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Recorded in the summer of 2020 whilst the world was in flux, the album is drenched with a feeling of freedom as Garwood and drummer Paul May sheltered from the world outside. It was, Garwood explains, “a heat soaked fever dream of our soul nectar in sonic form”. Recalling the past, gathering the elements from the present, the two artists – whose knowledge of one another’s playing is apparent throughout – work together with exquisite tones and percussive detail in this intimate recording. Garwood expands, “In the deep summer heat wave of ‘20, when everything was closed and people were hiding, I hit the road West to join my brother in music in his place, bungalow magic. We knew we had to play - for our souls, for the soul of humanity, to bring down the machine and tyranny, to invite the angels in, to save ourselves from insanity. Play we did, the guitars detuned until bee’s wings would make the strings sing. We began with the drum, and the things that shake and rattle, the drones of the heat, we sweated and we worked it until the night calmed us.This is not a lock down album, for we were free in our spirits when this was created, free from any desires to conquer and fill our pockets with the booty of success.”

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

We are delighted to announce RE:WARM 010 in this very infectious South African House-infused Pop record from 1991 drawing on influences from some of the greats in the genre. Sounding like a long-lost Frankie Knuckles L.P or Something The Pasadena’s might have put out in the early 90s. Small’s, “Don’t Leave Me In The Rain” is an under-the-radar grail for all those seeking good time House music for the feel-good slot at any party.

For all those that enjoyed the releases, we put out from Lucky Mereki or Bibbi this one is going to be right up your street. It's more of the same from the townships of S.As 1990’s Pop, Bubble Gum, Kwaito & House scene of the time. The sound was sweet, the message was positive, the clothes were loud and they seemed to be having the time of their lives.

Officially licensed and remastered for this small release run, 500 vinyl copies in total, pick it up here rather than paying the extortionate cost of the rare and hard-to-find original.

If you're among the legions of Widespread Panic fans, you already know
that the band is legendary for never playing the same show twice or the
same song the same way twice - What makes this performance that
much more special is the inspiring presence of founding member
Michael Houser (whose nickname Panic inspired the band's name), who
died of pancreatic cancer less than two years later
As much as anything, this is a celebration of Houser's life and the sheer joy he
brought to a band that became one of the biggest draws on the international
concert circuit and created a vibe that makes the Panic experience unique in the
pop rock world.
But anybody who knows anything about them knows that Widespread Panic is so
much more than just a jam-happy rock band. From the time Houser and John Bell
(JB) began playing duets around Athens, Georgia, in the early 80's, their repertoire
ranged from early covers of the Grateful Dead and Bob Marley to a host of
original songs (among them Space Wrangler , included here) that demonstrate, as
The Village Voice wrote, a willingness to dip their collective toe into just about any
genre. This is classic Widespread Panic, including David Schools on bass, John
Hermann on keys, Todd Nance on drums and Domingo Ortiz on percussion.
One look at this show and it'll quickly become obvious there was something
strange going on in the house that night. Yes, it was Halloween, 2000, and the
rabid fans went beyond even their usual hard-core delirium. This was one time the
audience almost threatened to steal the show!
-Terry Lickona (Producer Austin City Limits).

Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. "DRIFT" is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre's past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, "DRIFT" draws on the raw energy inherent to `60s / `70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift?

In 'Christmas Morning', a song recorded for the 10th edition of the Snowflakes Christmas Singles Club, California folk singer Annie Jay remembers how special Christmas mornings were to her as a child. It was a magical moment. When she got older, the mystery of Christmas slowly disappeared. But not everything is gone. There is still the gathering together with loved ones every Christmas. And there are still children who wake up on Christmas morning and feel the same excitement that she felt when she once felt as a child. Annie Jay sings it all in a soft and sweet voice that is very easy to fall in love with and accompanies herself with the instrument that she fell in love with: the banjo. ‘Blue Christmas’, the song on the B-side of the single, has been covered by thousands of other artists since first recorded in the late 1940s and especially since Elvis Presley recorded it for his 1957 Christmas album. It only takes Annie Jay two minutes to make the standard hers - as if Billy Hayes and Jay W. Johnson wrote ‘Blue Christmas’ with her banjo and her vocal harmonies in mind.

