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Long-time musical pen pals and partners David Madson (aka Odd Nosdam) and Markus Acher (aka Rayon) re-establish the connection between Weilheim, Germany and Berkeley, California for the first time since 2011, when US alt hip-hop innovators Themselves and German indie electrifiers The Notwist teamed up to form 13 & God. Nosdam & Rayon return with a heavy-hitting collaborative EP “From Nowhere to North”.

Based on a shared love for “obscure albums and 60s/70s melancholy psychedelia,” they started working remotely in 2017, ultimately deciding to release four collaborative tracks that feature Madson’s beats, samples, and production, with Acher adding vocals, guitars, more samples, and various instrumental layers.

Psychedelic pop melodies sail over steady beats on the opener “From Nowhere to North” – a track that perfectly sets the tone for the whole EP. Elsewhere, fuzzy lights over the “Desert” and more reassuring beatscapes serve as compass to stay the course, while “Bow and Arrow” feels fairly mesmerizing: fast-moving layers, moving up and down, floating over the Atlantic, northward bound. Closing out the EP is “Colours / Heavy Load”, an epic 10-minute finale: after the raw and gritty lo-fi acoustic intro, the first part comes with a grainy guitar tune that soon leads to a vast plateau; once up there, things feel surprisingly serene and soothing – like the last warm rays of October light slowly fading as we move further north.

Both huge fans of Bristol’s late 90s DIY/post-rock scene (e.g. Flying Saucer Attack, Crescent, Third Eye Foundation, Movietone), Odd Nosdam & Rayon are happy to present their new EP with an artwork created by Movietone’s Kate Wright.

Previously unreleased on vinyl, ‘Sex O’Clock’ was
planned for release before Anita Lane’s untimely
death earlier in 2021 as a 20th Anniversary edition
of her timeless album.
 Initially released in 2001, ‘Sex O’Clock’ was
produced by Mick Harvey and features co-writes
with various Bad Seeds, along with unique
interpretations of other songwriter’s tracks
including Gil Scott-Heron’s searing ‘Home is
Where the Hatred Is’.
 Known for being one of the most creative forces to
come out of Melbourne’s post-rock scene, Anita
came to London in 1980 with The Birthday Party.
Credited as a co-founder of Nick Cave’s Bad
Seeds, Lane exerted a strong influence over the
band and co-wrote the universally acclaimed ‘From
Her To Eternity’ and the haunting ‘Stranger Than
Kindness’, whilst also collaborating with the likes of
Barry Adamson, Einstürzende Neubauten, Die
Haut and Mick Harvey on his celebrated Serge
Gainsbourg albums.
 First time on vinyl. Includes a printed inner sleeve
with lyrics and digital download code.

The multiple award winning action-adventure game God Of War was first released in
2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation
4, focusses on main character Kratos’ journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods.

God of War received universal acclaim for its story, design, graphics, combat system, characters and music. It was awarded ‘Game of the Year’ by numerous media outlets and award shows. God Of War (2018) performed well commercially, selling over five million copies within a month after its release. It became one of the best-selling PlayStation 4 games.

The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The

Italian bass collective D-Operation Drop marks their debut on Dub-Stuy Records with “Pon Pause SP”, a heavyweight 12”single featuring legendary singer Al Campbell. Formed in 2010, the six members of D-Operation Drop have a wide range of experience and production styles, releasing on various labels such as ZamZam, Moonshine and Lioncharge. For their first collaboration with Dub-Stuy, they connected with the great Al Campbell, a singer with a storied career working with Studio One, Lee ‘Scratch’ Perry’s Black Ark, and more. Together, they crafted a modern steppers anthem that seamlessly connects old and new.

Bill Thompson is a sound artist and composer. His work is concerned with various aspects of perception and embodied presence. Using found objects, field recordings, repurposed electronics and digital media, his installations encourage active attention to each moment. He applies this same strategy within his compositions which often include sustained tones, densely layered textures and indeterminate or improvised structures.

Although trained as a guitarist, Thompson has worked primarily with live electronics for 20 years. In 2016, he returned to guitar (by Moog) combined with miscellaneous tabletop devices, found objects, flashing lights and the occasional vibrator.

His work has been released on Ash International, Burning Harpsichord Records, Mikroton Records, State Sanctioned Records, and/Oar, Autumn Leaves, Phonography and several compilations. Notable recent performances and installations include the Venice Biennal (2020/21), Pauline Oliveros Tribute (Café Oto 2018), Intraspect Concert 2018, Edinburgh Fringe (2016-2018), NAWR 2017, Sonic Atlas 2017, Organ Reframed 2016 (Installation), What Remains Festival 2016, Sound Festival 2016.

"Black Earth Tongue" is based on material composed when working on the project Mushroom! with the contemporary dance group In the Making for the Edinburgh Fringe Festival 2016. Track titles are taken from (mis)translations of Japanese or Latin names for various fungi.

‘Expressions of Interest’ is the debut album from Melbourne/Naarm post-punk group screensaver.

Sonically, the 10 track album is rich and detailed, and pays homage to its era of inspiration (late 70s-mid 80s post-punk and new wave) with gripping vocals, dissonant guitar, melodic basslines, washes of synths and motorik drumming. Engineered by Julian Cue alongside band member Chris Stephenson and recorded over multiple studio sessions between 2020-2021

The album opens with the ominously titled ‘Body Parts’, an immediately arresting song that showcases the bands penchant for blending classic post-punk elements, leaning into a sound somewhere between the Banshees and Protomartyr.

Maynard doubles down on these themes in the frenetic second track, ‘No Movement’. Guttural organ tones swim under overdriven guitar, jagged and intense. Additional textures and sound effects are used percussively to embellish the dynamics, creating a feverish atmosphere with some Martin Hannett like flourishes.

The album takes a surprising turn into electronic driven krautrock on track three with 'Buy, Sell, Trade' - a rollicking piece of danceable ephemera, dominated by swirling synth sounds and punctuated with electronics reminiscent of Sparks/Moroder collaborations. Chris Stephenson's masterful guitar work begins with Greg Sage-esque determination before a crescendo into a lush Frippertronics outro.

'MEDS' transports us back to the foundation established on 'Body Parts', a gothy piece, full of tribal toms and dirge-y synths. Industrial punk rock nearly swallowed whole by the keys in the middle and slowly building back to complimentary guitar and vocal hooks.

It's from this point in the album that the band let's their other influences rise to the surface, as they explore touches of EDM on 'Static State' - a brutal, death-disco style track, Krystal Maynard's lead synth and gloomy vocal complimenting the pounding drums and dub-esque bass line culminating in a track worthy of the dancefloor.


Opening side two we have 'Skin', beginning with a solid and simple backbeat, James Beck’s post-punk percussion provides a steady and minimal framework for the rest of the band to colour in with great depth and detail. Giles Fielke’s bass guitar wobbles brilliantly leading the verse melody, whilst Chris Stephenson’s guitar drives the chorus that folds neatly in on itself.

In ‘Attention Economy’, Krystal Maynard is flexible with her lyrical style, and knows how and when to lend her voice to the greater backdrop of the composition. ‘Attention Economy’ has an almost Kraftwerkian structure - repetitious, but engaging with its constant tom driven beat, lush synth lines and minimal bass tones.

Just when you thought things had slowed down, screensaver ramp things right back up again with ‘Overnight Low’ - a no holds barred thumper. Giles Fielke underpins the hard-edged sound with his bassline, keeping things smooth and tight. It brings to mind a hybrid of PiL’s ‘Annalisa’ and Wire’s ‘Two People In a Room.’

