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Cool Ghouls - a band fledged in San Francisco on house shows, minimum wage jobs, BBQ's in Golden Gate Park and the romance of a city’s psychedelic history turns 10 this year. What better a decennial celebration than the release of their fourth album, At George's Zoo!

How did San Francisco's fab four arrive at George's Zoo? The teenage friendship of complimentary spirits Pat McDonald (Guitar/Vox) and Pat Thomas (Bass/Vox) serves as square one. The Patricks were munching on Eggo-waffle-sandwiches and downing warm vokda in suburban Benicia (San Francisco bay) years before McDonald would hear George Clinton address his fans as "Cool Ghouls". The boys played their debut gig as Cool Ghouls at San Francisco's legendary The Stud in 2011, but there's no doubt the musical moment cementing the band's trajectory was much earlier at the 18th birthday party for boy-wonder Ryan Wong (Guitar/Vox) - at the Wong household.

You might remember the Ghouls' earliest days... McDonald’s hair hung luxuriously past his waist, Thomas dreamt of no longer having to crash on friends' couches to call SF home and Wong looked forward to turning 21. Cool Ghouls' Pete Best, Cody Voorhees, thrashed wildly – but briefly - on the drums and Alex Fleshman (Drums), who still claims he's not really "a drummer", turned out to be a really good drummer. Thomas would sleep pee on tour. Those were golden days!

Flash forward to today and everything is up in flames. No shows, parties or bars. Cool people are streaming out of SF. It's been 2 years since the last time Cool Ghouls have even played. The STUD is gone, The Eagle Tavern is for sale and The Hemlock has been demolished for condos. Your boss is an app. Fascism is no-knocking down the door. There's a pandemic.

Fortunately for us, the Ghouls got an album in before it all went to shit, and they made it count. At George's Zoo includes 15 of the 27 tunes they managed to eke out while simultaneously working through major life moves. It was a 5-month, all out, final sprint down the homestretch (to Ryan's moving day) with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). Instead of recording the entire album over a few consecutive days - like they'd done with Tim Cohen, Sonny Smith and Kelley Stoltz for the first three LPs - the band took it slow by working through a few songs each weekend after rehearsing them the week before. Robby would cue up the tape, McDonald would throw some steaks on the grill and they'd get to work - much to the neighbor, George's, chagrin.

These guys have a real commitment to elevating as songwriters, musicians and ensemble players. It's always been for the music with Cool Ghouls and this long-awaited self-produced outing is a track by track display of the ground they've covered and heights they can achieve. Their vocals and trademark harmonies are front and center and out-of-control-good. Ryan's guitar solos are incredible. The horns by Danny Brown (sax) and Andrew Stephens (trumpet) hit in all the right places. Maestro, Henry Baker (Pat Thomas Band / Tino Drima), plays keys throughout. There's even a mesmerizing string section ("Land Song") by sonic polyglot, Dylan Edrich.

None of this growth is to the detriment of the fun, natural, feeling that fans have come to expect from the band. This is a fully realized Cool Ghouls album. It paints a remarkable portrait of SF's homegrown heroes and the many corners they've explored over the last decade. The songwriting, harmony and playing are nothing if not solid. The lyrics are keen. Robby's recording and mixing sound great start to finish and even better after mastering by Mikey Young. It's a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!

Yes, many things have changed since 2011. Who knows what the 20's will have in store for life on Earth, let alone the Cool Ghouls? We at least know that 2021 has At George's Zoo for us, a beautiful keepsake from the Before Times when we used to stand in living rooms together while bands played.

"Fantastically dark as it fuses slo-mo hip-hop and distorted trance its scare comes in how seductive if it is." Loud & Quiet 9/10

WHITE RING release their sophomore full-length SHOW ME HEAVEN, due out on Rocket Girl on 22 Jan 2021. This album arrives two years after their debut album 'Gate of Grief' which came after their benchmark EP, 'Black Earth That Made Me'. Swerving from aggressively abrasive to beautifully ethereal; musically they draw from a varied and challenging palette.

From 'Black Earth That Made Me' to 'Gate of Grief', 'Show Me Heaven' completes the story of loss and acceptance." Asking Bryan about the new album, he explains; "This album is about the consequences of darkness.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo in 2017.
In October 2019 while writing this album, Kendra passed away after an on-off struggle with drugs and schitzophrenia. She was slated to be involved but didn’t get the opportunity to contribute before her death. Thematically, Show Me Heaven focuses on the aftermath of grief and is dedicated to Kendra Malia.
 
With their DIY ethos while dwelling on the outskirts of pop music, WHITE RING have developed a unique style while pushing the boundaries of accessibility and musical genre. They have created a piece of art that is brimming with symbolism and underlying tensions, that seduces, scares and comforts in equal measure.

