It’s his most complete and cohesive music project to date, a culmination of ideas, happy accidents and compositions that have been cut up and re-arranged over many years. The album’s sonic signature is the Vocaloid software synthesizer – the titular ‘talkbox’ – famously by Japanese cartoon Hatsune Miku. O’Mahony became aware of Vocaloid in 2015 through the popular Nyan Cat meme, which em marketed ploys the software. Excited by the emotive potential and realism of Vocaloid’s voice synthesis, he began to imagine an album that combined its capabilities with italo disco- and UK garage-inflected sounds. As the version of Vocaloid O’Mahony had access to sang only in Japanese, O’Mahony relied on Google Translate to obtain the required characters to enter into the software. In early experiments with the software, the north Londoner translated BBC match reports from his beloved Arsenal FC. Eventually, he amassed a library of syllables and phonetic sounds, from which he created the melodies crystallised on the record. As far as we know, these vocal lines have no meaning in lyrical terms. O’Mahony works largely in an iterative way; song ideas are reworked over and over in different styles, sometimes over a period of years. Multiple versions of a song might appear on an album, each one with its own particular nuances in feeling. Music perhaps does not always flow out of O’Mahony, but emerges over time. O’Mahony’s album forms part of his wider project: an analysis of his subjectivity through art and psychotherapy. The music complements his writing and video work, which feature in his performances. He writes in chains of association, speculating on topics such as family dynamics, or the meaning of recurring dreams about a childhood game console. His video practice features footage of objects found in his parents’ house, such as his sister’s childhood My Little Pony toy and his retired psychiatrist father’s lecture tapes. The music, at once synthetic and heartfelt, imbues the writing and video work with a strange tenderness. Taken together, these various aspects of O’Mahony’s work form a meditation on the emotional attachments we make to consumer objects and the role of early life in character formation. Tracklist 1/Talkbox 2/More Succinct 3/Electricity 4/Not Giving Up 5/Dinosaur 6/Trumpet 7/Electricity (Rock Version) 8/Aliss 9/Be Good 10/Not Giving Up (Slow Version)

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

Lamentations is the debut EP by foundational cold light member Birthmark.

Part late night confessional part post rave revelations part call to arms, Birthmark dissects the nuance of of modern life & the grey area in his inimitable style, never afraid to delve into topics that many brush under the carpet.

Sonically taking as many cues from from 90's british techno, dub, j-pop & david lynch soundtracks as the grimey raps he grew up on, he conjures a pallate that fully embraces the duality of living in a place where you never quite seem to fit in.

Honestly i cannot say enough good things about this record, the initial demo's were whaat pushed me to start Cold Light, it feels like it has always been a part of my life.

“… Its not up to others to decide what kind of human being you are, you have to find the confidence to show people - this is who I am”

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice. Initially released in 2015 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice is finally available to fans everywhere. The first in a series of EP releases, Lice featured production from DJ Spinna, Optiks, Blockhead, Alex "Apex" Gale and Mike Shinoda. The original cover art was designed by renowned illustrator Jeremy Fish.

Initially released in 2016 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice Two: Still Buggin' is finally available to fans everywhere. The second in a series of EP releases, Lice Two: Still Buggin' featured production from Dan Hayden, Mondee, Aesop Rock, SoberMindedMusiC and Mono En Stereo. The original cover art was designed by renowned illustrator Jeremy Fish. Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Triple Fat Lice is finally available to fans everywhere. The third in a series of EP releases, Triple Fat Lice featured production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris and M Slago. The original cover art was designed by renowned illustrator Jeremy Fish. Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

"Since 2004, ALTER BRIDGE has been one of the most consistent bands to successfully represent the rock and metal communities with their driving melodies, blazing guitar riffs and topical lyrics that resonate with fans around the globe. Their seventh album, Pawns & Kings, continues that trend with 10 unforgettable new additions to their catalog. Coming off the launch of what was shaping up to be one of the band’s pinnacle moments with Walk The Sky (#1 US Billboard Top Albums, #1 US Current Rock and Hard Music, #4 UK Official Charts, #1 UK Independent and Rock/Metal, #5 Official German Album Charts), everything came to a halt as the world would forever be changed due to the events of a global pandemic. The time the members of ALTER BRIDGE spent apart sparked a new fire and heaviness when the quartet comprised of Myles Kennedy on vocals/guitars, Mark Tremonti on guitars/vocals, Brian Marshall on bass and Scott Phillips on drums would reconvene for what would eventually become Pawns & Kings. Teaming with longtime producer and collaborator Michael “Elvis” Baskette, the album shines with massive, menacing arena-ready production while emerging as another sonic testament to the seasoned Kennedy/Tremonti songwriting dream-team. The band deliver three epic anthems, including two that clock in at over six minutes – the reflective and absolutely epic title track “Pawns & Kings”, grim-riffed, progressive influenced “Sin After Sin”, and the emotive eight-and-a-half minute journey “Fable Of The Silent Son.” “Silver Tongue” is backed by a punishing intro riff that gives way to one of the band’s most infectious choruses as Myles Kennedy sings, “Truth of a crime. You can’t outrun. Under the spell of my silver tongue,” while tracks like “Holiday” and “Season Of Promise” ebb and flow within the trademark multi-faceted metallic rock attack that has enchanted ALTER BRIDGE fans for a generation. Songs like “This Is War,” “Dead Among The Living” and “Last Man Standing” showcase the heavier side of a band firing on all cylinders, with soaring leads, hair-raising vocals and introspective lyricism abound. Mark Tremonti helms lead vocal duties on the uplifting track “Stay” – an interchanging of skills that first debuted on the band’s fourth album, Fortress, and continues to this day. Nearly 20 years into their celebrated career, one thing is for sure – Pawns & Kings offers a musical snapshot of a band that shows no signs of slowing down and continues to push itself creatively for the whole world to see. before peaking with a frenetic, metallic bridge-breakdown and piercing solo worthy of rock legend.

Trouble’s 2013 comeback album (feat. Kyle Thomas on vocals) is 100% quality Doom/Heavy Metal! Trouble’s last studio offering (from 2013) has proven to be quite extraordinary. After putting out the “Simple Mind Condition” and replacing Eric Wagner with Kory Clarke, Trouble looked like they were to reinvent themselves. After trying out Kory, Bruce Franklin and Rick Wartell decided to call Kyle Thomas of Exhorder and Alabama Thunderpussy fame to reprise his role as vocalist for Trouble since he had acted as their vocalist for 4 shows during the late 90’s but had never recorded with them. With Kyle Thomas, Trouble was able to truly reinvent themselves, and in a very positive manner. Obviously the first notable topic of interest is the mentioned Kyle Thomas. As this was the first album to not feature long-time vocalist Eric Wagner (who sadly passed away in 2021). With that said, Kyle does a stellar job. He possesses an incredible vocal range, and delivers his vocals in a powerful way. Many of his vocal melody’s soar over nicely layered chords, and a lot of Kyle’s harmonies mesh nicely with the music. Kyle certainly deserves credit for stepping into the lead vocalist position and delivers a stellar performance. Musically, the album sits between Trouble’s classic doomy metal sound and their psychedelia/rock infused material. Some Trouble fans do not like that era of Trouble too much while others embrace and love it moreover Trouble’s classic releases. “The Distortion Field” manages to effectively mesh Trouble’s classic sound and their psychedelic rock nods in a very balanced way. The song writing is more straightforward as far as arrangements go, and the album is full of powerful riffs; Bruce Franklin and Rick Wartell once again prove that they are the undisputed champions of heavy doomy riffing. Their powerful lead work can be heard throughout the album, and as always adds to the Trouble vintage sound. Upon its release in 2013 everybody gave Trouble the credit they deserve, and the album aged really well.

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2016 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice Two: Still Buggin' is finally available to fans everywhere. The second in a series of EP releases, Lice Two: Still Buggin' featured production from Dan Hayden, Mondee, Aesop Rock, SoberMindedMusiC and Mono En Stereo. The original cover art was designed by renowned illustrator Jeremy Fish.

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Triple Fat Lice is finally available to fans everywhere. The third in a series of EP releases, Triple Fat Lice features production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris and M Slago. The original cover art was designed by renowned illustrator Jeremy Fish.

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)

Anthology introducing the first of a series of albums based on the concept of Aquapelago.

