Search:wa yo set

Pressing Info: 180g black vinyl, standard sleeve, printed inner sleeve. In dark, troubling times, maybe the most instantly gratifying solace one can seek is a wittily barbed diagnosis of the situation. “The fox has his den. The bee has his hive. The stoat … his stoat-hole,” Stewart Lee once remarked: “But only man chooses to make his nest in an investment opportunity.” Caustic retorts like this are what fuel the debut EP by dance-punk outfit Regressive Left, ‘On The Wrong Side of History’. For pervading through their dynamic and glitching music is a duty to report unflinchingly society’s ills. They are a staunchly political group, but far from your average po-faced by-numbers punk band. There is a gristly social commentary at the band’s core, but the songs themselves are characterised by a need to have fun, to find some kind of solace and escapism from the inevitable rapture. Recorded over an intense 5-day spell with in-demand producer Ross Orton (Arctic Monkeys, MIA, Amyl and The Sniffers) in Sheffield, Regressive Left’s debut EP ‘On The Wrong Side of History’ was immortalised over a handful of 11am-1am sessions in his studio. In many ways it is a time capsule of the maelstrom of ideas that got the group to this point in the first place – the infuriating, bleak political climate, and the urge to find escapism from it – consigned to vinyl in one herculean effort. Taking influence from the booming post-punk, funk and disco scenes of New York, Regressive Left’s sound is stark and danceable. Angular guitar scratches meet dirty synth basslines, whilst Simon Tyrie’s Edwyn Collins croon is chased around by effervescent drums. The banal horror of life in Tory Britain expressed with sharp and dry wit, and then set to truly barnstorming and infectious dance music Due out July 15th on Bad Vibrations Records, the new EP arrives following a trio of acclaimed singles (‘Eternal Returns’, ‘Take the Hit’, ‘Cream Militia’), tours with the likes of Bodega and Folly Group, festival appearances at End of the Road, Latitude, Great Escape and Wide Awake, and a sold out headline at The Windmill.

Battering Ram kommt aus einer kleinen schwedischen Bergbaustadt - Filipstad. Ein Ort, von dem Sie noch nie gehört haben, ein Ort, an dem Sie noch nie waren und den Sie höchstwahrscheinlich nie besuchen werden. Dort oben im Norden, in den skandinavischen Wäldern, ist der Mensch noch ein Mensch, das Leben ist noch einfach, und die Seelen sind noch frei. Dort oben ist die Musik noch rocken. Hart. Hart wie ein Fels.

Das 2017 in den tiefsten Wäldern Schwedens gegründete, schwergewichtige Quartett erweckt schnell großes Interesse bei den Rockfans daheim in Skandinavien, aber auch auf internationalem Boden. Rocker auf der ganzen Welt haben erkannt, dass es bei den Gnomen und Trollen in den nordischen Märchenwäldern gegossen wurden.

Hart wie ein Stein und härter als Hardrock. Schwer wie Blei und doch nicht nur Metall. Dennoch, am Ende ist das, was Battering Ram spielt, ist schnörkelloser Rock'n'Roll mit viel Gewicht, Power und Attitüde.

Mit ihrem ersten Full-Length-Album haben Battering Ram die Türen zur Rockszene förmlich aufgestoßen. Ihr selbstbetiteltes Debütalbum, das 2020 erschien, erhielt zahlreiche positive Kritiken in Musikmagazinen wie dem Sweden Rock Magazine, Metal Temple und
Roppongi Rocks. Und jetzt ist die Filipstad mit einer neuen Ladung von Killer-Songs zurück. Second To None" wird dem hohen Anspruch gerecht, den Battering Ram mit ihrem Debütalbum setzten und liefert eine Sammlung von Songs, die zeigen, wie Hard Rock und Heavy Metal klingen sollten, wenn sie aufeinander treffen: roh, heavy und mit gigantischen Hooks! Diese Band steht für alles, was Rockmusik der alten Schule einmal ausgemacht hat. Die Band ist sowohl in Sound und Qualität nahe an den Schwergewichten des Genres, deren Ursprünge in den 1970er und 80er Jahren liegen. Während die solide Basis von Battering Rams Sound echt und authentisch ist, verpassen sie ihrer Musik dennoch ihre eigene moderne Handschrift.

Tartelet are proud to introduce the blissful, psychedelic electronic soul sound of ABUNAI on his sophomore album Chrysalis out May

20th. Across 11 songs the Oakland, CA-based multi- instrumentalist lays down a dreamlike style which should chimewith fans of Tame Impala, Khruangbin and James Blake alike. As well as the sun-soaked surrounding of his Californian home, ABUNAI’s family connection to Hawaii casts its influence over an album which has all the makings of a crossover success. Look no further than early support from the likes of Gilles Peterson, Don Letts, and Wayne Snow for further proof this album is set to blow up.

