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Now available in a limited vinyl edition of 1000 copies, singer Petra Haden excels in this beautiful and unique program of songs penned by the
songwriting team of Zorn and Harris.
Friends for many years, they began working together on The Song Project in 2012, and eight years later this LP presents the full fruits of their collaboration: thirteen Zorn compositions with original lyrics by Jesse Harris. Including selections from a wide variety of Zorn projects (and one original that has never appeared before), the melodies are catchy, the lyrics heartfelt, the grooves deep and the solos profound and exhilarating.
Backed by the amazing Julian Lage, Jorge Roeder and Kenny Wollesen and produced by Jesse Harris, this is a LP that you will listen to again and again.

Rolling through life, an open mind like an ocean, an infinite ride that comes furiously crashing to a halt. This is Whitney K’s ‘Two Years’, a deep dive into the Canadian songwriter’s journey through vulnerability, change and ultimately letting his guard down. Whitney K is the wandering stalwart Konner Whitney, a White- horse Yukon resident who has spent time in Vancouver, Montreal, Burnaby and Los Angeles. We met the character in 2016 through his intoxicating 4-track recorded manifesto ‘Goodnight’, a head on collision into 24 hours of illusioned romance and modern day escapism.

Fast forward to 2021, lift those curtains, aptly titled ‘Good Morning’ is the opening track on ‘Two Years’, a different cracker, a deliberate record about transformation, where to put it simply, Whitney K has arrived. Enlisting the aid of main collaborator and bandmate Josh Boguski, the focus has been shifted, folklore and realism becoming reckoning and truthfulness, what was outsider folk is now political poetry, life in motion delivered through a freeway ridden baritone voice that transforms the mundane into extraordinary.

"I’ve had the pleasure of being a Fall fan since I was a teen.
I was lucky enough to have some guidance from my local record shop stoner-lords.
They turned me on to many of my heroes, but once I heard my first slanted and barky Fall song, I was part of the army for life.
The word prolific gets tossed around a lot.
It almost seems like a slag-off in the press, as if they wish the artist would produce less so they wouldn’t have to do their self imposed job of judging releases for the rabble.
The Fall is subjected to this lazy word often.
Yet I can honestly say that I am SO thankful for any nugget of Fall that lands at my feet and in my brain.
Live Fall performances are always a pleasure because they seem to take what already made the Fall great and push it even a bit more into the rough and bloody uncharted wasteland that is drug scorched proto-punk and heady political poetry.

So, it is with great pleasure that we introduce this Fall bootleg soundboard recording to you.
Recorded during one of the many strong points in the bands vast and mighty history.
They really burn bright here and bring every ounce of what you expect from this formidable force.

We have reached out to every surviving member of the band, the sound person, the bootlegger who recorded it and the photographer and received their blessings & help piecing it all together.
Castle Face will be donating 50% of our profits to Centrepoint which helps the homeless in the Manchester area get back on their feet, so the local and deserving Fall fans get a little, and give a little back, too.

Nothing but the hits here folks and as raw as you dig it.
This one really is exceptional in terms of live sound for The Fall.
All the stars were aligned over St. Helens that eve.
And it wouldn’t be complete with a bit of Fall fan saltiness so, fuck you too, Jason.” - John Dwyer

It’s out on Castle Face Records exclusively on vinyl (12” and a 7” in a gatefold jacket, including a digital download) on February 19th

The debut album from Kiri Ra! is an intuitive journey through landscapes of spectral otherness with colors of post classical minimalism, ambient folk and spiritual jazz. Starting as cross Baltic improvisation group in 2014, Kiri Ra! found form in the winter of 2016 when Finnish experimental artist Lau Nau, Finnish jazz saxophonist Linda Fredriksson, and Swedish pianist Matti Bye were commissioned by The Swedish Film Institute to create music for experimental amateur documentary films from its archive. Their debut album is made up entirely of improvised live studio recordings that stemmed from this film-scoring effort. With meticulous attention to detail and a sense of wonder, the players are collective witnesses to what can unfold between three musicians in a room. As illustrated on the tracks "Happlo'os" and "))Glänta//", softly played piano ostinatos, field recordings and bowed percussion set a visceral foundation for the saxophone to carve melodic tones of tingling melancholia. This warmth and sense of intimacy prevails throughout the album, as illustrated on the serene track "Linnesöndagen Gynnas Icke", whilst "Kites Över Gärdet" is an almost supernatural unfolding of timelessness.

Formed in 2015 as a project of experienced, devoted musicians from German bands in the Black Forest region, THRON's initial goals were to play authentic black/death in the spirit of the early to mid '90s. Although born in Germany, THRON could originate from a Nordic country though : heavily influenced by bands like Dissection, Unanimated, Possessed and Mercyful Fate among others, adding traditional heavy metal flavour a la Judas Priest, the band create a blazing symbiosis of icy melodies, harshness and a haunting atmosphere. THRON released their self titled debut album in 2017; The following year saw the release of the much critically acclaimed ‘Abysmal’, its roaring response vigorously spread the name across the globe thanks to their diabolical twin guitar black/death metal attacks . Metal Hammer (UK) enthusiastically reviewed : ''‘Enhanced Swedish 90's black/death revivalists hit the nail on the head with this one ! ‘. The band delve even further into the musical territory they flirted with as on their debut and reinforce all foundations on ‘Pilgrim’, with more emphasis on slashing wicked fluid melodies infused with energetic, triumphant classic heavy metal swagger . THRON never loses an opportunity to furiously enhance the catchiness of each composition with a greatly balanced and coherent old school feel. Utterly brutalising and masterfully composed, the end result is truly spellbinding. THRON's 'Pilgrim' was recorded and produced by C.Brandes, A.Kovats and P.Hagmann. , Mixed and Mastered by C.Brandes at Iguana Studios in March-Buchheim in May 2020 with additional Sound Design by Stan Berzon. Artwork by created by Khaos Diktator Design.

The 1st Album is the gigantic debut studio album by German duo Modern Talking. The album peaked at number one in Germany, spending four weeks atop the chart and 18 weeks within the top 10. It sold more than eight million copies worldwide; it was certified platinum in Germany and Austria and gold in Poland and Spain. The album spawned two singles, with “You’re My Heart, You’re My Soul” topping the charts in Germany (where it spent four weeks at the top), Austria, Switzerland and Belgium, while charting inside the top five in France, Norway and Sweden. This song has about half a billion views on YouTube.

The sleeve contains gold-spot varnish on the Modern Talking logo on the front cover and the package includes an insert.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

Sons of Traders 002 is a Compilation 8 Tracks Ep of loosely knit artists that surround the duo Sons of Traders (Mike Tansella Jr. and TANS). Leading the EP, the title track “Rotten to the Core” is a slow stomper with a forceful vocal sample and some various squelches. LA’s Kosmik picks up the tempo with “Murmurs” which features a hypnotic synth loop over a 4/4 beat. On “Chomping at the Bit” C.L.A.W.S. and Tyrell trade off between claps, hi hats and short delays underneath a sinister synth tone. To close the A side of the record is Future Blondes out of Texas with “2020 ultra visions”, a cut that can only be described as a sinister barrage of slamming drums and tones. The B side launches with “The Other Side of Town” by The White Lines, a dark electro workout with vocal samples, dark synths and growling bassline. Frigio label boss Juan Pablo brings us an intricate drum pattern with layers of synths on “Night Drive in Beijing”. “Self Feral” by Chris Mitchell is something with a hip hop swing, heavy drums, various feedback and vocals. Closing the EP is Dragee, a new artist from Tel Aviv. “Them” features a hard snare that holds together the demented vocals, claps and bassline that develop throughout the track.

"La Compil" is an annual production contest organised by the french label Nymphony Records. Every year, at the end of the contest, the label selects 5 house tracks and 5 techno tracks to release a compilation that is distributed everywhere in France.

"La Compil" is an annual production contest organised by the french label Nymphony Records. Every year, at the end of the contest, the label selects 5 house tracks and 5 techno tracks to release a compilation that is distributed everywhere in France.

Repress in Pink Marbled Vinyl

'Fleischberg' is the 2nd vinyl iteration of Berlin's body focused Fleisch collective, following hot on the heels of last year's highly acclaimed release by Schwefelgelb. This 12' starts with a relentless six and a half minute assault by Australian native and Berlin based Halv Drøm, a fitting vinyl debut for the talented producer. DSX follows up with a finely tuned EBM track tactfully layered with obscure vocal samples and paired with piercing, frenetic drum programming.

The B side starts with a slightly different approach, recalling a more classic techno and electro tone without losing sight of the release's progressive focus; Privacy's catchy 'Work' recalls late 80s Chicago masterpieces without becoming overly nostalgic. Sekunde rounds out the compilation fully with a plodding and minimal piece that would be best appreciated while being blasted driving 300 km/h down a moonlit back road somewhere in the Black Forest.

Hunt & Gather’s debut vinyl release comes by way of Pezzner’s cryptic moniker “The Native Language”. Written as a quasi-homeless man living off the rich in the San Juan Islands who writes music once per year to suffice his own delusions.

Walking the streets in these damp, anxious days that all run together lately, I was approached by a man who would blend right into the neighborhood, layered in flannel and sweatshirts for sleeping.

Rough, but for his shoes. (Never cheap out on anything that separates you from the ground.) “Pezzner,” he called out, from a safe distance. “What did the mangrove say to the marauding hordes.” My soul left my body for a moment and my voice responded on its own. “Petrichor.”

He caught my eye, nodded, left a padded envelope on the ground and vanished. The envelope had passed through many hands, slipped into the bed of a ferry-bound truck, passed from one fellow traveler to another, stashed under the counters of anarchist bookstores, left tucked between books at Little Free Libraries. The greenish stains suggested that at one point it had been swum across a lake. Another DAT, contents encoded here unabridged, and a letter from someone who called himself The Sentinel.

The Vessel lived out his days on Shaw Island, under a canopy of trees that gets smaller and smaller every season. His condition the same, any electricity lit his brain on fire, could only bring himself to compose one day a year, only at night, out of sight. Until he met The Angel, an eccentric with means, who built for him a device.

