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Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

Weisheit, Disziplin und unbändige Kreativität prägen den smarten Electro-Soul von Ellen Beth Abdi. Die renommierte Livemusikerin wird mit ihrem Debütalbum auf dem eigenen Label zur überragenden Solovirtuosin. Poppige Synth-Sounds, sich langsam steigernde Backgroundklänge und feinfühlige Worte von kraftvoller und persönlicher Bedeutung: Manchesters am schlechtesten gehütetes, genreübergreifendes Multiinstrumentalisten-Geheimnis steigt aus dem Schatten ins Licht. Vor fast einem Jahrzehnt wurde ihr aussergewöhnliches Talent entdeckt, was zahlreiche Support-Slots für u.a. Lady Blackbird, Courtney Pine und Angelique Kidjo einleitete. Diese Live-Erfahrung fliesst nun in die Konzerte zur Feier des lang erwarteten Soloreleases von Ellen Beth Abdi ein.

- "Something of a masterclass." - Louder Than War

- "Sharp lyrical insight with a distinctive sonic identity." – Backseat Mafia

This new album celebrates 10 years of activity by the quartet House of Echo!


Wallsdown II: Beyond Cyborgs, tECHnO Inside Us is the second part of a trilogy, following Wallsdown, released in 2020. This new repertoire, half organic, half electronic, questions the relationship between man and machine and the digital worlds of today and tomorrow. It confronts electronics and artificial intelligence with the acoustic quartet, which, throughout the album, enter into osmosis, reverse their roles, and merge.

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. "We were trying to find our own space," says Cinder of the formative period Camouflage Heart emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's sixyear run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways_to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation_an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in Camouflage Heart. Camouflage Heart plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece "The Spirit Behind the Circus Dream." In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior." For all the destruction and disintegration of Camouflage Heart, Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, "It's Luxury": "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. Camouflage Heart is the beginning of believing in flight."

"Maintenant" (meaning: Now) defines it all: A snapshot in time, 13 piano pieces, completely improvised by Rico Friebe in one take! Three years after recording "The Silva Sessions", this new album serves as some kind of sequel to the improvisational and aesthetic characteristics - presenting a vast and meditative soundscape solely on the piano with some subtle electronic manoeuvring within. A truly unique moment that got captured here and a special album, you won't come along too often these days...

The late great Sandeeno passed away just too soon as many other reggae artists. It is our great pleasure to reveal the song originally recorded a decade ago at the Backyard studio UK (at The Disciples' studio), and waiting for completion since then. Belgium’s top producer Martin De Ronne aka Unlisted Fanatic did his great job on production and mix, adding notes of Moonshine Horns and some guitar touches by Kingston Echo. The result is here for you on a crisp 7”45 vinyl disc.

