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The year is 1999 and The Neptunes (Pharrell Williams & Chad Hugo) are working on a new track fo Wu Tang Clan Member, Ol’ Dirty Bastard’s new album. The track in question, “Got Your Money”, w
an unexpectedly poppy, upbeat and melodic track that would go on to have global success.

Buried within the multi-track recordings of the ODB’s hit track is an acapella by Pharrell, recorded early in the tracks production. Bringing his own laid-back style and flow, but keeping to the narrat of ODB’s track, Pharrell delivers a secret version of the track, few will have heard.

Alloy Cuts delivers two versions of Pharrell’s hidden bars, mashing up one side with Montel Jordan “This Is How We Do It”, giving the track a more golden era sound and on the flip side the classic ragga riddim, the “Snake Riddim”, is used to great effect!

The album serves as the recorded introduction of ex-Last Chance To Reason vocalist Michael Lessard to The Contortionist fold, ‘though he’s taken the stage live with his new band mates for well over a year already. Lessard lends his voice to the signature song craft developed by the original core of the band, guitarist Cameron Maynard and the brotherly duo of Robby and Joey Baca, on guitar and drums, respectively. They’re joined by new additions Jordan Eberhardt(bass) and Eric Guenther (keyboards).

“I can say that Mike is the most talented vocalist we've had in the band,” Robby declares unequivocally. “We’ve progressed, which has been a real, organic process. It will be cool
for people to hear the kind of songwriting and music we are creating with The Contortionist enhanced by a vocalist who is totally up to par.”

A different producer was drafted each time The Contortionist has made an album. Language was created together at North Carolina’s The Basement Recording with producer Jamie King(Between The Buried And Me, The Human Abstract, He Is Legend). As taste maker blog MetalSucks noted in a post with the headline, “Drop What You’re Doing and Listen to the New Contortionist Single Right Now!,” Language embraces the spacey adventurous flourishes of Intrinsic, with concise and streamlined certainty.

The album’s first single, “Language I,” was also the first song the group crafted for the album. The product of much time and deliberation,every moment transitions seamlessly to the next. “Primordial Sound” boasts an emphasis on chord progressions with key signature modulations, and yet it has an accessible rock n’ roll vibe and swing. “Thrive” is a wicked blend of the atmospheric heft of Deftones and The Contortionist’s own well established progressive attack.

Following two standout releases from Rudi Creswick & Jamie Leeming, Alfa Mist’s Sekito Records imprint prepares to unveil their third LP project. Continuing their showcase of some of the most impressive up & coming Jazz players the UK has to offer, they are proud to present JSPHYNX’s debut LP ‘REFLEX’. Hailing from the coastal town of Broadstairs (Kent), JSPHYNX (AKA Johnny Woodham) is a talented trumpeter, who cut his teeth performing alongside the likes of Barney Artist, Mr Jukes, Corto Alto, Ego Ella May, Tom Misch, Loyle Carner, Ashley Henry, Jordan Rakei, Tertia May, Subculture & Maisha. Finding inspiration during lockdown, JSPHYNX began crafting loops at home before bringing them to his bandmates to help add some meat to the bones of the tracks. With an impressive roster of musicians on board (including Rudi Creswick on Bass duties, and Richard Spaven on drums) label boss Alfa Mist adopting the role of executive producer, ‘REFLEX’ is positioned at the sonic intersection of UK Jazz & Bass music.

A1. DUBrazil – Untitled 1 07:10
A2. DUBrazil – Untitled 2 07:34
B1. Jordan Fields – Wanna Feel The Music (Piano Mix) 05:39
B2. Tracky Disco – Keep It Going 05:15
B3. Afrolectro – Needs Love 06:20

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Dutch singer and songwriter Caroline Van der Leeuw is back - with a new name, a new sound, a new mission. Emphasising the depth and breadth of her artistic transformation, Nowhere Near The Sky (produced By David Kosten - Bat For Lashes, Everything Everything) is The Jordan"s extraordinary, game-changing debut album, a new chapter that comprehensively rewrites Caroline"s story as former singer of Dutch pop group Caro Emerald. Gone is the jazz, the swing, the Latin rhythms, the rockabilly, the heavily stylised wardrobe. In their place: total candour and unvarnished truth, vocals purer and more powerful than anything she has recorded before, trip-hop and folktronica textures that wrap her voice in magic and mystery, and songwriting that, after years of doubt and repressed feelings, finally pulls back the veil.

Dutch singer and songwriter Caroline Van der Leeuw is back - with a new name, a new sound, a new mission. Emphasising the depth and breadth of her artistic transformation, Nowhere Near The Sky (produced By David Kosten - Bat For Lashes, Everything Everything) is The Jordan"s extraordinary, game-changing debut album, a new chapter that comprehensively rewrites Caroline"s story as former singer of Dutch pop group Caro Emerald. Gone is the jazz, the swing, the Latin rhythms, the rockabilly, the heavily stylised wardrobe. In their place: total candour and unvarnished truth, vocals purer and more powerful than anything she has recorded before, trip-hop and folktronica textures that wrap her voice in magic and mystery, and songwriting that, after years of doubt and repressed feelings, finally pulls back the veil.

Waxwork Records is proud to present the Us Original Motion Picture Soundtrack featuring a score by composer Michael Abels. Us, released in March 2019, is an original nightmare written, directed and produced by Academy Awardr-winning visionary Jordan Peele (Get Out). Set in present day Santa Cruz on the iconic Northern California coastline, the film, starring Oscarr winner Lupita Nyong'o and Black Panther's Winston Duke, pits an ordinary American family against a terrifying and uncanny opponent: doppelgängers of themselves. A blockbuster that earned raves from critics and audiences alike, Us earned more than $250 million at the worldwide box office to become one the highest grossing R-rated horror films of all time, buoyed by an unexpected and innovative soundtrack and by a groundbreaking, terrifying original score by Abels. Us marks the second collaboration between composer Abels and Peele, who first worked together on Peele's 2017 Oscar-winning horror film, Get Out. For the Us score, Abels explored themes of duality and discord. "Sonically, what defines 'scary' is the unfamiliar," Abels says. "It is the things that we can't place, and that we don't expect, that take us to that place of fear. We wanted to really strike terror into the audience." Central to the score was the opening track, an anthem for the doppelgängers, known in the film as The Tethered. Abels hit on the idea of using choral elements. "Jordan really loves the sounds of voices, and the human voice is an incredibly expressive instrument that anyone can relate to," Abels says. "The anthem sounds a little like a march of people preparing for battle, like an uprising maybe, but the sounds are not in a recognizable language. In other parts of the film there are vocal effects, just these strange sounds. They're designed to really freak people out." Abels featured a 30 person choir, a third of them children, in the "Anthem," and implemented Eastern European instruments, violins, percussion and a virtual instrument called a Propanium drum. "It makes this trashy metal sound, but you can also play melodies on it," Abels said. "The Propanium drum has a sound that's both otherworldly but not electronic or like science fiction. It's a sound you can't quite put your finger on, which is why it works well in this film." Also included on the soundtrack is the 1995 hip-hop hit "I Got 5 On It" by Luniz and the stand-out track "I Like That" by Janelle Monáe. Abels also helped with a new arrangement of the Luniz hit, which is featured on the soundtrack as the 'Tethered Mix from Us'.



