A Faraday Cage to block all electromagnetic emissions. Burlap walls, for atmosphere. A system of pulleys and levers, wood and rope, all running into a box that sat outside. An entirely mechanical control surface. No electrons in here. The Vessel lit fires, watched the shadows dance, closed his eyes and disappeared into the motion for hours at a time. The Sentinel came every morning to change the tapes. The Angel watched and pondered, his plans unknown.

The box sat sealed, bare except for another set of ideograms, scratched in day by day over time. Inside, the usual bedroom-producer shit. Outside, the ideograms told a story, passed from the Vessel to the Sentinel and drawn by the Angel, of a man who became another creature. Alert to the lowest frequencies, feeling music deep in the soil below their feet. Music that brings messages, from distant friends, warning of new creatures and the danger they brought. Skin alive to the world, so sensitive it can detect the landing of a single fly. A mind capable of keeping a map of the world inside. A mind that can look in a mirror and see a soul it knows well. A mind that can grieve.

After processing its contents, I filled the envelope with granola bars and walked it down to the market. The clerk gave me a knowing look as I placed it on the counter behind a stack of pork rinds from the previous century. As I walked out, a young man carrying a plastic bag and wearing impeccable shoes walked in.

The label’s first release seeks to offer an initiatory experience to Forbidden Teaching’s mission, namely to express the inexpressible.

The A side of the record is body oriented and is introduced with NN’s “The Blood Of A White Monark”, a track characterised by its forceful rhythm, cinematic breakdown and strong synths. Mind I Matter dives deeper in the EBM spectrum with “Thelema”, a track featuring a bassline that goes straight to the body and supported by an expertly crafted atmosphere, reminiscent of the notorious esoteric doctrine.

The B side of the record is soul oriented and begins with Antechamber’s “The Ephemeral Hallucinations”, an atmospheric track that elevates the listener to a place where earthly senses become blurry. Nigh/T\mare concludes the compilation with his track “Unconscious Traction”. It features a robust and hypnotic rhythm coupled with an intense atmosphere that leads the listener to a state where deeply buried emotions and desires could resurface.

From label owner Terry Cole, "It was on March 16, 2020 that we closed up our storefront as the reality of a worldwide pandemic began to spread across the Midwest. We had no idea how it was going to impact our shop, our label, or the artists we represent. We were all fortunate to have our family members stay safe and healthy; however, the livelihood of many of our friends and artists were drastically and immediately impacted. No tours, no live performances, record shops closed, pressing plants shut down, etc. And while the level of uncertainty was unnerving, from that uncertainty came the idea for Brighter Days Ahead. We knew we wanted to continue to release new music, but proceeding with our heavy 2020 release schedule as planned seemed ill advised. So the idea was to release individual tracks from many of our artists on a weekly basis and as a musical family, we could all help shine light on each individual artist weekly. Strength in numbers! So throughout the summer and into the fall, that's what we did. We released several dozen tracks and the weekly announcements certainly garnered a strong sense of community for our artists and fans alike. We're very proud to present Brighter Days Ahead: a compilation from our talented stable of artists on both our Colemine and Karma Chief imprints."

We are very proud to present a special 8 track electro project on Tronic. We have always been very passionate about this genre and wanted to bring together some legendary techno producers with a deep appreciation for electro together with some established and new school leaders.

Split over 2 EPs Part 1 features heavyweights inc Sterac Electronics / The Advent & Zein Ferreira / label boss Christian Smith along side the the anonymous Client_03.

Black vinyl pressing of the now sold out RSD 2020 reissue.

The Amorphous Androgynous unite their award winning psychedelic compilation series ‘ A MONSTROUS PSYCHEDELIC BUBBLE ( Exploding In Your Mind ) ‘ with their symphonic new single ‘ We Persuade Ourselves We Are Immortal’ ( taken from the forthcoming album ‘ LISTENING BEYOND THE HEAD CHAKRA ‘ ) to create this latest installment of the Monstrous Psychedelic Bubble series . Featuring a host of luminaries such as Peter Hammill -vocals ( Van Der Graaf Generator ) Paul Weller -piano and guitar and erstwhile members of the SPENCER DAVIS GROUP/ Ian Gillan Band AND SOFT MACHINE on lead guitar and sax among a plethora of other musicians ( including the Chesterfield Philharmonic choir and a full string section ! ) alongside collaboration & remixes with a host of bands ( ATOMIC SIMAO / HIGHER PEAKS / REGAL WORM / COBALT CHAPEL plus others ) to create one helluva progtronic psychedelic trip through the Amorphous Androgynous samplerdelic multiverse.

Green Marbled Vinyl
Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energiesthat inhabit the land of Puglia since the dawn of time.
An harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspectivesunset sensations. One Body. Many Souls.

PF001 // The Frst installment comes with four contributions by festival aliates and long timefriends - from the explorative psychedelia of Francis Inferno Orchestra and the introspectiveexotica of Simone de Kunovich, to the playful 707- ish mediterranean vibes of Jolly Mare and thebalearic uplifting arpeggios of Yanik Park.
The package represents indeed a tribute to Itria, the magic Valley placed between two seas,Adriatico and Ionio, in the earth of Regione Puglia.

Laurel Halo, Donato Dozzy and Teheran sound artist Tegh give us their "Glassforms Versions"alongside a new edit by Max Cooper. The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience.


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With "Glassforms", Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. The resulting recordings, developed in a fluctuating exchange between the American pianist and the Irish scientist-artist, are an astounding testament to the innovation that artistic collaboration can achieve and what depths are yet to discover in Philip Glass' compositions. The two artists did not just rework, but fundamentally rewired the original songs using algorithmic software to process and augment the musical data it received from Brubaker's piano live on stage.

When approaching his remix, Donato Dozzy also tapped into that inspiration to create something new rather than just reworking it, which is one of the core motives that emanates from "Glassforms". The Italian producer and label owner is known for his drive to explore: he develops installations for public spaces and museums, uses obscure musical instruments and collaborates with classical singers or visual artists. "I chose "Two Pages" for it's hypnotic feel in the notes repetition", he says, "but I did not want to merely sample the piano, but instead ask someone I trust and admire to carve it from scratch and even go further." So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire "Two Pages" into a gorgeous piece of endlessly modulating ambient electronica.

Laurel Halo, the second remixer on "Glassforms Versions", does not need a long introduction either: the American musician is at the forefront of electronic music in 2020, a bright star today after releasing her debut "Quarantine" on Hyperdub in 2012. Her remix of "Opening" brings to mind the string section of an orchestra tuning their violins before the performance - forever. They glide in and out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker's piano, sampled and pitched down, but sound almost jazzy in the context of Halo's remix. It's a blissful listening experience, calling to mind her recent collaboration with cellist Oliver Coates on "Raw Silk Uncut Wood" and showing a deep understanding of Philip Glass' work.

Sound artist Tegh is the third on the remix bill - the electronic musician from Teheran delivers his take on "ƒTwo Pages", once again showcasing how versatile, how inherently complex the works of Philip Glass are. They can be interpreted in a myriad of ways - Tegh's version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy's version, and yet, when the piano finally does break through, it becomes clear that we are listening to Philip Glass, reflected manifold: through the piano of Bruce Brubaker, the synths of Max Cooper, and then again through the mind of the artist Tegh.

Concluding the new "Glassforms Versions" is a previously unheard edit of "Two Pages". It's difficult to edit a piece of minimalistic beauty without losing it's essence, but Max Cooper - after many efforts and close conversations with Bruce Brubaker - managed to bring these shorter edit into a satisfying, conclusive form.

Black Uni Cover with Artwork Print

There are few things in design (both sound and art) that are more subjective-or more important-than the use of color. 'Color Language' takes the listener through various characteristics of four different colors. Cultural differences can have different reactions to color. A color that cultivates joy may be depressing or melancholic in another culture. The phonic output of Color Language may reveal similar characteristics that leave the listener to decide how the react to each arrangement.

One of the most shocking but ultimately uplifting stories of Brazilian music: Soares grew up in extreme poverty in a favela, at 13 was forced to marry a man who raped her, gave birth to three stillborn children - but still fought her way to the top of the industry, married Garrincha, lost him to booze & loose women, in addition to their son and her mother in car accidents. And is still going strong! This is probably her best album and indeed is absolutely lovely, grooves like nothing else. She sings with passion & fire in her lungs like the fabulously versatile singing magician she is. Her husky voice became her trademark. After finishing A Bossa Negra - her second album - Elza went to Chile to represent Brazil in the 1962 Football World Cup, where she met with Louis Armstrong personally.

Herself is the moniker of multi-instrumentalist Gioele Valenti, also known as JuJu in more recent years (Fuzz Club) or as part of the psych project LAY LLAMA'S. Herself's work was described by critics as the harmonious meeting between Sparklehorse, Gravenhurst and Will Oldham. Valenti's songwriting takes inspiration from low-fidelity apocalyptic folk, crooning and pop; boasting a rather extensive discography. Well rooted in tradition, his music often ventures in the realms of subtle experimentation. His new album "Rigel Playground" prepares the listener for a journey through cosmic folk, in which traditional Brit Pop flirts with an alt vein, as if the Beatles and Sparklehorse would meet the torments of Nick Drake and the intimacy of a Mike Scott. Continuing a long list of illustrious collaborations (Amaury Cambuzat of Ulan Bator, John Fallon of The Steppes,Capra Informis of GOAT, among others), the prestigious guest on this record is Jonathan Donahue from MERCURY REV, a group of absolute prominence in the international indie panorama, which in addition to having lent his voice to the single "The Beast of Love" - as Herself says - informs the essence of the entire record. Not surprisingly Mercury Rev chose Herself to support them during their Italian tour last year.

Vangarde's 11 songs represent the culmination of not only what this year has wrought, but also the talents of Lif and Bangas, an emcee-producer duo built for this. And you can hear that for yourself as soon as the second track, "Shelter in Place," blasts its way into your speakers. From the driving production to Lif and Blacastan's bars, the single embodies the raw, visceral feel of the entire LP. It carries through to the previously leaked "Basquiat," the stirring and gripping posse cut "8 Minutes 46 Seconds," and the highly personal "Now is Only Now," in which Lif explains how he wrote most of his lyrics secluded from his wife and young son due to the pandemic.