Annie Jay lives in Upland, California and grew up with the music of Kenny Loggins, James Taylor, Carol King and Fleetwood Mac. After first teaching herself to play ukulele and guitar, her life changed when she discovered the banjo. It was then that she decided to follow the path of music. It brought her a BA of Arts in Music from the University of La Verne and it made her travel to Europe to play her music. Annie Jay formed the folk duo Your Companies and debuted in 2016 with the solo album 'Love Is All Around'. Earlier in 2022, she released the 6-song EP 'Time And Space' and a split 7" with California indie act Eatpianokeys, to which she contributed the beautiful song 'Talking To Plants'.

German-American pianist Benjamin Lackner makes his ECM debut with a
star-studded quartet of Manu Katché on drums, trumpeter Mathias Eick
and Jérôme Regard on bass
Mathias and Manu share a longstanding association with the label and their
respectively unique instrumental signatures can be traced across this set of
exclusively original material - eight pieces by Benjamin, one by Jérôme. The
bassist and the leader's partnership goes all the way back to 2006, when, Jérôme
joined Lackner's trio, which remains active until today. Two decades of close
collaboration have moulded them into intimate colleagues, who complement
each other's lines intuitively. Mathias Eick and Manu Katché's effortless
musicianship enhances the quartet's fluid interplay.
Last Decade was recorded in Studios La Buissonne, Pernes- Les- Fontaines and
produced by Manfred Eicher.
Benjamin Lackner: piano
Mathias Eick: trumpet, voice
Jérôme Regard: double bass
Manu Katché: drums

*Ltd Coloured Vinyl on Transparent Blue Vinyl* London-based musician and producer Ryan Lee West, aka Rival Consoles, creates driving, experimental electronic music that makes synthesisers sound human. His consistent desire to create a more organic, living sound, sees him forming pieces that capture a sense of songwriting behind the machines.

‘Now Is’ marks a new chapter in an ongoing quest for refinement and evolution. More playful and melodic, the album draws from much experimentation in minimalist songwriting and seamlessly blends synthesisers and acoustic instruments. “There are some pieces that are influenced quite strongly by the isolation and anxiety of these times. There are also pieces which are more optimistic and vibrant, which I think is a consistent attitude of my records, as I want art to express many aspects of life.”

From the elevating arrangements of ‘Beginnings’ and motorik beats of ‘World Turns’, to the isolation of ‘Frontiers’, influenced by the barren landscapes of Iceland, Rival Consoles’ eighth studio album subtly morphs and evolves. “The title of the record ‘Now Is’ interests me because it is the beginning of a statement, but it is incomplete. I like art that is open and suggestive of ideas even if they are inspired by very specific things. With my previous record ‘Overflow’ being very dark, heavy and almost dystopian, I wanted to escape into a different world with this music and ended up creating a record which is a lot more colourful and euphoric.”

For the sonic ‘Vision of Self’, West looked to create the kind of movement and colour a string section in an orchestra would construct, but with synthesisers. “I think there’s a lot of synergy between the two worlds. I wanted to create a hypnotic journey, where the synths and sounds weave in and out of each other, so you get lost in the music and don’t know where one sound starts or another ends.” This “journey” West refers to is symbiotic of the way he has approached music throughout a progressive career – an ongoing project that is never static and always moving forward.

A sense of euphoria is reached with the pulsating title track which bursts into colour like the appearance of the summer sun, while ‘Echoes’ is a vivid exploration of rhythm and sound for summer nights. The track starts with a dense collage of modular synths, fragmented metallic tones, broken sounding drums and a downcast melodic synth line. “This is a piece where the main melody has been in my head for a long time and was just waiting to come out. I kind of think of it as the sonic equivalent to an impressionist painting in that I wanted to explore the sensation of lots of small layers of different colours and textures that are constantly moving around each other.”

Rival Consoles is set to appear at festivals across Europe this summer, with headline shows expected to follow in the autumn.

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.