[xi] 35 I GOT 5 ON IT (FEAT. MICHAEL MARSHALL) [TETHERED MIX FROM US] - LUNIZ

Having spent the past few years supplying low notes as bass player for a who’s who of UK Soul and Jazz talent (including Tom Misch, LoyleCarner, Berwyn, Jordan Rakei, Poppy Ajudha, Jamie Isaac, Puma Blue, Jorja Smith, Alfa Mist & Charlotte Dos Santos) Rudi Creswick steps into the spotlight with his first full length solo offering ‘Different Forms’ on Alfa Mist’s Sekito imprint.

Hailing from Newcastle-Upon-Tyne, Rudi was immersed in club culture from a young age, the low end sonics of which guided his playing, and led him to discovering his own style In the years that followed, Rudi continued to hone his craft, melding the sub rattling sounds of Hip-Hop producers such as J Dilla, MF Doom and Knxwldge with the technical sensibilities of influential Jazz players such as Pino Palladino, Derrick Hodge and Thundercat.

With this record serving as a chance for Rudi to stretch his creative legs, the aim was to showcase the many musical sides of his creative spirit. The first single lifted from the project ‘Sometimes’ enlists the vocal talents of the incredible Emmavie - who dives into self-reflective and cutting, honest lyrics. She explains: “No one ever leads with “often temperamental, quick to anger and generally hot and cold” when describing themselves. Something about Rudi’s laidback production and bouncy singing bass line pulled this reflective and apologetic yet playful subject out of me. “

On the LP, Rudi says: ‘This whole project is thanks to Alfa , Barney Artist and the team at Sekito who’ve helped me realise my dream. They had faith in me for which I’ll always be grateful. The project’s kind of all over the place because there’s so many corners to anyone’s being, inspirations and their musicality, so I wanted Different Forms to reflect that’



Throughout the record, Rudi’s musical prowess and vast influences are laid bare for all to see. From the gliding melodies and twinkling keys and hazy fanfares of second single ‘Peace Of Mind’ (Feat. Manny & The Coloured Sound) through to the sparse and haunting tones of ‘Charlotte’ the LP traverses high peaks and deep valleys, channelling a sense of beauty of textured mystique throughout. Sporting an impressive roster of collaborators including Alfa Mist himself, Trumpeter Sheila Maurice Grey (Kokoroko), Chelsea Carmichael on Tenor Sax, Barrel Jones (Drummer for Nubya Garcia) and Vels Trio’s Jack Stephenson-Oliver (who played synth for the track ‘With Want You’). The lush instrumentation provides an incredible backdrop for esteemed performers such as Barney Artist to drop bars over the crisp drums and laid back strut of ‘Holding The Fence’, meanwhile Berwyn supplies sombre lyrics of the vast expanses of ‘96BPM’. An emotive and engaging listen from start to finish, ‘Different Forms’ is a truly stunning debut.

Mastered from the original master tapes and pressed at RTI on dead-quiet 180g vinyl, Mobile Fidelity's numbered-edition 180g LP of Local Hero gives the beloved effort audiophile-grade sound on a par with the reference-quality sonics afforded Dire Straits' Mobile Fidelity reissues. In each arrangement, Knopfler's methodical guitar lines emerge with supreme transparency and multi-hued textural detail. The intricate notes, finger-picked passages, and cosmopolitan lines come across as if they're transmitted just feet away from you in real time.

Ditto the diverse accompaniment, including the Celtic-themed effects, supplemental jazz accents, and folk inflections. The keys to the nearly 44-minute effort's success and continuity relate not only to Knoplfer's laidback style and low-key approach, but his ear for uncanny melody and blues traces. Woven acoustically and electrically, his tapestries benefit from the newfound airiness, openness, and balance that live on this reissue. No matter the instrument or treatment, the music arrives with pinpoint imaging and vibrant liveliness. Close your eyes, and the Mobile Fidelity version of Local Hero projects movies in your head.

For instance, take the closing "Going Home," a cherished instrumental whose proud spirit resonates with English football fans and features saxophone playing by the late, great Michael Brecker. Heard before every Newcastle United F.C. home game, it has become an anthem on both sides of the Atlantic. Or, look to "The Ceilidh: Louis' Favorite Billy's Tune" on which Scottish-flavored vibes and dance tempos conjure a festive jig until a transition gives the number a more subdued, romantic feel. Then, the pattern repeats. Seeking to expand beyond the parameters of Dire Straits, Knoplfer taps into a global economy of structures and sounds, and takes anyone with a sense of adventure along for the ride.

Not that his hallmark six-string is absent from the proceedings. It frames the lovely tin-pan whistle motif of the aptly titled "Whistle Theme," acts as a beacon for the elegant, vibraphone-kissed "Smooching," and pushes forward the jovial, top-down momentum of "Freeway Flyer," among other highlights. Knopfler also receives assistance from session pros Mike Mainieri, Steve Jordan, and Terry Williams, as well as vocalist Gerry Rafferty on the set's sole vocal tune, "That's the Way It Always Starts."

The old adage about Elvis Presley is that his soundtrack work never held a candle next to his studio albums. Though true for a majority of his film-related outings, the traditional notion is forever disproved by his Blue Hawaii set. Originally released in 1961 in support of the film in which he starred, the triple-platinum LP spent nearly five months at the top of the Billboard album charts; outsold his two prior studio efforts; and ultimately, remains the second-best-selling soundtrack of the musical-dominant 1960s. And now, it has received sonic treatment befitting rock royalty.