What makes Vangarde so impactful, however, is that it doesn't beat you over the head with the same sound or approach. Lif and his guests may tackle subjects related to oppression and corruption throughout the record, but it's done through nuance. The same goes for Bangas' stellar production, which maintains the momentum of his vocal counterparts. It's no surprise then that the two speak so highly of each other, with Bangas referring to Lif as a "storyteller and a reporter," and Lif noting that he was saving the name "Vangarde" for a project with an "elite producer."

It has been almost 30 years since Mantris shared music with the world. Together with his good friend Christoph Waelkens, the producer was the driving force behind pioneering house outfits The Black Sun and Brown Hardware Inc. Their creative connection led to three consecutive releases in 1992 on cult label Elektron, a short-term sublabel of USA Import Records. A productive music career was forecasted, but Mantris vanished into thin air and no more music was ever heard of him.
Until early 2020, when Brussels based Kong DJ got his hands on a mysterious playlist. Sent from Bombay in India, little information was annexed apart from a reference to the above mentioned records Mantris produced - favorites in Kong’s record bag for many years. Blown away by what he heard, the DJ decided to launch a new record label and invited good friends Hill Men to join forces. Borrowing the original playlist’s title ‘Souvenirs From Imaginary Cities’ as label name, their first release is what you hold in front of you.

mantris, real name Dirk Eggermont, prefers to stay under the radar. In his small apartment in Bombay he hasn’t stopped making music ever since he left Belgium twenty years ago. He composes instinctively, far away from hypes and contemporary scenes, creating intriguing and timeless jams. Utterly cinematic, his story-telling is rich and phantasy provoking. Each of the 10 tracks pencils a singular atmosphere, yet the 40 minutes entirety comes as a coherent whole full of surprising sounds and meandering dreams. Close your eyes for a unique musical vision here offered as a 12” album, reminiscing of the finests UK leftfield experiments, Detroit future sounds of jazz and sophisticated house not house.

Arguably the Netherlands’ most prominent grime artist, JLSXND7RS’ name is synonymous with some of the most iconic productions around, with a vast back catalogue including collaborations with Wiley, Footsie, Rocks FOE and Discarda. For the debut vinyl release on his fledgling label, Dark Knight, he’s brought out a long-awaited fan favourite alongside two gargantuan reimaginations.

From its brassy opening notes, “ Marching” is instantly recognisable – a minimal, yet menacing instrumental which has enjoyed countless plays from esteemed DJs including Slimzee and Sir Spyro since it first surfaced on the airwaves in 2016. It also comes with Mala’s seal of approval; the Digital Mystikz legend has cut the track to dubplate for use in his sets.

On side B1, dubstep royalty Caspa pares back the original to its base elements, instead introducing gritty basslines, mesmerising percussion and a grimy harmony to bridge the gap between the two genres.

The release concludes with a remix from Brighton innovator and Sector 7 signee J ook, which Outlook festival-goers will recognise. His melodic interpretation of the song includes swelling reversed synths, shuffling drums and cinematic breakdowns.

One of the most striking documents of Italy’s Minimalist movement, Giusto Pio’s "Motore Immobile" is a work with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view.

"Motore Immobile" now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970’s and early 80’s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina and Raul Lovisoni.

An exercise in elegant restraint - note and resonance held to the most implicit need. Where everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by Piano, Violin, and Voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come.

Tala Vala combine experimental recording methods bridging marginalised genres, synths, brass and strings, jagged guitars and primal percussion.

John Roffe-Ridgard is a producer and former touring musician and Ben Locket is a composer for TV and Film.

The pair began making music in 2017 and self-released their first EP on a limited vinyl run. Mixed by Jake Jackson at Masterchord studios, the records were sold exclusively through Sounds of the Universe and Bandcamp.
Enthused by the interest in the record and selling out the run, the pair set about recording a full-length album expanding on the ideas of the fist ep. The album was again performed and produced by Ben and John using mainly analogue processes, where possible utilising 24 track tape and mixed by Jake. The self-titled record was self-released on vinyl and made it into the Stranger Than Paradise top 10 albums of the year.
Album number two began as a soundtrack project in early 2019, it was abandoned as they became disillusioned with the boundaries the film was imposing. The only remaining music from the soundtrack session is the opening cue which can be heard as the last track of what became Modern Hysteric, album two.
The new album was worked on throughout 2019 and mixed in early 2020 again sticking to mainly analogue processes, avoiding any audio plugins and computer editing. Jim White (Dirty Three, Xylouris White) guest drums on two of the tracks ( Reoccurring Weather & Haxen ) bringing his instantly recognisable style to the Tala Vala sound. In addition to the string quartet and brass sections, a kora player and the manipulated voice of soprano singer, Grace Davidson can also be heard throughout the album.

Modern Hysteric will be released in early 2021 on the bands’ newly set up Number Witch Records distributed via Forte music.

Muddy Water Blues: A Tribute to Muddy Waters is the second solo album by Paul Rodgers, best known as the vocalist of Free and Bad Company. This album features collaborations with many artists, including Brian May, Buddy Guy, David Gilmour, Jeff Beck, Gary Moore, Richie Sambora, Slash, and Steve Miller. He took these classic blues tunes and arranged them a little more towards rock. The album was recorded at various studios due to the many guests on the album, but producer Billy Sherwood managed to keep the sound pretty similar throughout. Muddy Water Blues was nominated for a Grammy Award.

Now available as a limited edition of 2000 individually numbered copies on translucent yellow coloured vinyl.

0.9999...//READ THAT SEQUENCE LIKE A MANTRA After their successful collaboration on “<3”, AtomTM and X1N are back, this time presenting the 4 track EP “0.9”. It contains both the opening and closing tracks of “<3” as well as their corresponding mutations. While “0.9 (Almost a Unit)” was remixed by Esplendor Geométrico, “Almost a Unit (0.9)” got reworked by Peter van Hoesen. “Both renditions contribute amplified iterations of inherent attributes of <3” as X1N eloquently states. On a side note it may be mentioned that in mathematics, the expression “0.999..” is considered being identical to 1. Meditating over that very fact may tell you a lot about our current reality. #HardCodePop //////////////////////////////////////////////////////////////////// PROXIMITY IS DESTINY DREAMS AS SEARCH ENGINES X

Focus are a progressive rock band hailing from Amsterdam, the Netherlands. Formed by Thijs van Leer, Hans Cleuver, Martijn Dresden and Jan Akkerman (whom had left his previous band Brainbox to pursue Focus), the band went on to become one of the most influential Dutch rock bands. Moving Waves, also known as Focus II, is their second full- length record, and includes the group’s most successful single “Hocus Pocus”. The album was an international hit upon release in 1971. Moving Waves is available now as a limited edition, pressed on purple vinyl.

Doc at the Radar Station is the eleventh album by American blues rock band Captain Beefheart and the Magic Band. Released in 1980, this album resulted in a resurgence of Beefheart’s (also known as Don Van Vliet) popularity. The album, which was self-produced by Beefheart, was critically acclaimed as well. It would be Beefheart’s second-to-last album before his retirement from music. The album is now available on black vinyl.

When Claud Mintz's mother finally heard the 13 songs on her kid's magnetic first album, Super Monster, she asked a concerned question: Just how many people had her 21-year-old dated? From beginning to end, these sparkling pop tunes capture the assorted stages of a relationship's delight and dejection_the giddy sensation of a first kiss during the beaming "Overnight," the heartsick longing of a pending rejection during the yearning "Jordan," the reluctant call for a requisite breakup during the smoldering "Ana." Claud, though, replied that these songs detailed the phases of only two or three relationships, simply written during them or at various points after they were over. The debut release on Phoebe Bridgers' Saddest Factory Records, Super Monster is a vertiginous but joyous coming-of-age reckoning with such young love. Claud sees relationships as games of endless wonder, intrigue, and second-guesses, a roller-coaster thrilling you even when it's terrifying. If "Gold" turns the tension and indecision of a bad match into an undeniable bit of lithe disco, "That's Mr. Bitch To You" uses a spurt of righteous indignation to fuse a little soul and emo into one breathless hook. Super Monster is like a compulsive compilation that Claud culled from a lifetime of musical enthusiasms_the arcing alt-rock of '90s airwaves, the rapturous pop of '00s chart-toppers, the diligent genre-hopping of modern online life. Claud emerges as the chameleonic mastermind of this mélange, channeling all of love's emotions into songs so sharp they make even the hardest times feel fun. Perhaps you are in the throes of one of these romantic moments yourself right now, resentful of a frustrating paramour like Claud during "Pepsi" or indulging in lust like "In or In Between." Or maybe these songs recall those wild days and tough situations. Incisive, instant, and addictive Super Monster works on either level_to remind us of love's wild ups and downs or to help us deal with them in real time. In that way, Mom, these songs are about dating, well, everyone.

Repress

Arnaud le Texier (Cocoon Records): "Top quality! Really nice.." 10/10
Cio D'Or (Telrae): "An amazing double Vinyl of different interpretations from some music friends in techno for Hypnus! Thank you!" 9/10
David Att (ATT Series): "SUPER VARIOS ARTIST. THANKS: D" 10/10
Deepbass (Informa Records): "Great remix package here! Will be using most of them, a true showcase of the love for Hypnus" 10/10
Etapp Kyle (Klockworks): "Edit Select and Mike Parker are winners!" 8/10
Exium (PoleGroup): "Great stuff, thanks!" 8/10
Francois X (Dement3d): "Perfect Package of Remix!" 10/10
I/Y: "wow.. really good.. too many of them to choose one favourite" 10/10
Kwartz (Shapeless Records): "Congratulations for this great work, I love every song of the release" 10/10
Mattias Fridell (Gynoid): "This is a very solid compilation congrats." 8/10
MTD (Sonntag Morgen): "AMAZING release! hard to choose a favorite..." 10/10
Mod21 (Prologue): "No words for this release.. Hypnus is flying high!!" 10/10
Nima Khak (H-Productions): "Great bits! The Ness mix is outstanding, but a lot of great stuff in this package! Will play for sure!" 9/10
Nobody Home (Home Records): "Very nice release with many of my favorite musicians! Thank you very much :-)" 8/10
Reggy van Oers (Affin): "Some crazy stuff in here! love it!" 9/10
Samuli Kemppi (M_REC Ltd.): "Fan boy likes. Brilliant release. Full support." 10/10
Svreca (Semantica Records): "Excellent release. Full support." 8/10
Takaaki Itoh (Phobiq): "what a great trks. im sure to play all of them. full support!" 10/10
Terence Fixmer (CLR): "Top release, difficult to choose a favourite here...all are nice." 10/10
The Noisemaker (Par Recordings): "Hypnus is going to be one of the best label on earth! full support! all tracks have his own personality and are well designed.. top for opening a djset" 10/10
Tommy Four Seven (Stroboscopic Artefacts): "Big!" 8/10

Also supported by:
Dimi Angelis, Unam Zetineb, Antonio de Angelis, Artefakt, DARS, Gianluca Meloni, Jonas Kopp, Hector Oaks, Juho Kahilainen, Vilix, Eric Cloutier, Brendon Moeller (Echologist), Iori, Jose Pouj, VSK, AnD, Rasmus Hedlund, Victor Martinez, Antonio Vazquez, BLNDR, Luigi Tozzi and many more.