POWERWOLF, one of the most successful current metal bands, have returned with the tour edition of their successful latest album, Call Of The Wild and Missa Cantorem II, out November 11, 2022 via Napalm Records. Just in time for the start of their European headline tour, which will take the Wolves - with their greatest production ever – through the big halls in Europe, the two releases will be released in a bundle format and individually. Following the very successful and critically acclaimed streaming event The Monumental Mass: A Cinemtaic Metal Event (#1 on the Official German Album Charts), POWERWOLF once again makes a strong impact on the international music scene. Right on time for the Wolfsnächte 2022 headline tour, the band is releasing their successful album, Call Of The Wild, as a tour edition with new artwork, once again created by the great Zsofia Dankova. In addition, the band is releasing the vocal cover album Missa Cantorem II, on which eleven well-known international singers reinterpret the eleven songs of Call Of The Wild. The releases will be available both individually and in a bundle, as CD or in different vinyl versions with additional A1 poster. Missa Cantorem II forms a sonic alliance with some of the best singers in metal, including Blind Guardian’s Hansi Kürsch, Sabaton’s & Majestica’s Tommy Johansson, Kissin' Dynamite’s Hannes Braun and Amaranthe’s and Dynatzty’s Nils Molin, who pay befitting homage to the 2021 hit album Call Of The Wild. Each song of the album is honored by its own vocal cover, which allows all songs on the album to shine in a new light. Title track “Call Of The Wild” is newly sung on Missa Cantorem II by none other than the legendary Hansi Kürsch. The result is a perfect interplay of his unmistakable voice and the iconic POWERWOLF sound. One of the album's biggest hits, the live anthem "Dancing With The Dead", is refined by Kissin' Dynamite singer Hannes Braun with his versatile and distinctive voice, while the Amaranthe and Dynatzty singer Nils Molin makes "Alive or Undead" his own, and Sabaton string wizard and Majestica singer Tommy Johansson gives "Sermon Of Swords" a fresh coat of paint. On the Wolfsnächte 2022 tour, POWERWOLF will once again prove that they have truly earned their outstanding status in the metal scene

Laila Sakini's new album 'Paloma' arrives via Modern Love and is her most striking and ambiguous to date - a pointed and timely meditation on hope and hierarchies that riffs on Zbigniew Preisner's magical "The Double Life of Veronique" score and enduring outsider music tome "The Langley Schools Music Project". Subtly transcendent, fathoms-deep music.

When Laila Sakini's debut album ‘Vivienne’ arrived in 2020, it felt like the record we were waiting for to map out our tangled reactions to an uninvited reality. Never self-consciously strange, it revealed itself slowly and cautiously, like a shadow in the corner of the eye, or an alchemical symbol in a bowl of alphabet spaghetti. This time around Sakini has worked her unique world-building to an even finer point, forming six tracks around a theme that's so close to our heart it's almost beating in time. Initially inspired by Krzysztof Kieślowski's 1991 arthouse classic "The Double Life of Veronique", the cult Polish director's enduring modern fairytale that serves as a cosmic rumination on identity and choice. Detailing two identical women - both singers, both in love - the film lets one live as the other dies, forcing us to consider the implications of art and endurance in the face of life's myriad challenges.

Sakini takes Polish composer Zbigniew Preisner's influential score for the film and uses it as a jumping-off point for ‘Paloma’, bending the more grandiose moments into baroque awkwardness on opening track 'Fluer D'Oranger' and evoking the mood of scene-setting cues 'Weronika' and 'Véronique' on the recorder-led 'The Light That Flickers In The Mirror'. And while Preisner's score zeroed in on the musical virtuosity of the film's lead characters, Sakini reinterprets that as a metaphor for self-discovery. Playing piano, violin, glockenspiel, timbale, recorder, and occasionally singing, Sakini captures a mood of innocence that immediately transports the listener back to simpler times. Her music isn't self-consciously simplistic, but forcing herself to interface with instruments impulsively rather than studiously, her sounds are all heart, no filigree.

In spirit, it reminds us of cult Canadian album "The Langley Schools Music Project", a collection of 1970s recordings of school kids singing rudimentary renditions of pop songs in a school gymnasium. That album's genius was in the bottling of hope and innocence: the feeling of joy from hearing and wholesomely interacting with music that's known and loved without a sense of hierarchy or desire for cultural clout. Sakini subtly subverts this by evoking the amateur spirit in the most bewitching way; instead of sourcing her ideas from Bowie, Fleetwood Mac and the Beach Boys, her stock is the established art canon, and by reforming those sounds she makes an insightful comment on intellectualism and access. European classical music is all too often trapped behind the frosted glass of respectability and assumed skill - craft replaces spirit, and technique replaces soul. By approaching these gestures from a different angle, Sakini softens the edges sonically and intellectually, finding music that bubbles with emotion, and most strikingly - hope.

Her choice of instruments and the way she interacts with them allows us to feel as if we're not only listening but contributing. It's a bottom-up way of absorbing art that's traditionally been top-down, and a reminder that we're all part of the experience, whether we're humming along to the remnants of a theme as it dribbles out of an ear in the shower, or dreaming of spotlights in a parallel life that may or may not be real. Sakini's music is nostalgic in a sense, but nowhere near the buttered popcorn and high-fructose candy migraine of the Netflix/Spotify algorithm generation of regurgitated churn. She makes sounds that remind us of what time and experience may have stolen from us, and how we might recover it.