Recorded before the King started to burn out on soundtracks and go into a creative tailspin, Blue Hawaii presents him in tremendous voice. The newly uncovered layers of detail, body, emotionalism, and tonality on this SACD bring that treasured element – as well as the brilliance of the arrangements and accompaniment – to light like never before. Presley's warm crooning alone warrants unmitigated attention. It's not for nothing that this record – replete with panache, whimsy, romance, and seriousness – forever altered the course of his career.

Much like the film itself, the music on Blue Hawaii subscribes to a feel-good aesthetic. Presley plunges into a stylistic deep end with equal parts fearlessness and fun. He delves into early rock ‘n' roll ("Rock-A-Hula Baby"); touching balladry ("Hawaiian Wedding Song"); playful rumba ("Beach Boy Blues"); relaxing luaus ("Hawaiian Sunset"); and naturally, island-inspired fare ("Ku-U-I-Po"). It becomes immediately evident that the King is enjoying himself and committed to the mission. Is Blue Hawaii all serious art? No, but it was never intended to be. Rather, it serves as a showcase of Presley's outgoing personality and chameleon-like ability – like that of Frank Sinatra – to inhabit different roles and entertain.

Of course, Blue Hawaii remains timeless for another reason: The inclusion of the timeless, gorgeous, and still-untouchable staple "Can't Help Falling in Love." Penned by Hugo Peretti, Luigi Creatore, and George David Weiss, the love song quickly transformed into an international standard – with Presley's definitive version hitting No. 2 on the charts and ultimately becoming the closing song to his concerts. Ranked among the 500 Greatest Songs of All Time by Rolling Stone, its conviction, sentiment, and depth testify on behalf of why Presley still reigns as the King.

However subtly, the staple also underscores another reason Blue Hawaii should never be overlooked in Presley's canon: the ace musicians involved in its creation. Guitarists Scotty Moore and Hank Garland; drummer D.J. Fontana; percussionist Hal Blaine; pianist Floyd Cramer; bassist Bob Moore; and iconic gospel backing vocalists the Jordanaires all contribute masterful performances. Hearing them with such expressiveness, openness, and realism on this 2LP 45RPM & SACD should forever alter how Presley's 1961 soundtrack – the finest of his career – is viewed. As he sings in the title track, dreams come true, indeed.

Waxwork Records in partnership with Back Lot Music is honored to release NOPE Original Motion Picture Soundtrack by Michael Abels. Oscarr winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope. The film reunites Peele with Oscarr winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer and Oscarr nominee Steven Yeun as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. NOPE marks Abels' third feature film score with director Jordan Peele, having previously scored Peele's GET OUT and US. The album also features songs from the film, including a new version of Corey Hart's classic "Sunglasses at Night (Jean Jacket Mix)", Dionne Warwick's "Walk on By", The Lost Generation's "This is the Lost Generation", Exuma's "Exuma, the Obeah Man", and a never-before-released gem by a young Jodie Foster, "La Vie C'est Chouette" from the 1977 film MOI, FLEUR BLEUE. "NOPE is my most ambitious score to date," says Abels. "There are elements from the genres of sci-fi, action, horror, and westerns, but always through the tonal palette of Jordan Peele's unique vision. The lines between source music and score are blurred, as a good part of the score seems to be playing at the theme park, which is a key location in the story. The score is at times terrifying, yet also invokes the sense of awe and wonder that the characters feel as they realize what they are seeing. The film eventually becomes a grand adventure, and so the music expands into the larger-than-life scale we expect of a summer blockbuster." He goes on to say, "it was a joy to compose a score that encompassed such a broad range of genres and emotions, and I'm thrilled to have audiences experience all of them through this album." "Michael is one the most exciting composers working today - he has this amazing ability to create new sounds which was important for this film," Jordan Peele says. "He's able to play in the familiar and in the unfamiliar at the same time, so that helps give every film its own character, and he has an incredible mastery of so many different music genres." Abels is known for his genre-defying scores for the Jordan Peele films GET OUT and US, for which Abels won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics' awards. The hip-hop influenced score for US was short-listed for an Academy Awardr and was named "Score of the Decade" by The Wrap. Abels is also co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media. Waxwork Records is thrilled to present the official NOPE deluxe double LP soundtrack album. The package comes complete with 180-gram colored vinyl, quality packaging, original artwork by Ethan Mesa, heavyweight gatefold jacket with matte coating, a multi-page 12" x 12" booklet, liner notes, & more!

Available for the first time on vinyl, the debut album by Deborah Jordan is a classic set of neo-soul and broken beat gems featuring amazing production work from Atjazz, Marc Rapson, Simbad, Jniero Jarel, Rise/Mecca:83 and more.

Originally released on CD in 2009 to critical acclaim, the album was supported by many taste makers and DJs worldwide and is considered a classic UK soul album.

Still sounding incredibly fresh, The Light has a deep and mature sound with brilliantly arranged tracks moving through various soulful genres from nu-soul, broken beat, deep house and hip-hop with Deborah’s own unique vocal delivery and song writing skills on full display. Over the years, Deborah has worked with many fine producers including 4hero, Bugz In The Attic, Soundspecies, Domu, Ty Macklin and continues to produce incredible work with her contemporaries including the recent collaboration album Human with the excellent K15.

"Live in Paris" - Nathan Davis, (sax); Georges Arvanitas (p, org); Jack Diéval (p); Jacky Samson, Jacques Hess (b); Franco Manzecchi, Charles Saudrais (dr)

Style is not a given. Not many musicians reach the level of artistic personality where you can unmistakably recognize them. It takes character, roots, honesty, soulfulness. Nathan Davis had style.

His tone on tenor was unique. So was his soprano sound and his distinctive approach to flute. His musical world was equally original and knew no boundaries.

This concert in Paris is audible proof that as a performer, his fluid phrasing, distinct articulation, booming bottom register, growls and shrieks were fuelled by tremendous drive and furious invention - the man was on fire!