‘’ Since the earliest days of the planet there has been a rhythm of tides that creates coastal interzones where humans have foraged and pursued various livelihoods. Developing boats to fish from and technologies that enabled them to immerse themselves deep underwater, the aquatic realm has been one explored, experienced and imagined in various ways. In an effort to express the vitality and richness of this environment I coined the term aquapelago in 2012. The wordplay was deliberate. The neologism was designed to distinguish the liquid inbetweenness of this space from the dry, scattered, lands of archipelagos.

The concept of the aquapelago coalesced around themes taken from various places. Epeli Hau’ofa’s idea of an Oceanic “sea of islands’” was formative but a number of songs were also inspirational. Torres Strait islander Seaman Dan captivated me with his experiences of pearl diving in the Darnley Deeps in his song ‘Forty Fathoms’ and Norfolk Islander singer Kath King imaged how sea-turtles might have experienced ecological change in her song ‘Tech me how fer lew’. Other reflections on watery realms also appealed. Debussy’s solo piano piece ‘La cathédrale engloutie’ soundtracked me as I researched myths of lost Lyonesse while Mike Cooper’s Kiribati, an ambient exoticist album about the imperilled archipelago (recently re-released on Discrepant), caused me to reflect on the social and cultural impact of sea level rise before that topic became a high-profile concern.

This compilation album takes the concept of the aquapelago into new depths and breaches it on fresh shores. The tracks are soaked with the aquatic. Bassy sonorities boom as if heard deep underwater. Bubbly textures breach the surface, water drips and seabirds soar high above waves. Sugai Kei samples fragments of text concerning the Ningen, a fantastic humanoid/whale that reflects the ‘aquapelagic imaginary’ of modern Japan and its preoccupation with industrial whaling. Andrew Pekler continues the orientation of his Phantom Islands project - a sonic atlas of imaginary places - with a soundscape as if heard by a swimmer just offshore, mixing sounds of the island and the sea together. Mike Cooper’s sonic reflection on Hong Kong’s Lamma Island is similar, combining the island’s ubiquitous barking dogs with the slurp of waves on rocky shores, conjuring a languorous time before Chinese crackdowns on the territory.

Taking another tack, the Dead Mauriacs gleefully water-ski through collage of tropical island exoticisms, replete with glitchy orientalism, while Babau combines skittering idiophone melodies with resonant glissandi. Vica Pacheco moves between dense and airy sounds, as if crossing between surf lines and the space above. Yannkick Dauby’s track is also imbued with in-betweenness, evoking ambient sounds heard through a ship’s hull. Sculpture’s ‘Froth Surfer’ realises its title, with bubbling sounds and rhythms that evoke Hawaiian surfing filtered through layers of time and distance. Reminding us of the shore necessary for aquapelagic spaces, Franceso Cavaliere and Tomoko Sauvage’s composition anchors the album, centred around shaken rhythms and resonant ringing tones and drones.

Taken together, the album sketches the contours of the aquapelago as it might be imagined and conjured in sound – an endless oceanic realm that laps on to beaches and crashes against cliffs. The performers navigate this space under alternately starry and cloudy skies, orientating themselves with sounds, textures and sonic samples of their terrestrial homes while we float with them. ‘’
Philip Hayward December 2021

With more than 30 years in the game, D.I.T.C. affiliate Andre the Giant of Showbiz & A.G. fame continues to prove that his pen game is better than ever with the release of his latest full length effort, Giant In The Mental.

The album title is more than just a reference to one of his earliest tracks; it’s a statement that he remains head and shoulders above the competition like the rap giant that he is. And he’s proudly doing it all on his own with this record, without any guest appearances.

“I am really not moved by guest appearances,” A.G. explains. “Music for me is mostly therapy, and I don’t need anyone else to help me vent and express my thoughts.” He’s absolutely right, because across the 10 tracks on Giant In The Mental, he skillfully unpacks and tackles a number of different topics with his trademark wit and wisdom.

The Bronx rap legend straight-up kills it on every level, too, from clever wordplay to engaging storytelling raps. If you want his bully bars, just listen to the hard-hitting opening track, “Andre The Giant,” with speaker-thumping production from DJ Manipulator. And for storytelling, you can dig into the beautifully written and smooth “Summer School” or the cinematic and stirring “The Sphinx.”

It all amounts to a truly impressive and cohesive piece of work from A.G., who is eager to continue creating art until he can’t meet his own standards. “If I can’t perform at a high level then it’s time to stop!” he says before adding that pushing himself creatively is what this is all about for him. His integrity and passion for the artform is palpable, and it’s those qualities that have helped him remain such a necessary voice—and force— in music.

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2015 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice is finally available to fans everywhere. The first in a series of EP releases, Lice featured production from DJ Spinna, Optiks, Blockhead, Alex "Apex" Gale and Mike Shinoda. The original cover art was designed by renowned illustrator Jeremy Fish.

Grammy-nominated blues, soul and Americana singer is revered
worldwide for her defiant music and fire-breathing performances
' Done Come Too Far' continues Shemekia's riveting, clear-eyed testimony about
our troubled world while celebrating the blessings that keep hope alive. The new
album, available in Clear Vinyl and CD, is again produced by Will Kimbrough, and
an all-star supporting cast includes slide guitar whiz Sonny Landreth, Hill Country
blues great Cedric Burnside and Hi Rhythm Section organist Charles Hodges.
'Done Come Too Far' is another exhilarating Shemekia Copeland showcase, as
her rousing vocals bring the heat in an infectious array of muscular rockers,
stomping blues, swampy soul and heartbreaking ballads. Intense, topical new
originals make up most of the tracks and spirited versions of songs by Ray Wylie
Hubbard and her father, Johnny Copeland, fit right into the mix.
MOJO - September review
BLUES MATTERS - upcoming review
BLUES MATTERS - upcoming feature with interview
BLUES IN BRITAIN - upcoming review
BLUES IN THE SOUTH - upcoming review
BLUES' BLUES - upcoming review
BLUES BYTES - upcoming review

Megan Black is a Scottish musician, vocalist and songwriter - with the
kind of gritty,alluring vocal ability that recalls icons like Stevie Nicks and
Alannah Myles, she creates a powerful sonic bridge between her 70sinfluenced sound and contemporary views on feminism, mental health,
addiction and many other relevant topics in today's society

Vessels promise an escape from responsibilities towards the landscape, they facilitate our avoidance of conscientiously feeling our attachment to the mainland. The visual nothingness of deep water and clean horizons fools the brain and delivers a treacherous feeling of independence.

We ignore the truths expressed by landscapes, so we mould them into urban projects for our strange desires. We clean up the irrationalities by which nature constructs itself. Then we look up to the skies, where the abstractions we have to draw in our minds should reside and inspire us.

We peer into the various shades of blue above the waters, the emptiness guarantees possibilities of our abstractions becoming realities. The apathetic stare into neat, straight horizons transforms our ancestral landscape into dirt and danger, when looking back to it.

To be on a ship under quarantine, is an upside down experience, for the promised escape has turned into a forced paralysis. The Lima flag (? - ? ?, in morse code), presented on the outer sleeve of this record, indirectly demands of all passengers to stay aboard and contemplate their escape from the land they now desire to return to.

These four piano pieces could be considered as a classical sonata (allegroadagio-scherzo-rondo). In a recital they are accompanied by four video pieces by artist Karl Van Welden. We picked the videos out of his extensive archive, choosing images intuitively while listening to the piano music. The theme of ships relating to quarantine thus came unannounced but of course, we were in the middle of the pandemic at the time.

Solastalgia was already waiting as a title for the new album before march 2020. I first came across the word in Underland, a book by Robert Macfarlane (2019). He defines the word as "The unhappiness of people whose landscapes are being transformed about them by forces beyond their control". These forces and this unhappiness are, I believe, what constitutes the modern human. Solastalgia, about the music We haven't found them yet, the words to talk to each other about the worrying signs of climate change. Feeling worried when walking on autumn leaves in the beginning of August should be completely normal. But how do we communicate about it? We don't want to be just the next hysterical doomer.

With this music I try to focus on the climate pain itself, gently inviting the listener to investigate their latent feelings of unease and growing concerns about the environment. As in real life, we circumvent the real issues because they are just too big, there are no words, no expressions yet.

This album tries, in four different attempts, to carve out a path towards communicating about a deeper pain that eventually will connect us all. My general method is to start with a comforting melody, full of fake nostalgia, which, after changing gear to autodestruct mode, morphs into a painful question mark.