Before you can catch your breath, we have ‘Regular Hours’ - another industrial track, and perhaps the sister song to ‘Static State’ heard earlier on side one. Seething electronic drum samples cut through an abyss of growling synths, Giles Fielke hanging up the bass temporarily to accompany Krystal Maynard on synth duties.

The album closes with the fittingly titled ‘Soft Landing’, literally bringing the listener back down...softly. The song is heavy on atmos, and resembles the aesthetics previously encountered on ‘Attention Economy’ a few tracks earlier.

‘Expressions of Interest” was recorded at various locations across Melbourne, with a handful of songs being captured before the start of the Covid pandemic in January 2020. With the recording timeline being drastically altered, the band shifted focus to work on what would become their first single ‘Strange Anxiety’, throughout the first months of the Melbourne 2020 lockdown.

Editions Mego is proud to welcome Powell to its roster with a bizarre and strangely emotive new LP of synthetic computer works entitled Piano Music 1-7.

Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder afolder.studio, Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the the last year alone he has released four albums of hi-def abstractions, each inspired by a formalisation of music proposed by Iannis Xenakis.

As an extension of this intense period of work/research/play with stochastic functions using probabilities to compose music, various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument one of these can be seen on the rear cover of the LP release. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work.

Piano Music 1-7, subtitled 'Music for Synthetic Piano and Assorted Electronics', consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. After all, 'In writing electronic music,' Robin Mackay once wrote, 'you also have to direct the invention of new tools.'

At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. Many of the pieces express a playfulness or optimism verging on vitalism, as bundles of piano notes dance and interpolate with a never-repeating range of electronic gestures. The feel is of a brightly coloured flower-bed in various stage of bloom. This interplay of the artifical acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow's investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker.

Recorded in late 2020, these new Powell works propose not just a bold and bright vision of electronic music but serve also as a map with which, for 35 minutes at least, we can navigate our way out of the current milieu. As the artist himself remarks in the sleeve-notes, '. . . What emerged from this fog or soup for me were ideas and processes that felt affirmative and life giving — sensations I had always hoped to convey in my music. Perhaps the optimism or positivity I felt at these musical events unfolding, these clusters and knots tumbling in different directions across time, can also be felt by you.'

Recorded in a pool house surrounded by an evergreen oak tree forest just outside of Madrid; musician and composer Oliver Patrice Weder’s second artist album ‘The Pool Project’ combines textural and meditative sounds that touch on global influences from jazz, ambient and modern composition. In conjunction with the album, Spitfire Audio has released ‘The Pool Project’ sound library, inviting composers and producers to reimagine, recreate or completely pull apart Oliver’s sound world to facilitate their own vision. Capturing the unique acoustics of the pool house, the library is presented in Spitfire Audio's award-winning, easy-to-use plug-in and features a range of controls and effects. While ‘OPW’ was inspired by constant movement and travelling, ‘The Pool Project’ had quite a contrary motivation. Oliver explains “After making my debut album, it was clear for me that it was only the beginning of a long journey. I enjoy the process and idea of creating something deeply personal and connected to the situation I am in, a snapshot of time so to speak, so I had to start writing a second album sooner or later. I love change and find it very inspiring to creatively adapt to my surroundings and circumstances to see what comes out at the other end. I spent the lockdown time living in a countryside cottage just outside of Madrid, surrounded by holly oak trees. The combination of this and seeing my one year old daughter grow up, as well as expecting another baby boy, created a very unique and fruitful environment to draw inspiration from.” Confirmed press/radio: Future Music - Album review Electronic Sound - Album review Scala Radio -Ambient Track of the Week Scala Radio - Session Track/Interview Reviews: "Rich in beauty and emotion… one of the finest modern composers around" - 8/10, Future Music Mag "Sounds like a warm oasis of calm" - 8.5/10, Higher Plain Music Achievements: Recorded and toured across Europe with various bands including psychedelic rock band Time for T. Composed for the BBC. Lead composer at Spitfire Audio. In 2017, Oliver co-scored the feature film ‘The Haunted’ and made a vlog style series Inside the Score with Spitfire Audio, documenting the entire process — from meeting the director, to seeing the film shown at various international film festivals. Released OPW, a sample library and album, in 2019 with SA Recordings x Spitfire Audio. Interview with MusicTech.

For many years now, the comparative of epic has simply been EPICA. Since their formation in 2002 and their quick ascension to stalwarts of symphonic metal noblesse with trailblazing masterpieces “The Divine Conspiracy” (2007) or “Requiem for the Indifferent” (2012), Dutch metal titans only knew one way: Up. Especially with their last three releases “The Quantum Enigma”, “The Holographic Principle” and this years’ “Ωmega”, forming a metaphysical trilogy that’s both alpha and omega of all things symphonic metal, EPICA became rightful monarchs of a genre they themselves helped made become a global phenomenon.

Yet, as every other band, EPICA couldn’t take their latest installment of breathtaking cinematic grandeur to the seven corners of the world as they would have normally done. You know why. Thus, plans have been made and visions fulfilled to produce a once-in-a-lifetime event that couldn’t be further away from yet another streaming show. What EPICA unleashed upon the world on Saturday, June 12th, 2021, was a monument to their music, their career, and their enduring legacy as forebears of a whole genre. Now finally being released on Blu-ray and DVD and various audio formats, “Ωmega Alive” is the EPICA show of your wildest dreams, brought to life by blood, sweat, tears and a healthy dose of megalomania. Think Marvel meeting Cirque de Soleil in a Tim Burton universe.

Celebrating the release of their gargantuan new opus magnum, „Ωmega“, the streaming event saw fans from over a 100 countries flock to the screens to witness a show that has proven to be the defining moment in EPICA‘s concert history. A show that’s nothing short of the band’s most explosive performance to date, brought to life with an enormous production on an ever-evolving stage setting that’s full of visual surprises. For the first time ever, EPICA performed songs like ‘The Skeleton Key’ or the insanely monumental “Kingdom of Heaven Part 3” from “Ωmega”, alongside the band’s most popular songs, rare songs, fan favorites and huge surprises. “What started as a basic idea to do an online release show for “Ωmega” quickly spiraled out of control and became our most ambitious project to date,” creative director and keyboard wizard Coen Janssen says. “As usual, we wanted to push the boundaries, explore the limits, and think outside the box. We found ourselves back in our happy place. This concert film, our ray of light for you in the dark times that we have all been living in.”

For half a year, the band worked tirelessly on a show that’s been setting a new standard for concert films and streaming events. “What we wanted to do was the ultimate EPICA show where we could fulfill every dream we ever had, where there was room for all the ideas, effects and props that are just too big to be taken on tour.” Far from your usual streaming concert, the band developed a trademark feature called a “living backdrop.” Coen explains: “We built another stage right behind our stage where lots of things were going on the whole time. And we meant that very literally,” he laughs. “Every song got something extra, something unique that was fitting its world.”

He can say that again: Elaborate visuals, tailor-made videos and graphic effects, fire, and flames on a Nibelungen level, dancers and actors, artistic performances or fire performers all add to the aura of symbolism and cinematic splendor, setting the stage for a band that can’t be happier to finally bring their new album to life, harmonizing wonderfully and giving their A game for a show to remember. “It was so great finally playing with the band again, actually standing on stage with them. Boy, did we miss this,” Coen emphasizes and adds: “We also built a pretty cool new stage with some fire-breathing snakes and lots of rotating elements. Good thing is, we might also take it on the road when we can finally tour again.”