The stage is set for an almighty celebration as Groove Armada approach a huge milestone and mark the anniversary with a return to the road. New music plays a key part of the GA25 celebrations, with the duo recruiting some of today’s leading underground artists to remix their most iconic tracks, packed into a box set celebrating an award winning career that has seen them produce an impressive, record-breaking body of work.

25 years on from their debut, Groove Armada have become one of the most influential and successful dance acts of the 21st century, a position they have maintained, proving to be an influential force in the UK and globally. Over two decades of prolific productions and tireless touring they’ve proved that it’s possible to daringly explore a multitude of sounds while achieving critical and commercial success.

From huge outdoor performances to intimate parties, travelling the world, delivering their diverse dance floor-focused sound to raucous crowds on every continent, the duo have done it all. Despite their extensive list of achievements, there’s still plenty of motivation to have another huge party and go the extra mile to make GA25 one to remember, for fans new and old.

HEAVENLY ALBUMS TO BE RE-ISSUED ON VINYL - STARTING WITH ‘HEAVENLY vs SATAN’. Heavenly released four albums in the early 1990s. Skep Wax Records are going to re-issue all four of them over a two year period. Classic black vinyl. The albums will include a 7” booklet with lyrics and new sleeve notes by the members of the band. Heavenly were one of the pioneers of indiepop. Formed from the smouldering ashes of Talulah Gosh, they took all that energy and attitude and used it to fuel catchy, infectious pop melodies. The influence of 60s girl groups was never far from the surface. This was girl-pop, but with the girls in control. Loved by many but derided as ‘twee’ by some, Heavenly ignored the increasingly macho environment of the contemporary UK scene and forged a separate path, along with other bands on the Sarah Records label. Later, having co-released their albums on K Records in Olympia, Heavenly toured the US, hooking up with bands in the embryonic riot grrrl scene. Heavenly’s quiet feminism became louder and more articulate, and the hostility of the UK music press became irrelevant. Heavenly came to an abrupt and tragic end when drummer Mathew Fletcher took his own life in 1996. After a year’s hiatus, the group reformed as the short-lived Marine Research, before going their separate ways musically. Amelia Fletcher and Rob Pursey currently play in The Catenary Wires and Swansea Sound. Peter Momtchiloff plays in Would-Be-Goods and Tufthunter. HEAVENLY vs SATAN – THE FIRST LP. Recorded in the Oxfordshire countryside, the first Heavenly album was a bid to make a pure pop record. The punk noise of Talulah Gosh had exploded and expired. Amelia had had a go at making a disco hit (‘Can You Keep A Secret’, subsequently released on Fierce Recordings), which was fun, but wasn’t going to trouble the charts. Unbothered by critical or popular reactions, the new band decided to immerse themselves in the creation of a sweet, tuneful pop record. It’s true that the punk influences aren’t hard to discern (Mathew’s favourite band was The Ramones), but it’s Pete’s elegant guitar and Amelia’s melodies and multi-layered harmonies that win out on these recordings. The eight-track album was released as CD, LP and cassette by Sarah Records. Subsequent versions included a Danceteria LP and cassette (France), a Quattro CD (Japan) and a CD by K Records (US). These versions included various additional tracks from early 7” releases. The Skep Wax re-issue of ‘Heavenly vs Satan’ includes Heavenly’s first two Sarah Records singles – ‘I Fell In Love Last Night/Over And Over’ and ‘Our Love Is Heavenly/Wrap My Arms Around Him’. The vinyl reissue of second album ‘Le Jardin de Heavenly’ will follow in early summer 2023. ‘The Decline and Fall of Heavenly’ and ‘Operation Heavenly’ will arrive in 2024. Tracklisting 1 Cool Guitar Boy 2 Boyfriend Stays The Same 3 Lemonhead Boy 4 Shallow 5 Wish Me Gone 6 Don’t Be Fooled 7 It’s You 8 Stop Before You Say It 9 I Fell In Love Last Night 10 Over And Over 11 Our Love Is Heavenly 12 Wrap My Arms Around Him