LP COMES WITH A DIGITAL DOWNLOAD CARD

"With their distorted synths, gunshot claps and ghoulish diva... evoking a horribly claustrophobic atmosphere." Uncut
 
"Less shoegazers-on-codeine, more Fuck-Buttons-go-mad-in-a-crypt." Time Out

Cologne’s Feines Tier is delivering the second label compilation Zoo Vol.2. Providing the finest vibes from slow chuggers, Disco and Indie Dance to house and techno on one black and one white vinyl. Only 300 limited pieces available with silk printed and numbered vinyl covers. Don’t miss the quadrophant prints. Plus: Sticker inside!

First Vinyl release from WAM (We Are Music agency) from
SOMTATIC RESPONSES 140gr 12" full color sleeve

Originally released in 1980, ‘Amanita’ is an early approach of Canadian artist Sherine Cisco, formerly known as Stu Cisco, to the limitless world of synthesizers in music, through ambient, progressive rock and drone noise.

A unique combination of ambient, progressive rock and even drone noises and space-age that converged in ‘Amanita’, her first full album and a piece of music history. This LP marks a milestone in the investigation, experimentation and evolution of musical instruments, where the Mini Moog demonstrated its versatility and creative potential, opening Sherine a path of limitless possibilities.

By the time ‘Amanita’ was first released in 1980 (only 300 copies were pressed at the time), Sherine had been playing synths for seven years. But far from acknowledging how traditional instruments were played, she tried to do things her own way, creating moving landscapes and a unique language of sound. This DIY approach to music was, as well how the album was made, in her own studio, with synthesizers that were originally meant for live performances such as the Elka Rhapsody or the Elektro Harmonix, channeled through a Dokorder 4 Tape Recorder.

However, what Sherine Cisco was living in her personal life, a gender transition, was as important to the record as the instruments she used to create it. “Beginning in the early 1980's, I began experimenting with taking the female hormone, estrogen. I felt like I was gradually being re-born. It affected my music, the mood of the music, and me, physically and mentally”.

A spacey vibe surrounds each of the 12 cuts that compose ‘Amanita’, waving from ambient to experimental music, introducing drone noises that add mystery to the whole piece and creating epic moments, with the Mini Moog accompanied by Randy Gray’s drums. To close things off, a synth pop infused track works as a masterpiece ending to this story.

Concrete Records LTD sales pack including:
* Luciano Lamanna - Atto di Dolore CLTD009
* Milo McBride - Dafosse CLTD010
* Drvg Cvltvre - The World Is On Fire But We Still Dance Like Twats - Part 2 CLTD011

pink vinyl / 180 grams

"With this release, I set out with a particular sound in mind - one through which I could amalgamate my inspirations from over the years to create something fresh and outline a unique approach. With these tracks, I wanted to walk the line of having something energetic enough to tease my UK Underground & Dance Music influences, and yet experimental enough to present the listener with a deeper landscape to explore through the FM sound design."
- Aagentah

Cardinal Fuzz and Feeding Tube Records are proud to present a long awaited reissue of Dead Sea Apes & Black Tempest – The Sun Behind The Sun.
This re-issue is presented in a reflective Mirri Board reflective outer sleeve.
Manchester’s Dead Sea Apes and Godalming’s Black Tempest engage in a mind meld of galactic proportions on this; both band’s first outing on vinyl. Both entities weave together seamlessly as Grey Alphabets recalls Goblin’s giallo soundtracks, whilst Wilder Penfield pulses with post-punk metal-loid Harmonia kraut vibes. Side 2 is given over to the 25+minute Heliopause - a dubby astral meditation, where Oneida meet Tangerine Dream in an elongated Komische drift. For fans of: Harmonia, Oneida,Goblin, Mogwai, Tangerine Dream.

Hot on the heels of last year’s drone masterpiece, The Free Territory (FTR 457), comes this hot bowl of noodles from Manchester’s most elegantly wasted quintet. And while there might be apt comparisons to be made to some of the best current psych purveyors, the central thrill provided by these sounds makes me think of naught but prime Bay Area ballroom scene acid spew.

The guitar lines unspool like electrical cables filled with acid punch, and remain crackling in the air for moments longer than you imagine they can remain afloat. The keys have a bit of a German overtone, but it’s the same sort of one that led to the flash of Popol Vuh’s United Artist albums (which are themselves, at heart, paeans to the Bay.) The sound here is the sort of thing true believers recall as the highest moments of Man in live concert flight. Raging, raving guitars to soak your soul once and for all.