Until then, “Ωmega Alive” will be a more than efficient remedy against no-concerteritis – for bands, fans, and crew alike who all look back on an extra-long dry spell. Divided into five acts as there are letters in EPICA and “Ωmega”, each part gets a different theme, look, and feel, complemented with references to the history of EPICA, the symbolism of the band and the videos they did. It’s, in short, the best show they ever did, a two-hour spectacle spanning their storied career up to their latest endeavors and graced by Simone Simons’ breathtaking a-cappella rendition of ‘Rivers’ from “Ωmega” complete with choir, easily the most emotional and achingly beautiful moment in their entire career. Frankly, you don’t see this on a normal tour.

What EPICA brought to life here with the help of 75 artists and crew members is a testimony to their burning will to take their band ever higher – even now, in the darkest of times we ever had to endure. Let “Ωmega Alive” be your ray of light as it was theirs, a journey into the heart, body and soul of one of the most passionate and visionary metal bands alive today.

The long awaited 5th studio album by Pepe Deluxé. Phantom Cabinet Vol. 1 is inspired by the golden age of records, and it features the most insane collection of instruments on any album - or anywhere - ever! From the largest to the loudest musical instrument in the world, from Alexander Bell's human ear recorder to a Tibetan human skull drum, from the oldest synthesizer in the world to a synthesizer designed for group sex, from da Vinci’s drum machine to God’s Trumpet, captured with an occult Soviet machine … This peculiar assemblage contains sounds from dozens of incredible and extraordinary instruments, recorded at various museums, universities, and private collections around the world.

The Esbjörn Svensson Trio, e.s.t. for short, are still
celebrated today as one of the most important and
influential European jazz bands of the last 20
years.
 In 1999, the three Swedes achieved their
international breakthrough with ‘From Gagarin’s
Point Of View’. A star rose in the musical sky and a
unique world career followed. But sometimes stars
shine for much longer than one thinks. On ‘e.s.t.
Live 95’ there are recordings that prove that this
was also true for the Esbjörn Svensson Trio.
 The band, founded in 1993, found their very
specific sound early on but it was not initially
noticed outside its home country. In 1995, when
the trio’s namesake still wore long hair and a
headband, these recordings were made at various
locations in Sweden. And whoever hears how the
trio played back then is left breathless.
 Much of what distinguishes e.s.t. was already
strongly pronounced here: the coherence and
powerful grip of the playing; the catchy themes that
immediately jump out at the listener and yet do not
become clichéd; the fusion of the music of role
models like Thelonious Monk and Keith Jarrett into
a style of their own, always infected by the forward
thrust of rock. Magical moments were saved for
eternity by these recordings.
 Now this e.s.t. early work is available on double
vinyl.

REPRESSED !!

Wolfsheim are a synthpop duo from Hamburg, Germany consisting of Markus Reinhardt (music) and Peter Heppner (lyrics and vocals). The band was founded in 1987 by Markus Reinhardt and Pompejo Ricciardi and was named after Meyer Wolfsheim, a fictional character from F. Scott Fitzgerald's novel 'The Great Gatsby'. Ricciardi soon left the band and was replaced by Peter Heppner, a childhood friend of Reinhardt's. Together they produced their first demo tape, Ken Manage', in 1988.

After making a second demo tape, Any But Pretty', in 1989, Wolfsheim applied at various labels until they caught the attention of independent record label Strange Ways Records. They are best known for their debut breakthrough single, "The Sparrows and the Nightingales', the first single to be released on Strange Ways in 1991. The band's musical style takes cues from the 1980s New Romantics, new wave, synthpop, and darkwave. The track's sombre synths were produced by Carlos Peron of Yello. Reinhardt says the lyric was inspired by 'The Great Gatsby', "in the 'onomatopoeic tension' between predator and security." Over six minutes, the narrator describes being lost, unsure of where his life is heading, using highly metaphorical language. On the flip is a brand new remix by German producer Ancient Methods, a pseudonym of Michael 'Trias' Wollenhaupt, who provides a driving, EBM-leaning, amphetamine-laced club ready cut.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Designer Eloise Leigh has updated the record's original design with two sparrows enclosed in a blood moon circle against a deep black purple backdrop. Each copy comes with a black and white photo postcard notes by Carlos Peron and the song's lyrics. This release comes in time to celebrate the single's 25th anniversary.

Truly adventurous and life enhancing music that invigorates your soul. TIP!

Press Release:

Gordan join traditional Serbian singing with abstraction, energy and minimalism. Their music is marked by radical reduction, seemingly endless ascension and a passion for experiments.

The Serbian singer Svetlana Spajić is an internationally recognized and acclaimed artist. She, like almost no other contemporary singer, is a master of all the complex local stylistic variations of singing from Balkan music. Guido Möbius plays bass and various electronic sound generators. Additionally he uses guitar amps, microphones and effects to provoke feedback which either harmonize or are juxtaposed with the song. It is a dialogue between sound and noise which is accentuated or fragmented by means of Andi Stecher’s expressive drumming. With a rich pool of ideas the percussionist drives the sound forward breathlessly and grounds it. Together the trio form a dynamic body of sound.

Gordan recorded their debut during the first wave of the Covid19 pandemic in Europe in March 2020. Due to the lockdown in Berlin at that time the city didn’t have many distractions to offer, so the trio just concentrated on work. The atmosphere of being isolated in a recording studio had a big impact on the musical results. All three band members came up with ideas for new pieces, which were immediately tested, worked out and recorded. On abstract instrumentals provided by Stecher and Möbius, Svetlana Spajic sometimes reacted with personal interpretations of serbian traditionals, and the other way around. Most of the time it was as if the music just happend to the band; playing together felt natural from the first moment on.

Some of the old serbian traditional songs that Spajic sang are extinct forms with a specific local melodic mode. The skillful improvisation of their lyrics and ornaments was of great importance and very estimated among village singers. The title song Down In The Meadow for instance originally is a love song from the village of Odevce in eastern Kosovo, Serbia. The singing manner is of a great intensity and sonority, with lots of specific local ornaments. It disappeared along with the village communities from the area. Oh, my Rose flowers is from the region of Kopaonik mountain (southwest Serbia) and the mode, scale is known as ”kopaonički glas” (Kopaonik mountain air). Svetlana adopted the style from the late singer Veličko Veličković from the village of Ostraće. It is an old mountain solo chant, rich in fast ornamentation movements and microtonal intervals. Don’t ask how I live is Svetlana’s homage to the new popular folk music movement from the 80ies known as Južni Vetar (Southern Wind) led by a musician and composer Mile Ilić, known as Mile Bas (“Mile the Bass”) which revolutionized popular music introducing tabooed oriental music and original arrangements.

All music by Spajic Stecher Möbius except ‘Don’t Ask How I Live’ by Miodrag M. Ilić, original title Što me pitaš
All lyrics are traditional, except ‘Don’t Ask How I Live’

Svetlana Spajic — vocals
Andi Stecher — drums & percussion
Guido Möbius — bass, feedback, electronics

Recorded by Alberto Lucendo at UFO sound studios Berlin in March 2020 mixed by Morphosis
Mastering by Neel at Enisslab, Rome
Artwork by Lorenzo Mason Studio

Giving form to a broad personal project of continuous inquiry and existential expression, A World Of Servicemarks the Ostgut Ton debut of Spanish producer, DJ and artist JASSS aka Silvia Jiménez Alvarez.