These live sessions demonstrate the limitless invention of Nathan’s solos. Holding no punches, weaving signature phrases, shouts and riffs into his solos, he was a fierce and fervid performer. With a sort of hollow resonance at the heart of his reedy and warm sound, Nathan Davis was a highly original artist, from an era when having a distinct sound on your instrument was the grail of jazz artistry. Harold Land, Jimmy Heath, John Gilmore, Paul Gonsalves, Charlie Rouse, George Coleman, Booker Ervin, Clifford Jordan ... Jazz is made of such giants and Nathan Davis was one of them.

dreamcastmoe is the recording project of singer, songwriter, producer, and DJ Davon Bryant, a lifelong resident of Washington, DC. His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R&B, funk, soul, and hip-hop... Resident Advisor dubs it "soulful, cross-genre dance music." This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and its complex cultural history. "Most Black kids in DC don't ever get to this point," he says. "This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day." A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: "a steady combination of confidence, creativity, and calmness." He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences _ the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters _ and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022. The first side, released as Part I, opens on the blurred beats of "El Dorado," which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. "Complicated" is the slow jam, delivered smoothly from a Saturday night crossroads. dreamcastmoe is contemplative and committed... gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson _ but also willing to let something go, "acknowledging that everything in life IS NOT easy." "RU Ready" takes off from the jump as a tribute, challenge, and promise to his partner and his city ("The times you sat with me when I needed you the most / Told me the things that I needed to see / Young black man, really trying to be what I can be / And I'm really from DC). In its potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. "Cloudy Weather, Wear Boots" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. The album's flipside opens on "Much More," the first of two synth-and-beat ballads co-produced by ZDBT. Later on "Long Songz," he claims, "I'm not writing love songs no more," prioritizing the vibe with "all my day ones." He calls it "a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way." He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, "Take A Moment" and "Make Ya Mind" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both "wake & bake jam" and a "dance floor bomb." His parting line: "Action / You got to show me action / Reaction." The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. A fluid ingenuity and vulnerability bottled by Sound Is Like Water, and this is just the beginning.

Sunda Arc are brothers Nick Smart and Jordan Smart. Best known as key members of folk and jazz influenced minimalists Mammal Hands, their Sunda Arc project takes inspiration from the likes of Jon Hopkins, Rival Consoles, Moderat and Nils Frahm as well as their own music world. Their debut EP 'Flicker' was released in December 2018 and now the duo are set to release their debut LP, 'Tides' on 7th February 2020.

Named for a volcanic arc in the Indian Ocean, created by the process of massive tectonic plates colliding, Sunda Arc strives to mingle electronic and acoustic sounds until they become almost indistinguishable from each other. It's a process where they draw the acoustic properties and quirks out of electronic sounds and find the electronic potential in acoustic sounds. "Finding the ghost in the machine or blending the human elements of playing live is something we are always trying to explore in our work.

Experimentation is a large part of our process and we tend to combine carefully composed material with chaotic ideas to find the balance between the two" — Sunda Arc 'Tides', their debut album, takes its name from the idea of unseen forces that can affect our lives in myriad ways, being pushed and pulled and at the whim of powerful forces outside of our control as well as offering a nod to things such as the tides on our planet, tectonic plate movements and weather systems. There are often chaotic elements in these systems that function in a way that produce a type of controlled randomness on a large scale. This is something they try to reflect in their music by adopting some of the ways these systems work into musical sequences, and using ideas such as chaos theory to control musical parameters. "Tides is a reference to themes we were thinking a lot about during the making of this album. These include the similarities between macro and micro systems, or the circulatory and nervous systems in the body. Things that produce a type of controlled randomness on a large scale". — Sunda Arc 'Hymn', the first single from the album, uses Nick's voice sampled and played back through a keyboard to create a human yet electronic feel.

It mixes soft vocals with heavier electronic elements to create a danceable yet human sound world. 'Dawn', is best described as uplifting-techno, its use of repeated phrases building in intensity and variations to put you into a hypnotic state whilst also being industrial and danceable. 'Daemon' is one of the tracks that really resonates live. Drawing on the sound of UK dubstep it's intense but fun and the bass clarinet blends with synths at the end to create a sound almost like a vocal. 'Secret Window' brings forward another side of the band, focusing around a lo-fi recording of felted piano and bass clarinet.

These are blended with granularised and processed versions of themselves which emerge like ghosts of the instruments throughout the track. 'Cluster' is another key track. It utilises a small group of notes looped in an unusual way to create a sense of cascading patterns over a solid danceable drum groove. It emphasises soprano sax blended into the sound world half-way through to lift into the final section.

REPRESS

The second LP compendium of Emahoy Tsege Mariam Gebru's early solo piano works, recorded throughout the 1960s - finally available again. Emahoy Tsege Mariam Gebru is a true original - her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear! These original compositions, performed by Emahoy Tsege Mariam Gebru herself on solo piano, were originally self-released in Germany in small editions as fundraisers for orphanages, support organizations for widows of war victims, and other philanthropic causes. We are humbled and proud to present this album in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation, and to assist in continuing her life-long mission of using music as a vessel to care for those who have been abandoned by society, or harmed by strife. Black vinyl LP comes in black inner-sleeves and heavy cardstock jacket with color printing and gold-foil stamping, and song notes by the composer herself. Restored and remastered by Timothy Stollenwerk.

Watford born indie rock goddess Connie Constance announces
her new album, ‘Miss Power’, a bold collection of songs imbued
with high voltage drums, snarling guitar riffs, and anthemic feminist
rage.
 On ‘Miss Power’, Connie takes us on a joyride through dramatic,
passionate and empowering scenes with hooks aplenty and lyrics
that excitedly unpick heartbreak, Connie’s strained relationship
with her father and her struggles with mental health.
 Connie’s titular and much acclaimed first single from her new
album, ‘Miss Power’ earned itself a spot on the BBC Radio 1 C list,
as well as being named Hottest Record by Radio 1’s Clara Amfo,
with plays from Jack Saunders, Ricky, Melvin and Charlie and Vick
and Jordan.
 The album announcement comes alongside the release of a new
single, ‘Till the World’s Awake’, a life affirming indie dance track
that twinkles with bright, layered guitars atop driving basslines and
powerful drums. Connie Constance’s dynamic yet delicate vocals
swell to a thrilling, cathartic chorus: “When we are young and
when we get older / I want to feel like loving, feel like loving you.”
Connie’s venture into the world as her authentic self is palpable.
 “A strikingly effective combination of disparate strains of British
pop: the quasi spoken verses bristle with the barked beauty of
Paul Weller; the cathartic chorus reaches Florence worthy heights”
- The Guardian
 “Brand new music from the brilliant Connie Constance. She’s real
fun, I rinsed ‘Kids Like Us’ on this show, and I love this one. Just
instantly catchy and empowering. empowering.” - Clara Amfo
 “She is one of the most exciting artists around at the moment. I
saw her live and just knew she was going to be special” - Arielle
Free
 “This indie pop banger ‘Miss Power’ is an instant confidence
booster” - The Fader