The first part sets off with an idyllic melody, accompanied by repeated notes, as a far, muted echo of an alarm. The melody starts to explain itself painfully into a dissonant whirlwind in the high register, sounding not unlike Ravel's Gaspard de la Nuit bravura. In the second piece a warm Beatles like melody (And I love her) gets confronted with the weird hippie mantra of a later Lennon song War is over, if you want it. Sentences get reduced to syllables and result in lonely notes that crash and shiver under the burden of too much meaning. Like Shostakovich's latest work, the Sonata for viola and piano.

The descending melody of Bach's Erbarme dich, Mein Gott is echoed in the upper and lower voicings of the third piece, juxtaposed to a typical, threatening Ennio Morricone Western dotted rhythm accompaniment. This rhythm eventually evolves into citing the 1972 Captain Beefheart early ecological warning song Blabber and Smoke (there's a big pane/pain in your window, it's gonna hang you all,... dangle you all). Towards the middle of the piece, the music explodes and the three layers get dispersed all over the keyboard in a virtuosic maelstrom towards another painful question mark. The bitter answer is going back to business with a barely noticeable citation of the first notes of the RZA's Liquid Swords album.

The final piece is some kind of mantra, the same 7/4 pulse all throughout the piece. The dampers of all A's and B's on the keyboard are released by the middle pedal, thus sustaining an ever present resonance. Melodic cells alternate in shifting quantifications with small, bell like percussive cluster playing. While composing this piece an image crept up: walking out of the church on Sunday morning, tolling bells enthusiastically moderating the churchgoers' small talk in the local dialect. Apparently I have tried to evoke this kind of conversation, but injecting it with fictitious alarming conversation topics, the contemporary.

Frederik Croene (August '22)

»HD+« is a data dvd, documenting uwe schmidt's aka atomTM's visual aesthetics for the first time. the conceptual engagement with and the critical yet diverting examination of pop music that's always delivered with a twinkle in the eye is a central topic of the musician's diverse creative work and cer- tainly included in this visual presentation of it. together with the second remix ep »riding the void« to be released this summer, »HD+« marks the provisional completion of atomTM's »HD« cycle. besides tracks from the »HD« album (r-n147), the video collection does as well contain tracks from other atomTM recordings such as »streuung«, originally released on »winterreise« (r-n140), and tracks taken from external releases such as »praezision«. in order to present the video material in high resolution and at the best quality, no special format- ting was used, but for playing the videos, the following system requirements have to be met: OS: Mac OSX 10.5 or later, Windows 7 or later processor: 2.4 GHz Intel Core 2 Duo or faster RAM: minimum 2 GB video RAM: minimum 512 MB furthermore, we have to thank the following people who helped realizing this complex work:

With their sophomore full-length "Gotta Light?", dark rock innovators CRONE are cruising in a high octane fuelled hotrod. Channelling their personal musical inspirations that range from ALICE IN CHAINS, via KILLING JOKE, NEW MODEL ARMY, and JOY DIVISION to PINK FLOYD among many others, the Germans leave their very own and personal mark on the genre that has been brought back to the forefront of interest by acts such as GHOST in recent years. While composer, guitarist, and singer Phil Jonas had felt tired, burned out, and empty, working on new songs for CRONE provided the spark that kindled the firestorm of fresh ideas and led to the creation of "Gotta Light?". The album title was inspired by the haunting eighth episode of David Lynch's masterpiece TV series "Twin Peaks". A corresponding element of the mysterious and surreal permeates all of the new songs that revolve around topics such as the hope of receiving signals from the afterlife ('Waiting for Ghosts'), shattered dreams ('Abyss Road'), and a guiding last will ('Gemini'). CRONE was conceived out of a musical collaboration between Phil "sG" Jonas and EMBEDDED drummer and guitarist Markus Renzenbrink. Both musicians wanted to explore musical horizons beyond the metal limits of their regular bands at the time. As a result the "Gehenna" EP was released in 2014 and sparked a first wave of interest. Critics labelled the first effort post-rock, post-punk, and even as shoegaze. The well-received debut full-length 'Godspeed' hit the streets in 2018 and its more focussed and consistent songs got often filed under "post-rock". With CRONE having been elevated to the main band of each protagonist, the band's renewed focus and urgency is clearly audible on "Gotta Light?". With Christian Schmidt a permanent keyboard player has been added to the line-up that now also features lead guitarist Kevin Olasz for added sparkle and sonic depth. From the ashes of SECRETS OF THE MOON a dark reborn phoenix is rising with CRONE and this bird of prey is ready to rock humanity's unstoppable descent into madness: "Gotta Light?"

With their sophomore full-length "Gotta Light?", dark rock innovators CRONE are cruising in a high octane fuelled hotrod. Channelling their personal musical inspirations that range from ALICE IN CHAINS, via KILLING JOKE, NEW MODEL ARMY, and JOY DIVISION to PINK FLOYD among many others, the Germans leave their very own and personal mark on the genre that has been brought back to the forefront of interest by acts such as GHOST in recent years. While composer, guitarist, and singer Phil Jonas had felt tired, burned out, and empty, working on new songs for CRONE provided the spark that kindled the firestorm of fresh ideas and led to the creation of "Gotta Light?". The album title was inspired by the haunting eighth episode of David Lynch's masterpiece TV series "Twin Peaks". A corresponding element of the mysterious and surreal permeates all of the new songs that revolve around topics such as the hope of receiving signals from the afterlife ('Waiting for Ghosts'), shattered dreams ('Abyss Road'), and a guiding last will ('Gemini'). CRONE was conceived out of a musical collaboration between Phil "sG" Jonas and EMBEDDED drummer and guitarist Markus Renzenbrink. Both musicians wanted to explore musical horizons beyond the metal limits of their regular bands at the time. As a result the "Gehenna" EP was released in 2014 and sparked a first wave of interest. Critics labelled the first effort post-rock, post-punk, and even as shoegaze. The well-received debut full-length 'Godspeed' hit the streets in 2018 and its more focussed and consistent songs got often filed under "post-rock". With CRONE having been elevated to the main band of each protagonist, the band's renewed focus and urgency is clearly audible on "Gotta Light?". With Christian Schmidt a permanent keyboard player has been added to the line-up that now also features lead guitarist Kevin Olasz for added sparkle and sonic depth. From the ashes of SECRETS OF THE MOON a dark reborn phoenix is rising with CRONE and this bird of prey is ready to rock humanity's unstoppable descent into madness: "Gotta Light?"

• Leon Thomas’ debut as a leader was this classic of spiritual jazz recorded for Bob Thiel’s Flying Dutchman label. Originally pressed in 1969, it features an all-star band including Pharoah Sanders (under the name Little Rock), Lonnie Liston Smith (piano), James Spaulding (alto sax), Cecil McBee (bass), Roy Haynes (drums) and Richard Landrum (bongos).

• “Spirits Known And Unknown” features versions of ‘The Creator Has A Master Plan (Peace)’, the classic ‘Song For My Father’, ‘One’, ‘Echoes’ and the topical ‘Damn Nam (Ain’t Goin’ To Vietnam)’. Subtitled New Vocal Frontiers upon release, the rear sleeve noted that “Thomas is searching as far into himself as he can go for spirits known and unknown and is creating new dimensions of vocal expressiveness to bring these spirits – these feelings – into the experience of others.” The fact that this album is hailed as a classic shows that he succeeded.

• Pressed on 180gm vinyl we have remained faithful to the original pressing replicating the Flying Dutchman label style and gatefold-sleeve.

Thrash 'til death - HATRIOT are finally back with their new album "The Vale Of Shadows", and it is full of thrash gems, a few death metal, hardcore, and metalcore influences and comes with a modern production!

HATRIOT's new album "The Vale Of Shadows" includes topics such as personal growth, pent-up aggression, the Black Plague, serial killers, and a disturbing dark world.
HATRIOT changed their writing style and added a more modern production their new album, also including more death metal, hardcore, and metalcore influences.
The album includes heavy mid-tempo songs and even an instrumental.

Thrash 'til death - HATRIOT are finally back with their new album "The Vale Of Shadows", and it is full of thrash gems, a few death metal, hardcore, and metalcore influences and comes with a modern production!

HATRIOT's new album "The Vale Of Shadows" includes topics such as personal growth, pent-up aggression, the Black Plague, serial killers, and a disturbing dark world.
HATRIOT changed their writing style and added a more modern production their new album, also including more death metal, hardcore, and metalcore influences.
The album includes heavy mid-tempo songs and even an instrumental.