The evolution of A World Of Servicehas curved around genre collapsing and unexpected metamorphoses. Formerly the name of the monthly radio show JASSS hosted in Berlin, and soon to be the title of her expansive multi-sensory touring concept in collaboration with Ben Kreukniet, here A World Of Serviceis powerfully concentrated in sonic form. Throughout the album JASSS muses on the especially current human and technological barriers to interconnectivity; both lyrically and musically she deconstructs the self, unmasks anxieties and interrogates the insufficiencies of language as applied to gender, identity and interpersonal relationships. Forming her own fluid, nuanced lexicon in response, JASSS seeks a deeper understanding of her multiple selves, emerging through unbridled adolescent rage and the wisdom of maturation, traversing liminality with abstract electronics and baroque industrial pop. Visually this is underscored by Matt Lambert’s uncanny floral cover portraiture, as well as the record’s distinct scent of wet earth, flower and woods developed for the album by Meri Bonastre and applied to the vinyl innersleeve.

Following the imaginative nostalgia of Weightless, her 2017 debut album for iDEAL Recordings, as well as her series of blistering dancefloor 12”s for Whities/AD 93, A World Of Servicefolds personal and societal concepts in on themselves, not seeking answers but rather luxuriating in the unique friction that questions create. JASSS is intensely focused yet musically unbridled; this is reflected in tonal shifts of A World Of Service. Through the computerised yearning and bruising of a heartbreak on “Luis”, to the jagged and wordless tundra of “Vapor Dentro”; the intriguing juxtaposition of warm, alluring Spanish vocals against rigid pillars of industrial heft and bass grind (“Camelo”), and the soaring maximalist industrial popof the album’s closer, “Wish.”

As intensity rises through the pandemic-era trip hop of the album’s title track “A World Of Service”, JASSS sings: “Pleasure / Is nowhere to be found inside this world of service / I call to be my life.” Pleasure may remain elusive to her, but in the determination to make peace with her various identities in this technological age, JASSS offers a compelling glimpse into an essential type of artistic voice.

With Companion, Otto A Totland completes his album trilogy of personal, sparse piano compositions, following in the footsteps of 2014's Pinô and 2017's The Lost.

As a self-taught pianist, Otto further determines himself as a timeless composer who follows nothing but his own gut and heart. The outcome is something so pure it’s hard to not be affected. The development of his pieces over the years has grown into something so himself that it's almost immediately recognisable. With Companion he has matured in his own craft, and the various pieces here feel confident and absolutely beautiful in a way that sees the end of the trilogy as a warm, empathic document for the times.

As with the previous two albums, Companion was again recorded at Nils Frahm's Berlin studio for optimal warmth and space, Pinô and The Lost at his previous Durton Studio while Companion at the historic Studio 3 at Funkhaus. All three records are released by Sonic Pieces in hand-crafted limited edition covers as a statement showing that craftmanship and humanity still exists in this world constantly moving towards the exact opposite.

This quote by Norwegian philosopher Guttorm Fløistad seems an appropriate connection to both Otto's music and the way we are all heading : “The only thing for certain is that everything changes. The rate of change increases. If you want to hang on you better speed up. That is the message of today … In order to master changes, we have to recover slowness, reflection and togetherness. There we will find real renewal.” With this in mind, Companion is exactly what it's title sets out to be. A friend that can follow and comfort in both good or bad times.

Trio of Nils Økland, Sigbjørn Apeland and Øyvind Skarbø - apart from the unusual instrumentation of violin or Hardanger fiddle, harmonium and drums, is the empathy displayed by the group as a whole; the hyper-sensitivity with which each individual member appears to respond to the contributions of the others in the pursuit of a collective goal, however obscure or unknowable that goal might be. Such extreme alertness to subtle changes of mood and nuance, and to the evolving sound-world of each, totally improvised, performance is rare in music of any type. 1982 have made it their signature. And because 1982 have so singularly created their own identity and sound, they can do anything they like. Normal conventions of style and genre, format and duration cease to matter: it is all 1982 music, anchored in the strong personalities of the three players and their respect for the primacy of the group as an entity in itself. Thus they can record as a trio - as on the group’s first two albums, ‘1982’ (from 2009) and ‘Pintura’ (their Hubro debut, from 2011) - or with guests, as in the acclaimed '1982 + BJ Cole' (from 2012), and the collaboration with composer Stian Omenås and a quintet of wind players for ‘1982: A/B’ (from 2014). There was also the unique ‘message in a bottle’ intervention of ‘The Bottlemail Project’, begun in 2011, whereby 15 copies of a new recording were ‘distributed’ via USB sticks enclosed in bottles and released into the open sea from Bergen and various worldwide locations. The new album, ‘1982: Chromola’, as well as marking the group's tenth anniversary, represents a return to the essential identity of the trio playing alone, without guests. Recorded at Sandviken church in Bergen on the day following an evening concert, the album uses material from both occasions, engineered once again by Davide Bertolini, who worked on the band’s four previous recordings. As an album it is remarkable for many things, but perhaps most notably for the role of Sigbjorn Apeland, who plays pipe organ on all but one of the seven tracks rather than harmonium, which features only in the closing, seventh, piece.

With the release of Sweet Inspirations At Muon, the first appearance on vinyl of Tori Kudo’s mythical early ‘80s primitive rock gang Sweet Inspirations, another piece of the seemingly endless puzzle of the Japanese underground has fallen into place. Recorded some time in 1982 at Yokohama venue Muon – precise details are sketchy – we’re now given another chance to discover what was going on in Kudo’s mind just before he formed the group he is now best known for, the ragtag gang of pro and amateur musicians that was Maher Shalal Hash Baz.

Sweet Inspirations were one of several groups formed by Kudo around this time. He’d already released the visionary naïve-art album, Tenno, in collaboration with Reiko Omura, in 1980, and a trip to New York the following year led to the recording of Atlantic City, under the name La Consumption 4. Returning to Japan, Kudo first formed Guys’N’Dolls with Jun Yoshiwara (bass) and Kiyoaki Iwamoto (drums); Yoshiwara carried over into Sweet Inspirations, who existed for a few years, their membership, at various times, featuring Asahito Nanjo (High Rise etc.), Jutok Kaneko (Kousokuya), Yoshio Kuge (Les Rallizes Denudes etc.), 3C123 and many more.

The material here was originally released, without permission, by the Cragale label on CD-R in 2000. It was one of a sudden wave of archival CD-Rs that Cragale pumped out that year of material recorded at Muon, which was owned by Kohei Iehara, who co-founded Cragale with Tamotsu Hongo. In the context of the recent unleashing of material from the Kudo archives – the 9CD At Goodman set, the reissue of the first two Maher Shalal Hash Baz cassettes and the Noise LP, and the tantalising glimpses of other historical gems via Tori’s own Bandcamp page – hearing Sweet Inspirations with such clarity fills in a significant piece of the puzzle; here is Kudo, just before Maher, channelling the rough conceptualism of Red Krayola and the glinting, staggered rhythms of Syd Barrett into extended blooms of ragged glory, sketching out future classics like “Manson Girls”; A bonus CD includes a cover of a song by legendary South Korean rock group San Ul Lim.

Cleveland Parker, his birth-name, later changed to Lee McDonald was a phenomenal soul singer who sadly passed away in February 2018. His manager, producer, writer and friend, Ron Foster has been on a mission to gain wider recognition of his exceptional talent through various independent record label releases; this included one on IZIPHO - the gospel rouser 'How Long'. Lee McDonald was the lead singer of The Village Choir and we are thrilled to feature on a 7' single two much admired songs - 'All Purpose Love' and 'Sweet Hot Lips' (the 12" version). Please note all reasonable efforts to contact the copyright holder have been made and IZIPHO SOUL will not take any profit from this record; Lee's widow will financially benefit from this project.