Today, internationally acclaimed interdisciplinary artist Hyd, nee Hayden Dunham, announces her first solo musical project, along with the announcement of her self-titled EP that arrives November 5th via PC Music. More disclosure than debut, Hyd’s four-track offering lets us feel the heat that’s been building underneath, calling us back down to earth. Written on an island formed from underground volcanic eruptions 15 million years ago, the EP is produced by A. G. Cook, Caroline Polachek & umru. The EP follows Hyd’s robust career as a sculptor and conceptual artist. Deeply enmeshed in the art world and music communities, she has dedicated her practice to reinventing systems - systems of communicating, systems of sexuality, systems of interacting with our environments. Her large-scale sculptural practice, where she creates fluid, transformative art installations, has been exhibited in museums and galleries across America, Asia and Europe. Past works include GEL, a vapor that travelled through the air vents of Andrea Rosen Gallery in NYC, and 7 Sisters, a seven-act performance at MoMA PS1 that incorporated dance, music, poetry, video and scents, with additional exhibitions and performances at Fondation Louis Vuitton, Paris, the Irish Museum of Modern Art, Dublin, etc. Apart from appearances on A. G. Cook's recent Apple LP, "No Shadow" marks the first time we've seen Hayden step out musically since Hey QT, the enigmatic and controversial project she created in collaboration with A. G. Cook and SOPHIE. The EP cover and singles’ artworks were photographed by renowned artist, Torbjørn Rødland, whose images are saturated with symbolism, lyricism and eroticism. The graphic design identity is by Bureau Borsche, celebrated for their work with clients including Balenciaga, Supreme and The Face, among others. Creative direction by Hyd and Jordan Richman.

Chris Crack is back with a brand new album called Growthfully Developed. Fans and critics alike are already calling it the Westside Chicago native’s best album in the last few years. Pitchfork said “Crack’s latest album is a delicate balance of fresh and familiar from one of the funniest and most thoughtful rappers working today.” With song titles like “Pussy Better When You Eat It First” and “Shitting With The Door Open,” it’s no wonder why he’s said to have the best song titles in the game. Whether it’s heavy hitting 808’s, soul loops or head nodding boom bap Chris laces up the variety of beats with style and finesse. Praised by media outlets such as Billboard and Rolling Stone as well as by iconic hip hop artists such as Earl Sweatshirt and Madlib. Like the album title suggests, Chris has fully grown and developed to reach this point in his career and critics will believe that Growthfully Developed be looked back upon as a pivotal album in his prolific career. The 18 track effort is set to drop on vinyl this fall via Chong Wizard Records in partnership with Fat Beats. TRACKLIST: 1. I The Buck They Couldn’t Break 2. Chicago Don’t Make Industry Plants 3. Therapy Don’t Work, Try Drugs 4. Jordan Never Did That Move 5. Pussy Better When You Eat it First 6. Whoa Dair 7. Celebrate Everything Until Further Notice 8. Uknowwhereihadderat 9. Ate Ball in My Sock 10. Illuminati Phone Numbers 11. Shitting with the Door Open 12. Nine 2 Fives Make You Fake 13. Beer Just Bread in a Can 14. A Blunt Forced This Trauma 15. That Hate Us Because We’re Magic 16. Air Mattresses and Machine Guns 17. Weed is an Expensive Habit 18 . No Shortcut to Enlightenment

Kieran Hebden’s Text Records is proud to announce Bolts, the debut album from British-Armenian producer Hagop Tchaparian, set for release in autumn 2022.

“Can I say, my friends call me Hagop? I don’t want people to struggle with my long name. I always liked that Eminem introduced himself and said “hi, my name is….” I think I want to be called Hagop so people find it easy to connect.”

Hagop’s debut album Bolts features ten tracks of hyper-personal rhythm music that mixes techno with field recordings of his travels through Armenian and Mediterranean culture. Early DJ support has come from Four Tet, Gilles Peterson and Nikki Nair. The artwork for Bolts was curated by skateboard, music and sports photography legend Atiba Jefferson.
“As a teenager I would make the pilgrimage to Slam City skateboard shop - I couldn't really afford to buy anything other than Thrasher magazine. I would see Atiba’s photos and get super inspired and want to push across the bridge and go skate Southbank. Downstairs was Rough Trade Records where I would be able to find the music from the music section in Thrasher and music i heard in the background of skate videos that I couldn’t really seem to find anywhere else. Atiba was photographing loads of these bands too so it's absolutely a crazy dream to be able to work with someone who provided so much of the inspiration throughout my life.”

The second installment of gems and nuggets straight from the infamous jukebox at Malcolm and Vivienne's King's Road SEX boutique.

Compiled again by Marco Pirroni (Adam and The Ants, Siouxsie and the Banshees) another collection of carefully curated tracks that were played on rotation at 430 kings road Chelsea, throughout 1974-1976.

Years in the making, this follow up to Marco’s 2004 “SEX: Too Fast To Live Too Young To Die” continues to complete the jukebox playlist with tracks contributed from those friends who frequented the shop - Jordan Mooney (RIP), Paul Cook, Steve Jones and Sam Bully amongst others – remembering those all-important songs that soundtracked the shop and left lasting impressions on them over 47 years ago.

Another wild ride and a kaleidoscope of jukebox bangers from The Animals to Max Bigraves, Nico to Burundi Black, these tracks undoubtedly played a heavy influence on SEX’s customer’s young ears many who would go on and change the musical world forever - Sex Pistols, The Clash, Chrissie Hynde, Siouxsie Sioux to name just a few.

Artwork supplied by Personality Crisis with unpublished photographs from Jane England, a student at the time but already understood the cultural significance and beauty of both the shop and Jordan Mooney who the compilation is dedicated to.

The second installment of gems and nuggets straight from the infamous jukebox at Malcolm and Vivienne's King's Road SEX boutique.

Compiled again by Marco Pirroni (Adam and The Ants, Siouxsie and the Banshees) another collection of carefully curated tracks that were played on rotation at 430 kings road Chelsea, throughout 1974-1976.