“My sound is definitely influenced by the live music I grew up with in the Bay Area,” says ABUNAI. “There's plenty of musical legacy here, including the '60s psychedelic and counterculture movements, the '90s rave scene, and the hyphy movement. "I'm always trying to connect the dots and blend all of my influences.

Chrysalis was, like so many recent albums, a project made largely in isolation during the pandemic, although ABUNAI did reach out to close collaborators Gravity and Raquel Marie to contribute some guest vocals, Kevin Farzad from Sure Sure for the acoustic drum parts and a few additional production touches from Tartelet regulars Glenn Astro and Max Graef. He bills the songs as an exercise in therapeutic self-care through lockdown as much as a balm for others. “It's music for healing,” ABUNAI explains, “for the listener to be able to marinate in the slow tempos, the dreamy textures, the swirling vocals, and the lush synthesizers. It’s very much about growth, re-emergence, and dreaming of a better future.”

As well as dealing in ear-catching pop melodies and sweet vocals, there’s an underlying theme of the ocean, which stems from his coastal surroundings and his family roots in the Pacific. “I think the album is aquatic,” he reflects, “and it feels like a voyage to me, or like a long shower, being reborn in the water. I played the album for my grandpa, who's a veteran sailor and pilot from Hawaii, and he said it was the perfect music to play when you're sailing on the open ocean at sunset.” Cast in nostalgic, soft-focus tones and endlessly soothing for the soul, Chrysalis is your new favourite record for tender moments, hazy days and starry-eyed reveries alike.

CYPRESS HILL - 30th ANNIVERSARY CASE BOOK
To commemorate the 30 year Anniversary of Cypress Hill’s debut album Get On Down is proud to present the complete album on 7 inch vinyl singles for the rst time ever housed in a deluxe casebook. LIMITED TO 2000 UNITS WORLDWIDE! The debut album is presented as a set of six 7-Inch vinyl records presented in a Hardcover Casebook which holds all six records in built-in sleeves Full-color 80 page booklet with liner notes by journalist Chris Faraone, complete with photos and lyrics, and more Housed in a premium outer slipcase, debossed with the iconic Cypress Hill logo in metallic red foil. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the Hip Hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hypeman, Cypress’ debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change Hip Hop production with his innovative stoned-out beats. Records like "How I Could Just Kill a Man", "Pigs", "Stoned is the Way of the Walk" and "Hand on the Pump" made this album an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's Essential Recordings of the 90s and Top 100 Best Rap Albums by The Source Magazine. Journalist and author Chris Faraone highlights the group's relationship in the reissue's liner notes saying, "By the late 80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter's deep wrangle, the formers inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop's most formidable young producer, while straddling the bi-coastal gap." Faraone was able to dive in deep with the band for the liner notes, hearing story after story, including the particularly interesting tale of their unlikely 91 radio hit, "How I Could Just Kill A Man". In the B Side wins again story, the group recalls receiving resistance from the label in regards to which single should hit radio first. Initially, the label thought "How I Could Just Kill A Man" was too risky, and even though the single initially "The Phuncky Feel One", one of the album's strongest cuts, as the A-Side, college and commercial mix-show radio couldn't resist the dusted, heavy groove of Kill A Man. The song – which included a catchy, LA drive-by-inspired chorus – ended up as an unlikely, but powerful double A-sided single that even topped the Billboard Rap charts. More singles would follow, including "Hand On The Pump"; "Pigs"; and "Latin Lingo". And by the fall of 1991, the album was a full-blown critics darling. If you are a Cypress Hill fan and 45 collector this limited edition 30 year Anniversary 7” boxset is a must have!

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

We’re stoked to welcome back Medlar to Delusions for his third EP on the label and you’re in for a proper treat! One of the unsung heroes of UK underground house music, Medlar has released on Wolf Music, Wah Wah 45’s and West Friends. His remixes and edits for the likes of West End, Kon, Dele Sosimi, Glenn Astro, Disclosure and Billy Cobham always hit the spot with an authentic, raw and crunchy sound that work magic on the dance floor.

Here on his Interruptor EP we have 4 tracks which show off his range as a producer, taking in percussive tools, deep and dusty basement jams and blissful late night atmospherics. Lead track Interruptor is deceptively simple but devastating on a big system. Chopped up percussion, speaker wobbling bass and a heavy kick lay the foundation for crazy timbales and filtering syn-toms, all topped off with a familiar sample from back in the rave days.