The Ramones were punks before punk rock was even invented. With their catchy, sing-along tunes, iconic hair styles and outfits, Joey, Dee Dee, Johnny and Tommy rewrote rock history and are now, as part of the first wave of US punk, firmly considered part of the subcultural world heritage. In the DUB-cultural world, on the other hand, their footprint has been pretty slim, particularly if one considers their stomping, three-chord songs, instantly recognizable chants (“Gabba gabba hey!”) and laconic humour. There are a few reggae and Latin versions of their songs online, but never before have the Ramones been honoured with an entire album in early reggae style…until now, bang on time for the band's 50th anniversary in 2024. The label Echo Beach, a bit of a specialist for missions such as these with a string of releases including “Bad Brains in Dub”, “Dubby Stardust”, got together with André Meyer (production, bass) and Manougazou (production, guitar). Both were part of the 2008 Echo Beach New Wave/Dub project DubXanne and were involved in the production and subsequent live shows. Also back in the team is keyboarder and DubXanne mastermind Guido Craveiro, who plays Hammond organ and piano on half of the tracks. The other two additions to the core team are singer and all-round instrumentalist Sebastian Sturm and drummer Raul Pfeffer. Together they homed in on the 11 most iconic Ramones three-minute-singalongs, including "Blitzkrieg Bop", "I Wanna Be Sedated", "Pet Sematary" and "Rock'n'Roll Highschool", and treated them to a reggae make-over. The whole process was kicked off by a slightly off-beat question (reggae music does that to you): What if Joey, Johnny, Tommy and Dee Dee had gotten together not in NYC, but in Kingston? And then stepped up to the mic alongside local singing and deejay greats? In musical terms the answer is surprisingly plausible and the line-up is sensational, even for a label like Echo Beach with its unrivalled connections. From up-and-coming youngsters to living legends, everyone is included, albeit with a focus on the elder statemen and stateswomen: the vast majority of the guests are over 60 and look back on deeply impressive careers! The artists come from Jamaica, the USA, the UK and Germany. All contributed one or two songs, and all of them tackle the songs in pairs with infectiously good humour, transforming legendary punk rock bangers into unpredictable dub tracks. Ramones’ classics such as "Blitzkrieg Bop" with its trademark battle cry "Hey! Ho! Let's Go!", "Sheena Is A Punkrocker" and "The KKK Took My Baby Away" are slowed down and underpinned with roots and rocksteady riddims. It almost goes without saying that the lyrics have been adapted to everyday Jamaican life with a great deal of fun and creativity. And amidst all the icons of early reggae, the Ramones also make an appearance: in the opening track "Pinhead", for example, we learn that the Ramones did actually listen to reggae and had even been planning a reggae album. Features guest vocals from Susan Cadogan, Ranking Joe, Ranking Ann, Prince Alla, Welton Irie, U Brown, Earl Sixteen, Dennis Alcapone and more

We are pleased to present again this wonderful and highly sought-after album, born from a promotional campaign by the U.S. Army to encourage recruitment. The recording perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by brilliant anonymous musicians. Virtually impossible to find in its original edition, we are now reissuing it once again thanks to a collaboration with Now Again. Pressed on 180g vinyl. Often, the most prized records by collectors hold unexpected stories. When they also feature incredibly high musical quality and only a few original copies are available, they become the holy grails of collecting. This is the case with this album, recorded by American soldiers stationed in Germany in the early 70s. During the Vietnam War, the U.S. Army organized a band competition among its soldiers. The winners would record a promotional album that would be distributed for free to encourage enlistment during such a turbulent time. The result was a double LP shared between the bands SOAP and East of Underground. Although East of Underground's repertoire consists of covers of soul and funk hits, the quality is surprisingly high: raw guitars, crushing drums, brilliant vocal harmonies... The result perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by anonymous musicians whose final fate has yet to be confirmed. When the label Now Again tried to reconstruct the story of East of Underground, they only managed to contact one of its members after digging through documents in the New York Library and collaborating with the U.S. Army. We are now pleased to present this wonderful and highly sought-after album once again, a surprising case where the covers rival the originals, creating a unique recording that justifies its immense appeal among collectors.

Shai Maestro ist einer der einfallsreichsten und einflussreichsten Pianisten seiner Generation. Seit seinem 2011er Debüt mit seinem Trio hat er eine unverwechselbare musikalische Stimme entwickelt - fließend, ausdrucksstark und zutiefst lyrisch. Sein künstlerisches Können hat ihn zu einer treibenden Kraft des zeitgenössischen Jazz gemacht. Er verbindet Improvisation, Komposition und globale Einflüsse zu einem Sound, der sowohl filmisch als auch zutiefst persönlich ist. Nun präsentiert er sein erstes Klaviersoloprojekt beim renommierten Label naïve. Das Album 'Solo: Miniatures & Tales' bewegt sich zwischen Komposition und Improvisation und lässt uns in die reiche Palette an Nuancen und Sensibilitäten eintauchen, die die einzigartige Klangidentität des Pianisten prägen. Mit seinen jüngsten Veröffentlichungen bei ECM Records, produziert von Manfred Eicher, reiht sich Maestro in die Riege legendärer Pianisten wie Keith Jarrett, Paul Bley und Chick Corea ein. Sein Quartett erweitert weiterhin die Grenzen des modernen Jazz. 2025 begibt sich Shai Maestro auf eine neue Reise: Seine erste Soloaufnahme markiert den Beginn einer fortlaufenden Reihe. Dieses Projekt erforscht die empfindliche Balance zwischen Struktur und Spontaneität und spiegelt seine sich entwickelnde Beziehung zu Komposition und Improvisation wider. LP-only auf schwarzem Vinyl!