Years in the making, this follow up to Marco’s 2004 “SEX: Too Fast To Live Too Young To Die” continues to complete the jukebox playlist with tracks contributed from those friends who frequented the shop - Jordan Mooney (RIP), Paul Cook, Steve Jones and Sam Bully amongst others – remembering those all-important songs that soundtracked the shop and left lasting impressions on them over 47 years ago.

Another wild ride and a kaleidoscope of jukebox bangers from The Animals to Max Bigraves, Nico to Burundi Black, these tracks undoubtedly played a heavy influence on SEX’s customer’s young ears many who would go on and change the musical world forever - Sex Pistols, The Clash, Chrissie Hynde, Siouxsie Sioux to name just a few.

Artwork supplied by Personality Crisis with unpublished photographs from Jane England, a student at the time but already understood the cultural significance and beauty of both the shop and Jordan Mooney who the compilation is dedicated to.

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After smooth detours into Soul covers, French Neo-Disco, modern Sunset Disco and Brazilian AOR, in 2022 DJ Supermarkt's Too Slow to Disco series makes a joyous return to its original Westcoast AOR/Yacht roots. Celebrating the 10th TSTD compilation. Who would have thought….
The Berlin curator releases a killer 4th edition of the original compilation art form, "Too Slow to Disco", featuring forgotten and overseen gems from the mid 70s to the early 80s from a global world of smooth, brilliant lost and overproduced tracks from Finland via London and L.A. to Trinidad and beyond.
The great 'un-vanisher' of lost lazy classics, DJ Supermarkt once again unearthed some incredible music that labels, publishers (in many cases also those, who actually own the rights to those tracks…) and streaming services have often long overlooked. You're welcome, world!

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

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

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

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

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

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

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

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

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

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

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

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

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

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

This is international pop underground vol. CXLIXI. Almond Joy Oh Henry! is a co-release between Perennial and K. West Coast Fog Pop USA. Almond Joy are the celestial comet heading the West Coast Fog Pop Revival. Featuring a cohort of Bay Area scene stars Jordan Almond (Rays, The World), as well as Muzzy Moskowitz (Froogie’s Groovies, Color Green), Tika Hall (Warp), Staizsh Rodriguez (Children Maybe Later), Britta Leijonflycht (Rays, Galore) , and Pat Thomas (Cool Ghouls). Recorded by Jordan Almond, mixed by Maxwell Mericer with additional mixing to 1/4” tape by Capt. Tripps Ballsington in Olympia WA. Mastered by Amy Dragon. This release continues the rich tradition of DIY bands crafting instant pop hits entirely on their own terms, which has long been the hallmark of the International Pop Underground series. Look for the video for singles “Candy”, “San Francisco”, and “Fosta/Sesta” And a show or two....Whatever happens it is quite assuring that whatever these times may bring bands can still put out music as good as this EP. 600 vinyl copies. 4 tracks 45RPM.

Tracklist 1. Oh Henry! 2. 100 Grand 3. San Francisco 4. Candy

As a true cultural flagship medium, Arte expands its Arte Concert music offer with the 3 first volumes of its new vinyl collection ! A selection of Jazz, Soul & Electro Crème de la crème of ARTE TV

Dan Álvarez de Toledo and Jordan Dunn-Pilz have a special bond. Growing up in Newburyport, Massachusetts, the two were fast and unshakable friends through sleepovers, school choir practices, and discovering formative bands, to the point that now, as roommates in Brooklyn, they finish each other’s sentences. This shared history and obvious love for each other are tangible in their songwriting project TOLEDO, named after the Spanish town and Álvarez’s familial namesake. Their music, which is full of seamless harmonies throughout, skirts the softer edges of indie rock and the darker fringes of pop with each song imbuing a heaping dose of vulnerability and emotional openness. On How It Ends, their debut album which is out September 23 via Grand Jury Music, the two dive into each other’s family histories and traumas as they navigate their own lives as twenty-something musicians. These tracks are striking for their blunt honesty but also for the way Álvarez and Dunn-Pilz’s real-life chemistry translates on record: the 12 songs are as tender as a warm hug and as clarifying as a needed reality check. This LP is the product of deep self-reflection and the necessary hard work that comes with any relationship.

Dan Álvarez de Toledo and Jordan Dunn-Pilz have a special bond. Growing up in Newburyport, Massachusetts, the two were fast and unshakable friends through sleepovers, school choir practices, and discovering formative bands, to the point that now, as roommates in Brooklyn, they finish each other’s sentences. This shared history and obvious love for each other are tangible in their songwriting project TOLEDO, named after the Spanish town and Álvarez’s familial namesake. Their music, which is full of seamless harmonies throughout, skirts the softer edges of indie rock and the darker fringes of pop with each song imbuing a heaping dose of vulnerability and emotional openness. On How It Ends, their debut album which is out September 23 via Grand Jury Music, the two dive into each other’s family histories and traumas as they navigate their own lives as twenty-something musicians. These tracks are striking for their blunt honesty but also for the way Álvarez and Dunn-Pilz’s real-life chemistry translates on record: the 12 songs are as tender as a warm hug and as clarifying as a needed reality check. This LP is the product of deep self-reflection and the necessary hard work that comes with any relationship.

LP ltd colored vinyl, 140 gram, gatefold, mp3 Download PostCard

After smooth detours into Soul covers, French Neo-Disco, modern Sunset Disco and Brazilian AOR, in 2022 DJ Supermarkt's Too Slow to Disco series makes a joyous return to its original Westcoast AOR/Yacht roots. Celebrating the 10th TSTD compilation. Who would have thought….
The Berlin curator releases a killer 4th edition of the original compilation art form, "Too Slow to Disco", featuring forgotten and overseen gems from the mid 70s to the early 80s from a global world of smooth, brilliant lost and overproduced tracks from Finland via London and L.A. to Trinidad and beyond.
The great 'un-vanisher' of lost lazy classics, DJ Supermarkt once again unearthed some incredible music that labels, publishers (in many cases also those, who actually own the rights to those tracks…) and streaming services have often long overlooked. You're welcome, world!