Following on from a sell-out first release, Serenity Records returns with a four track double-header from Thoma Bulwer & Anna Wall. In alignment with the label's policy of allowing the artists commissioned to choose a mental-health charity of their choice, 002 dedicates all its proceeds to Centrepoint - an organisation which seeks to combat the ever-growing problem of homelessness. The EP spans across the full spectrum of Techno, with the cuts varying from soft melodic textures, floaty synth work and a B1 that wouldn't stand at all out of place in a peak-time club setting - a nice surprise from this exciting new not-for-profit label...

Originally Released in 2014 on Valentines day as part of the love dub remixes was the Ray Keith remix and for obvious reasons (Ray being a legend) it was a fav of the release & was very well supported by many, so we thought it was time or maybe even overdue (7 years Later) that us at Asbo released the connoisseurs 9 min extended mix from Ray we had stashed away in the Asbo vault all this time.

This is 100% one for our vinyl & audiophile crew, supported on the AA side with Rassterlins 'People' and Muwookies 'You' both bringing unique different flavors from the jungle/dnb spectrum, mastered on 180 gram, strawberry milkshake colored vinyl with full color 'Lock-down' sleeve.

LP Ltd edition PINK Vinyl (300 copies) + BONUS Fire Records Compilation CD. A Powys trio whose free-spirited invention and exuberant intensity flows through experimental pop: hypnotic, exhilarating and defiantly unique. The Welsh band Islet return with the release of their long-awaited new album, and now available on Ltd edition Pink Vinyl. Eyelet was recorded at home tucked away in the hills of rural Mid Wales. It took form the months following the birth of band members Emma and Mark Daman Thomas' second child and the death of fellow band member Alex Williams' mother. Alex came to live with Emma and Mark, and the band enlisted Rob Jones (Pictish Trail, Charles Watson) to produce. 'Caterpillar' described by Emma as "a song for my unborn child". It's followed by syncopated lullaby 'Good Grief' with its haunting keyboard hook and icy percussion thawed by Emma's yearning vocals about the quiet strength of generations of women. With nods towards Arthur Russell and Jenny Hval, 'Geese' is a mini symphony of driven electronica inspired by Welsh cultural theorist Raymond Williams' novel People Of The Black Mountains. Young Fathers inflected rhythm can be heard on 'Radel 10' that accompanies the multi-tracked variations of Emma and defiant lyrics that were inspired in part by The Good Immigrant - the landmark anthology of essays on race and immigration by BAME writers. "One of the best albums to come out of the UK in years" Louder Than War // "Unhinged, euphoric, wonderful." Pitchfork // "They create an ideology that fuels creativity" The Quietus // "They invigorate life on the margins with this whirlwind of psychedelic pop" The Guardian // "Full of reflective, explorative psych wonderment" ???? The Line Of Best Fit // Short listed for Welsh Music Prize 2020 // ????? The Vinyl District // ????? Buzz // ????? God Is In The TV // ???? AllMusic // Track

Me And Ennui Are Friends, Baby is the latest full-length from New Zealand-born, Melbourne-based singer-songwriter, Sarah Mary Chadwick, whose brutally honest songwriting has cast her contrary to the gentleness of most current music. Comprised entirely of minimal solo piano arrangements, the album is despondently clear-eyed and smirkingly self-deprecating, completing a trilogy of records that started with The Queen Who Stole The Sky recorded on Melbourne Town Hall’s grand organ, and her only outing to date featuring a full band, Please Daddy. Each record has followed Chadwick’s internal processing after a traumatic event, with Chadwick’s zeal for psychoanalysis front and center. On Ennui, Chadwick presents an exacting intensity with her choice to pare back to piano and vocals. It’s in this stark setting that she focuses on the attempt she made on her life in 2019. The methods Chadwick employed here contrast those of her previous full-band record, which thrust her into a very different world of rehearsal, planning, restraint and control as a functional tool. The result, 2020’s critically acclaimed Please Daddy, was her most aching and engaging achievement to date: “a raw, often unnerving experience,” which “delivers compelling and uplifting catharsis” (Mojo). Recording Ennui shortly after those sessions, Chadwick concludes her trilogy by returning to the most immediate compositional process she can muster, doing it alone, with less between her and the microphone than ever before. Joined by long time production collaborators, Me And Ennui was mastered by David Walker at Stepford Audio and mixed and recorded by Geoff O’Connor at Vanity Lair—both expertly bringing scale, subtlety and intangible ascendence to this recording.

Chicago-area native Josh Johnson’s vital presence in the vanguard of new jazz music is evident by his features on countless critically-acclaimed
projects like Jeff Parker’s Suite for Max Brown and Makaya McCraven’s Universal Beings.
When he moved to L.A. eight years ago, he thought his stay would be temporary. The saxophonist and keyboardist would spend enough time there to learn from his heroes Herbie Hancock and Wayne Shorter, but not a complete geographic pivot. But eight years later, Johnson is still in L.A., where he recorded his debut album Freedom Exercise with three ‘musically omnivorous’ friends (the very quality that inspired him to stay on the West Coast).
The songs on Freedom Exercise reflect this idea of genreless exploration ‘ a fluid combination of jazz, post-rock and electronic music. Ultimately, Johnson’s compositions are concise yet expansive, like an intimate gathering in a sprawling city.

For Rhye’s Michael Milosh, the home is the center of creativity and community. It transcends conventional understandings of walls, stairs and hardwood floors. A culmination of a wayfarer’s journey, the home is a balm for a restless spirit — a place to simply be.

For much of his life, the Canadian singer, songwriter and multi-instrumentalist has wandered, decamping in Toronto, Montreal, Thailand, the Netherlands, Germany and Los Angeles at varying times. Since the meteoric rise of Rhye’s 2013 debut Woman, he’s mostly lived on the road—playing between 50 and one hundred shows a year. But over the last couple of years something changed. On the heels of some major life changes, including a new relationship, Milosh yearned for a more permanent space. “It's this idea of creating a safe place that's not just conducive to creativity, but one that’s truly an anchor point from which to make art and be creative,” he says.

That longing was fulfilled in August of 2019 when Milosh and his partner Genevieve happened upon the perfect place in Topanga. It had been on and off the market for two years as the owner sought the perfect buyer, one who would carry on its creative tradition. “She did this ceremony somewhere on the property where she was trying to call in the right people, and apparently we came the next day,” Milosh explained. “The right kind of home presented itself to us, and we presented ourselves to it. It was like a union between us and the home.”

Written throughout 2019 and early 2020, recorded at Milosh’s home studio, United Recording Studios and Revival at The Complex, and mixed by Alan Moulder (Nine Inch Nails, Interpol, My Bloody Valentine, U2, The Killers), Home is familiar in its synthesis of propulsive beats, orchestral flourishes, piano ruminations and sultry, gender-nonconforming vocals, but never have they sounded more cohesive or alive.

“I'm always trying to always accomplish musical goals that are connected to the way I listened to and interact with music as a child,” Milosh says. The sentiment also underscores a broader, less obvious, but no less important theme echoed through his new record: No matter where life takes us, we can always go home.

L’istruttoria E’Chiusa Dimentichi (internationally released as The Case Is Closed, Forget It) is a 1971 Italian crime drama film directed by Damiano Damiani. It is based on the novel Tante Sbarre (Many Bars), written by Leros Pitton and was awarded at the Tehran Film Festival. The film centres around the architect Vanzi, whom ends up in prison and ends up involved in a plot against an inconvenient witness to organised crime, passed off as a suicide, with the complicity of the security guards. Renowned composer Ennio Morricone created an obscure, yet globally beloved, score to the thriller. Tracks B2 and B3 (“Disordini (Titoli Versione Film)” and “Ordini (Versione Alternativa)” were part of the original recordings but not used for the movie final cut. Available as a limited edition of 1000 individually numbered copies on orange marbled vinyl.

This is the first ever archival collection of material from the Italian Minimalist Tiziano Popoli, featuring fourteen previously unreleased recordings for installations, theater, and radio broadcasts spanning from 1983 to 1989. Featuring extensive use of the Yamaha DX7 synthesizer, TR909 drum machine, and early sampling techniques, these recordings trace the organic, hybridized elements of Italian experimental music as it convened in the hands of Tiziano Popoli and his friends, uniting elements of pop music, minimalism, and manipulations of found sound. Popoli's first album, Scorie, recorded with Marco Dalpane, is a highly sought after LP, and was finally repressed in 2018 by Italian label Soave. "Burn the Night / Bruciare la Notte: Original Recordings, 1983-1989" is a joint release between RVNG Intl. and Freedom To Spend, and was compiled from hours of material unearthed by Tiziano Popoli from his archives, and then meticulously remastered from original sources by Rashad Becker. The 2xLP and CD include printed inner sleeves and booklets with extensive liner notes written by Bradford Bailey, archival photographs, and ephemeral enrichment. RIYL: Philip Glass, Franco Battiato, Lino Capra Vaccina, Oren Ambarchi, RAMZi, Roberto Musci, Faust, CAN, Art of Noise, Durutti Column, Roberto Cacciapaglia.