Don’t fear the downpour. Revel in it.
-Byron Coley, 2020

As darkness falls, once familiar territory is rendered alien and foreboding; full of weird and terrifying possibilities. These are Night Lands.
Recorded live in the rehearsal room last December, the newly expanded 4 piece Dead Sea Apes lock into spooky nocturnal grooves, augmented by Nik Rayne (The Myrrors) who was over in the UK for the recording of 'Night Lands'

Night Lands is comprised of 3 off-the-cuff improvised pieces, where Dead Sea Apes effortlessly mind meld with Rayne. Taking for a deep knowledge and love which you can hear seep through - At times Amon Duul (both!) at others times Earth with touches of what you imagine the Velvet Underground sounded like in the DOM - all touched with the presence of Bo Anders Persson

Cardinal Fuzz and Feeding Tube Records are pleased to announce ‘DATALAND’, a collaboration between Dead Sea Apes, Black Tempest and Adam Stone achieved mainly through internet data transfer during the Covid lockdown of 2020. Insistent, evolving electronic sounds encounter a variety of guitars and percussion, from the clockwork kosmische of 'Lost Hours' to the stumbling nosie dub of 'Shop Soiled', while Adam Stone's words meditate on life in the post-industrial west, our increasingly atomised and data-driven society and its logical conclusion in a corporatised dystopia.
'Dataland' is a meditation upon the average existence of a 'developed-world' human in the early 21st century. Whilst not struggling with the harsh physical demands of industrial labour as we did in the recent past, our plight continues to embody the melancholia and confusion of alienation. Under the bewildering complexity of rationalised social and economic systems, we may indeed have become unwitting prisoners within, what the sociologist Max Weber termed, "the iron cage of bureaucracy" - tripping the minutes away in a daily pantomime of data-driven surrealism. This six song collection is a fusion of electronica, monologue, 'real drums' and guitar, and was recorded at various locations in sad old England over the last two years or so. An almost psychedelic sense of puzzlement, nausea and fatigue accompanies being lost in the omnipresent number-generating machines and anti-human modelling systems that now run our world. This is the realisation that defines the essence of the album - that your life is now only as real as what is displayed on the screen of your constant technological companion.

BACK IN 2001, when Detroit exploded all over the airwaves, the Dirtbombs’ released this album.. it flew out.. and here it is again on glorious vinyl format. Mick Collins and his merry band of Dirtbombs (which, this time around, features Bantam Rooster's Tom Potter and Detroit studio wiz Jim Diamond) bring the soul on their sophomore album Ultraglide In Black, named after Ultraglide in Blue, a cool late-nite flick from your youth. All the influences that helped shaped his sonic psyche are in the forefront here - Sly & the Family Stone, Marvin Gaye, Curtis Mayfield, Stevie Wonder, Parliament, the Miracles and host of others too obscure to mention all have their presence felt. If the Temptations owned fuzz pedals and read too many comic books they might've sounded something like this. There are a lot of young bands claiming to be creating "soul" music and "testifying" (we won't name names) but this here is the authentic item - accept no substitutes. "The Dirtbombs' combination of squealing feedback-driven guitar, dual drumming and walloping bass presence rivals that of the Velvet Underground. Imagine the Velvets, Gories and Oblivians battling to the death inside a tuna fish can, their raw and ultra crude instrumentation blazing away with hell-bent fury. Led by Mick Collins (who spent time fronting the Gories and the rockabilly grunge outfit Blacktop), the Dirtbombs' distinctive Motown howl and wicked axe slingin' escapades shred like one of Dolemite's rapid-fire, X-rated monologues.… Collins executes some snarling, self-professed "cyclone" guitar riffs underneath the stomping, mummified mayhem. These Detroit cavemen have found their place in a fuzz-drenched, garage band sound reminiscent of Question Mark and the Mysterians fused with the sonic annihilation of the Stooges." -Tucson Weekly
Every shop /home NEEDS THIS ALBUM.

“Hey Moon” remains one of Swedish singer Molly Nilsson’s most popular songs. Originally released on her debut album These Things Take Time, the song since took on new life being covered by other artists and Molly famously never plays it live. In act of reclamation, Molly Nilsson is releasing Hey Moon as a 7” single with all profits donated to Black Lives Matter worldwide. It comes backed with a rare early song, Silver.