Thrash 'til death - HATRIOT are finally back with their new album "The Vale Of Shadows", and it is full of thrash gems, a few death metal, hardcore, and metalcore influences and comes with a modern production!

HATRIOT's new album "The Vale Of Shadows" includes topics such as personal growth, pent-up aggression, the Black Plague, serial killers, and a disturbing dark world.
HATRIOT changed their writing style and added a more modern production their new album, also including more death metal, hardcore, and metalcore influences.
The album includes heavy mid-tempo songs and even an instrumental.

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Repressed

It's been four-years since La Coka Nostra released their sophomore album, Masters Of The Dark Arts, (the groups first project without Everlast was also their most critically acclaimed project - featured collaborations with Vinnie Paz, Sean Price & production from DJ Premier and Statik Selektah) and the music industry has changed considerably in that time. However, a few things still remain constant; La Coka Nostra will always be as their aptly-titled 2009 debut verified, A Brand You Can Trust, and the group will continue to dazzle their rapid fan-base with sold out shows around the globe with their rau-cous live performances. Always known for tackling controversial topic matter, the group’s new album, To Thine Own Self Be True, finds them once again in torchbearing mode, addressing subjects that most artists shy away from.“This album was created during a time of unique and individual transformation for each member of the group” ILL Bill stated. “Speaking for myself, it’s been a heavy last couple of years.It’s definitely the most personal record we’ve made under the La Coka banner and while we’re still making music that’s hard as fuck, there’s a maturity to this latest batch of songs that makes it different from a lot of the older stuff. I notice the biggest reactions come from the songs our listeners can personally relate to and we needed to make a record like this right now, not only for the fans, but for ourselves. I got alot off my chest on this one. Making music can be extremely therapeutic and making To Thine Own Self Be True was a rebirth and a re-ignition for me.” Slaine had a similar take on the projects thera-peutic manifestation “You don’t put as many years in the game as we have without having ups and downs. We all have gone through struggle and adversity—personally and professionally”Slaine la-mented. “This album was recorded as I walked out of a very dark time toward a place of truth and understanding. Music has been how I feed my family, my plane ticket around the world and a place I’ve built real friendships; but at the very core it’s a tool I use to get through life.This album is a moment in time. It is visceral and real.” While DJ Lethal continues to oversee the production end ofToThine Own Self Be True, the group also enlisted Statik Selektah, Marco Polo, Salam Wreck (D-12, Obie Trice, Proof, B-Real, Tha Dogg Pound) & ChumZilla (from the Demigodz) and get vocal contributions from extended family members such as Vinnie Paz, Apathy, Q-Unique, Sick Jacken, SKAM2? & Rite Hook.

Hailing from Portugal, PHENOCRYST was formed in early 2020 by D.S. (Archaic Tomb, Summon) and P. Tosher (Extreme Unction, Scum Liquor, ex-A Tree of Sign), with N. (Summon, Sepulcros, Concilium) and V.M. (Systemik Violence, Necrobode) joining later on, during the recording of their debut EP. The band is based in the outskirts of Lisbon, and the origin of such conjuration is a rigorous consequence of a vibrant underground activity in the city. D.S. and P. Tosher wanted to create the foundation of a death metal act crossing other influences like doom and some psychedelic vibes, to illustrate soundscapes of disastrous, catastrophic, and annihilating volcanic and natural events. There are not many artists actually singing about this specific topic, if any, and therefore, the lyrical content is also something to explore. As such, the moniker PHENOCRYST is fitting. Aptly titled Explosions, PHENOCRYST now reveal their debut recording. Totaling five tracks (one instrumental) over 23 minutes, Explosions unsettles with preternatural ease, reeking of death stench and obscure delirium. PHENOCRYST are proudly and purely death metal, but are emboldened in their liberation to explore within this rich language: Only Death is Realer. Indeed, Explosions is an explosive event, and one which marks PHENOCRYST's forthcoming debut album, which is currently being prepared. Take the first step into their burnt lands...

Following the success of Land of Nothing EP, Baby Strange are set to
release their second full length album – WORLD BELOW
WORLD BELOW picks up where LAND OF NOTHING left off, with the uniquely
Baby Strange sound encased within haunting melodies, syncopated guitar riffs,
four to the floor drums, huge bass lines and all blanketed under a cover of
melancholy that pulls and tears on the listeners emotions.
Written as a reaction to how the pandemic has played havoc with mental health,
the increasingly visible class divide and the meteoric rise of food banks across
the country – World Below is an album that plays to the paradox of the topics set
out within. Equally dark & beautiful with pop melodies that sync with pure grit.
The result is an album in the truest sense of the word - 10 songs that pull the
listener through a myriad of textures, sounds & emotions, completed with an
array of artwork that generates a visual accompaniment for the topics set out
ithi

Following the success of Land of Nothing EP, Baby Strange are set to
release their second full length album – WORLD BELOW
WORLD BELOW picks up where LAND OF NOTHING left off, with the uniquely
Baby Strange sound encased within haunting melodies, syncopated guitar riffs,
four to the floor drums, huge bass lines and all blanketed under a cover of
melancholy that pulls and tears on the listeners emotions.
Written as a reaction to how the pandemic has played havoc with mental health,
the increasingly visible class divide and the meteoric rise of food banks across
the country – World Below is an album that plays to the paradox of the topics set
out within. Equally dark & beautiful with pop melodies that sync with pure grit.
The result is an album in the truest sense of the word - 10 songs that pull the
listener through a myriad of textures, sounds & emotions, completed with an
array of artwork that generates a visual accompaniment for the topics set out
ithi

Following the success of Land of Nothing EP, Baby Strange are set to
release their second full length album – WORLD BELOW
WORLD BELOW picks up where LAND OF NOTHING left off, with the uniquely
Baby Strange sound encased within haunting melodies, syncopated guitar riffs,
four to the floor drums, huge bass lines and all blanketed under a cover of
melancholy that pulls and tears on the listeners emotions.
Written as a reaction to how the pandemic has played havoc with mental health,
the increasingly visible class divide and the meteoric rise of food banks across
the country – World Below is an album that plays to the paradox of the topics set
out within. Equally dark & beautiful with pop melodies that sync with pure grit.
The result is an album in the truest sense of the word - 10 songs that pull the
listener through a myriad of textures, sounds & emotions, completed with an
array of artwork that generates a visual accompaniment for the topics set out
ithi

Originally released in 1972, A Message From The People remains one of
Charles’ most celebrated albums, as well as the most socially-conscious
work of his six decade career
The record directly confronts societal ills of poverty and injustice while offering a
universal message of brotherhood and hope for peace; topics that are as relevant
today as they were 50 years ago. The album includes such classic tracks as
“They’ll Be No Peace On Earth Without All Men As One,” “Abraham, Martin and
John,” the Gospel infused “Lift Every Voice and Sing” and “Heaven Help Us All.”
The album also includes Ray’s recording of “Hey Mister,” which was played during
a Congressional joint hearing in 1972 to speak on behalf of common citizens to a
government that was widely seen as ignoring their needs.Perhaps the most
impactful track on this album is Ray’s iconic version of “America the Beautiful,”
which quickly became our second National Anthem and has inspired countless
generations since its release 50 years ago

Kari Faux is a multi-faceted artist - rapper, singer, producer, DJ and
clothing designer - from Little Rock, AR - She is known for her bold
fashion and genre-bending music, fusing elements of southern hip-hop,
funk, and alternative soundscapes
Her unique style of rhyming, dashes of sultry vocal harmonizing and confidence
have helped garner a cult following and make her a force amongst the new
generation of hip-hop's most fearless and outspoken female voices. At the start
of her career, Kari's hit 'No Small Talk' was remixed by Childish Gambino and
featured on HBO's Insecure. Since then, she has made an imprint on the music
industry as an independent artist who has released four projects, headlined tours,
opened for acts such as Steve Lacy and Mick Jenkins, and has written or
produced on tracks for artists such as The Internet. Kari Faux's forthcoming
album, Lowkey Superstar Deluxe, drops September 24 and features fellow heavyhitters Smino, J.I.D, Yung Baby Tate, Jazz Cartier and Deante' Hitchcock. Lowkey
Superstar represents a new chapter along Kari Faux's creative journey. What
started as a phrase has turned into two independent albums, a record label,
clothing line and identity representative of Kari's innate superstar qualities mixed
with her lowkey demeanor. The Lowkey Superstar Deluxe album is a sonic
conglomeration of Kari's longtime influences, including funk, alternative, and
southern rap soundscapes and covers a range of topics from self-preservation to
dating to braggadocious raps.