In the 2000’s Chee Shimizu helmed an untouchable Tokyo DJ collective called Discossession alongside Dr Nishimura (House music buyer for Cisco Records at the time). Balancing out this unit were a young Scotsman-abroad named Jonny Nash (who’d later form Sombrero Galaxy ESP001 and Gaussian Curve as well as the Melody As Truth imprint), and the late guitar virtuoso and tattoo artist Zecky. Formidable DJs and multi-talents on the Tokyo scene, Discossession released two EPs on Kenji Takimi’s Crue-L imprint and various mixes individually on lovefingers, all holding well-deserved eternal cult status. Chee’s Denshi Meisou 2006 and Follow My Dream 2007 for Lovefingers as well as his legendary “listening sessions” at HiFi lounge SHeLTeR in the Tokyo suburb of Hachioji, laid foundation for what would become known to his followers as “Organic Music” or “Obscure Sound”, the former extending as the name of his record shop and the latter as the title of his 2013 book.

Obscure Sound chronicled his tastes in detail and has since become a sort of diggers bible for peers and younger generations. At the ESP Institute’s inception in 2009, Shimizu contributed two tracks to Lovefingers’ Concentration Vol 1 compilation as apéritifs to a later release. “Later” eventually became “forever” and the mythical piano track (appearing only as a demo on Golden Age and Dekmantel 061) is still, to this day, not ready for formal release. Skip a dozen years, musical interests and major life changes, and Chee has now unveiled something quite special in accordance with his Obscure Sound—rather than making new out of old rope, he presents a collaboration with Tokyo guitarist miku-mari a.k.a. Takahiro Matsumura. The artists frequently collaborate at the experimental audio/visual event, Sacrifice, held irregularly at Tokyo’s ForestLimit, and in 2018 when Chee was invited to DJ at Japan’s only Ambient festival Camp Off-Tone, he and miku-mari endeavored to expand these works into a 2-hour improvised performance. Chee collaged various percussion samples and personal field recordings utilizing four CDJs, supplementing with live windchimes and Andean chajchas, while miku-mari coupled a guitar-controlled synthesizer, Sound Tube software (developed by Japanese Ambient composer Hiroshi Yoshimura) and more live elements such as Tibetan bells and pyramid crystals. Rehearsals for this performance were held prior to the festival at ForestLimit, recorded as multi-tracks and edited into these two cerebral Reconstructions.

33 1/3 years after its first release Piranha Records reissues the groundbreaking Stella Chiweshe international debut Ambuya! on quality 180g vinyl, remastered from analog tapes, together with a bonus John Peel session from 1988. Stella Chiweshe stands as one of the most enduring and successful women activists in African music. She started playing the Mbira and performing in her motherland Zimbabwe despite all kinds of racial and male dominant mentalities of that time, setting a spectacular example of how music can cross all kinds of borders, a message that is perfectly aligned with our core values as a record label. With her album Ambuya? the Mbira finally went electric and combined the spiritual with the popular in a creative exchange with British world indie legend 3 Mustaphas 3. Thrilled to have, and still be, teamed up with such a pioneering artist, we feel like time spins like an album: our mbira-meetstapha kick-off of 1987 still lives and rotates with Piranha Records in 2021. Ambuya? Ambuya!

Calypso Drip FM is a journey of styles & influences that formed the varied musical landscape of its creator. Only known by the moniker of Gryff, the author wanted a project that reminded listeners of radio stations of decades past. Particularly the type you would have on GTA: Vice City.

Gryff is a 90s kid, but the track list of his debut album plays like a greatest hits of a much mature songwriter and producer.
Almost exclusively written by himself, requesting the help from Andrew Threlfo in production for 'Do You Feel Like This?', and with NY songstress Primo The Alien as guest and co-writer for Reverse, his undeniable talent is showing in spades.

This incredible debut album is going to make waves in the scene and turn the young musician into a big player.

Galcid - Hope and Fear is the long awaited sophomore album of Japanese techno-artist galcid. Although completed in 2019, the release date of the album was delayed by COVID-19. This was due to both practical and artistic reasons—the titles and identity of each composition reflect various ways in which galcid reflected upon the pandemic.

Music is by galcid
Produced by Hisashi Saito

In the 4 years that have passed since galcid’s debut album hertz (2016), galcid worked on various EPs and albums as SAITO. Juxtaposed to the black and white minimalism of hertz, the palate of Hope and Fear is decidedly more colourful, laden with emotional undertones. The depth of the sound created by galcid’s exclusive reliance on analogue machines invites the listener to follow their own journey along the resulting soundscape

Whtie Vinyl

Freund der Familie invite Christopher Rau, Pole, Roger Gerressen and Van Bonn to remixes cuts from their 2018 ‘Panorama’ EP this February.
Leipzig, Germany’s Freund der Familie, the producer and label name, has long been respected in the world of raw, underground house and techno. The past decade has seen the founders Klaus Rakete & Mirko Hunger unveil a number of releases under the alias,
exploring a wide range of styles influenced by dub, leftfield electronica and much more.
Here the label revisits the ‘Panorama’ EP from a few years back, welcoming remixes from some esteemed artists in the industry.
Christopher Rau returns on remix duties following his take on Symbian for FDF005 and also FDFALFA01, this time round Rau delivers a hazy take on ‘PRS’ driven by raw analogue drums, woozy synths and winding subs. Dub master and Scape mastering head
honcho Pole steps up next with his take on ‘CRM’, delivering a typically intricate twist employing expansive swells, snappy percussion and swirling low end tones.
Irenic boss Roger Gerressen delivers his take on ‘PRS’ next, taking a more groove-driven feel with stripped-back drums, ethereal pad textures and crisp bass stabs before Van Bonn wraps up the package, reworking ‘CRM’ with a heavily swung drum groove,
menacing synth flutters and a dynamic, ever-evolving feel.

NOTON signs Italian-born, Bern-based sound-artist and producer Saele Valese.
In ‘IVIC’, his debut LP, Saele Valese, distills hauntological noise, droning tonal experiments and minimalist rhythms into a series of electro-acoustic-wave ventures written over five years in Berlin, Saas-Fee and Thun.
Drawing influences from the psychoacoustic properties of the live album format, IVIC’s 11 tracks were mixed and recorded live on DAT cassettes and through DAW experimentation, without the possibility to revise the final recordings. Valese adopted this approach to conceptually propose reconciliations between the irreversibility of the
past, and acceptance of its residuals in the present. The track titles themselves follow this pathos, citing the works of the American photographer Francesca Woodman and the poet Sylvia Plath. The inclusion of passages incorporating live sonics and throes of industrialismnso,ton.info contributes to the images of gravity, intimacy and spatiality that the music presented here invokes.
In keeping with this imagery, the music possesses a dilated, shuffling rhythmic base, much like the firm traversal of a tanker against a storm of jangling components, and still moments of gloomy sonics
alternating with more ravenous upheavals of power electronics.
If the track divisions do not pass by unheeded, they are consistently assembled to sonically accompaign the emotional charges and momentum of an imaginary cinematic experience; the beats caves in
for instants of relief, only to recoil in a cognated tempo but rearranged structurally. In another gesture of cogitated stride, the portentous waves of the record progressively rage into a turmoil in its third quarter during 'Horse The Color Of Rust'. The album reaches its closure fluctuating through microtonal oscillations to slowly eclipse into silence.
´In Your Rosary ì and Yì ou Cannot See Me From Where I Look At Myself ì were previously released on vinyl via Saele Valese’s own imprint, JSMË.
The track ‘You Cannot See Me From Where I Look At Myself’ 4 - is dedicated to the memory of Marco Bacher.
Artwork designed by Carsten Nicolai. Mastering by Matt Colton (Metropolis Studios, London).

At Cloud’s Length is a collaborative compilation of musical works from artists on Melbourne/Naarm based collective WAT artists, using the vehicle of music as the driving force of connection.

While the opportunities to gather have been put on hold, this compilation is a collaborative release rising from a challenge set to the WAT artists roster to connect and create using isolation as a creative parameter from which to generate new music, resulting in surprising and powerful musical cross-pollination.

At Cloud’s Length - an ode to the use of cloud storage as the last front of musical collaboration during lockdown - reaches through the veil of isolation, passing overland, gathering energy and offering a release saturated with creativity and collaboration from afar.
This compilation is both a confluence of unique and diverse creative minds and a narrative of humanity's desire for deeper meaning and connection.

Music contributors:

30/70, Adam Halliwell (Mildlife), Alex Albrecht, Barney McCall, Bell Towers, Big Yawn,
Edd Fisher, Fantastic Man, IN2STELLAR, Kris Baha, Loure, Mike Callander, Morgan Wright, Michael Ozone, Rings Around Saturn, Sleep D, Sui Zhen, Toni Yotzi, ZFEX

It was a solid bet that Skratchorama Records would release a 7” DJ tool specifically crafted for the international portable turntable scene. DJ Chmielix is known as a perfectionist when it comes to music production, turntable music, DJ battles and a rubix cube… he’s as hard on the cut as they come and the Mighty Wicked 7” embodies these vibrations.

The A & B side of this record both include 6 original skipless acapella scratch loops with a variety of laser samples, aaaahhhs and fressshhhhes. Side A has 4 tracks arranged in 100BPM and 2 tracks in 133.33BPM. Side B is all arranged at 83.33 BPM for use at regular speed on a turntable. This offers the ideal track size for a 7” battle record. The tracks are large enough to easily cue the needed loop on the fly, and small enough that the maximum amount of samples can be put on the record… needle dropping made easy! Each side’s tracks are separated by hidden samples which inject creativity into performances using this record. At the end of each side a single rotation of each skipless loop has been arranged twice back to back giving DJ’s two full sample banks to get dirty on the cut with.

The record has a secret theme, but we’ll leave it to you to figure it out!

Pressed on blue vinyl, artwork by Maciej Kwietnicki, and mastered by the legendary D. Perez, you are in for one of 2020’s finest scratch records… it’s time to take it to the next level!!

Main Source’s paean to the simple pleasures of relaxing with friends is built over two tried-and-tested samples. The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an all-time classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing.

And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas. While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap.