When Molly Nilsson began recording her second album Europa in 2009 the world seemed to be at a turning point and
she along with it. In the aftermath of a global financial crash, at the dawn of a new decade, the Stockholm-born, Berlinbased
singer was busy moulding her songwriting into an idiocyncratic, personal mythology that would take her to every
continent, speaking directly to hearts in every corner of the globe. The first album on her own Dark Skies Association
imprint, the first recorded in her home studio The Lighthouse, Europa broke new ground for Molly Nilsson at the time. But
also it spoke earnestly to the world about an idealism, an openness and hope that has not dimmed in the 11 years since
its release. Europa contains the songs of a young, idealistic songwriter coming to terms with her genius for cutting to the
chase, saying it as it is and, most importantly, as it should be. Over 10 years on the artists’ vim and urge for... more
credits

For over four decades, Reiko Omura and Tori Kudo have endlessly woven themselves throughout the avant-garde and underground scene of Japan. While internationally appreciated in countless incarnations and contexts (Maher Shalal Hash Baz, Guys & Dolls), if one were to seek out an early moment in which the two artists created something truly awe inspiring, 1980’s Tenno (天皇) would be it.

As Noise, the duo experimented with the juxtaposition of Kudo’s extended organ based dirges (be they eerie and/or harmonious) and fragile, meditative harmonies found in Omura’s voice and more abstract moments of minimal trumpet, sparse drum and atonal guitar. Simultaneously tense and beautiful, echoes of Tenno can be found resonating in the work of their contemporaries and countless others spanning the past 40 years and an infinite amount more to come.

The LP was originally released by ALM and subsequently reissued in 1997 on CD (Pataphysique) and LP (Org), and on CD again in 2005 (Alchemy). Just past it’s 40 year anniversary, Moone Records is elated to announce the first edition of Tenno released outside of Japan as a LP in a limited run of 500 copies – bringing the monumental release back into print on vinyl for the first time in 23 years.

DJ Support
Nathan Micay, Madam X, Ben UFO, Extrawelt, Answer Code Request, Mosca, Foul Play, Crazy P (Hot Toddy), Lauer, Ben Sims, Om Unit, Martyn Bootyspoon, hrdvsion, Nick Craddock, Kikelomo, Laurent Garnier, Carl Craig, Addison Groove, My Nu Leng, Anja Schneider, Ame, Kassian, Orde Meikle (Slam), Richie Hawtin, DJ Autumn (Banoffee Pies), Henry Greenleaf, Rhyw, Fault Lines, Bake, Sly-One, Mak & Pasteman, Littlefoot + more

Originally released in 1970 and still seen as one of Neil Young’s greatest albums, After The Gold Rush celebrates 50 years since its release with this special edition.
Featuring timeless classic Neil Young songs such as Southern Man and Only Love Can Break Your Heart, this new edition also includes a version of the track Wonderin’, originally written around the time of After The Gold Rush, which only previously appears on the Archives boxset plus a previously unreleased outtake from the recording sessions for that track.

In the cinema, the composer must go to meet the filmmakers, enter their world, but without giving up his own. This is the difficulty or the paradox of music for the image. By collaborating with directors from a wide variety of backgrounds, I think I have indirectly discovered a lot about myself. It helped me to progress, to explore territories that were not naturally mine. Cinema is a laboratory where I have sought to construct original orchestral formulas combining Corsican polyphonies, musicians from jazz, variety, classical, or even rappers. Like the world today, a fragmented world where all cultures mingle. So said Bruno Coulais, one of the most innovative composers of contemporary cinema, during the tribute paid to him in 2011 at the Cinémathèque de Paris

In 1978, Bruno Coulais, a young composer of concert works, discovered in film music a new means of expression, a way of bringing the demands of his writing to the masses. François Reichenbach, then Josée Dayan, Jacques Davila, Souleymane Cissé or Laurent Heynemann, first on television and then in the cinema, lead him of his own accord in the discovery of this new world.

In 1995, he composed the music for Microcosmos. This centimeter-scale initiatory journey offers him the opportunity to reveal the full dimension of his writing. He injects into his score a strange lyricism, between wonder and fantasy, confirming the lesson learned from François Reichenbach: "to any documentary image, music brings a part of fiction".

The success of Microcosmos established the musician and made him the indispensable composer of other natural tales, notably alongside Jacques Perrin (Le Peuple migrateur, Oceans, Les Saisons, etc.). Other long-term relationships will be forged, in particular with Benoît Jacquot, with whom he has worked for more than a decade, not to mention Frédéric Schoendoerffer, James Huth or Jean-Paul Salomé.

In addition to great popular successes such as Les Choristes, Brice de Nice or Sur La Piste Du Marsipulami, it is hardly surprising that this insatiable curiosity has found in the animated cinema the most inspiring playgrounds, in particular through his collaboration with two exceptional designers, Henry Selick and Tomm Moore.