Im heutigen Progressive Rock scheint es, als gäbe es jede Woche eine neue Supergroup. Aber lange bevor das die Norm wurde, und bevor Musiker regelmäßig in mehr als einer Band involviert waren, gab es Liquid Tension Experiment. 1997 vereinten Mike Portnoy (Transatlantic, Sons of Apollo), John Petrucci (Dream Theater), Jordan Rudess (Dream Theater) und Tony Levin (King Crimson, Peter Gabriel) ihre Kräfte und erschufen Liquid Tension Experiment. Das Quartett veröffentlichte 1998 ihr legendäres, selbst-betiteltes Debütalbum und 1999 dann direkt das beeindruckende Nachfolgeralbum 'LTE2'. Dabei kreierten sie einen dynamischen, wilden und erfinderischen Sound, der bis heute einmalig ist. Die unglaubliche Kreativität dieses Kollektivs führte dazu, dass Petrucci und Portnoy Rudess einluden, Dream Theater beizutreten, was das Ende dieses Seitenprojekts bedeuten sollte. 22 Jahre lang passierte nichts, obwohl kaum eine Reunion gefragter war als diese. Doch wenn die Welt sich im Lockdown befindet und sich die Kalender dieser vier Ausmahmemusiker unerwarteterweise als leer erwiesen, ist das Undenkbare passiert... LTE3.Die acht Songs auf LTE3 sind ein Mix aus vier vollständig komponierten Tracks, zwei Duetten, einem spontanen Jam und einem akribisch arrangierten Cover. 'Wir haben vier Songs komponiert. Wir realisierten, dass es das Gleiche war wie bei den ersten beiden Alben.', erklärt Portnoy. Jordan Rudess stimmt zu, 'Es fühlt sich wie eine Fortsetzung an. So als hätten wir LTE2 aufgenommen und wären eine Woche später wiedergekommen, um LTE3 zu machen. Ich weiß, es ist unglaublich, aber die Zeit verging wie im Flug und die Chemie ist genau die gleiche. Es war damals großartig und das ist es auch heute.' Petrucci kommentiert: 'Wer hätte gedacht, dass eine Gruppe Typen in unserem Alter so spielen würden? Es ist unerbittlich. Es ist definitiv ein Statement, du weißt, wir sind zurück. Es ist wie immer, wenn du 'play' drückst, walzt es dich nieder.

The fifth full-length studio album from Vermont quartet Twiddle, Every Last Leaf is a bold exploration of the cyclical nature of life.

Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis vocals, guitar, Ryan Dempsey keys, organ, synth, Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” Mihali leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

With their ability to move seamlessly from the triangle to the donkey jaw, cymbals to Chinese gong, vibraphone to wind machine, percussionists are undoubtedly the most atypical members of the classical orchestra. Paul Changarnier, Nicolas Cousin and Alexandre Esperet are a case in point. Having set their sights on the marimba - Latin American xylophone, cousin of the African balafon - they decided to use it as the main vehicle for their artistic dreams. With the label No Format, they embarked on a project which would see them taking on pop hits of the kind that are produced in mega studios on the other side of the Atlantic and dazzle with a thousand lights and special effects. But they wanted to do it without leaving France or their beloved instruments. They wanted to make pop without machines, guitars, bass or synths. They ended up finding a hitherto unknown instrumental formula that belongs to them and them only, one conceived as the perfect fit for the voices from the well-known French artists that were called upon to interpret the songs. Camille, with her extraordinary energy, makes Rihanna"s "Don"t Stop the Music" waltz in a new organic mode; Blick Bassy redecorates Ariana Grande"s "One Last Time" in the colours of Bassa; Malik Djoudi envelopes Frank Ocean"s "Super Rich Kids" with a subtle ethereal texture; Camélia Jordana made her mark on this bonanza of reinvention by slowing down the tempo of "Dance Monkey"; The voice of Sandra Nkaké, imbued Lana del Rey"s "Video Games" with a solemn and sublime mystery. Like an old love that"s rediscovered with new eyes, an air that comes back from far away but could have been born today, somehow familiar but never seen before. Déjà vu but never heard until now. Déjà Vu: the name of this magnificent, unprecedented experience, this unidentifiable flying platter.

Bassist and composer Milo Fitzpatrick (Portico Quartet) launches new collaborative project with saxophonist Jordan Smart (Mammal Hands)

Vega Trails is a new project from double-bassist and composer Milo Fitzpatrick, a founder member of Portico Quartet, who has also performed with the likes of Nick Mulvey and Jono McCleary and features saxophonist Jordan Smart (Mammal Hands, Sunda Arc) in a richly powerful duo bringing together two powerfully charismatic musicians. The project which takes its name from Carl Sagan's science fiction novel 'Contact' (a book about signals of new life detected from the Vega system) andwas born out of a desire to bring the elements of bass and melody to the foreground in their rawest form and Fitzpatrick explains that he deliberatelychose the stripped back approach.

"There is so much in just one musician's sound; the emotional, the intellectual, the vulnerability and power of their character. But often these delicate nuances can be submerged in the quest for a group sound. In Vega Trails I wanted to grant the musicians space to breathe and be heard and for the listener to witness the intimacy and depth of a conversation between two voices, bass and melody. I was also interested in how the limitations would guide both the composition and performance and to push us both to places close to the limits of what we could play, and it is in this place where I believe the character of a musician blossoms and comes forward".

Tremors in the Static was composed during Lockdown as Fitzpatrick immersed himself in music that had space and sparseness such as Swedish fiddle music and Indian Classical music. Jan Johansson's legendary 'Jazz på Svenska' (jazz versions of Swedish folk songs) was another influence, as was a collection of ancient lullabies by Spanish soprano singer Montserrat Figueras. Through exploring the harmonic and textural possibilities on the bass, Fitzpatrick would cycle riffs and motifs whilst singing melodies, and he began to create the music debuted here. However, it was only after listening to Charlie Haden's album of duets, 'Closeness', that the project would come into focus as a duo, and Fitzpatrick immediately knew that the second musician had to be Jordan Smart.

"I saw Jordan play at two Gondwana Records events – in Berlin and Tokyo. Both times I was mesmerised by the intensity and conviction of his playing. His commitment to the cause of transcending himself and the listener made a lasting impression on me. When I began writing this record, I knew I needed a strong player who had equal conviction in their playing as me, but also someone who understood the importance of melody"

It was an inspired idea as Smart brought an openness and positivity which allowed the music to be both experimental and bold. Smart's ability to play tenor and soprano saxophone with equal command, as well as bass clarinet and Ney flute, allowed them to open up the pallet of sound and pull the melodies into varying emotional landscapes.The final piece of the puzzle was the performance space. Fitzpatrick knew that he wanted the two players to react off of a third element. The music was written for an ambient space which interacted with the notes: decaying and disintegrating them into silence. They found the perfect space in a church in Fitzpatrick's local neighbourhood of Stamford Hill.