An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

• Taken from the all-time classic album ‘Breaking Atoms’

• Features the debut of Nas

• Limited Edition Purple vinyl

EMS Hallucinations was crafted as two magnetic side-long compositions
that gurgle, hiss, bounce, and invite - the first consists of Buchla 200
recordings, and the second the Buchla in conjunction
with the Serge Modular.
Following Naucke’s tracking, he painstakingly arranged stems in his home studio across seven months. Within the side-long tracks are shorter songs that
transform into each other. For album teasers, Naucke edited two sections from
side one into singles - kinetic electronic nuggets that suggest trance, house, and
other forms of floor-ready music, while showcasing cascading synth lines and
rich analog tones.

Reymour packed their bags in the pre-Alps of Switzerland and left to start a new life in Bruxelles. This debut album finds originates in this transition, again in a bilingual environment, by now a Knekelhuis theme. Leviosa documents the emergence of a kind of dance built from chansons, synthpop and cute minimal wave. Luc Bersier’s wide musical spectrum reaches great heights while staying small. He creates the musical bedrock on which Reymour’s cabinet of musical curiosities rests, allowing us to drift away on the unctuous fumes of Lou’s vocals. On these tracks she covers a wide array of feelings, of doubt, sexual orientation, play and melancholia. And it all comes together in the reflection of life. Close friend and family guy Low Bat contributes vocals and gameplay on 2 of the album’s tracks.

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.

Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.

These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.

Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.

Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.

In 2019, the power-acoustic musician Francisco Meirino presented A New Instability a commission for the venerable Ina-GRM in paris. Of course, this institution is the pre-eminent center for the research and study of electro-acoustic music dating back to founding of Groupe de Recherches Musicales in 1958 by Pierre Schaeffer. To this day, Ina-GRM continues to be at the vangarde of the electro-acoustic composition, and it is quite an accomplishment and very appropriate for Meirino to receive such a commission.

This recording for A New Instability condenses the 32-channel original piece down to a still very active stereo version. here, Meirino continues to amplify and refine his compositions that walk a fine tightrope between raw expressivity of brutalist noise and conceptual rigor of more academic pursuits. Such a work ranks him in with the likes of Zbigniew Karkowski, Dave Phillips, Puce Mary, and Illusion Of Safety.

Field recordings from a kendo dojo in his hometown of Lausanne, Switzerland cast a pugilistic, combative arch to these recordings which snap, burst, explode, and erupt with utterances of men and women engaged in hand-to-hand combat. Searing frequencies build, swarm, and amass out of these episodes rise to psychologically tense crescendo that rupture at their heights, quickly turning attention towards a violence that originates from within. It is as if the objective observations of those martial arts recordings are sublimated within a subjective experience of psychic unease, disquiet, and imbalance.

A New Instability is another magnificent chapter in the ongoing body of work for this accomplished composer of electro-acoustic noise.

'IDMEMO' would not pretend to be a representative compendium of 90’s-00’s Intelligent Dance Music. It was not Vladimir Ivkovic & Ivan Smagghe’s point when they decided on the project. It is a very personal snapshot of a moment in time, when both of them were working in record shops, when they were listening to indie and electronic music. One can not stress enough the importance of this crossing of roads, pop kids getting through to the dancefloor via Aphex Twin and nerdy house heads dissolving their four to the floor into the futuristic world of Warp compilations.

The compilation unfolds in the loosest, the best way to make some kind of sense. There are some classics (Black Dog’s lysergic 'Psyl-Cosin'), there are some rarities (that Zugzwang track), some tested late night floor melters (Reload remixing Slowdive) and some personal outlandish choices that strangely take their place (Spiritualized’s 'Anyway That You want Me-remix 3').

All in all, This is an anti-archive, a choice of tracks primarily lead by emotion, more pads than glitches,”intelligent” music depraved by that last half-pill at 6am rather than high-brow destructurations, Ivkovic & Smagghe hitting, as ever, at their own margins.

'IDMEMO' is a collaborative project between Above Board Projects, Offen Music and Les Disques De La Mort. Selected and sequenced by Vladimir Ivkovic and Ivan Smagghe. Art and design by Atelier Superplus. Mastering courtesy of Keith Tenniswood @ Curved. Manufacture and worldwide distribution by Above Board, 2020.

Masked Techno assassin Buried Secrets returns to Soma with a massive new release featuring his signature hard and distorted Techno with the Destiny Defeated EP. With several Soma releases under his belt including 2020's huge "Of Lost Things EP", Buried Secrets continues his assault with this massive new EP.

**400 ONLY REPRESS PHOTOLUMINESCENT COLOUR VINYL///!! 200 FOR EUROPE** “I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, ‘Ah!-(etc)’ made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose’ it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something” And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein… after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for “one-man-band-home-recording-pop-songs of idiosyncratic character.” A quick follow up to his more power pop and pub rock LP only “Hard Feelings” offering in the summer, “Ah-(etc)” finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60’s and 80’s.

As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along… Stoltz former bandmate, Echo & the Bunnymen’s Will Sergeant adds electric guitar to “The Quiet Ones” a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover “Moon Shy”, where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF’s Dirty Ghosts sings on “She Like Noise”, a song Stoltz wrote for her in celebration of her love of seeing live bands.

The album was mastered by Mikey Young in Australia.

Though synthesizers are the backbone of Shen’s music, while performing live, she plays self-made synths, invented instruments, and even acoustic objects like a bull whip.
Her live show vacillates between moments of restraint and swells of frenetic and confrontational movement. Her sound is dynamic with a sensitivity to texture and structure throughout. This sensitivity is maintained in her debut LP
Hair Birth, the result of several weekends locked in a studio creating cacophonous, wondrous synth noise with Harvard’s Buchla 100 and Serge modular systems.
She tracked hours of stems before cloistering herself in a painstaking editing process. Songs like ‘Under The Stall Door’ sound like a cybernetic rollercoaster with rumbles and shrieks that hurtle the listener through virtual space. Others, like ‘Bolete,’ are tense, dense mood pieces that move from the queasy to the tranquil to the surreal.

From co-founder of the Lumineers, Jeremiah Fraites, Piano Piano is a collection of songs that’s been in the works for the better part of a decade, featuring gorgeous, intimate piano-centric instrumental songs capturing Fraites’ reflective moments from his Denver home. Piano Piano is an achingly gorgeous set of songs, emotionally direct yet profoundly revealing. Fraites’ songwriting reaches into deeply personal spaces with moving grace and stark elegance, retaining the folk-inspired melodicism so familiar from his work in The Lumineers, transported into a more classically sophisticated setting. In addition to piano, Fraites plays nearly every instrument on the album, including guitar, drums, synths, and programming. It was co-produced and engineered by David Baron (Jade Bird, Vance Joy, Shawn Mendes) and features other collaborators such as The Lumineers’ violinist Lauren Jacobson, cellists Rubin Kodheli and Alex Waterman, and Macedonia’s 40-piece FAME’S Orchestra.

Much has changed in the musical life of renowned composer and director John Carpenter since 2016's Lost Themes II. Following the release of that album, he went on his first-ever concert tour, performing material from the Lost Themes albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017's Anthology album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new Halloween movie directed by David Gordon Green, which promptly became the highest-grossing installment in the series. Now, he returns with his first album of non-soundtrack music in nearly five years, Lost Themes III: Alive After Death. Underpinning Carpenter's renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They've composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies's guitar and the dueling synthesizers played by the Carpenters. "We begin with a theme, a bass line, a pad, something that sounds good and will lead us to the next layer," John says of the trio's process. "We then just keep adding on from there. We understand each other's strengths and weaknesses, how to communicate without words, and the process is easier now than it was in the beginning. We've matured." Whereas the original Lost Themes album came as a pleasant surprise after years of relative silence from Carpenter, the third installment sees him in the midst of a resurgent moment as a cultural force. The 2018 Halloween score gave his music its biggest audience in decades, and the world he releases his new album into is one that has, at long last, given him the credit he deserves as a founding father of modern electronic music.

Much has changed in the musical life of renowned composer and director John Carpenter since 2016's Lost Themes II. Following the release of that album, he went on his first-ever concert tour, performing material from the Lost Themes albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017's Anthology album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new Halloween movie directed by David Gordon Green, which promptly became the highest-grossing installment in the series. Now, he returns with his first album of non-soundtrack music in nearly five years, Lost Themes III: Alive After Death. Underpinning Carpenter's renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They've composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies's guitar and the dueling synthesizers played by the Carpenters. "We begin with a theme, a bass line, a pad, something that sounds good and will lead us to the next layer," John says of the trio's process. "We then just keep adding on from there. We understand each other's strengths and weaknesses, how to communicate without words, and the process is easier now than it was in the beginning. We've matured." Whereas the original Lost Themes album came as a pleasant surprise after years of relative silence from Carpenter, the third installment sees him in the midst of a resurgent moment as a cultural force. The 2018 Halloween score gave his music its biggest audience in decades, and the world he releases his new album into is one that has, at long last, given him the credit he deserves as a founding father of modern electronic music.

You could think of the collection of tracks here as a library record of sorts, and each track inhabits its own universe. Tropical fits various moods and situations, and it could soundtrack any number of activities at home or on a dancefloor - whether real, imaginary, or hallucinated. Strangely enough, it sounds like it could have been constructed from obscure Italian library breaks, when instead every instrument has been played and panned, several times over, across magnetic tape.

The genesis of many of these tracks began when CV Vision moved to Berlin in 2014. His flat had a small chamber where he could fit a drum set, so he treated the walls with foam, and in true DIY style, dived headfirst into recording these tracks. It was the natural next step on an audio adventure that first began when CV Vision picked up the guitar in his teens, and a couple years later started recording with friends in his home town of Bayreuth. Fast forward ten years and here is his debut - a culmination of practising chops and learning instruments, mastering recording techniques and fine-tuning the CV Vision sound.

It’s a sound that condenses elements of acid rock, psych soul, library funk and new wave oddities into a movie soundtrack for your mind. It’s a journey from ‘60s west coast LSD-drenched excursions to ‘80s synth and post-punk mutations. Tropical is a plunge into another time, another music you can simply swim around in and explore.