The first, American director of The Nightmare Before Christmas produced by Tim Burton, invites Bruno Coulais to sign in 2009 the magnificent score of Coraline (film nominated for the Oscars). 10 years later, he is about to find him for a new and beautiful Wendell & Wild adventure. For Irishman Tomm Moore, Bruno Coulais has already composed the music for two Oscar-nominated films, The Secret of Kells (2009) and Song Of the Sea (2014), and in 2020 he will sign the score for Wolfwalkers.

Whether it is about author's films or more mainstream films, Bruno Coulais maintains the same standards, always considering his art as a window open to the world. Much less wise than it seems, he reveals in it a gift of a modern alchemist and a very personal way of mixing the most diverse cultures in universal harmony at work.

Melbourne’s Cool Sounds return with their fourth full-length album Bystander, out February 12. Warm and deftly balanced, Bystander moves through indie rock and alt-country with an alert effortlessness.

Cool Sounds’ signature lead guitar lines are in dialogue with lead singer and songwriter Dainis Lacey’s lyrics, which are at turns introspective, self-aware, irreverent and unflinchingly observant. Bystander was written during a European summer and recorded in three weeks over the following Australian one, produced by Lacey alongside Dylan Young (Way Dynamic). While it can sound serene, Bystander isn’t always as laid back as the warm weather might suggest: this album sees Cool Sounds more attuned to their surroundings than ever. While Lacey has always been interested in storytelling, these songs bring lyrics into sharp focus – for the first time the words were all written before the music, and he took notes in the band’s cramped tour van on the autobahn and while wandering through small towns in France and Italy, reflecting on his home while away from it.

Bystander sees Cool Sounds explore the contemporary moment and the everyday with nuance and dexterity, never losing sight of the intimacy and charm that characterises their work. An exercise in observation and reflection, Bystander takes snapshots and zooms in, underlines phrases, and asks its listener to continue paying close attention.

Cool Sounds are Dainis Lacey, Nick Kearton, Ambrin Hasnain, Steve Foulkes, Jack Nichols, Pierce Morton

Produced by Dainis Lacey and Dylan Young

Engineered by Dylan Young

Eine neu überarbeitete ”Island Years”-Auflage des klassischen Bob-Marley-Boxsets, zum ersten Mal auch auf Vinyl. Mit Marleys vielen Klassikern von ”Concrete Jungle” über ”Redemption Song” bis hin zu seltenen 12”-Mixen, B-Seiten, jamaikanischen Singles und Alternates. ”Songs Of Freedom: The Island Years” erscheint als 6LP-Set.

Das 6LP-Set auf schwarzem Standard-Vinyl (180 g) enthält ein 20-seitiges Booklet mit seltenen Fotos,
mehreren Essays und Titelinformationen.

After the first EP release on visible spectrum a year ago, we are happy to announce the second EP on this label. It was a crazy year of radical change, that has also affected the label and its curator for the choice of this release. For the second EP label founder Yuri Boselie, aka Cinnaman, dives into deep listening territories with the five track “Kingfisher” EP. With two guest contributions by Oko Ebombo and Tom Trago, he completed a refined and well-rounded dreamy ambient narrative.

The first track ‘Verité' is the exciting collaboration with the Parisian street jazz artist Oko Ebombo. It originated two years ago as Oko came to Amsterdam for a friendly visit, resulting in a weekend long musical session that produced this blissful slow house trip. The track ‘Lima' is inspired by a trip Yuri made to this wonderful city, where he made field recordings of sea pelicans flying over the sea while walking on the beach. The collaboration ‘Changes' with Tom Trago came together early 2020, in which emotional and painful events were captured in a deeper ambient piece.

Artwork is by Marilyn Sonneveld. 150 copies with post card insert.

Looking back, Jimmy Edgar has a lot to be proud of. Over the course of the last decade-and-a- half, the Detroit native has proven both a celebrated favorite and consistent fixture of dance music in its multitudinous forms. Looking over the arc of his lengthy and diverse discography, both under his own name as well as pseudonymously, it’s hard not to see him as one of the most innovative producers and skilled sound designers to emerge this millennium, an artist whose legacy has touched untold numbers of home listeners and dance floor revellers alike. His upcoming album, CHEETAH BEND, achieves its ethos with the aid of some well- placed vocal guests. On "GET UP," a tough love motivational set to springy synth flourishes and bass rattling, Edgar links w/ fellow Detroiter Danny Brown who does irreparable microphone damage. FOR FANS OF: Flying Lotus, TNGHT, Danny Brown, Vince Staples, Schoolboy Q

Iconic debut studio album, originally released in April 1994 on Columbia Records. A 10 song album, reissued here on limited ultra clear transparent vinyl (with download code insert) as part of the 'Clear Classics' range. Marketing.