Next up we have I Wish which features Kim Anh who delivers a brilliant vocal complimenting the low-slung disco drums, 808 percussion and fat bassline perfectly. This is our idea of what a modern day house hit should sound like. Raw and unpolished with a loose, un-quantized groove so you can feel the funk and a dynamic arrangement which keeps the energy high throughout.

Flipping over we have Cable Street which cranks things up with a techy house jam perfect for more peaks time sets. Once again, Medlar knows ex- actly how to make more with less and keeps the shuffling drums stripped back and simple stabs and modulating FX front and centre for maximum im- pact.

Finally, Turn Things Around brings a more 90’s deep NYC feel to the EP with floating pads, bouncing bassline, piano stabs and organ riff. Subtley epic and grandiose without being showy, this is a slow-burner that could just be one of those B2 tracks which become your favourite of the release.

The second part in a collection of stunning Persian-tuned piano pieces, cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965.

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry & song.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.









i 09: Improvisation & Avaz in Isfahan (Golha-ye Rangarang #254) feat. Marzieh




feat. Abdolvahab Shahidi

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

It’s going off and The Chisel are back to cause a bit of bovver. Following a trio of explosive singles, the band finally bring us their debut full-length album, Retaliation, on the London-based punk institution La Vida Es Un Mus. Having formed in early 2020 and featuring a crew of members with long-term associations to the London punk scene, The Chisel quickly secured a reputation as one of the most exciting bands from a pool of contemporaries that includes Chubby & The Gang, Stingray and Big Cheese. Their sound is rooted firmly in Punk but with influences that run across the board to create a distinctive blend of Oi!, anarcho, UK-82 and hardcore. Retaliation is an unmistakably British record that draws a line from 1982 up to the present day, pushing its way into your collection and torching your stereo. Opening with the agitated force of ‘Unlawful Execution’, the tone is firmly set by a song that addresses the brutality of the Met Police (“Tell me what’s the difference between right or wrong / When a copper gets to blast a lad who did nothing wrong”). ‘Come See Me’ is a ferocious ode to camaraderie in the face of mouthy boneheads and bellends. ‘Shit Life Syndrome’ is a poisoned reference to the same cynical phrase used by physicians to describe the effects of people living under poverty and in the grips of substance abuse (“How can you expect people to act nicely, they’ve all been left on the edge of society”). It’s one of many songs influenced by singer Cal’s experiences of growing up in the working-class town of Blackpool. Cal states: “Blackpool as a town is often overlooked or even looked down upon, I wanted to write lyrics which gave the people of my town a voice”. With tunes like these The Chisel show that they’ll never pull any punches. However, beyond the fury and the swagger there’s another side that plays to an additional strength; the ability to write a memorable hook. Songs like ‘Retaliation’, ‘Tooth & Nail’ and ‘Not The Only One’ could be described as modern day anthems (the latter has become a fan favourite since the arrival of their first live shows) and cement their identity as a band not to be defined by their influences. Recorded by Jonah Falco at Total Refreshment Centre, London, March 2021.
Mixed by James Atkinson at the Stationhouse in Leeds. Mastered by Daniel Husayn at North London Bomb Factory. Cover painting by Tara Atefi.