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

Black & Opaque Silver vinyl. ZZK Records Presents Uji's TIMEBEING. A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentinian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America and its intersection with various strains of electronic music but Uji taps into traditions both musical and spiritual that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. Some of that mythology takes shape in the TIMEBEING film. Written by Uji himself, the eight-part opus has been brought to life by Jazmin Calcarami, who makes her directorial debut following years of working as an experimental make-up artist with the likes of Björk and Cirque de Soleil. On stage, the transportive TIMEBEING live show is set to premiere at the Artlab Cultural Center in Buenos Aires, where it will be debuted as a part of a weekly residency this spring. More than just a concert, it's a dazzling theatrical experience, complete with dancers, costume changes, arresting visuals and even an on-stage "ship" (shaped like mollusk) where Uji himself will perform. "What we see on the surface, is only that the surface," says Uji. "There is so much more. Music is the bridge and the possibilities are limitless." Track listing: 1. Mito 2. Oropo 3. Truenatruena 4. QuemaQuema (feat. Nyaruach) 5. Kinto 6. Lunay (feat. Zola Dubnikova) 7. Flechas 8. Sirios (feat. Kristine Barrett)

2022 Repress

Trip Recordings follows the huge success of its first three releases with a third double-vinyl album, once more curated by label owner Nina Kraviz and featuring gatefold artwork by in-house artist Tombo. The release draws on contributions from established Trip members Kraviz, Population One and Nikita Zabelin, in addition to new artists added to its expending roster including K-Hand, Philipp Gorbachev, Vladimir Dubyshkin and Roma Zuckerman.As established with the label's first three releases, TRP004 will function as a soundtrack to a scenario and its accompanying artwork from Kraviz and Tombo. The title 'Ivan, Come On! Unlock The Box!' (, ! !) is inspired by the track contributed by Philipp Gorbachev (Comeme/PG Tunes), from which Kraviz has extrapolated a story of a rule-defying Russian maverick who is 'searching for the key to the future'.Set for release in mid-November, TRP004's two twelve-inches orbit around a nucleus of talent drawn from label boss Nina Kraviz's homeland of Russia. In addition to 'I Believe I Can Fly (KLM Delayed Flight Version) - one of her own 'road tracks' produced during the producer's hectic global touring schedule - Kraviz has enlisted a quartet of her countrymen for this latest collection. Philipp Gorbachev contributes his most uncompromisingly techno track yet, while Moscow's Nikita Zabelin follows his label debut on TRP003 ('De Niro Is Concerned') with the sinister minimalism of 'Bells'. In addition, TRP003 marks the label debuts of Vladimir Dubyshkin and Roma Zuckerman, both of whom were recommended to Kraviz by Zabelin. The former - a true outsider, just 17 years of age and based in the remote Russian town of Tambov - follows an early 2015 LP for SUB-AMP Records with the disorienting off-kilter techno of 'Lose Yourself', while the latter marks his first ever release despite years of producing with the unsettling 'Geburt Part 2'.

Completing TRP004 are two defiantly individual international artists: K-HAND makes her Trip debut following a two-decade career that's seen her become on of Detroit's true underground, and relatively unsung, heroes. Her contribution, 'The Box', finds her clipping effortlessly within Trip's aesthetic, with a heady textured acid potboiler. Two more Barcode Population tracks, excavated from a mine of undiscovered Nineties-made rarities, complete the release with furiously paced techno rollers which will remain strictly vinyl-only.

Gianluca Petrella is one of the most internationally renowned Italian musician, composer and producer, winner of the Down Beat Critics Poll in the "Rising Stars" category for two years in a row. Cosmic Renaissance is a music collective led by Ganluca with Mirco Rubegni (trumpet), Riccardo Di Vinci (electric bass, double bass), Simone Padovani (percussion) and Federico Scettri (drums, samplers), with Soweto Kinch (vocals and tenor sax) as special guest among others. Cosmic Renaissance's aim is to write and play music that actually starts from jazz and reaches new heights and music genres, in the name of unity, discovery, connection, understanding and other beautiful things that make us human. Try to imagine all this into music, and you'll have an idea of how "Universal Language" really sounds!

repress

Levon Vincent returns with his fourth full-length studio album Silent Cities a striking departure from his previous records. This, his first release experimenting with the cassette format, Silent Cities is a kind of mixtape through more private moods and personal pitches (literally given Levon’s non-standard tunings).

While Levon has always pro
duced dance floor jams with the intention of raising people’s heart rates, Silent Cities began with 72 bpm: his average resting heart rate, and the concept of tuning the music he was making to his own body rather than increasing anything. This brought the tempos down to 72 bpm or even half of that, at 36bpm. Programming the record during the empty cityscape of Berlin lockdowns, this is the first time Levon’s created an album for the home stereo or for headphone listening whilst navigating through a city. A mixtape specialist in his youth; he was always wanted to play with the cassette format. The results are sure to delight any listener, with the ever-present ambient, krautrock, shoegaze, hip-hop and electro influences coming to the foreground on this work.