Side A opens up with Tropical Tune In, which rides in on a clave and a warm wind, blowing a distinctly herbal aroma and recalling exotica dons like Les Baxter and Martin Denny. Following on with the aural equivalent of a sea breeze through your mind, Spaziergang am Meer blows away the cobwebs and conjures some nice library moments like Stringtronics or F eelings . Next, Ba_c_k(Lava) bounces out of a cold wave post-punk melting pot and crashes through the speakers like a blazed Zebedee, with some sweet eastern synths for added flavour, before the rolling bass licks of Der Böse Schamane take us into another dimension, landing somewhere between a psych rock freak out and a Black Ark dub session. Mr Maze channels the arpeggiators of synth outsiders like Mort Garson and Bruce Haack, creating a glorious interlock of robotic electronics and freakbeat vocals. The side comes to a close with the guitars of Der Strand (außer Rand und Band) letting loose like syrupy springs, and setting a languid mood like the bedroom scene in Bedazzled (1967 version). Side B kicks off with Parallel Universum, which comes through like a woozy krautrock workout, all ducking synths with big chord shifts to create an epic deranged beehive of a soundtrack. Im Land der Ameisen evokes the spirit if not the sound of White Rabbit, when logic and proportion have fallen sloppy dead, before waking up and wandering through the side alleys of Marrakech with the West Coast Pop Art Ensemble and the Electric Prunes, as Ritual (No. 4) blares out the speakers of passing tuk tuks. Ein Wasserfall plumbs the deep synth depths, like Raymond Scott in scuba gear, modular rack strapped to his back delivering oxygen as he swims between connector cables and seaweed forests through a watery underworld. Banana King sounds like a lost soundtrack to Donkey Kong or Mario Cart, if the cart radio was tuned into a synth

documentary hosted by James Pants, while Das Kloster am Berg takes the baton from Brenda Ray and her Naffi cohorts, all dubbed-out niceness and post punk swagger. The LP closes out with Tropical Drop Out, a dreamscape rather than a wake up call, coaxing you deeper into the trek across the desert of your mind.

And that’s Tropical in its essence: capsules from another time, snapshots of another sound, messages from another mind - all in the service of inducing the visions in your head.

written by Max Cole

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound.

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS.

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.

Bio:
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Small Town Dubz bringing their dub sounds to vinyl featuring Razaman on vocals and Vale on trumpet. The B-side features a Frenk Dublin remix of 'Soundman a Play' with Rumble B on vocals.

Alkisah is the new album by Indonesian duo Senyawa. Alkisah is co-released by a multitude of independent record labels from all over the globe each with different packaging and design, with multiple version of remixes by various artists.

Senyawa is an experimental music duo made up of Rully Shabara (extended vocal technique) and Wukir Suryadi (homemade instrument). The music that they create is a combination of extended vocal technique and a homemade instrument. The instrument was handcrafted by master instrument builder Wukir out of one long piece of bamboo, it is a string instrument with guitar pick-ups—it is amplified and processed through several effects pedals but at times is played as an acoustic instrument, percussion and string instrument.

They are located in the ancient city of Jogjakarta, Central Java, Indonesia and their music is a reflection of their traditional Javanese heritage filtered through a framework of contemporary experimental music practices. Senyawa try to push the boundaries of both traditions in an attempt to mix the musics’ of the east and the west to create a new sound.

As a duo they have been performing and playing together extensively for the last 3 years and we have toured Indonesia several times over. Last year they were invited to perform internationally for the first time at the Melbourne International Jazz Festival sharing the stage with many great musicians such as Faust, Yoshida Tatsuya, Tony Conrad and Charlemagne Palestine.

Ubuntu Music is excited to announce the signing of Skeltr for the worldwide release of their album, ‘Dorje’. Skeltr began as a late night, post-gig session between Sam Healey (keys) and Craig Hanson (drums) in the dusty old cotton mills of Manchester. Forging a shared connection inspired by Post-bop and Modern groove, the pair developed a tightly knit, highly musical duo. Their first UK gig in 2017 at the Manchester Jazz Festival saw the duo sell all of their physical records of their debut release in one day. Within a few months of this auspicious start, the lads found themselves supporting L.A sensation KNOWER on UK tour, appearing on JazzFM, Worldwide FM, listed as ‘ones to watch’ in Jazzwise Magazine as well as performing across European jazz festivals, including Reykjavik Jazz Festival, InJazz, Rotterdam and the famous Osloscene Club in Norway. A tragic accident saw hard times fall upon the Duo as Sam suffered a serious hand injury. However, after operations and months of rehabilitation, Sam was able to return to his saxophone and continue playing music again. Having had chance to compose during rehab, the Duo immediately hit the studio and recorded their second album, named after Sam’s new-born son, Dorje. A nucleus of Saxophone and Drums set to scapes of synths, vocals and guest features, Skeltr's second album, 'Dorje', combines heartfelt statements of sensitive, illuminating, incensed improvisation which stem from ardent and fluent melodies. Craig ondrums is as much an expressive protagonist of the music as he is a foundation with deep roots, leading to intricate interplay between the Duo. Themes include understanding the nature of happiness, self-examination and acceptance in aquest to achieve a positive mental state. Ultimately, ‘Dorje’ seeks to provide the listener with a space in which to explore their own relativities with guidance, inspiration and accompaniment. Sam describes the project, saying, “What a wonderful experience it has been to create this album. We look forward to spreading the music far and wide with positive intentions. The sounds are crafted with a passionate energy in our hearts and I hope otherswill be able to feel and hear that.” Concerning Skeltr’s new relationship with Ubuntu Music, Healey continues, “It has been a three-year journey to bring this album to fruition and we’re so happy to have met Martin (Hummel) and Ubuntu Music as the album was coming to completion. This auspicious timing makes the new relationship all the more rewarding. The Ubuntu Music team’s knowledge, experience and phenomenal work ethic are vastly inspiring and will help Skeltr to reach a much wider audience across the world. We look forward to a close relationship with theLabel as we strive to bring great musical offerings to many people.” Martin Hummel, Director of Ubuntu Music, said, “These guys have breath-taking talent. I first came in touch with Sam on New Year’s Day (probably not the best day to do so) and told him what I thought of their music. It’s deep. It’s spiritual. And it shakes your senses, inside out and to your very core. Sam is meticulous in everything he does, and you can hear this in the recording. If you want to feed your soul with the best musical vibes, check this out.”

Talking about the foundation of Jamaican music, the Alpha Boys School in Kingston can be considered as one of the places where it all began! Back in the day, under the direction of Sister Mary Ignatius, the school was the place where young boys from the poor neighborhoods in Kingston could embrace an instrument (mostly brass and drums). Then history tells us that some of these kids became among the most influential musicians in the history of Jamaican Jazz, Ska, and Reggae. Joe Harriott, Dizzy Reece, Tommy McCook, Don Drummond, Cedric Brooks, Rico Rodriguez, Johnny Osbourne, Leroy Smart and Yellowman are just some of the fruits of such a great community art project. Now this compilation contains some rare gems produced between 1959 and 1962 by Jamaican Jazz heavyweights such as Tommy Mc Cook, Don Drummond, Ernest Rangling, Lennie Hiibert, Cecil Lloyd and others. This is highly swinging music inspired by the Black American tradition with a unique and inevitable Caribbean flavour. Don't miss it!!!

Nonesuch releases a remastered, special edition of the 2005 record Our New Orleans for the first time on vinyl. The two-LP set, also available digitally, includes five previously unreleased tracks: ‘Do You Know What It Means’, by Davell Crawford; ‘Let's Work Together’, by Buckwheat Zydeco and Ry Cooder; ‘Crescent City Serenade’, by Dr. Michael White; ‘Walking By the River’, by Dr. John; and ‘Do You Know What It Means’, by The Wardell Quezergue Orchestra featuring Donald Harrison.

The $1.5 million raised from the 2005 release went toward providing housing in partnership with low-income musicians and others through the New Orleans Habitat Musicians’ Village, a concept that was developed by New Orleans Area Habitat for Humanity, working with Branford Marsalis and Harry Connick, Jr. Habitat–built homes in the village now provide musicians and others of modest means the opportunity to buy decent, affordable housing. The centerpiece of the village is the Ellis Marsalis Center for Music, dedicated to celebrating the music and musicians of New Orleans and to the education and development of homeowners and others who live nearby.

For Our New Orleans, many of the Crescent City’s best-known musicians recorded songs that are integral to their lives and that express their feelings about the city and the trauma of Katrina. The album was made swiftly and simply, over the course of a month, in one-day sessions across the country. Nick Spitzer, host of public radio’s New Orleans–based American Routes, contributed liner notes to the record, as did Pulitzer Prize–winning author Richard Ford, also a Crescent City resident. Other producers who made enormous contributions include Mark Bingham, Ry Cooder, Joel and Adam Dorn, Steve Epstein, Joe Henry, Doug Petty, Matt Sakakeeny, and Hal Willner.

Nonesuch’s parent company – Warner Records, part of the Warner Music Group – donated all production costs for Our New Orleans as part of the Group’s larger efforts on behalf of hurricane victims on the Gulf Coast. Many others involved in creating the album also generously donated their time and services.

Nonesuch President David Bither recalls, “What was most remarkable to me was the immediate response of the musicians. Many were in New Orleans when Katrina struck. Many lost everything they owned including even the musical instruments that are their livelihood. Yet they responded within days to the question of whether they might participate in this project. The emotion and the power of Our New Orleans come both from their anguish and from their incredible generosity.”

And the label’s Chairman Emeritus Bob Hurwitz said, “When we pick up a CD booklet, we usually skip over the page that says, ‘Special thanks to…’, but in the case of Our New Orleans, it is, after the listing of the musician’s names, the most important part of this package. Everyone wanted to help – studios that insisted on contributing free time, caterers, photographers and videographers, instrument rentals, producers, engineers – every step down the line, people gave, not only their profits, but absorbed all of their costs. It was an incredible outpouring of generosity.”

“Our New Orleans is a testament to the power of music to heal and provide a sense of community,” said Marguerite Oestreicher, Executive Director of New Orleans Area Habitat for Humanity. “Musicians helped the city heal after Hurricane Katrina, and Musicians’ Village helped them come home. We’re grateful to Nonesuch and everyone who worked on this album. This year has brought new challenges to everyone, but especially to our culture-bearers. This re-release could not be more timely.”