He might be vocalist in bands such as Brighton-based progressive act Diagonal and psychedelic outfit Baron, but when it comes to his solo work Alex Crispin has typically worked in more wordless fields. Last year the songwriter, vocalist and producer released a triptych of ambient albums, consisting of two older albums in 'Idle Worship' and 'Open Submission', as well as new meditative work in 'Resubmergency'. On his new self-titled album, however, Crispin re-emerges from the cavernous soundscapes to – for the first time – put his vocal and song writing stamp on a record under his own name. “I personally find it easier to create more guarded, moody music, but I was at a point where I wanted to embrace a more universal, intimate and open side to what I might say” Crispin says. “Over time I’d got over certain blocks or preoccupations and so wanted to create something accessible and open hearted, which became a big driver for this record.” Pointedly self-titled to reflect the newfound confidence in his song writing away from the collective of a band, the album’s nine tracks are a warm embrace amidst troubled times. Musically there’s nods to everything from tropicalia and Brazilian MPB, to 80’s dusk pop balladeers The Blue Nile and Paul Simon’s explorations into African music. Lyrically aware of the snowballing turbulence that surrounds us, Crispin in reaction tries to see hope and looks around at the relationships and connections in his life that provide him strength. He opens 'Invisible (To Us)' with the words “Before the world did end, there was just one moment when, everybody thought there might be time, to look around again, to laugh to cry to sing.” Elsewhere, 'Listen & Learn' strikes at the heart of other underlying themes of the record, of the rarity of people opening up, taking on new ideas and allowing change. It’s accompanied with a rich, maximal sound palette of flute and sax that play around each other as Crispin’s vocal chips in with gentle encouragement. “One of the main markers on the album that I was aware of from the start, was to let myself express joy and positivity in the music” he says. “I have come to greatly prize the power of accessibility and universality over artistic 'coolness or trend', much in the same way that so often for me, the greatest pieces of art humans make nowadays are things like Pixar movies, with their combination of undeniable human talent and craft, alongside genuinely moving and accessible themes.” Indeed, there is a cinematic feel to much of Crispin’s own music, something brought over from his ambient creations – although his self-titled album possesses a panorama all of its own. Something like 'When I Reach The Ocean' has a hazy, pastoral feel to it like something out of the Canterbury Folk scene; there’s space between the notes though, which in turn pushes the track out to a greater expanse than the comparatively soft-edged and modest sound palette used to create it. Similarly, the likes of 'Effert' revel in the space afforded to them - in the case of the aforementioned in particular, Crispin lets his voice take a back seat and creates an open wash of sound that he allows the guitar to probe and explore within. “In making any music I am definitely conscious of trying to put in only what is effective” Crispin says. “It is so easy to clutter tracks without realising it, just having the ability to add stuff can just become addictive as it’s so easy to do with recording setups now.” The album started coming together at the end of 2020, with Crispin getting most of the songs to a concrete state, before starting recording in May 2021 with Diagonal bandmates Luke Foster (drums) and Daniel Pomlett (Bass), who put down rhythm tracks. Jazz saxophonist Rob Milne then added parts which would become the glue that held the whole organic aesthetic of the album together. There’s no doubt that lockdown played a part in proceedings, with a kind of forced focus resulting in a need for joyful expression. However, Crispin and his partner also suffered a bereavement which led to her travelling for large periods of time. “It was a very intense and difficult time and I think some of the intensity of emotion of that situation coupled with being alone must have inevitably contributed to the work itself” he says. It's perhaps why when even in moments of sheer happiness, such as the 'Sabu’s' breezily euphoric opener, Crispin ponders: “No-one really cares beyond this moment, and even when it's here, it's never here”. It’s the first of several bittersweet moments on the record that give the album its weight. On this new LP, Crispin recognises that sadness doesn’t mean throwing out hope, and that even in moments of joy there’s still a path ahead of you to take.

Back In Stock!

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.

DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

During the summer of 2020, SACRILEGA burst from the void with their debut EP, Rites of Macabre. Although a brand-new entity, the Californian power-trio features members currently aligned with Rites of Thy Degringolade, Impure Consecration, and Invocation War among others. As such, it was not surprising that that their Impious Death Metal worship was so powerful and punishing this early on. However, SACRILEGA are set to eclipse those not-inconsiderable expectations with their full-length debut, The Arcana Spear. Recorded at Ramona Studio with Charlie Koryn, SACRILEGA's debut album is a veritable firestorm of finessed fury - malice, malevolence, and mesmerizing visions writ large across throttling death metal songwriting both classic and contemporary. Driving that propulsion is underground drum-god Paulus Kressman, whose veritable eight octopus arms create a dizzying, dread-inducing landscape for his bandmates to slay with their razor-wire strings. Their songwriting always pushes forward with a near-bestial pulse that cannot be denied; still, attention is duly paid to detail within riffing and atmosphere alike, elevating The Arcane Spear beyond a mere exercise in ultraviolence. SACRILEGA thus locate that elusive balance between the cunningly precise and rabidly maximal, placing due emphasis on the songwriting itself and allowing the execution to tell the grandiose-yet-doomed tales it so requires. Featuring suitably stark-yet-grandiose artwork courtesy of Artem Grigoryev, SACRILEGA deliver one of death metal's most stunning debuts with The Arcana Spear. Embrace the grand tyranny!

Available In An Opaque Lavender Colored Vinyl Pressing! Up & Away was a pivotal bridge in Los Angeles Rapper/Producer Kid Ink's career that took him from a successful underground/Indie "blog rapper" and set the table for him to crossover into Rap superstardom. This album included Ink's first real radio hit "Time Of Your Life" in addition to the cult classic "Hell & Back" - the first song Ink received an RIAA Certified plaque for. At the time in 2012, Ink was unproven in his ability to sell records to the masses, mainly surviving off free internet downloads to spread his music around the world. This led to the shaky/unsure record deals on the table, and at that point left Ink and his manager/partner DJ ill Will at a major crossroads. Either self finance, and prove yourself and go back to the table for a deal they believed they deserved... or sign a record deal for peanuts. They decided to put their own money up and the dice landed for them selling 20k albums first week Independently... reaching #2 on the Billboard Rap charts... also, leading to a major label bidding war. Eventually they went on to sign a record deal with RCA that spawned 3 commercial albums ("My Own Lane", "Full Speed", "Summer in The Winter" and over 20 Million singles sold (Show Me, Main Chick, Body Language, Be Real, Promise etc).