Born in a Gambian griot family, kora virtuoso and afro-fusion pioneer Jally Kebba Susso has been active in the UK music
scene for twenty years. While based in London, he has tirelessly, through both personal and collective endeavours, built a
singular musical identity by working hard on making the timeless Mandinka kora, an instrument he's been playing since
his youth, sound like never before, combining the ancient West African strings with forward-thinking aesthetics and myriad
of musicians and producers from the thriving London music scene such as Onipa, Dark Sky and Kay Suzuki.
Jally Kebba Susso has already released two albums as a solo musician ("Malaye Warr", 2012 and "Banjul - London",
2017), as well as a member of the successful afro-fusion band Afriquoi, whose latest EP has garnered a very wide
support, culminating in several million streams and performances on some of UK's biggest festival stages (Boomtown,
Glastonbury).
Freedom! A heartfelt shout expressing the newfound joy of an African musician whose working conditions, despite his
long-standing roots in the London music scene, have sometimes been precarious.
A newfound freedom to be able to look ahead and fully persue one's need of self-actualisation. Hence this new EP, written
with the help of Jally's accomplished band members (Yuval Juba Wetzler, Nim Sadot and Oli Arlotto) and produced
by Tom Excell (Onipa, Nubiyan Twist), whose 4 tracks all deal with topics (identity, homesickness, family, social justice)
which are dear to Jally's heart as a Gambian native and West African musician settled in Europe.
A pleasant atmospheric opener, "Wulu Doula" rides on a classic Afrobeat groove, while Jally reminds us how we are only
what we become, no matter where we come from and who we inherit from.
"Justice" is a stomping mandinka funk hit, in which "freedom, equal rights and justice" are claimed by Jally for all fellow
artists and musicians from the West African diaspora working in Europe.
Clearly anchored in Gambian music tropes and reminiscent of the pioneering mandinka fusion of Ifang Bondi, "Fakoly"
tells the story of Jally's family lineage, as a member of the 74th Susso generation. As Jally puts it, "being a griot is a way
of life".
Homesickness can be a bitter feeling. But you can turn it around. That is exactly what Jally achieves with "Banjul", a
cheerful, funky tribute to the Gambian capital, in which Jally grew up, learning words of wisdom from his elders.

1998'S CLASSIC SECOND STUDIO ALBUM OF SYMPHONIC, OCCULT
BLACK METAL
PRESENTED ON DOUBLE GATEFOLD VINYL & ON THE VINYL FORMAT FOR THE
FIRST TIME.Opera IX are a symphonic black metal band formed in Italy by
guitarist Ossian & released their debut album 'The Call of the Wood' in 1995 &
over subsequent years have become regarded as one of the most revered &
important Italian bands of the genre. The band's sound is an eclectic concoction,
moving beyond straight-forward black metal, mixing elements of thrash, doom &
death metal with symphonic elements, even folk influences. Opera IX is known for
their strong occult themes blended with topics of paganism & are also known for
being one of the first examples of a black metal band with a female vocalist.
'Sacro Culto' was the band's second album, originally released in 1998. Lead
singer Cadaveria used more melodic vocal experimentation this time with almost
operatic passages sitting alongside the trademark black metal style whilst further
evolving the central themes of occultism & paganism.
This edition of 'Sacro Culto' is presented on double gatefold vinyl & on the vinyl
format for the first time.

Transformer is the second solo studio album by American recording artist Lou Reed. The album is considered an influential landmark of the glam rock genre, anchored by Reed's most successful single, "Walk on the Wild Side", which touched on then-controversial topics of sexual orientation, gender identity, prostitution, and drug use. Produced by David Bowie and Mick Ronson, the album was released in November 1972 by RCA Records. Though Reed's self-titled debut solo album had been unsuccessful, Bowie had been an early fan of Reed's former band The Velvet Underground, and used his own fame to promote Reed, who had not yet achieved mainstream success.

Well, sometimes the mountain goes to Mehemet, not the usual other way round. After years spent chasing soul Artists on the other side of the world we managed to find one right here in Rome, at the heart of our beloved boot-shaped peninsula. And boy what an Artist! Just a few bars into "Let You In" and that Warren-G style flavours back to my ears like if it still was a saturday night in 1994 and we were packing 12" and heading to dj at our regular venue up north-east, the Rototom. A few bars in and soon as I hear the chorus it instantly becomes a Tesla Groove release. Like many a true Soul singers, the amazing Fatimah Provillon (a Newark, New Jersey native) started her musical career singing in churches at the early age of eight. She would later hone her singing skills in various choirs where she was both lead vocalist and choir member. As a teen she fell in love with hiphop music and began writing songs and performing in talent shows. As a songwriter she prefers to mix her soul and hiphop roots to speak on topics ranging from heartbreak to consumerism. As a singer, her biggest influences include Gladys Knight, Sade, Patsy Cline, Lauryn Hill, Wu Tang Clan, and Nas. Fatimah is currently living and working in Europe with Rome, Italy, as her base as she tours performing live concerts and collaborating with deejays in house music productions, entering now our catalogue as a true headliner. Enjoy Mrs. Provillon folks, you'll hear her name more and more in the future!

»Darkness & Abstract Art« is the debut single by Berlin based producer and songwriter Venetian Green. And what a debut it is. Two pop-pearls from a parallel universe, in which grand pop gestures of past decades live in harmony with the more bleak and disturbing emotional rollercoasters of recent times. The songs embrace a deep sense of nostalgia, while remaining firmly and confidently rooted within a contemporary pop context.

»Darkness« may be the most uplifting pop song ever that deals with mental health issues and depression. A topic that many can surely associate with after a challenging period of lockdowns and lack of perspective. The opening moments seem like a flirty exchange between an early Vince Clarke and Jake Shears but with a more bouncy and ›present-day‹ sound aesthetic. The bridge, »Was I ever in control, did my feelings just go rogue. Is it you or is it me, you’ve stolen my identity«, brings some major glam moments front and center and finally culminates in a heartbreaking auto-tuned chorus, an ode to the »Darkness« in all of our hearts.

In »Abstract Art«, we are jumping effortlessly between different musical eras. From late Roxy Music elegance to the plasticy melancholy of early Robyn all the way to the slow-rolling pop anthems of Christine and the Queens. A classic pop song about intimacy, trust, boundary issues and physical connection. Easy to imagine the line »You watch me dance with someone else, cause only you have me in strings and belts« on a sweaty recently re-opened dancefloor celebrating the return to a ›new normal‹.

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

Giacomo “Mino” di Martino started his musical career in several early 1960s Italian beat bands. By 1968 he had found enormous success with pop superstars I Giganti. After a brief split in 1970 –during which Mino formed Il Supergruppo with Ricky Gianco and other greats of the Italian scene– he came back to I Giganti in 1971. With them and with new advanced ideas that set the band pretty far away from the sophisticated pop and beat sounds they had been so successful with, they would record the amazing Terra in Bocca conceptual LP, an adventurous experimental album that explored the obscure connections between the Italian state and the mafia. A delicate topic full of political criticism which also found them having to fight censorship –it was played only once in the radio. This fact, along with the advanced new sound probably being too far ahead from the mainstream audience’s taste, turned the record into a commercial flop. Nowadays Terra in Bocca is a highly regarded album among critics, afficionados and collectors, and a pretty seminal one for the Italian scene of the seventies, since it can even be seen as a precursor to the works on the Cramps label. Gianni Sassi, producer and photographer who founded Cramps was involved in the release of Terra in Bocca –his is the amazing cover concept.

After the Terra in Bocca experience, Mino’s will was to keep exploring new musical paths and free his mind to experimentation. Along with his wife, actress and singer Edda “Terra” di Benedetto, they formed the Albergo Intergalattico Spaziale, just after the brief post-Giganti project Telaio Magnetico (with Franco Batiatto, among others) was over. The Albergo was a venue where artists from diverse disciplines, mainly musica and theatre, could meet and create works together.

On the musical side of the community, Mino and Terra explored the cosmic sonorities that were coming from Germany and mixed them with the Italian experimental scene of names like Franco Battiato, Luciano Berio or Roberto Cacciapaglia. It is from the sessions that took place in the Albergo from 1974 onwards that the Albergo Intergalattico Spaziale LP came out. Originally released in 1978 the compositions had been made during those years of exploration, the goal not being the release of an album but the aim to explore new sounds and experiment with music. Eventually it was decided to present a sample of all that work, and a few copies of the Albergo Intergalattico Spaziale LP were privately pressed.