2020 Repress!

Allen Saei, also known as Aubrey, has the experience of a record shop owner mixed to the one of a warned label manager. His music tastes are very varied. With his first love of Hip Hop as a teenager moving quickly onto the emerging Acid House scene from Chicago, then to Detroit Techno and New York House, his music productions testify the perfect knowledge of all three genres.
First taste of this record is Pleased to meet you, an original track from the Texture 005 released in 1997. As his fellows, all songs on this wax, except the most recent one but non-the less, Air Strike, were recorded on Digital Audio Tape format and come out of analog machines.
A2 - Taken Away is a dance floor killer. Recorded in 1996 this theme follows a straight but efficient techno rhythm that reminds the French Touch at the same period of time in Paris, kind of a darker British Knight Club' song.
The vernal Equinox is the last piece of this EP, recorded in 1998 but never released, it is more techno and rave oriented than the others.
Discret for a long time and with recent releases on Syncrophone, Komplex de Deep, and Ferox Records, Allen delivers a wide retrospective of his work and surely gives some perspective for the future.

Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a selection of songs from across the country.

Compiled by Vik Sohonie & Dave 'Mr Bongo’ Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world; legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge; Florent Mazzoleni. Florent has written the definitive book about Malian music – 'Musiques modernes et traditionnelles du Mali’. He proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.

On this album you will find well-known artists sitting next to rarer discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focusing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L’Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.

This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.

Monster grooves, driven by a perfect symbiosis of fiery oriental rhythms and the deep, relaxed heartbeat of the bass line, with virtuosic, intoxicating solos on bouzoukis, Farfisa organs, clarinets and violins. This is the sound of laika, Greek-oriental pop music from the 60s and early 70s that sets every dance floor on fire!

These 20 carefully selected songs serve as an introduction to this mind-blowing music for the non-aficionado, as it is the first album of its kind to be released outside of Greece or the Greek migrant communities. The extended and illustrated liner notes take you back to the heyday of Greek pop music and put this cultural movement into an historical perspective.

IZIPHO SOUL RECORDS are thrilled to collaborate once again with Sound Of Superbad. If you thought ‘I Want ‘Cha’ was great, the bar has well and truly been raised with ‘Vibration’!

We are honoured to welcome Chicago-based singer extraordinaire Robert IMtume Owens. Robert’s rich and mellifluous voice, layered over Sound Of Superbad’s sophisticated production values are a match made in musical heaven.

On the B Side we present the ’S.O.S. Vibe Mix’, which is heavier on the percussion, with extra strings and synths; all are fuelled by Robert’s trademark soaring vocals.

Herman Saiz debuts on Aprapta Music with his latest creation, Time To Choose LP - 12 Original Tracks spread across 2x12inch.

The NZ based producer's latest project, born out of the volatility of 2020, merges various styles of electronic music, to offer a thought-provoking album, challenging the heavy main stream programming of this generation.

Each tracks aim to dissolve the illusionary forces holding us to meaningless narratives and diluted culture.

From downtempo, hip hop, minimal, house and experimental electronica, the album is an invitation to choose your own preferred timelines, switching off auto pilot, and harnessing the power of being present in the now.

Through interweaving deep truths with electronic pulses, this is a clear offering to choose sovereignty and an awakened future.

Krijn Moons aka Alchi emerges as a new voice in instrumental electronic music with his debut 'Full of It' released with Mylja.
Inspired by artists such as Nicolás Jaar, Boards of Canada, Sigur Rós and James Holden, Alchi produces and performs music that is rooted in experiment rather than a single genre, flowing between and weaving through alternative dance, instrumental electronic postrock and neoclassical influences. Playing with imperfections and disarray, Alchi’s work honours emotional ambiguity, cultivating a sound that can be equally euphoric as it can be melancholic, a feeling that words cannot - and do not have to - articulate.
This is also the approach to composition and production for ‘Full of It’, Alchi explains. “More than the sum of its parts, the sound of a song creates a space that it starts to exist in, an intangible context shaped by the details that come from zoomed-in sound design and
production or even working with old or broken instruments. At a certain point, in this space that feels somewhat unknown and familiar at the same time, everything comes to life.”
Within this ambiguity, Alchi finds a place to liberate himself from instrumental boundaries, creating landscapes that value coincidence, playful sound choices and a little bit of chaos.
'Full of It' portrays an uncommon kind of music that, in its abstraction, layers and linear structures, will balance both the familiar and the surreal.

Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

only 1 copy exists of this heavy melodic progressive concept lp valued in excess of £10,000. fresh from the incredible success of Rick Wakemans early concept lps (he drummed with Wakemans band) Barney and his ex band mates Warhorse made this sensational lost heavy prog lp as a promo acetate to get an official release, Barney wrote all the songs and sings. Musically complex it begins with a spoken intro and tells the tale of Koneg Son Of Odin, as he quests to find meaning and death in battle. Keyboards and guitar interweave, with further spoken interludes, and culminating in an epic prog workout featuring fluid soloing electric leads as Koneg dies on the battlefield and is taken by Valkyries to Valhalla. The original gold hand made cover is reproduced as a gatefold with sleevnotes by the actual Rick Wakeman. Barney James, an ex British Army Commando, and ex Gracious, Legend, and Warhorse, and actor in The Sweeney and Derek Jarmans Jubilee, is also now in Valhalla, and his lost lp is here Issued for the first time with the full permission of his two daughters.

monstrously rare private pressing from 1973 originally on the deroy imprint, motiffe play twisted king crimson esque progressive rock with dark jazz elements, 99 were pressed with just a handful having hand drawn covers, record deals were offered but musical differences split the band, with the mighty Flux emerging jn the aftermath, before ace guitarist Grimaldi joined Argent to help craft their masterpiece 'Circus'. valued at £2000, this is the first fully authorised legal edition with all members consent and full history written by the band in the inner gatefold. The Gryphon image is also drawn by the band for the cover.

Repress of the self-titled debut album. Their self-titled debut album is an instrumental bluesy heavy rock with no DOOM taste. A lot of improvised double guitar solo and a very special groovy rhythm section.
The release got a real unexpected awesome response all over the world. All the tracks are 100% original, except the cover of the blues classic "Going Down".

BIOGRAPHY:

"Sonic Flower" were formed as a side project of "Church of Misery" in 2001. Tatsu Mikami (bass) and at that time Church's guitarist Takenori Hoshi (guitar on Church of Misery's 2nd album "The Second Coming"), teamed up to play more bluesy & non Doomy taste instrumental Heavy Rock. They were influenced by famous 70's heavy rock bands like CACTUS, GRAND FUNK RAILROAD, GROUNDHOGS,SAVOY BROWN etc.

Soon female guitarist "Arisa" and drummer Keisuke Fukawa joined the band. In 2003, they released the self titled debut album "SONIC FLOWER" on Japanese Heavy rock label "Leafhound Records". All instrumental bluesy heavy rock and improvised doubleguitar, they got a tons of good response from all over the world. They also played some shows as support for some foreign band's Japan appearance like Electric Wizard, Bluebird (Amen's side project), Acid King etc.

In 2005 they went to studio for new recordings. At that time the band has some problems and after the recording quit. So this recordings were long years sleeping in the vault. Totally unreleased studio materials. In 2018 Tatsu decided to re-form the band. He has already tons of new songs. This time he teamed up with old Church singer and his old friend. A new album is in progress and will be released in 2021.

Being as LSD was first developed in a laboratory in Basel, it is perhaps no coincidence that one of the most far out albums of all time was made by this Swiss band (no small feat, given the competition!). Braintickets 1971 debut, Cottonwoodhill, begins normally enough with two fine psychedelic/Krautrock-influenced tracks, but the remainder of the album plays like an acid trip with a soundtrack, dominated by Joel Vandroogenbroecks endless droning organ, a variety of musique concrète-type sound effects and vocalist Dawn Muirs trippy vocals. The album, banned in several countries, even came with this self-imposed warning: After Listening to this Record, your friends may not know you anymore. / Only listen to this once a day, your brain might be destroyed!. Gatefold sleeve. Fully remastered from the original master tapes!

‘Giants of All Sizes’ was recorded at Hamburg’s Clouds Hill Studio, The Dairy in Brixton, 604 Studios in Vancouver and Blueprint Studios in Salford with additional recording taking place at various band member’s home studios spread across Manchester. As with their previous four studio albums, ‘Giants’ was produced and mixed by Craig Potter. Guests across the album include Jesca Hoop, The Plumedores and South London newcomer Chilli Chilton.

Given such bleak, if ultimately redeemed, subject matter, it is also, perversely, the most relaxed record which elbow have made in some time. On ‘Giants of All Sizes’, each band member extended their usual process of working on demos alone and followed their vision to its conclusion rather than, as Craig Potter puts it, ‘taking the edges off things to find compromise’. In tandem with this, they returned to playing live in the studio, encouraged to experiment with the banks of analogue equipment at Clouds Hill in Northern Germany, giving songs a looser, more live feel. The result is the most starkly dynamic record from the band in recent times, “Sonically unabashed”, as Guy would have it. Whilst album closer ‘Weightless’ has the gossamer melodies and communal harmonies for which the band have latterly been known, this album echoes earlier elbow work at times whilst also breaking new ground.

‘White Noise White Heat’ is motorik, metal machine soul driven by a vocal that is rage incarnate, ‘Doldrums’ mixes John Carpenter with The Plastic Ono Band to brilliantly disturbing effect and ‘On Deronda Road’ hitches stark bass beats and glitches to an ad-hoc choir. ‘Empires’ delivers dark resignation via an insidious melody and ‘Seven Veils’ continues the subversion by inverting the perception of elbow as a band for lovers into a band for haters, a double-barrelled fuck-you song par excellence. ‘The Delayed 3:15’ marries mariarchi guitars to jazz dynamics, Morricone via Buddy Rich, and ‘My Trouble’ is a clockwork, analogue shuffle housing a delicate melody that builds over the course of the song into a fragile monolith to the power of love.

Lead track, ‘Dexter & Sinister’, released on 10” ahead of the album, encapsulates the whole. A seven-minute musical journey that blends deep bass grooves, sudden keyboard stabs, dislocated piano and guitar runs and soul stylings then abruptly shifts gear, parts the storm clouds and takes wing, flying towards the heat of the sun. It is the soundtrack for these ‘hope free, faith free, charity free days’, a denial of the divine and a reconciliation, two songs in one song, two emotions for one emotion, human, fragile and brilliant like the album which it opens.