Cleveland Parker, his birth-name, later changed to Lee McDonald was a phenomenal soul singer who sadly passed away in February 2018. His manager, producer, writer and friend, Ron Foster has been on a mission to gain wider recognition of his exceptional talent through various independent record label releases; this included one on IZIPHO - the gospel rouser 'How Long'. Lee McDonald was the lead singer of The Village Choir and we are thrilled to feature on a 7' single two much admired songs - 'All Purpose Love' and 'Sweet Hot Lips' (the 12" version). Please note all reasonable efforts to contact the copyright holder have been made and IZIPHO SOUL will not take any profit from this record; Lee's widow will financially benefit from this project.

BERTIE MARSHALL is a writer/ performer. He is also an acclaimed memoirist, most well known for his book ‘Berlin Bromley’ (2006) about his transformation from Bertie, an anxious, androgynous, depressed teenager, into Berlin, a teenager who would reject suburban values and become a founding member of punk’s ‘Bromley Contingent’, alongside Siouxsie Sioux, Steven Severin and Billy Idol.

October 29th sees Upset The Rhythm release ‘Exhibit’ by Bertie Marshall, collecting for the first time his songs and spoken word tracks from this fertile period of the 80s-90s.

He’s currently working on ‘Looking: Backwards To Go Forwards’, picking up from where ‘Berlin Bromley’ left off. His other books include the debut novel ‘Psychoboys’ (1997), ‘Nowhere Slow’ (2014), ‘From Sleepwalking to Sleepwalking’ (2016), ‘Wild - re write’ (2017), ‘The Peeler’ (2018) and ‘Pete’s Underpants’ (2019). In 2015 the British Library purchased his writing archive.

From 1980-83, Bertie was the frontman for post-punk boundary-pushers Behaviour Red - they released one single (favourably played by John Peel), did a mini-tour and broke up. At various times Behaviour Red featured Noel Blanden of Normil Hawaiians and fine artist Nicola Tyson. Their sound was characterised by looseness and freedom, boasting at times tribal drumming, streams of vocals, dazed guitars and feedback. Bertie continued sketching out atmospheric compositions afterwards too, walking a tightrope between bewildered pop and gothic folk. Central to everything is Bertie’s commanding voice; heartfelt, impassioned and masterfully leading you through the story.

Bertie became interested in spoken word and performance poetry in the 90s, which then led him into writing and performing in his own plays and devised theatre pieces. He did regular readings and performances in NYC and began writing books inspired by the visceral talents of Acker & Burroughs. Having lived in Berlin, San Francisco, and Brittany, Bertie now lives in London.

The rarefied music of Ramuntcho Matta returns to Emotional Rescue with the first ever reissue of his album, 24 hrs. Recorded in 1986 - the same year as his influential Ecoute... - the album finds Matta working in a less playful, more experimental framework but with the same ground breaking results.

Again collaborating with a selection of accomplished players, 24 hrs sees Matta (electronics, guitars, marimba, melodica, sanza, vocals) work again with Cacau de Queiroz (flute and saxaphones) and Elie Meideros (vocals), plus Guillermo Fellove (trumpet), Ahmeed Kawa (tablas) and Polo Lombardo (konks) to deserne 6 pieces as part of a performance of Labyrinth by Joan Baixis' (backing vocals) Teatre de la Castra, Barcelona's acclaimed puppetry and visual troupe.

Centred as before, on Matta's guitar, the approach is playful, inventive, a foundation for a texture of musical aphorisms. Against a background of tabla, the elegance of versatility builds, intertwining the players via moods and textures of various traditions in a unique way that is his signature.

An album to be appreciated as one, this archival offered up additional surprises when the Master tapes were examined and so presented here is a longer form, unreleased version of Before Sunrise, as well as the previously unreleased Ramon (Digital only).

West Coast mainstay maverick Dave Aju launches his anticipated new label Elbow Grease with this timelessly sublime dance floor trip, dripping with outer space soul and deep ocean floor sonics. "X17", a reference to the hypothetical particle and Fifth Force discovery, is equal parts warm and cold, ruff and smooth, as a raw Detroit Electro-schooled rhythm base plows through various known musical barriers, adorned with worldly percussion hits, moving synth pads, and subtle jazz motifs. The generously unfolding "Main Mix" is accompanied by both a potent "Rhythm Dub" stripped back for maximum impact, and a beatless high "Viiibe" version offering a more immersive listen and alternative options for adventurous DJs to mix as they feel - a fine intro to the Elbow Grease credo.

Electronic musician Xopher Davidson will release ‘Lux Perpetua’ this year via Daydream Library Series. A noted protége of Maryanne Amacher, Xopher recorded these two tracks in 2020 utilizing vintage synths within the beloved music studios of Mills College in Oakland, California. Xopher builds his experiments in electronic sound from a basis in painting, photography, and film, and through an interest in electronic circuits going back to building radios and homemade circuits as a kid. He has built and explored the sound world of a homebrew modular synthesizer comprised of surplus laboratory equipment: various oscillators, pulse generators, filters and an 'analog computer. He has released 4 albums as ANTIMATTER : ‘Transfixion’, ‘Antimatter Vs. Antimatter’, ‘Our Lady of the Skies’, and ‘Reset’. As an audio engineer, Davidson has worked on projects composed / performed by: the League of Automatic Composers, John Cage, Marcel Duchamp, Subtropic, Diamanda Galas, Kid 606, DJ Rupture, Darwin's Bitch, Once 11, Mix MasterMike, Hans Grusel, Phoenecia, Jonah Sharp, We, Zbigniew Karkowski, and Iannis Xenakis

Both noted for strikingly forward-thinking bodies of solo work dating back to the 1990s, the duo of Andrew Pekler & Giuseppe Ielasi - collaborators for the better part of a decade - reemerge with 'Palimpsests’, their first outing with Shelter Press. Built from deconstructed layers of texture, tone, and arrhythmic percussiveness, the album’s 2 sides distill 6 years of work into 9 splintered, airy reimaginings of minimalism - each surprising, creatively rigorous, and startlingly beautiful - that rest at the outer reaches of contemporary electroacoustic practice and musique concrète.

Based in Berlin and Milan respectively, Andrew Pekler and Giuseppe Ielasi have individually carved singular paths across numerous disciplines within experimental music for more than 20 years, each deploying sampling, synthesis, and acoustic sources to weave their own, distinct worlds of sonorous abstraction. Brought together by years of friendship and a shared devotion to layered texture and complex, fractured structure, the pair first joined their creative energies in 2013, a collaboration that culminated as the LP, ‘Holiday For Sampler’, issued by Planam.

'Palimpsests’, the duo’s second outing, draws its material from a series of improvisations made by the Pekler and Ielasi in Milan during 2015. Over the ensuing six years, those recordings would undergo various transformations - cut, reworked, sampled, and added to by each artist, working at geographic distance between Berlin, Kyoto and Monza - before culminating, like the album’s title suggests, as a unique manifestation of musical palimpsest; “an object reused and altered, while still bearing visible traces of its earlier form”.

With each of the album’s compositions nodding toward a city with which Pekler and Ielasi hold biographical connections, 'Palimpsests’ constructs sound as poetic metaphor; a series of ghosts - traces of memory, image, and action - cut and reassembled, in cycling permutations, before been set into action at a glacial pace with layered, transparent forms.

Defined by remarkable restraint and pointillistic precision, across the album’s two sides Pekler and Ielasi weave the fractured remnants of their sessions - reduced to glitches and warbling fragments of texture and tonality - into pulsing expanses of spatial ambiance that defy imagism, blur the boundaries between the synthetic and organic - reducing their sources to a series of unknowns - recast the boundaries of electroacoustic practice on markedly singular terms.