The record sleeve and notes on the insert reivindicate the fight against nuclear power. The music is dominated by Mino’s keyboards, creating amazing space sounds reminiscent of those from 1950s and 1960s science fiction B movies brought to the most avantgardist experimentation of the moment, exploring new sounds with the newest keyboards available. This intriguing background sets the athmosphere for Terra’s voice to improvise all over.

Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.

Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.

The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explians Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.

“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”

A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.

Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.

The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.

Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.

Time Released Sound is pleased to be releasing the new album "Allusionen", from German modern classical artist, Himmelsrandt. The nine tracks on this moody, wintry and melancholic beauty feature the artist Peter Honsalek either on piano and viola, and on four tracks, he additionally plays the mysterious early electronic synthesizer called the Volkstrautonium. This is a somewhat dark and introspective journey through the shortest, coldest days of the year, please pull up a chair by the fire, and put your headphones on!

As Peter says, "The album in general deals with the topic of "allusion". The piano songs reflect the period in which the viola songs were invented (between the years 2019/2020). The viola songs themselves are allusions to certain styles and epochs. To notice this and to classify correctly is the job of the listener.

There are also allusions (music for Piano and the rare Volkstrautonium), which are not intended to refer to specific styles, epochs or compositions, but only to allude to specific cold and snowy days between the years 2019/2020. The aim of the album was to capture the creation of contemporary music in its entirety and make it audible. This includes not only the result, but also the external (musical and non-musical) influences that shaped it.

Mobys neuestes Album Reprise - Remixes ist jetzt verfügbar. Das Doppelalbum enthält persönliche Zitate aller beteiligten Remixer, sowie von Moby selbst. Reprise – Remixes erobert ein Grenzland, in dem elektronische und akustische Klänge aufeinandertreffen. Das Album erscheint am 20. Mai 2022 bei Deutsche Grammophon, pünktlich zum Jubiläum von Mobys erster Scheibe, die 1992 erschien.
Zwölf Künstler:innen – zwölf Stimmen: Bambounou, Biscits, Max Cooper, Efdemin, Anfisa Letyago, Mathame, Planningtorock, Topic, Felsmann + Tiley, Peter Gregson und Christian Löffler kommen auf Reprise

– Remixes zusammen. Und auch Moby selbst ist mit vier Remixes dabei.

RIYL: David Byrne, Guy Clark, Bob Dylan, The Flatlanders, Randy Newman, John Prine, Lucinda Williams, Townes Van Zandt. The first-ever vinyl reissue of Allen’s manifold, moving fourth album, remastered from the original analog tapes. Deluxe LP edition features 140g virgin vinyl; a gatefold jacket, inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen and friends, insert with lyrics and original notes & DL. Deluxe CD edition features a trifold jacket & inner sleeve. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship the ways sex and violence stitch and sever the ties of family, faith, and society with skewering satire and affection alike. Bloodlines compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from Juarez; the irreverent hellfire-hitchhiker-on-highway ballad “Gimme a Ride to Heaven Boy” (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight year-old Natalie Maines, later covered by Lucinda Williams). Since 1970, when they met in Allen’s studio in his hometown of Lubbock, Texas, one of songwriter and visual artist Terry Allen’s great foils and friends was the sometimes cantankerous but always brilliant art critic and writer Dave Hickey, with whom he sparred on topics musical, visual, and beyond (and to whom this reissue is dedicated in memoriam, in the wake of his passing in 2021.) Hickey, a fellow Texan paddling against the currents of the hermetic New York centric art world, was an accomplished songwriter in his own right, and he and Terry pushed each other to refine their respective practices. In 1983, the two were thick as thieves brothers in blood and Hickey’s wry but big-hearted presence haunts the history and periphery of Bloodlines, the album Terry released in June of that year. Hickey’s commercial doubts notwithstanding, critical recognition was not in short demand. In a 1984 review of Bloodlines, the L.A. Herald Examiner called Allen “one of the most compelling American songwriters working today … making the most unique art-pop of our time,” elsewhere comparing him not only to Moon Mullican and Jerry Lee Lewis, but also to the Velvet Underground and Philip Glass (probably the first time that unlikely quartet ever appeared together in one sentence). In 1983, against all odds, such sentiments were growing in underground prominence, as Allen’s records gained a fanatical word-of-mouth following they weren’t easy to find in those days. Recorded piecemeal at Caldwell Studios in Lubbock, in sessions spanning August 1982 through January 1983, Terry self-released it, like all his previous records, on his own Fate Records imprint. Despite his frustration with the protracted timeline and some anxiety about the correspondingly higher budget, the production on Bloodlines courtesy, once again, of master guitarist Lloyd Maines is slicker, cleaner, and more dynamic than prior efforts, and it reached a broader audience than ever before. UK label Making Waves reissued it in 1985, facilitating semi-reliable European distribution for the first time as well as a 1986 UK tour, on which the great BJ Cole filled in for Lloyd on pedal steel. No veteran country songwriter sounds more attuned to the national mood. His songs still feel like little guidebooks for staring down a harsh universe. – The Washington Post // It has always been a fool’s errand to frame Allen in terms of other artists there was nobody like him before he showed up, and the subsequent 40 years have been equally light on plausible peers. Uncut

Giacomo D’Attorre – lead singer of Clever Square – has been through a lot of late. With his band. In his personal life. Even just with the state of the world. This fire has fuelled Clever Square’s new record Secret Alliance, eleven tracks that explore feelings of frustration, disillusionment, and disconnection, and chronicle what it’s like to be swept along by a world that “gets noisier everyday”. The record was inspired by a creeping realisation; of coming change, and a sense that D’Attorre was “losing contact with who I was before, for the good and the bad.” New needs and desires surfaced; old ones disappeared. Thus he began writing around ideas of rethinking yourself, and “acquiring a new conscience of mutation”. The darker realms of science fiction informed much of D’Attorre’s thinking here; Philip K Dick, Ray Bradbury – ‘Mr. & Mrs. K’ was inspired by The Martian Chronicles – and Flannery O’Connor, whose The Violent Bear It Away proved particularly inspiring. All of this is perfectly framed by Clever Square’s shuffling, quirky indie, and cute melodies. Soft and worn around the edges, like the perfect flannel shirt, there’s a gentle, shambling quality to the music; “blue collar”, D’Attorre calls it. Guitar lines gently bloom, Fender Rhodes organ is sprinkled throughout, and the acoustic strumming sounds easy and unhurried. From the relaxed bustle and acoustic picking of ‘Hail The Proper Karl’, to the joyous, bouncy ‘Little Flaws’; from the stripped back melancholy of ‘Obsolete Epsilons’ to the arena-ready vibes of indie classic ‘Golden Wires’, D’Attorre has crafted a spell-binding, mesmerizing set of songs that delight on first listen and reward deeper inspection. “It’s a hymn to privacy, to the joys of secrecy, and solitude,” he says of Secret Alliance. That he wraps such heartfelt, profound topics in gloriously laid-back indie adds to the charm, and cements Clever Square’s status as one of Italy’s finest contemporary bands. The world might seem increasingly complex and be spinning ever faster, but Secret Alliance slows it down just enough to savour the scenery and think about charting a path back to something a little more manageable.

Originally released in 2008 following the birth of his daughter, Show You The World takes Living Legends MC, The Grouch, on a new path of growth and maturation as he navigates his new world of fatherhood and the new perspectives it brings. With topics ranging from his experience as a new father, partner, and son to drug addiction in the family, as well as his own personal struggles and triumphs, The Grouch succeeds in showing us his world. At 16 tracks, the album features appearances from Murs, Bicasso, Scarub, Mike Marshall, Raphael Saadiq, Abstract Rude, Marty James, & One Block Radius, and is best known for the hit singles, "Artsy," "The Bay To LA," &"Breath."

“‘Delilah’ is one of the best singles of the year: its combination of urgency, dissonance, vocal phrasing, lyrical empathy and a formidable rhythm section add up to something that’s incredibly powerful and instantly addictive.” - The Sunday Times (Breaking Act)
“Anorak Patch and fellow female-fronted acts such as Wet Leg are here to shake up the maledominated post-punk scene” - The Independent

Aged between just 15 and 18, Anorak Patch have been quick to grab the attention of tastemakers across the UK, and now they finally announce their debut EP, ‘By Cousin Sam’, released via Nice
Swan Records.
‘Cousin Sam’ is about burying your cousin at a funeral - a bleak topic that isn’t a reference to anything, set to an almost psych slow tempo with haunting vocals that end up erupting together. Effie’s vocals have been compared to that of The Pretenders, Blondie and even early Bloc Party.