"The recording space is the canvas on which the sound interacts and flows, it is the frame in which notes can live, breathe and die and is as important as the other elements. A resonant recording space, like a church, allows this stripped back sound to resonate, echo and linger, enough to create images and landscapes in which stories can play out".

This then is Vega Trails, a project that brings together two open-mined and communicative musicians for the first time, to tell beautiful winding stories together and to create something soulful and new.Something bigger than both of them and something that leaves us all richer for hearing it. Enjoy!

The new collaborative project between Deborah Jordan and K15 explores the concept of our own humanity while attempting to address what does in fact make each of us human. While the inspired pairing of revered singer and songwriter, Deborah Jordan, alongside the boundless versatility of producer and musician K15 (Kieron Ifill) for a whole album seems too good to be true, this is actually a project that each of their respective roads have been converging towards for years.

The songs throughout ‘Human’ beautifully embrace the array of styles that both Jordan and Ifill have become attributed to – from the brilliant Culross Close-esque production of album opener ‘Running’ to the twinges of broken beat found in ‘Innervision’ and the more acoustic, piano-driven tracks like ‘Change’. The masterful production is both sparse and intricate affording Jordan’s typically incredible vocal the appropriate space to explore these sonic soundscapes in her own inimitable way while expressing those very characteristics about our own humanity.

Jon K & Elle Andrews' MAL imprint returns with its second release - a long rumoured excursion from Equiknoxx skippers Gavin “Gavsborg” Blair and Jordan “Time Cow” Chung operating under the Gav & Jord masthead for the first time. It’s their most probing x tight set of productions thus far - showcasing that naturally wild rhythmic mutability that’s earned them followers in every corner of the experimental paradigm over the last few years.

‘Writings Ov Tomato’ ties off a loop between Equiknoxx and their early supporter Jon K, who was pivotal in bringing their productions to the attention of Sean Canty at DDS, who went on to release their by-now seminal ‘Bird Sound Power’ album a good half-decade ago. This new set of tracks came about after MAL urged to the duo to explore any under-excavated musical territory they’d been thinking about since they began to tour the world, and the result is this incredible, purely instrumental LP that romps between Autechrian mutations, avant R&B swangers, Jersey-style sluggers and proper, wig-flipping club missiles.

Who else would boot off a new LP with a track titled ‘Childish House Mafia’? The fact it sounds like Actress formulating an industrial noise tape using ritual chants just makes it all the more screwy. The title track returns the duo to more familiar ground, with prickly “Bird Sound Power” drums notched up a few BPM and spliced with whirring trap hats and disorienting synths. ‘A Yow Jon K’ is a Kingston-fried take on sun-bleached Miami electro, with a rolling beat filled out by Gav & Jord’s hard boiled soundboard x foley crunches, before ‘Pig Pilot’, the record’s most substantial cut, loops JBC Radiophonic Workshop convulsions around a booming 4/4 that wouldn’t sound completely out of place at Berghain’s Klubnacht. Saturating the hook and allowing ferric hats to fill in the gaps, the pair manage to fabricate a sound closer to 1970s library music than Villalobos, and we’d wager you ain’t ever heard owt like it.

Combine all this with lower-key slithering industrial-ambient moments like the plughole-wonked outro ‘Brent Bird’ (named after Gav’s producer brother), the tuned tinkle of ‘No Sweat in my Sweatpants’ and the airborne elegance of ‘Appinness’, and you’ve got another Equiknoxx joint that draws from the syncretic mosaic of Afro-Latin-Sino-US influences and re-contextualises them into remarkably odd and effective structures that dance in the integers of a myriad styles.

While Sass Jordan is celebrated as a multi-platinum selling premiere rock
singer, her 2020 album, Rebel Moon Blues, demonstrated that she sings
the blues with as much power and authenticity as she personified in the
rock world
Following up on the rave reviews garnered by Rebel Moon Blues, Sass continues
to mine her talent as a blues singer with 8 new tracks on Bitches Blues, on Stony
Plain Records.Reflecting on the impact the past two years has had on us all, Sass
has recorded songs that examine the visceral emotional territory of a pandemic,
and the multiple conflicts that the world is reeling from in the aftermath. "Still
Alive and Well' is Sass's triumphant take on a Rick Derringer song that leads off
the album. Her original song, "Still The World Goes Round" marks the mid-point
with a look at power structures, both within and without, while another new
creation" Change Is Coming" ends the collection with a trance- like chant that
offers an uplifting perspective.
As we have come to expect from Sass, the album features fierce guitar licks,
driving tempo's, the raw and soulful Sass Jordan rasp, and a glorious assortment
of rambling road dogs, known as the Champagne Hookers. This particular
collection of Hookers includes longtime associates and rebel rouser guitarists
Chris Caddell and Jimmy Reid, drummer Cass Pereira, keyboardist Jesse O'Brien
and the magnificent Mr. Steve Marriner on bass and harmonica.
Netherlands tour in June 2022.

Charlie Griffiths, guitarist for British Progressive Metal band Haken, proudly presents his debut solo album ‘Tiktaalika’. With musical roots still firmly in the progressive realm, Charlie draws from his love of old-school 80s thrash, 90s tech-metal and alternative rock. Running the gamut from melodic to avant-garde to straight-up heavy, you might say Tiktaalika bridges the gap between King Crimson and King Diamond! This concept album was 375 million years in the making, with the 9 tracks drawing inspiration from themes of geological time, fossilisation, transformation and humanity’s connections with each other and the planet we inhabit. The Griffiths-penned lyrics are given voice by some of the best vocalists in the business: Tommy Rogers (Between the Buried And Me), Danïel De Jongh (Textures), Vladimir Lalić (Organised Chaos) and Neil Purdy (Luna’s Call). The album also features a host of guest musicians: Drummer Darby Todd (Martin Barre, Frost, Devin Townsend), Keyboard wizard Jordan Rudess (Dream Theater) and Saxophonist Rob Townsend (Steve Hackett). The album was mixed by Adam ‘Nolly’ Getgood and mastered by Ermin Hamidovic. The artwork was created by Dan Goldsworthy. Available as Limited CD, Gatefold 180g 2LP+CD & as Digital Album.