Shelter Press is thrilled to present 'Palimpsests’, another brilliant outing from the duo of Andrew Pekler and Giuseppe Ielasi. Issued in a limited edition of 500 copies on black vinyl, with artworks on printed inner and outer sleeves by Traianos Pakioufakis.

The Acclaimed Arab-Levantine Contemporary Music & Art Project Returns With Its First New Album Since 2018. Led By Lebanese-Canadian Producer Radwan Ghazi Moumneh, Whose Many Credits Include Matana Roberts, Big | Brave, Sarah Davachi, Suuns. Featuring A Different Guest Collaboration On Each Track, Including Tim Hecker, Moor Mother, Beirut, Lucrecia Dalt, Greg Fox. Europe & Canada Tour In November 2021 With Experimental 16mm Analog Films By New Duo Member Erin Weisgerber.

One of the most renowned and uncompromising entities working in 21st century avant-garde Arab-Levantine art and music, Jerusalem In My Heart presents a new album of vital and haunting electronics and electroacoustics, framed by founder and producer Radwan Ghazi Moumneh’s spoken and sungArabic, buzuk-playing and sound design. Qalaq is the most distilled, variegated and finely wrought Jerusalem In My Heart album to date – featuring a different guest/collaborator on every track, yet as cohesive, emotionally resonant, sonically adventurous and narratively powerful as any release in JIMH’s celebrated discography. Guests across the album's 13 tracks include Moor Mother, Tim Hecker, Lucrecia Dalt, Greg Fox, Beirut, Alanis Obomsawin, Rabih Beaini and many more. “Qalaq” is an Arabic word with many shades of meaning but Moumneh particularly intends it as “deep worry” – on various obvious global levels, but also specifically with respect to Lebanon: its collapsing domestic politics, economy and infrastructure; the tragedy and aftermath of the 2020 Beirut port explosion; the intractable geography and geopolitics that continue to condemn the country to corruption, disruption, destabilization and violence. Moumneh writes: “The Side Two tracks are all named ‘Qalaq’ and then numbered, representing the degrees of layered and complex violence that Lebanon and the Levant have reached in the last couple of years, from the complete and utter failure of the Lebanese sectarian state that has driven the economy to a grinding halt, to its disastrous handling of the migrant influx from neighbouring failed states, to the endemic corruption that led to the August 2020 port explosion, to the latest chapter of Palestinian erasure and yet another brutally asymmetrical and disproportionate bombing campaign on Gaza.” Qalaq is shaped by a "dismantled orchestra" ofmusical collaborations, forged through long-distance file exchange during lockdown winter 2020-21 (and the inverted companion to JIMH's previous 2018full-length Daqa'iqTudaiq, which featured a 15-piece orchestra recorded live in Beirut). Moumneh initially through composed Qalaq in purposely stark and skeletal form, then gave each guest artist a section to decompose, edit, re-interpret and recompose as they desired, working their stems back into his own mixes for each piece/section and moulding newfound coherences in the overall work. The result is The album artwork with a front cover colour photograph by Myriam Boulous capturing a scene during the Beirut October Revolution of 2019.











k 11 Qalaq 6 (w/ VÍZ Réka Csiszér)

Cinedelic Records is proud to present Paolo Vasile’s score to Enzo Castellari’s 1980 poliziottesco fim, Il Giorno Del Cobra. This record features one of maestro Vasile’s most iconic themes as featured on various polizio compilations. This release will include three bonus tracks and will be pressed in a limited quantity. The cues on this soundtrack feature a wonderful mix of cool keyboards, horns, funky basslines, and driving kick drums — a perfect reverb-fueled accompaniment to Franco Nero’s onscreen antics. (Alfonso Carrillo)

A boundless creative spirit, Australian artist Paul Schütze has worked for over forty years as a musician, photographer, visual artist and perfumer. He has exhibited at institutions such as the Hayward Gallery, the V&A and Madrid’s Arco, held residencies at the Cité des Arts in Paris and has works in collections worldwide. He has collaborated with musicians from Jah Wobble to Toshinori Kondo, from Bill Laswell to David Toop, and worked both as a filmscore composer and music critic in print.

A new, remastered compilation of key works from Schütze’s catalogue, The Second Law, collates music from various periods and albums. Represented here are tracks from 1990’s The Annihilating Angel, an album of blissed-out fourth-world mystery; from the transcendent homage to traditional Indonesian gamelan music The Rapture of Metals (1993); from the ethereal, spiritual, Nino Rota-esque melancholy of 1991’s Regard: Music by Film. It is occasionally dark, industrial and begrimed; occasionally paradisiacal and breathtakingly elegant. There are works of celestial, astronomic grandeur alongside microscopically detailed miniatures. Empty, deserted spaces of man-made abandonment contrast with studies of ornate natural beauty.

Early, yet mysterious collaboration between Sun City Girls and Life Garden reissued on Unrock. Recorded live on Sept. 22, 1991 and originally released by visionary operator Nick Schultz on Majora Records, Tsunami .2↑ was, still is, and will remain a mysterious album. Because the music didn’t represent or sound like either of the bands involved, they decided to call the group Square 9 and chose to leave everybody’s names off of it. No further information was given, only "Recorded at Grand Theater, Buenos Aires, Argentina". Until today, nobody knows exactly who was behind the record. Rumors came up that is was part of the Sun City Girls legacy, but the "truth" lingered in the dark. So unusual and experimental the approach to record this album was, so remarkable it finally turned out. By the time it was released back in 1992 only a few dedicated core followers were aware of its existence. Everybody played anything and everything on this recording, no specific instruments are assigned to players. Different instruments, various percussion instruments, a piano and other sound sources. Insiders maybe recognize the voices of Su Ling and Alan Bishop or a piano sounding like Richard Bishop playing it. Some of the live sounds have been treated and processed live by W. David Oliphant. It was an impromptu series of improvisations by Sun City Girls and members of Life Garden (W. David Oliphant‘s main working group after Maybe Mental) and probably the last recordings made by members of Sun City Girls before the band fully re-located to Seattle. In retrospect it is a belonging and relevant part of the history of both bands, which needs to be broadcasted to a wider audience. 30 years after the recordings were made, a remastered version of the album is made available through Unrock. While the original release was two side-long tracks, the remastered version is split into 6 separate tracks, remixed and mastered by W. David Oliphant. Vinyl cut by Peter Koerfer at Ivory Tower. Square 9 were (in alphabetic order) Alan Bishop - Richard Bishop - Charles Gocher - Su Ling - W. David Oliphant - Peter Ragan

Record Kicks drops "Solid Ground", the explosive debut album by US band The Grease Traps, recorded at Kelly Finnigan' Transistor Sounds and mixed by Orgone's Sergio Rios.

Recorded between Kelly Finningn's Transistor Sound in San Francisco and Fifty Filth Studio in Oakland and mixed by Orgone' producer Sergio Rios and Kevin O' Dea, Record Kicks is proud to finally present Solid Ground, the long-awaited debut album by US very finest deep funk & soul outfit The Grease Traps. The album is set for worldwide release on November 5 on vinyl, CD and digital format. The band, based in Oakland, CA, is the latest addition to Milan-based Record Kicks roster. Active since 2002, with a 45 released on well-respected funk/soul label, Colemine Records, now, after six years spent working on the album's recording and mixing, they are ready to present their first full-length release Solid Ground on Record Kicks. The album is anticipated by the two killer funk singles "Bird of Paradise" and "More and More" on limited edition 45 vinyl.