Tape

You can’t keep a good thing down: 99 marks the triumphant and long overdue return of Matthew Edwards’ Rekid project. More than just Radio Slave records slowed down, his alter ego preferably ploughs the field between ambient excursions, downtempo hypnotism, sample sculptures and the general space in between raves.

Since its first appearance with the Lost Star EP for Classic in 2004 and the still breathtaking follow up Made In Menorca opus on Soul Jazz Records, Edwards firmly established himself as a producer of many, if not all trades. Thought of, produced and conceived during the first lockdown of 2020, 99 is conceptual (with the tempo firmly set at that tempo), concise (34 minutes and 34 seconds long) and content with exploring the possibilities of limitation (one track a day, live takes, no editing).

Without departing the original Rekid ethos of glacial music, it presents a modernized and contemporary version of IDM tropes, chill out topics and a capturing sound of mesmerizing materiality.

After a while, it all made sense to Edwards as one piece, was presented to Running Back, where the A& R department thought the same and is now available as a continuous cassette mix and a separated vinyl single album as well as for streaming and downloads.

Jeep music for ballet dancers.

You can’t keep a good thing down: 99 marks the triumphant and long overdue return of Matthew Edwards’ Rekid project. More than just Radio Slave records slowed down, his alter ego preferably ploughs the field between ambient excursions, downtempo hypnotism, sample sculptures and the general space in between raves.

Since its first appearance with the Lost Star EP for Classic in 2004 and the still breathtaking follow up Made In Menorca opus on Soul Jazz Records, Edwards firmly established himself as a producer of many, if not all trades. Thought of, produced and conceived during the first lockdown of 2020, 99 is conceptual (with the tempo firmly set at that tempo), concise (34 minutes and 34 seconds long) and content with exploring the possibilities of limitation (one track a day, live takes, no editing).

Without departing the original Rekid ethos of glacial music, it presents a modernized and contemporary version of IDM tropes, chill out topics and a capturing sound of mesmerizing materiality.

After a while, it all made sense to Edwards as one piece, was presented to Running Back, where the A& R department thought the same and is now available as a continuous cassette mix and a separated vinyl single album as well as for streaming and downloads.

Jeep music for ballet dancers.

Kapriole is the debut album by Zurich- and Hamburg-based artist Leo Hofmann after working in music theatre, sound art, and performance contexts. Central to the album, which refers in its title to a joyous jump, is the ambition to translate an ephemeral practice into recorded matter. Fixed but never static, Kapriole is informed by intimate and detailed listening situations and sound practices like ASMR or the acoustically sheltered world of noise cancelling headphones. And while it is apparent that Hofmann has a deeply rooted understanding of technology and its abundant possibilities, Kapriole is a tender and almost analogue feeling affair. The human voice occupies a central role in the musical configuration of the album: quirky repetitions, hushed fragments and poetic statements, circling topics like communication, mobility, and immersion occupy the album’s eight tracks. The result is a sonorous sensation, which, in its scarcity, paves the way for meticulously crafted and delicate soundscapes. Kapriole as a joyous jump which is technological as much as it is emotional.

For his twelfth studio album, Pianissimo, Matthias Vogt (re:jazz, Motorcitysoul) makes a clear political statement in symbiosis with his well-placed notes and the stylishly experimental and pronouncedly eclectic electro-jazz sound. Pianissimo does not only mean playing very softly but also playing very intensively. It is definitely not an album to skip through.

Matthias Vogt combines great music with current socio-political attitudes and issues for this new album. He conducted interviews on topics like “climate change” with people from his circle of friends and acquaintances - creatives, artists, activists and musicians who tick similarly to himself and with whose voices he could give expression and form to his own thoughts. With this material, he created this hybrid piece of music and socio-political reflexion.

His companions are Demian Kappenstein (ÄTNA & Massa) on drums & guitarist Daniel Stelter (Sing mein Song, TV-Total Heavytones). Vinyl incl. the outer packaging will be produced on a completely recycled basis by INFRACom! which starts its 30 years celebration with this release.

"Half a Klip" is a Vinyl Reissue of Kool G Rap's first solo release It was originally released in 2007: As is to be expected, G Rap fills out the lyrics sheet here with banana clips and stacks of body bags -- certainly not a disappointment (he played a big part in inventing this agenda after all), though the MC's steady, workmanlike approach and topical sameness leaves a lot of responsibility on the shoulders of his producers. t's open to debate as to whether there has ever been a rapper more influential, yet somehow less celebrated, than Kool G Rap. From his seminal work on Marley Marl's Juice Crew productions and Cold Chillin' Records, to the major contributions he gave to the blueprint of gangster storytelling in rap, the Kool Genius has remained relevant and consistent despite heaps of record label drama and the ever-diminishing attention span of the listening public. It's unlikely that the new Chinga Chang Records EP Half A Klip will do much to elevate G Rap's legacy, but there are still shining moments to remind us why the legendary MC is more than deserving of the little reverence he receives.IThus, the EP's best moments come when he is united with a strong hand behind the boards. Marley Marl's sinister keys and kettle drum composition for "With A Bullet" (inexplicably buried at track eight on this 11-track offering) is probably the best canvas for Rap's gangster mentality. DJ Premier contributes a strong track (merely serviceable by Premier standards, but a standout here) and the lesser-known Domingo also seems to be able to give G Rap room to run. Unfortunately, the rest is just middling with one true mistake, Critical Child's dismal "Turn It Out", which sounds like a cast-off from a Jim Jones studio session. In any event, this collection of new and unreleased material is not the next Road to the Riches. On the bright side, the MC behind Road to the Riches is still here (in every sense) and still doing it 20 years later.

This album doesn't blurt it out: There is no loud "Ta-Dah!", no exclamation mark. "The ghost that carried us away" flatters in a rather unobtrusive way. However, it has encircled you after the third song at the latest. Fragile hymns of nonchalant casualness, created by the 24-year-old Sindri Már Sigfússon. Guitars, piano, his almost bashful and yet so present voice. "Nature, mortality, love", these are the topics of his debut album. Even the one who listens only briefly, is able to make them out within the sounds. "Do you remember how the things look when you were young."

Reykjavik again. Iceland, the musical heartland. On top of that, there is a violinist with her voice in the clouds: Gudbjörg Hlin Gudmundsdóttir (violine, vocals, harmonica). There further are musicians Sindri shared his hometown and his passion: Orn (guitar, lapsteel) who forms together with Sindri and Gudbjörg the inner triangle of Seabear. Or Eiki, Orvar, Gudni and Dóri. One plays the flugelhorn, the slide-guitar or upright-bass. One belong to the live line-up of Sigur Rós (Eiki). Another is part of the sensational múm (Orvar). Some are stage members of Benni Hemm Hemm's Band - the other Icelandic artist on morr music. Sindri Már Sigfusson has invited them into his small studio, placed them in front of the only microphone, let them think about his musical thoughts. He likes the notion and the feeling of LoFi, Sindri says. Only for the recording of the drums three microphones were used. The result is reminiscent of the reduced stereo recordings of the 1960ies.

Libraries is the most direct promise that pop music is able to make. Tiny and gigantic, unobtrusive and exciting at the same time. A song like a blink into the most beautiful sunrise. A tumbling piano, swinging drums. Melodies, melancholy: "My little bird flew away from me". Or "hands remember", the singing being close to one's ear. "The voice of an old friend", a murmur, two violins. There is later "summer bird diamond", birds twitter to the accords of an old banjo, a glockenspiel. It is almost a radio play, chamber folk. And "seashell" at last, a pocket symphony, arranged around jumping drums. Sufjan Stevens would have done it in a very similar way.

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

From Dreams To Dust, the latest studio album by The Felice Brothers was recorded in the fall of 2020 in an old one room church in Harlemville, NY - Produced by The Felice Brothers and mixed by Mike Mogis

The record ranges over a variety of topics and themes, including isolation, the world of dreams and delusions, environmental collapse, and the inward and outward chaos of modern life.

Ahead of the release of his much awaited debut album « blablablue » , Belgian singer-songwriter Delv!s just shares a new single, the dreamy “Human Trumpet”.