The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian"s counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek"s guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to "Shoes" and "Aliyah". The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Zedek"s mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek"s words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.

Jerry David DeCicca is songwriter and producer. He makes his living as a vocational rehabilitation provider for special education students and adults. He"s produced albums for Ed Askew (Tin Angel Records), Bob Martin and Ralph White (Worried Songs), Will Beeley (Tompkins Square), Chris Gantry (Drag City), Larry Jon Wilson (1965 Records/ Drag City) and worked on reissue projects for Numero Group. Collaborators on his DIY solo albums include David Hidalgo, Kelley Deal, Augie Meyers, Jeff Parker, Spooner Oldham, Will Oldham, and many others. He lives in the rural town of Bulverde, TX with his two dogs, three cats, five toads, and wife. His previous band, The Black Swans, released 5 albums and toured for 10 years.

First released by Extreme in the massive, infamous 'Merzbox,' "Red Magnesia Pink" is extracted and recontextualized as a standalone release for the first time. Recorded in 1995, "Red Magnesia Pink" sees Merzbow in peak form. A psychedelic whirlwind of synthetic transmissions; harsh, wet, screeching sounds that could only be produced by Masami Akita. Featuring two previously unreleased bonus tracks from the same era.

The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian"s counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek"s guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to "Shoes" and "Aliyah". The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Zedek"s mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek"s words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.

Recently appearing alongside Ibrahim Maalouf on the show “Improbox” (TSF Jazz), or as the opening act for Vulfpeck at Jazz à Vienne 2024, Sampling is Beautiful Trio is made up of: Zajazza on turntables and samplers (produced for Gaël Faye, HomeboySandman...), Yacha Berdah on trumpet and bass (Grand Corps Malade, Ibrahim Maalouf...), Japhet Boristhène on drums (Saïan Supa Crew, Chassol, Shibuuya).

Sampling Is Beautiful is: “A trio, a collective, a vibe, a freedom, ...”
These are the words of the artist Kaynixe in the introduction to this record.
Each “captured” sample is highlighted, cherished, reversed, modified… and finally used as a melodic or rhythmic basis to construct a new piece. With a certain black magic or piracy, this first album is a photograph of the Trio's musical moment, filled with homages to sampled composers, nods to Jazz and film music.
Yacha, Japhet and Zajazza, surrounded by many talented artists, share here this colorful musical picture of samples and each person's journey.

After his critically acclaimed EP LOOP (national press coverage, playlist support, a sold-out tour with Odezenne, opening for Zaho de Sagazan and Pomme, winner of the 2024 iNOUïS of Printemps de Bourges), Jean unveils an ambitious and cohesive debut album, conceived as a complete work of art. Created without guest features or compromise, this 12-track record delves deep into introspective songwriting, raw yet poetic, at the crossroads of rap, melancholic pop, and modern French chanson. Jean isn’t trying to please, he exposes himself with no filter.



The album stands out for its strong narrative and visual identity, where each track plays like a film sequence, a resurfacing memory. It explores universal themes: love, solitude, escape, addiction, aging, through a deeply personal and always lucid lens. The imagery reflects this universe: the album cover, shot in a movie theater, introduces an ambiguous character, somewhere between absurdity and allegory, perhaps a manifestation of the artist’s inner demon. A disturbing yet familiar presence, intentionally open to interpretation, like a key without a lock.



Musically, the album spans multiple aesthetics without losing its coherence: each track asserts a distinct tone and balance. Jean positions himself within a new, demanding francophone scene, free from cynicism or affectation. He delivers a unique, sincere project, both accessible and profound, that invites listeners to experience it in one sitting, from start to finish.