“I was expanding further along the lines of a surprise favourite from my previous LP, a song called She Likes To Wave To Passing Boats which was not a 4 on-the-floor piece to play in clubs but a more impressionistic piece of music that I wrote to expound some emotions one day” says Levon. “It was a song written using just intonation. I really love how warm the pure 4ths sound, so when working on the new LP Silent Cities I decided to use my own tunings”.

Historically, the use of just intonation has meant that such instruments could sound "in tune" in one key but at the expense of more dissonance in the other keys. None of the songs on Silent Cities use standard Western equal temperament, Levon created his own scale designs coupled with the ancient ratios found in just intonation.

Born in Houston in 1975, Levon’s life changed dramatically when his parents moved their family to New York in 1981, uprooted from what he knew, the shock, the change from Houston to New York at 6 years old, is referred to constantly in Levon’s Musical output over the years. Levon's family moved houses in and around NYC from 1981 -2010, never more than a mile or two from the WTC. He lived on the Lower East Side during his teenage years and early 20s. This time period and this locale are also a big theme recurrent in his music as he tries to convey how the "downtown" lifestyle and culture-melding affected him so much at a tender age. He cut his teeth working in record shops around lower Manhattan, and while working at the Halcyon Record shop in Brooklyn he (alongside DJ Jus-Ed) was instrumental in creating the wave that came to be known as the "NYC House Renaissance" circa 2010. During the Y2K years he studied 20th C post-minimalism at Purchase college of New York under James McElwaine (who tangentially produced Man Parrish’s Self-Titled proto-hip-hop debt LP). Levon was fortunate to study theory with avant-garde composer Dary John Mizelle and orchestration under conductor Joel Thome. He undertook masterclasses with Philip Glass and also served as intern for John Kilgore, engineer for Steve Reich, where he was present for notable mix sessions such as “Violin Phase.”

Post-minimalism clearly remains an influence not to mention the early sampler stars of 80s freestyle and synth pop. Mixing such far-reaching influences is something Levon executes tremendously well. The first track Everlasting Joy moves at a head nodding 96 BPM tempo, reflecting formative influences like Paul Hardcastle’s Rainforest or Art Of Noise’s Moments in Love. “Those types of songs were a big eye opener for me as a youth, because it was where I realised songs in popular culture didn’t have to be kept to just 3 minutes, and they didn’t require vocals either. So, Everlasting Joy is a song with that intention, one that might be radio-friendly, despite the long arrangement and without vocals. You could say it was inspired by 107.5 in NY because that was a station I listened to a lot in the 1980’s.”

The majority of demos on Silent Cities were recorded before Covid-19 hit the world - when Levon had found a studio space outside of home in his adopted city of Berlin. It was a career first - working on music outside the bedroom. This riding the train or bicycling ‘going to work’ in Berlin opened up a new mood in his music, using the time back and forth to be inspired - commuting as an NYC transplant who still feels as a tourist in Berlin, with a pair of headphones, looking out the window on the train, or stopping on bridges and parking his bike to enjoy Berlin's skyline and horizon. Then, the pandemic struck and “work” came to a halt. Levon had recorded so much material during that year in the studio out of house it seemed like an inflection point for him to lighten the burden of the possessions he was carrying.

“People close to me have watched me give away synths and hardware regularly and I have given away my record collection every few years for my whole life. As a struggling artist in my 20s who had worked in record stores that whole time, I learned that moving constantly with 12k records just wasn't the way to live. So, in light of the pandemic, I set up a shop online, and sold all my music equipment. I also created a separate shop for all my sneakers and clothes. Easy come, Easy go. This provided me with a slow drip type of income that carried me quite well through the pandemic and it allowed me to focus on my own art and music. Getting rid of all my possessions felt like a weight being lifted from my shoulders and I was able to stay the course and remain committed to the music. I needed a further 2 years to mix and arrange the LP. If it weren’t for the pandemic, I would not been able to make this type of LP, so in light of everything, I was able to turn a depressing time in to something lasting and musically very positive.”

You can hear how his approach to a cassette release retains the "Medium is the Message." ethos. Silent Cities is a spooling, warm piece about life memories and embodiment.