As avid record collectors and fans of that old school analog sound, Solid Ground was recorded straight to 8-track tape on a Tascam 388, which also graces the cover art. Half of the tracks were recorded live at Transistor Sound Studio by soul crooner, Kelly Finnigan, and Ian McDonald where both Kelly and their band, Monophonics, have recorded their last few albums. The other half of the tunes were recorded by Kevin and Aaron at Fifty Filth Studio in Oakland, CA where the band also rehearses and mixed by analog-obsessive Orgone producer Sergio Rios. The album's original tunes draw from the Traps' various soul influences ranging from gritty funk ("Bird of Paradise" and "Hungry") to fuzzed-out psychedelic ("Residue") to sweet lowrider soul ("More and More"). The lyrics by lead singer The Gata also don't shy away from pressing issues of the day such as racism in America ("Roots") and finding hope in a world that seems pitted against you (the JB's style "Solid Ground"). The rare funk covers from the album provide a taste of the raw energy one would experience at a Grease Traps live show. The Traps also supplemented their sound with special guests including the Monophonics horns, background vocals from seasoned Bay Area vocalists, Sally Green and Bryan Dyer, as well as strings organized by Kansas City master viola player, Alyssa Bell.

The seed of The Grease Traps formed back in 2000 when keyboardist, Aaron Julin, answered an ad put out by guitarist, Kevin O'Dea, searching for players who were hip to the rare grooves laid down by Blue Note artists such as Grant Green and Lou Donaldson. They quickly formed Groovement, covering those same artists along with other jazz-funk staples. When their sax player and frontman moved away, they switched gears to form the band, Brown Baggin, getting into the harder funk of the JB's, the Meters, Kool & the Gang, and lesser known acts such as Mickey & the Soul Generation. They also started digging into the rare funk compilations put out by Keb Darge, Jazzman Gerald,and labels like Harmless, Ubiquity, Soul Jazz, and Now-Again. Modern day soul and funk outfits such as Breakestra, the Whitefield Brothers, and the Daptone/Soul Fire crews provided additional inspiration.

In 2005, while still playing with Brown Baggin yet fed up with juggling the schedules of seven band members, Aaron and Kevin put out an ad to find a bassist and drummer to jam with as a quartet. The first two cats to show up were bassist, Goopy Rossi, and drummer, Dave Brick. It was clear from the get-go that this rhythm section had great chemistry. Originally intended as a fun side project, the Traps quickly took priority as Brown Baggin dissolved. Performing as an instrumental quartet for a number of years, they eventually expanded their repertoire to include horns as well as that sharp-dressing soul brother, The Gata, on lead vocals. Over the years, they've shared the stage with acts such as Shuggie Otis, Robert Walter, Durand Jones, Monophonics, Neal Francis, and Jungle Fire.

What's the connection between one of the rarest and most in-demand gargae rock records of the 1960s and Christina Aguilera, and why is it coming to Acid Jazz?
For many years and many a bootleg the snarling imperious Stones or Yardbirds influenced groove of The Illusions 'City Of People' has been sought after and coveted by garage rock collectors. The Illusions released one single, on the tiny Michelle label and today any copies that appear easily sell for North of £1000.

So far, so typically Garage. However there is a backstory to the release that explains why the record never sold at the time of release. The record was produced by Bobby Marin, a Nuyorican, who at the time was stationed in Michigan on his National Service, and who would later go on to record some of the biggest names in Latin Music, first for the cult Speed label and then for United Artists and various of his own labels. In the early 2000s his 'I'll Be A Happy Man' was sampled by Christina Aguilera on her smash hit 'Ain't No Other Man'.
At the end of 2020 Bobby found the master tape of The Illusions single - including the Byrdsian B-side. This legal reissue a fresh mastering from those tapes, bringing out the intensity of the recording, and we have released it on a look-a-like Michelle label.

Welcome to our last instalment from Eryk and Antoinette McClinton. Brother and sister duo who recorded these demo tracks with Detroit legends Mike Theodore and Dennis Coffey. Recorded around 1979 these cuts were a spotlight on the duo's talents, hoping land them a record deal. Both had been active in the past with various recordings. Erik & the Vikings, and together as Eryke and Aronnette on Honey records. Here we have Four cracking disco fused funky songs, "Love doctor" made it on to our record store day lp "Long Distance Love Affair" so you may have already heard this. Accompanying this track are two more disco funk cuts. "Its all in your mind" & "Funky time Saturday night". Last and not least is the 2 step jam of "Recollections". All four cuts included some tasty breakdowns.

With nearly 400 million albums sold worldwide, 17 No. 1 hits and over 16 million weekly global streams, ABBA are one of the world’s most successful music acts of all time!!! One of the most successful pop groups of all time, have today announced that, for the first time in 40 years they are back! Their 9th studio album Voyage will be released on the 5th November. The album will be made aavailable on various formats. Massive marketing campaign as you would expect. Formats include CD, Eco Box CD a MC Gatefold Black LP.

HIGHLIGHTS: For the first time a sample of the essential work of Mesías Maiguashca, covering a period that goes from 1967 to 1989. This release includes historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America. DESCRIPTION: Mesías Maiguashca is a relevant figure on the map of contemporary avant-garde composers. Born in Ecuador but currently based in Germany, he has been a composer who, since the 60s, would constantly expand his possibilities in fields such as electronic music (where he stands out as a pioneer), mixed works, expanded interdisciplinary pieces and the creation of unconventional instruments, where the encounter between his country of origin's popular folkloric tradition and the new European music has produced a universe of tension, as fascinating as it is startling. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) presents for the first time a sample of the essential work of Maiguashca, covering a period that goes from 1967 to 1989. This is the first of a new collection, a new series of albums that seeks to document the extensive recorded work of Maiguashca, with pieces that date from the mid-60s to the present. This first release is a good introduction to understand the various aesthetic options developed by the artist throughout his career. It includes his historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America, and also mixed pieces, such as "Intensidad y altura" (1979) for six percussionists and magnetic tape, "The wings of perception" (1989) for a string quartet and tape, and "Nemos Orgel" (1989) for organ and magnetic tape. As the critic Fabiano Kueva has pointed out: "During six decades of musical creation, Maiguashca has outlined diverse aesthetic axes, raising questions about the aural experience and generating a sound flow, a permanent oscillation between Latin America and Europe. Therefore, the blend of Western and non-Western concepts, techniques and timbres, the literary references or the historical approach are perceived as a complex gesture that reveals the tensions, the memories, the place of the artist." Mesías Maiguashca studied at the Quito Conservatory, the Eastman School of Music (Rochester, N.Y.), the Di Tella Institute (Buenos Aires) and the Musikhochschule Köln (Cologne). He has made recordings at the WDR music studio (Cologne), Center Européen pour la Recherche Musicale (Metz), the IRCAM (Paris), the Acroe (Grenoble) and the ZKM (Karlsruhe). In 1988, together with Roland Breitenfeld, he founded the K.O.Studio Freiburg, a private initiative for the cultivation of experimental music. He has been living in Freiburg since 1996. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) is released as a double vinyl LP, in a limited edition of 300 copies, including photos and detailed information on the pieces. Liner notes by Mesías Maiguashca and Fabiano Kueva. Mastering: Alberto Cendra at Garden Lab Audio. Desing by Martín Escalante. Project carried out thanks to the Ibermúsicas fund.