Born Don McCarlos,he processes one of reggae's most distinctive voices.
His vocal mannerisms being instantly recognisable over a tune ,yet he remains one of Jamaica's best kept secrets.
We look back to some of his finest moments that set the tone for his popularity that was to follow in the Dancehall period of Reggae.
He began his musical career in 1973,when alongside Garth Dennis and Derrick Ducky Simpson he formed one of Reggaes foremost groups Black Uhuru.
He then joined Wailing Souls before going solo under his shorter name Don Carlos
We find this set hard to beat as most of his classis are represented here and hope you find some magic as we have unearthing and compiling these lost treasures...Respect

When the whole world collapses around you, sometimes the only thing you can do is stomp it all loose. Erin Anne's second album, the gleaming, electrified Do Your Worst, charts that uninhibited romp through disaster. Written amid the rubble of personal grief and professional disappointment, later exacerbated by the devastation of a global pandemic, the record deepens Erin's venture into the blur between human and machine, adding a new roster of digital instruments to the mix. Drawing on dark, glossy '80s synthpop as well as the unabashed bombast of bands like The Killers, the L.A.-based songwriter deploys a cyborg persona to articulate a feeling of displacement from the world as a queer artist struggling to survive the machinations of late capitalism. With bright, interweaving synthesizers and ripples of Auto-Tuned vocals, Do Your Worst poses a dare to the world: Whatever you have in store, I'll take it standing.

Erin began writing her second album not long after adding a MIDI keyboard and vocal processing hardware to her home studio setup. While exploring her new gear, she found that she could work in the same vein as the artists and producers she loved the most. Do Your Worst takes inspiration from the music of Patrick Cowley, the disco and hi-NRG producer best known for working alongside Sylvester. Erin was taken by Cowley's use of vocoder on the 1982 album Mind Warp, where his distorted vocals create a queer, mutant subjectivity. That album rang out against the cataclysm of the AIDS epidemic; Erin found resonance in Cowley's music during the present-day pandemic. "I have found the most catharsis and the most safety in listening to the music of people in really, really horrific circumstances making something lasting and profoundly beautiful," she says.

Throughout Do Your Worst, which was mixed by Sarah Tudzin of Illuminati Hotties, songs like "Typhoid Mary" and "Florida" reckon with loss, despair, and abjection. "This Hungry Body" sears through pandemic-era touch starvation, while "Mirror Mirror" attends to the noxious but necessary funhouse of social media. On the playful, guitar-driven “Eve Polastri’s Last Two Brain Cells Have a Debate,” Erin uses the spy thriller TV show Killing Eve to explore queer codependency and masochism. Among these fraught subjects, Erin Anne finds opportunities for release. She stages internal conflict on a scale so massive that its details start to become clear; if they don't resolve, they at least become palpable.

"I’m very much a maximalist when it comes to production. I like vast landscapes. I like a stratosphere and a core -- I want the bass to be beneath the floor," Erin says. "This record is, in a lot of ways, a collection of some of the first moments that I was technologically able to achieve accurate renderings of how I hear my own emotional world."

Emerging from the dark recesses of the Chicago and London underground, in 2000 Omni a.m. relocated to New York. This EP marked their first release in their new surroundings, it's an intense and highly sought after 4 tracker that showcases the duo's continuing originality and guile.

First up 'Smurfette's Big Night Out' is imaginative in it's approach, there's punchy beats and cascading percussion that drive the track along and really deliver the funk. Psychedelic acid touches interweave with haunting pads and a super deep b-line creates a chemistry like no other. Next is 'Buckshot' a more stripped back rolling affair. Undulating synths and swathes of infectious bass build the track throughout, whilst spacious analog delays and dub influenced sonic tricks abound. Over to the flip where 'I On U' is a wonderful floor friendly roller coaster of a ride, intro'd by a super phat kick, there's stuttering snares that jack and swing, whilst warm synths bubble and filter. Lastly 'Sick Sense' sets the controls for deep space, the bold throbbing bass makes it proper heads down groovin' affair, and the expertly programmed spoken word vocals interplay to add intrigue and atmosphere.

New York Sessions is a cherished release from the Omni a.m. catalogue, a classic where all 4 tracks ooze class and character. This EP has certainly stood the test of time and has been lovingly remastered by Curvepusher for today's discerning minds and dance floors, full support already coming from Raresh and SIT.

WRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches From A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.

The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.

Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."

The album comes with in-depth liner notes that include an interview by Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.

The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.

Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.

The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records.

A masterpiece of the schooner rock variety, Black and White Raven is an album that emerged from Archie James Cavanaugh’s youthful dream of recording his own music while stuck in the Alaskan wilderness. With a freewheeling cast culled from Archie’s travels around the Pacific Northwest, including Redbone's Tony Bellamy and Pete DePoe, Black and White Raven was set down as the ’70s crested. Traces of disco, AM gold, gospel, and yacht mixed freely with his Tlingit heritage, creating a breezy and optimistic portrait of life in the 49th state.

A masterpiece of the schooner rock variety, Black and White Raven is an album that emerged from Archie James Cavanaugh’s youthful dream of recording his own music while stuck in the Alaskan wilderness. With a freewheeling cast culled from Archie’s travels around the Pacific Northwest, including Redbone's Tony Bellamy and Pete DePoe, Black and White Raven was set down as the ’70s crested. Traces of disco, AM gold, gospel, and yacht mixed freely with his Tlingit heritage, creating a breezy and optimistic portrait of life in the 49th state.

"At the end of 2021, POWERWOLF – the most successful German metal band to date – fascinated with a streaming event of unprecedented dimensions. Those who thought they had seen everything in the live sector were instantly proven wrong with unmatched audio production and visuals that can only be described as simply breathtaking. This summer, on July 8, 2022, this new benchmark for music streaming events will finally be available to view any time you crave. THE MONUMENTAL MASS - A CINEMATIC METAL EVENT will be unleashed on DVD, BluRay and many other physical formats! POWERWOLF have stood at the peak of superlative, epic metal moments for years, but what they present with this streaming event surpasses anything seen before. After months of detailed work, a story was crafted and presented in several chapters based on the stunning music and elaborately staged cinematic scenes. All show effects, actors and stage settings work hand in hand with each other and bring the medium of live music to a level never seen before. From battles with clergy to stories of nuns, monks and burning angels, cinematic images immediately capture the viewer. Each song has its own stunning set designed and is perfectly staged - the production and size alone are unparalleled. One live premiere of a POWERWOLF classic follows the next, one after another – all with impressively produced sound design.

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

Even in its moodiest, most downbeat moments there's a spark of energy
that bursts out of A Face In Your Life, the new album from Pet Fox.Where
past efforts played around with after-the-fact layering of instrumentation,
the band's third full-length comes alive in the moment
Tracked live in one room, without the use of a metronome, the ten songs that
unravel across the album capture Theo Hartlett (Guitar/ Vocals), Morgan Luzzi
(Bass), and Jesse Weiss (Drums) in their rawest, most immediate form. Touching
upon notions of anxiety and self-doubt, A Face In Your Life travails the depths of
these themes while also offering little snippets of hope and guidance along the
way. Indeed, the album's sprawling opening track 'Settle Even' is billed as a selfhelp pamphlet, a reminder to the band themselves and those listening that there
will always be people in the world looking out for us, even when that feels like an
impossible feat. An inspired collection of riffs that twists and turns into varying
shapes throughout, Pet Fox never outstay their welcome in the half-an-hour or of
A Face In Your Life but do more than enough to make the kind of impression that
leaves you wanting to journey back through the shadows, to unpick the little knots
of the ideas they're exploring here. It was brought to life by just three people in
one room but it lends itself to something way beyond that; the never- ending
search for coping mechanisms in the messiest of worlds.

The brand new album by rising Australian out-rock duo, Party Dozen. Features guest vocals by Nick Cave. Party Dozen are a duo from Sydney made up of Kirsty Tickle (saxophone) and Jonathan Boulet (percussion and sampler). Since forming in 2017, they have become renowned in Australia for their incendiary live shows, touring and playing with acts such as LIARS, Tropical Fuck Storm and Viagra Boys. Exactly what Party Dozen are is completely up to the listener. Doom. Jazz. Hardcore. Psychedelic. No-wave. Industrial. Although largely instrumental, their sets are punctuated by Kirsty’s unique “singing” style, screaming into the bell of her saxophone which itself goes through a bevy of effects pedals. Intensely independent in everything they do, the duo write, perform and record everything themselves. 2022 will see the return of Party Dozen, first in April with the 7” release, Fat Hans Gone Mad, for the Sub Pop Singles Club, and then in July with their third album, The Real Work, with a new label partner in New York’s Temporary Residence Ltd. The Real Work succeeds in exploring new directions but also features some familiar Party Dozen touches. Perhaps most notable is the first-ever appearance of a guest other than Kirsty or Jonathan on a Party Dozen track, with Nick Cave ad-libbing a very memorable contribution to the album’s second track, “Macca The Mutt.”