Having previously released on RNT as part of duo Balako, Diogo Strausz now makes his solo debut on the label with an absolutely stunning offering of electronic Brazilian jazz. A São Paulista now living in Paris, Strausz made international waves earlier this year with his piece ‘Pausa,’ a grand and sprawling orchestral work written and recorded by musicians around the world in isolation.

The two songs on Strausz’ new Emancipação EP showcase his gift for instrumental composition that feels at once both fresh and timeless, informed heavily by the classic Bossa Nova and Samba repertoires of his native Brazil, yet translated through a modern production lens, and executed with exceptional musicianship. The end result is an undeniably unique sound that will fit equally well in the collections of jazz and MPB aficionados, as in the crates of modern DJs and listeners alike.

First run on silver marbled vinyl!

2020 was a year like no other. Thankfully, Shipwrec is slowly returning to normality. Not only is the label back to releasing form, but also the roster of artists is being expanded with the superb addition of Caron. Known for his releases on labels like 030303 and Brokntoys, Caron debuts on Shipwrec with a four tracker of sheer quality. Off-kilter percussion introduces the breathy pads and grandeur of "Ancestry," a piece of dreamy chords and acid undertones. The haunting "Common Sense" follows. Drums stagger next spectral vocals in this chilling electro piece. A similar stalking note continues on the flip with the 303 soaked "Lost." A steady kick offers a bedrock from which looming keys, bitter squawk and dancefloor paranoia take hold. Hopeful shades arrive with the brilliance of "Ruins." From industrial percussion and metallic rinses, a deep and intricate finale forms to bring "Shattered" to a terrific close.

Prague based FM Label connects music, fashion and design. Established in 2020 by Uncalled 4, the label joins the flourishing scene of Prague with a vision of music in which the new revisits the old. The second release, Enough, comes from our very own Detente 2020 - the killer combo of Uncalled 4 and his studio partner and close friend, Universe Of Everything. Featuring NYC hip hop legend Afu-Ra and Charlie One on the vocals, the eponymous track Enough combines iconic 90's street rap with contemporary electronic sounds, presenting a scenic layer that provides a movie-like feeling. The EP also features the Czech Filharmony drummer Jakub Tengler, who jammed buckets, pots, pipes and any other unusual object at his reach to create the heavily percussive Bucket Tube. Norway's Fett Burger takes Bucket Tube on a ride through NYC with his 'Work Out' remix, providing the ever-astonishing impression of walking around the streets of the Big Apple. Olsvang?r remix of Enough is designed to smash the dancefloor. Heavily influenced by both the past and the present, his rework shifts between intelligence and sheer rawness. As a final touch, the release is accompanied by an acapella track that will also be found on future FM label releases. Enough EP comes in a special cardboard sleeve which can be reshaped into a vinyl display holder.

In this, his inaugural release, LAW334 welcomes the listener to his musical language through four tracks.

Arco and Wire Hangers are two synth dominated techno cuts that bookend a more experimental offering in Veils; an abstracted exercise in audio processing bassoon samples. In the closing track Panspermia, Choronzon takes the wheel to LAW334's engines in an ecstatic trance through a distorted desert landscape.

Ethel Beatty is an artist from New York who primarily worked as an actress in theatre, appearing in Broadway musicals. She appeared in “Dreamgirls”, “Sugar Hills”, “Bubbling Brown Sugar” and (with Gregory Hines) in “Eubie”. Her most significant recording is this double header with writer/producer and master of the vibes Roy Ayers on Uno Melodic Records. While both songs have been reenissued on 7” and compilations over the years, it is still the 12” people that people want. Rare original copies have sold for £500. “It’s Your Love” is co-written by another soul jazz icon, Dee Dee Bridgewater, both tracks having that Roy Ayers vibe that makes this record extremely sought after by rare groove fans. Both tracks continue to be endlessly sampled on the hip hop and r&b scenes

Tribe from La Réunion Island.

Old school Tribe and hardtek.
Kicking 165/170 BPM.

Mastered by FKY
Pressed in la Runion Island !

Nubiyan Twist return with their brand new album ‘Freedom Fables’ on Strut on February 5th, the follow-up to the acclaimed ‘Jungle Run’ from Spring 2019.
‘Freedom Fables’ is the most accomplished yet by the Leeds / London collective, effortlessly fusing different soul, jazz and global styles with great musicianship and lyrics.