Margo Cilker is a woman who drinks deeply of life, and her debut record Pohorylle, (out on Loose) is brimming with it. For the last seven years, the Eastern Oregon songwriter has split her time between the road and various outposts across the world—Enterprise, Montana, the Basque Country of Spain—forging a path that is at once deeply rooted and ever changing. As Pohorylle traverses through the geography of Cilker’s memories—the touring musician’s tapestry of dive bars and breathtaking natural beauty—love is apparent, as is its inevitable partner: loss. For what bigger heartbreak is there to be a fierce lover who must always keep moving? Cilker seems keenly aware of the precarious footing upon which love stands, and at many turns the record carries the desperation of being in the presence of something that is staggeringly beautiful, and slipping away.

Dave Chappelle's viral video "8:46". The video was YouTube's top trending video of 2020 with over 30 million views. The video and subsequent album are a searing rumination in the aftermath of the murder of George Floyd that ignited worldwide outrage and led to protests on race inequality, police brutality and the criminal justice system. Filmed in Ohio on June 6, during the COVID-19 lockdown, "8:46" addresses one deadly plague, while in the grips of another. The B-side of the album features poet Amir Sulaiman's performance of "My Insides Out" and "We Must Win," also recorded in Ohio. It also includes "White Noise," 8 minutes and 46 seconds of silence in remembrance of George Floyd and the countless victims of police brutality and systemic racism. The album cover and artwork features performance and backstage photos from Chappelle's performance as well as images from various George Floyd protests in Los Angeles, CA, all taken by Grammy-nominated artists and photographer Mathieu Britton.

Domination Campaign was started in Hobart Tasmania in late 2019 by Psycroptic vocalist Jason Peppiatt as a solo studio project. Jason began work in Crawlspace studios in December 2019 with fellow Psycroptic band mate and studio engineer Joe Haley. Once recording began Joe was recruited to also play drums on the album and the duo had their sights set on recording an over the top, heavy, straight down the line, crushing old school death metal album. Nothing fancy or technical just big simple heavy riffs and massive mid paced drum beats. Lyrical topics are loosely based on events of various wars in history. Their debut album ‘Onward to glory’ was completed in July 2020 with all recording, mixing and mastering done by Joe Haley and album art done by Jason Peppiatt

12” gatefold jacket w/ full color matte UV print, 1x translucent purple cloudy effect vinyl, black dust sleeve, printed LP labels, marketing sticker and free digital download card

Gregory Keltgen (aka DJ Abilities) gravitated toward the turntables at a young age, becoming a DJ at only 17, before going on to compete in the legendary DMC DJ competitions only 2 years later in 1999. He won the regional title and advanced to the U.S. finals that year, before doing it again in 2001. Soon after, Abilities was also garnering attention for performing all the scratches on indie classic, Fantastic Damage, the debut album by El-P of Run The Jewels’ fame, as well as contributing his turntable talents and production skills to other Hip-Hop cult favorites like The Anti-Album by Semi.Official, and The Taste of Rain... Why Kneel? by Deep Puddle Dynamics. But above all, his name would become most celebrated throughout the 2000’s as one-half of the dynamic Hip-Hop duo Eyedea & Abilities.

DJ Abilities had first met Micheal “Eyedea” Larsen in the mid-90’s, and the two soon began a working relationship that would eventually play a prominent role in the burgeoning Indie-Rap movement of the time. Together, the pair developed a near symbiotic

creative union that produced three albums—First Born; E&A; and By The Throat—a catalog animated by the burning fusion of Eyedea’s introspective and technically adept rhymes with Abilities’ precise scratches and versatile production. Tragically, his partner Eyedea passed away in 2010 leaving Abilities to soldier on by himself, but the influence of their partnership continues to shape DJ Abilities’ music to this day.

His latest project, Phonograph Phoenix, finds the DJ/Producer returning to the forefront and embracing an entirely new approach to making music. A departure from previous work that was primarily sample-based, Phonograph Phoenix finds Abilities opting to build the album’s compositions from the ground up, creating his own sound through Ableton Live and various soft synths, with razor sharp cuts and select vocal chops providing a voice where his fallen partner may have once stood.

International power duo Dasom Baek (traditional Korean flutes) and Violeta García (cello) present their debut album. is the sound of two leading composers and improvisers pushing their instruments to the technical and creative limit, then beyond into places unnavigated, futuristic and often haunting.

Dasom and Violeta tussle with playful and at times brutal mastery between passages of sparse melody, acrobatic percussion and harmonic drift, while interjecting voices fracture and reassemble into intimate, improbable forms. It is hard to imagine an album more abundant in ideas and motifs, all atomised as soon as they are brought to life. The effect is a tapestry of rugged spirits - moving, and at times just plain beautiful.

Recommended for fans of Okkyung Lee, John Butcher, Messiaen, or Ernst Reijseger.

Dasom Baek is a composer, improviser and performer of traditional Korean instruments, mainly Daegeum, Sogeum. Dasom pursues ground-breaking and modern music rooted in traditional Korean instrumental performance. She is a Certified Master of Important Intangible Cultural Asset, no.45. She has achieved Bachelor's and Master's degrees from the Korea National University of Arts, and is currently undertaking a PhD course at Seoul National University. She has also represented Korea at the International Flute Festival. In 2019 she was selected as a fellow for the OMI Music residency in New York, collaborating with various genres of musicians from different countries. In 2020, she released her debut album, titled . In 2021 she was selected as a showcase artist at SXSW Festival.

Violeta García is a cellist, improviser and composer born in 1990 in San Nicolás de los Arroyos, Buenos Aires, Argentina. She studied at the Conservatory Astor Piazolla, and holds a degree in Composition from the Conservatory Manuel de Falla, with Ricardo Capellano. She also has a degree in Musical Arts, specialising in violoncello, from the Universidad Nacional of Arts (U.N.A).

Limited edition of 500. Vinyl edition includes tracks not available on digital and streaming formats

Grup Ses, Istanbul based veteran beatmaker returns to Souk after 2 years with first fully instrumental album since 2011's sought after 'Beats and Pieces from Turkish Psychedelia'.

Grup Ses project dates back to 2007 which at the time focused on v/vm style edits and breakcore infused mash ups. Starting from 2008 Grup Ses started to build a version of Stones Throw & Brainfeeder influenced beatmaking mixed with a touch of humour. A blend including all kinds of local recorded material like records, tapes, radio broadcasts etc., which became the building blocks of signature Grup Ses sound.

'Beats from the vaults' is a showcase of beatmaking aesthetics Grup Ses visited between 2008 and 2021. Including various cuts available only on soundcloud plus unheard material compiled just for this album.

Complet label owner and Berlin based DJ and producer Ray Kandinski has been making serious moves over the last few years, both through his ear for curation and his rich, intricate sound design. Inspired by a pool of influences, including; jungle, footwork and house - Kandinski believes the beauty of dance music can be found in its subtlety and range; which can be heard deeply running throughout his debut EP for Lobster Theremin.

A ray of sunshine shines through sparse breakbeats in opening track ‘95’, before ‘No Love’ follows with a slightly more clubier affair, while still maintaining it's blissful edge through the use of lush and dynamic synth work. ‘Healing’ then closes the A side with it’s minimal grooves, both hypnotic and understated; light refracting from one medium to another in a colourful display of blue and green.

The B side makes its entrance with ‘Zonin’ a choppy house cut with a point to prove, before demonstrating his artistic versatility in ‘The Mack’ blending his way into an electro mutation laced with ravey stabs and punchy drums, combining various influences from around the globe.

Title track ‘Garant’ takes place in a quasi-rainforest beckoned by nature's call. The type of good-natured music that sounds inspired by the evolving world around us; locking us in a groove that could happily last forever.