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

It started with a night out at New York’s Sound Factory - and turned into an obsession, Inner City main man Kevin “Reese” Saunderson and his then manager, Neil Rushton, were at the NY uber house club when The Pressure by The Sounds Of Blackness got its’ debut World play, with the ecstatic response from the crowd meaning it was spun three times in a row.

Nobody was more knocked out than Kevin who vowed there and then to come up with a Detroit answer, much to the delight of Soul mad Rushton, co-owner of the Network label.

The idea of The Reese Project was quickly turned into House Heaven reality as Kevin recruited Detroit vocalist diva Rachel Kapp to record the anthemic Direct Me & The Colour Of Love as the first two singles.

Network made the group a main priority, coming with a whole slew of remixes to complement the original USA mixes on the subsequent album. Three of the most loved Network remixes are on this wonderful timeless 12.

The Dave Lee Joey Negro mix from 1991 is rated by many as one of Network’s finest moments, and maybe Lee’s finest ever “remixed with extra production” epics.
Rushton remembers meeting Lee to collect the remix, and instantly phoning Saunderson proclaiming “you won’t believe this”.

Underground Resistance’s Mike Banks added his magic to the 1991 original mixes of “The Colour Of Love” and the results were so overwhelming great that the idea of subsequent remixes was daunting.but the classic 1994 Network remix by The Playboys flew the flag for U.K. House.

C.J, Mackintosh set the production standards for U.K. Soul filled House and his 1993 remix of “So Deep” - sung by La’Trece - is a gem to be cherished forever and a day.

Network’s passionate crusade to crossover The Reese Project from House Music superstars to Pop success came tantalising close but never quite happened. But the Network remixes are a glorious legacy of House Music’s golden age and three of the very finest are remastered here and presented on one glorious 12.

Reese Project - Songs Not Slogans.

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

Clear Vinyl

sferic venture a new set of plasmic ambient entertainment systems by Jonas Wiese’s TIBSLC, mining that slender but heady sweetspot between the earliest Vladislav Delay productions for Chain Reaction, Japanese environmental x architectural recordings and the sort of gear you’d hear from Move D & Jonas Grossmann at the late 90’s Source Recordings heyday.

sferic pick up the mantle of late ‘90s-into-‘00s ambient with a new variant primed for the times. Following the themes of their ‘Decisive Tongue Shifts - Situation Based Compositions’ album of 2021, TIBSLC (The International Billionaire’s Secret Love Child) distills their sferic debut into a crystal clear, hypersensitive set of eight tracks that slip seamlessly into each other’s space, recalling the amorphous end of Jan Jelinek’s ambient shimmers.

Where TIBSLC’s first album sprawled over two discs, this one relates to the same recording sessions, but glimpsed via more succinct windows of opportunity. In effect they’re like Hitchcockian, voyeurist snapshots of other lives in the urban complex woven into a melting emulation of the city at dusk, replete with infrasonic bass from streets below, and streaked with the wistful dream energy and fizzy optimism of a certain city life. In fleeting rounds of ephemeral shrapnel and synth pad washes, the eight parts evoke a sense of mental discombobulation, lending itself to ruminating on the unbearable lightness of being.

(Incl. Nick Holder & AceMo Remixes)

BURNING HEAT is a potent tincture, a focused distillation now years in the making. Carefully chosen from over 20 new productions and extensively play-tested at parties across New Orleans and beyond, BURNING HEAT is the latest collaborative effort by locals Quickweave (Jalen Dilosa) and Redance (David Yaconi); a split EP forthcoming on Hiatt dB’s New Orleans-based Mystery Zone Records July 1st 2022.

The 180-gram 12 inch features 2 tracks from each artist along with a pair of remixes split evenly between the “WHITE HOT” and “RED HOT” sides courtesy of Toronto’s Nick Holder and NYC’s AceMo, respectively. Its sound draws inspiration from the lessor-dug House stylings of the early 00s. With BURNING HEAT, Quickweave and Redance have repositioned the era’s lush textures and sensual atmosphere against heavier rhythms and more circular, hypnotic arrangements. The result? Deep club workouts focused on fostering connection, joy and romance on the dancefloor.

These hard-hitting, DJ-friendly productions were made in part to power the duo’s post-lockdown come-back party venture, Mercy. Early demos and updated edits became part of the sound of our collective reconnection as lockdowns relaxed and infection numbers fell in Summer 2021. On BURNING HEAT you’ll hear late-night New Orleans in the dead of Summer – warm and inviting club cuts to soundtrack a low-lit, neighborhood backroom disco-dive. Polished from a trove of DJ tools made for the artists’ personal sets, this selection features nothing but guaranteed party-starters, vetted both in the studio and behind the booth.