Guest artists include Cherise, Ego Ella May, Soweto Kinch, Pat Thomas and KOG

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs. ABOUT DJ MUGGS: One of the original architects of dark hip hop in the early '90s, DJ Muggs helped craft a singular sound that blended darker sensibilities of psychedelic rock and hip hop in a unique way that influenced many in its wake. As the primary producer of legendary rap group Cypress Hill, Muggs' productions and sonic sensibilities are unmistakable and deeply revered by the truest of hejkvgads. Muggs' own MC round-robin imprint, Soul Assassins has been home to countless productions, laying sonic drop cloths for everyone from Dr. Dre, Ice Cube, Chuck D, GZA, Mobb Deep to MF Doom, Freddie Gibbs, Roc Marciano and Mach-Hommy.

LTD. RED VINYL

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs. ABOUT DJ MUGGS: One of the original architects of dark hip hop in the early '90s, DJ Muggs helped craft a singular sound that blended darker sensibilities of psychedelic rock and hip hop in a unique way that influenced many in its wake. As the primary producer of legendary rap group Cypress Hill, Muggs' productions and sonic sensibilities are unmistakable and deeply revered by the truest of hejkvgads. Muggs' own MC round-robin imprint, Soul Assassins has been home to countless productions, laying sonic drop cloths for everyone from Dr. Dre, Ice Cube, Chuck D, GZA, Mobb Deep to MF Doom, Freddie Gibbs, Roc Marciano and Mach-Hommy.

Guedra Guedra presents Vexillology, an elevation of tribal consciousness and futurism from underground musical universes. The album offers listeners an immersive experience made from hypnotic and rhythmic arrangements, rooted in ancient culture. Referring as much to Sub-Saharan as to North African cultures, Guedra Guedra presents a synthesis of his pan-African appreciation and a full immersion into the traditional rhythms of these lands, especially within the Berber culture which is found in countries such as his home of Morocco, and across Tunisia, Algeria, Libya, Northern Mali, Northern Niger and beyond. The body of work is a complete celebration of cultural roots and future bass, bubbling in hotbeds of the global underground. Guedra Guedra is synonymously known for his ability to explore tribal rhythms and instruments of the past, as well as dancefloor innovations from contemporary underground scenes. For Vexillology and in true Guedra Guedra style, a myriad of immersive recording techniques were applied. The album is built upon a multitude of field recordings capturing live and 'in the moment' cultural happenings, encountered in everyday life, at tribal festivities and also on his travels. By also using video in his field recordings, Guedra Guedra enables himself to encapsulate the heat and entirety of the moment, applying this 'moment' and evolving it into his productions.

Strut continue their in-depth archive reissues from the Black Fire label witha definitive edition of JuJu's 'Live At 131 Prince Street',recorded in 1973 atOrnette Coleman's gallery in New York and featuring a previously unheardrecording of the Pharoah Sanders composition "Thembi". After forming in San Francisco while working on the Marvin X theatre piece'The Resurrection of the Dead', JuJu began to hone their uncompromisingfusion of Afro-Latin rhythms with free and spiritual jazz before signing toStrata-East for the 'A Message From Mozambique' album in 1972. "Wemoved to New York and became part of the avant-garde community on theLower East Side and Greenwich Village," remembers bandleader PlunkyBranch. Following a high profile live show at the Lincoln Center, OrnetteColeman invited JuJu to his gallery and loft at 131 Prince Street to performthere and to stay on while he left on tour. "That was life-changing for us,"continues Plunky."It was fabulous. The recordings you hear on this albumare in close proximity to each other, maybe across one day or a weekendat the gallery."Alongside tracks written by the JuJu band members, like the5/4 tempo 'At Least We Have A Horizon Now', they play choice coversfrom their peers. Plunky explains, "'Thembi' is a Pharoah Sanders piecewhich he wrote for his wife in 1971 and it's one of my favourite pieces byhim. 'Azucar Pa Ti' was written by Eddie Palmieri; we loved him too andenjoyed Latin music in general. Here we play 'Mozambique', based on anAfro-Cuban rhythm and we regularly played that for 10 minutes beforemorphing into 'Azucar'. 'Out Of This World', written by Johnny Mercer andHarold Arlen, was inspired by John Coltrane who recorded a version of iton his 'Coltrane' album in '62." JuJu's 'Live At 131 Prince Street' is out on Strut on 12th February 2021 on2LP and 1CD. Remastered by The Carvery from the original reel to reeltapes and including full sleeve notes based around a new interview withbandleader James "Plunky" Branch.