It’s no secret that Belgium owes much of its cultural prestige to its vibrant music scene. Lately, with much of the attention turned to Flanders, the Flemish side of the country is playing host to many exciting, genre-bending projects, including a tremendously innovative rap scene and a lively pool of electro bands walking in the footsteps of pioneers such as Soulwax: A tradition that Delv!s, one of the country’s most exciting newcomers to the soul, blues, disco-funk and pop genres, is set on honouring.

Delv!s is now ready to introduce “blablablue" to the world: a soul album infused with electro, funk and rock sounds, blended with a score of field recording samples; twelve tracks all penned by himself, unveiling a whirlwind of emotions that fuel the singer’s unique voice. The nostalgic brass arrangements and vintage-sounding harmonies may evoke Billie Holiday, Nina Simone or even James Brown at times, but “blablablue” nevertheless triumphs as a current and socially relevant record thanks to its topical commentary and diverse influences. Addressing many of the great issues plaguing the world today, including the sense of urban solitude, this is the first offering by a great artist, a sensitive soul also fluent in the language of love. Something to reflect on, unite us and even comfort us at times when we need it the most.

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

Legendary Italian musician Sergio Messina serves up his 13 track Sensual Musicology on Hell Yeah this March. It comes a couple of years after he first released on the label's Buena Onda compilation and takes in everything from demented waltz to grown-up jazz, groovy beach music to heart-aching melancholia with artwork by virtuoso Italian AD DeeMo.

Now based in Lombardy, Sergio was there at the birth of pirate radio in the mid-seventies and eventually produced Radio art for national broadcaster Rai. At the same time, his DJ career took off and he helped establish Hip hop in Rome before taking his own live show to the stage with a mix of PCs, samplers and tape recorders as early as 1989. Frank Zappa declared himself a fan and in the years since Sergio has done everything from radio art to producing Neapolitan reggae and hip hop band 99 Posse, producing his own solo albums and writing for monthly music magazine Rumore. On top of this, he has both written books about and delivered lectures on the digital porno revolution, as well as teaching History of Pop Culture at the Istituto Europeo di Design in Milan. All this makes him a truly original creative thinking who has long been immersed in many niche facets of popular culture.

Sensual Musicology took several years and four different locations to happen. Its release has been delayed by the pandemic, during which Sergio lost many friends and relatives close to him. As a result, the album is dedicated to all of them. It is a record that addresses many topics from economic migration to jazz piano, 60s blues motifs to corruption, pollution and racism via Michael Jackson covers, odes to West Coast guitar albums and spaced-out pieces of electronica.

Opening with the beautifully delicate Mingus melodies of 'Goodbye Porkpie Hat' the album roams through the bluesy Italo-American-Jamaican groove of 'Amara,' slow melancholy of 'Sometimes Remember' with classy vocals from chanteuse Valeria Rossi and 'The Way You Make Me Feel', an acoustic rebuild of Michael Jackson's hit song. Then comes the serenade that is 'Just Because You're Dead,' and ‘Sono Stufa di Tutto’ which is based around a protest speech recorded from the radio in the 1980s. Jon Hassell Beach Bar' is a musical hybridisation for dancing pleasure.

The second half of the album takes in 'Ouana Di lambo' which is the Four Twenties taking you to a cocktail bar in the tropics, 'Benjamino Placido' which is a melody for a man who inspired Sergio to start writing his columns, and 'Nowhere Special' which is a tribute to West Coast guitar albums. Closer ‘Switchblade Bolero' has a Zappaesque theme.

Sensual Musicology is a rich and diverse musical world that is as thought-provoking and deep as it is emotionally rewarding.


Early DJ Support:
Leo Mas, Phat Phil Cooper, Calm, Chris Coco, Andy (We are The Sunset), Severino (Horse Meat Disco)

A collection of Elvis Presley covers recorded by the duet David Fenech & Pierre Bastien. The idea of "Suspicious Moon" started at a party around the topic of blue color. David Fenech had chosen to play "Blue Moon" and Pierre Bastien asked to join in. It was a very enjoyable party and then they recorded the song and decided to plan an album exclusively based on covers of the King. Not that we were absolute fans of Elvis... but as a starting point to go somewhere else. And this is what we reached: in many aspects a premiere for the two musicians. Pierre focuses on (prepared) trumpet for the very first time, while David is heard extensively as a vocalist and is more than ever responsible for all arrangements and textures. Playing other people's material is also a premiere for both of them. 11 tracks around very well known standards. Like familiar places that are changed when seen in a different light. Please enjoy. "Our choice of the Elvis Presley song book for this record may seem strange to many. It seems strange to me as well. Not that I dislike the original music, but before our sessions it had never been a direct source of inspiration. Paradoxically, this distance gave me freedom and flowing ideas. I hear similar qualities in David's parts too. We hope that our relaxed attitude and its positive outcome will be reflected in this album" - Pierre Bastien "The strange thing about these recordings is that the creative process was so fluid and natural_ that it seems that through playing other people's music, we almost reveal something of ourselves. As if these tracks were our creation, as if they were our own children!" - David Fenech

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

Ltd Black & White LP

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

 The Slow Show release their fourth studio album, their first for three years, entitled ‘Still Life’,
via PIAS. The four-piece, who first formed in Manchester, will support the release with a
European tour in February and March 2022, culminating in an already sold-out hometown show
at Manchester’s Hallé St Peters on 4th March.
 Lead track ‘Blinking’ is a perfect taster to the new direction ‘Still Life’ offers. Same but different
again. “An ode to love and loyalty. The song is a defiant pledge to never giving up on the
people you love. Musically we wanted the song to have impact, a directness and powerful
punch that we’d previously shied away from.” - Robert Goodwin (vocals)
 The making of ‘Still Life’ has been quite the ride. Following their breakthrough album, ‘White
Water’, it was clear The Slow Show were not just ‘another band from Manchester’. The legacy
of The Smiths, Joy Division and all those other great predecessors is not something to be trifled
with, but The Slow Show didn't need to wear their address on their sleeve: this was something
else, fully formed, with a mesmerising sound, rich in atmosphere and melody.
 With the band’s desire to push each other outside of their respective comfort zones during the
recording process, ‘Still Life’ subsequently offers a more diverse, rich and interesting sound
than previous albums.
 “We did develop our sound,” says Rob Goodwin. “We had to try something else. We felt we
owed that to ourselves, and to the people that come and enjoy the music. We explored a lot of
stuff: different sounds, different feelings, different ideas, different processes as well. Some of
them didn’t work at all, but some did. It was difficult and challenging, but it felt good in the end.”
 This experimental side to the creative process allowed the band to introduce new elements to
their work. “Some new approaches and sounds crept in,” keyboardist Frederik ‘T Kindt admits.
“Some were far from our older work. For instance: after some initial encouragement from me,
Rob was keen to sing a bit higher on this record. Chris was encouraged to make his drums a
bit more present; some things almost sound like a breakbeat to my ears.”
 Recorded remotely over the course of the past year, with Goodwin recording vocals from
Dusseldorf in Germany and the rest of band recording in the UK, ‘Still Life’, as a concept, takes
inspiration from the experiences of lockdown: “Before the virus arrived, I had a busy life;
spending two weeks in Germany with my girlfriend, and then flying to Manchester to work with
Fred or to a gig.” Goodwin remarks: “And then all of a sudden, life came to a halt. It took a little
getting used to, but I actually had a really nice realisation during that time. I understood that the
slower life got, the more I saw. I spent a lot of time in nature, seeing things in a different
perspective. And that's what you need when you're trying to create. You have to really look,
and then you see things happening everywhere.”
 The tracks themselves are brimming with emotion and reverence towards the significant
relationships we encounter in life. Stand-out anthem ‘Blinking’ is a defiant pledge to never
giving up on the people you love. Musically the band wanted the song to have impact, a
directness and powerful punch that they’d previously shied away from. Whilst ‘Woven Blue’
deals with the aftermath of uncoupling. The idea that meaningful relationships are very often
woven and complex, making resolve difficult.
 These very personal tracks are counterbalanced with the more topical, ‘Breathe’, which
documents some of the unjust and heart-breaking scenes of 2020 with spoken word references
to John Boyega’s emotional rallying cry in support of Black Lives Matter movement in London’s
Hyde Park.
 In all, Still Life marks another evolution of a band that have never tried to fit in any particular
box but have inhabited their own unique universe.
 LP pressed on white viny

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style