Back in 2018, Four Flies Records unearthed the previously unheard 'Africa Oscura', considered by many as the "dark side" of 'Zoo Folle' – Giuliano Sorgini's masterpiece (reissued by Four Flies Records in 2016) – and partly recorded during the same session in 1974.
The original work portrays a fictional and mysterious continent, providing a soundtrack tinged with dark
moods and cosmic shades. 'Africa Oscura' was entirely recorded by the composer, who played all instruments in his studio in Rome. This resulted in a formal spareness, a minimalism that gives it a
modern quality, something which makes it stand the test of time, or at least resonate with contemporary taste.
Since its release, 'Africa Oscura' has become a classic – a pivotal release not only within Sorgini's discography, but also one that made his name more known and accessible to a new generation of music professionals, DJs and fans of electronic music.
Four Flies have thus decided to celebrate its modernity with a double 12" featuring 7 reworks by six of Italy's most visionary DJs/producers: Jolly Mare, L.U.C.A. (aka Francisco), pAd, Painé, and Quiroga & Dario Bass.
The original tracks have been reworked with different approaches, sometimes into full reinterpretations, and with demanding dance floors in mind. The result is a stunning collection of electronic, cosmic, downtempo and Balearic reworks that preserve the spirit of the original versions while projecting them into the future.

Electronic four-piece Big Yawn invites five revered artists to reconstruct their debut album No!, originally released in March 2020 through Research Records.

The remixes convey a unique combination of darker textures and brooding sounds, clearly indebted to their source material.

The release features interpretations from Sleep D, Jay Glass Dubs, Maria Moles, Bullant and Raymond Scottwalker.

Rhythm merchants Sleep D (Butter Sessions) up the tempo and weave their signature expansive production in their fearless take on 'Reflex'.

Prolific producer Jay Glass Dubs (Bokeh Versions) flavours the 'Body Double' refix with looping clattering drums and glitchy murk, creating a compelling arrangement.

Like a drift into a warm gorge, percussionist Maria Moles (Nice Music) inserts gentle sustained synth work into 'Doodle Damage'.

Bullant (Flightless Records) pulls the listener out abruptly with a rework of 'Skinrat', a house-streaked churner.

Raymond Scottwalker (Fallopian Tunes) wraps up the record with another rework of 'Reflex', creating a mind-bending, aggressive industrial rejig.

Big Yawn's remix EP is a dynamic pairing to No!, entrusting an exceptional group of musicians to adhere to the spirit of the record, yet take it in a totally re-imagined direction

What is the utility of pain? Can it do anything but fester? In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. An encounter with a prophetic figure on the streets of San Francisco presented the question of "how to handle the misery on the way to the blessing." This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest - without movement, without the consumerist agenda of "new experiences." The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that "Hell is other people," but perhaps this is the Inferno of the present: the space of sitting with the self. A blessing is often thought of as a future reward, above and beyond the material plane. With In Ferneaux, Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.

Anohni has shared an emotive cover of Gloria Gaynor's 1978 classic 'I WIll Survive'. The track was a staple of her early live shows and opens with a graceful string arrangement by Maxim Moston, paired with piano performed by Anohni. Prior to the track being widely available on streaming platforms, Anohni shared a video incorporating live footage alongside messages dedicated to groups and causes that Anohni has long been an activist and advocate for. During the clip, Anohni dedicates the song to "the sacred gay people"; "all endangered Black trans lives"; "those in the US who die from medical neglect"; "the coral reefs of the world, now rotting"; "all those awaiting execution in US death chambers"; "Black lives tortured and stolen by American cops" and more. The messages reflect Anohni's longer values and work as an artist, trans activist, environmentalist and advocate for social justice. Alongside the release is a statement from Anohni, on the track being the subject of a licensing offer she turned down due to the platform in question hosting misleading pro-Trump ads. Further on the track, Anohni explains: "It was the first song I ever sang in nightclubs in NYC when I was 20 years old. I sang it hundreds of times. In those days I sang it thinking of Marsha P. Johnson and the underground queer community struggling to survive in the face of AIDS. Now it seems to me like an anthem for the future of life on earth." 'I Will Survive' follows a brace of releases from Anohni this year: most recently 'R.N.C 2020', a track inspired by the Republican National Convention which took place in August and the dread Anohni felt while watching it. Prior to that, Anohni released a 7" consisting of two covers, one of Bob Dylan's 'It's All Over Now, Baby Blue' with a b-side of Nina Simone's 'Be My Husband'.

Rhythm Section welcomes Nicola Cruz to the fold with his debut EP on the imprint - “Subtropique”. Inspired by an Ecuadorian upbringing, percussion is at the heart of how Nicola operates. His rhythmic style finds a natural home on the London label - which presents 5 expansive efforts equally indebted to traditional drumming as they are to contemporary club sounds. Remaining sonically cohesive without feeling the need to settle into a definable style - the tracks are tied together by a lucid psychedelic thread which, despite challenging the expectations and fundamentals of electronic dance music - demand movement at a time where we yearn for it.