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

“Oberst and company have eectively crafted a searing punk fueled half-hour funeral march for both small-town life and the days when you were more likely to hear the words mom and pop than multinational corporation. At the record's core, there is a sense of great disillusionment with watching the cold, calculated displacement of human interaction and community while the world tries to fill the void with money and chain stores.” - Tiny Mix Tapes

“Desaparecidos is like nding gold when you're looking for silver.” - Exclaim!

2022 nds us releasing the 20th Anniversary Edition of Desaparecidos' Read Music/Speak Spanish into a world in which the dread and disenfranchisement detailed throughout the album feel as pertinent today as they did then. The characters and settings may have changed, but the startling narrative has not.

In late 2001, Conor Oberst, Denver Dalley, Landon Hedges, Ian McElroy, and Matt Baum spent a week at Presto! Recording Studio in Lincoln, NE recording a punk album. That debut album, released in the post-9/11 fog of early 2002, screamed out observational commentary on urban development, the sacrice of human value for the dollar bill, and the new American Dream in a way that felt distinctly out of sync with the hyper-patriotic atmosphere of peak G.W. Bush-era America.

Midwest techno titan DJ Speedsick debuts on TITDM with five monstrous cuts, permeating with grunge flavored grooves and hypnotic rhythms - including a bonus digi track on 'Midwest Death Trance EP'.

Opener 'Spun 21' sets the tone for the record, wasting no time in getting started. The track's rolling basslines stretch out underneath deep, weighty percussion, in a pumping club track with both warm and driving qualities. The US based artist continues his quest of making the most relentless and uncompromising techno in 'Low Places' before 'Tital Therapy' enters the frame with its louring kick drums, interwoven amongst a backdrop of industrial, dystopian unrest.

B side opener 'Exact Change' is minimal in its approach, but no less effective; proving that sometimes all we need is a hammering kick drum, killer rides and understated bass notes to make people lose their minds. The record comes to a close with the heads down grooves of 'Your Turn To Fall' a seductive piece, teasing and taunting; before the digi only 'Glad To Get Away' keeps bodies moving as the club shuts and the after party begins.

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

After the 1974 release of The End…the magnetic and controversial Warhol muse went on a fruitful partnership with French director Philippe Garrel, for almost seven films. Back in New York in 1979 she started to perform again live, appearing firstly at the CBGB with John Cale and musical partner Lutz Ulbrich (former guitarist of Agitation Free and Ash Ra Tempel)… Back in France, she met young and talented Corsican bassist Philippe Quilichini who produced her comeback, Drama of Exile, in 1981. The album was released twice, in two different versions. Hereby we present the second, appearing in 1983, after a legal controversy was settled with Aura Records that released the first issue. While the first press was a 9-track offering, this second issue excludes “Purple Lips” but adds the tracks “Saeta” and “Vegas” released on a 7″ single in 1981. For this album, Nico recorded covers of the Velvet Underground’s “I’m Waiting for the Man” and David Bowie’s “Heroes”.

Rome’s own disco wizard L.U.C.A. aka Francesco De Bellis is back for his second LP Terra, hot on the heels of his Venus 12” EP earlier this year. In this far-reaching album, the Edizioni Mondo founder explores the deteriorating relationship between Man and Nature, and the dire consequences. The album is split into two themes - part one is Consacrazione (Consecration) and side two is Coscienza (Conscience) - as L.U.C.A. charts a trip through mankind’s psychic universe, and imagines worlds beyond our physical dimension.

The opening composition Cities is an uptempo number that slowly comes into focus, as dreamy drum machines emerge from the urban bustle, before settling into a soulful groove as keyboard, upright bass and guitar figures dance across bright percussion. As it builds up a head of steam, the piece gives way to an ambient, tribal breakdown, which is also echoed in the following song, Drum Talk. This second tune sets up in a fourth world dreamscape of drums, synths, and abstracted echo effects, and is peppered with word fragments from the bush of ghosts. By the time we’ve reached the third track, Congiunzione sounds like travelling at singularity speed, beaming in from a future where human consciousness and gaia can finally dance on a cosmic plain.

Part two of Terra details how revelation of the spirit can guide the mind, as Time Spirals rises out of a drum motif with a nod to classic ragas, as a disembodied voice asks questions on the nature of corporeality. The sound design is just as front and centre as the sitar and fretless bass, and the song gives way to a richly-layered soup that sounds like the vast space between atoms. It’s this shift from composition to ambience that is the dynamic core of Terra, giving L.U.C.A. plenty of space to showcase his next-level audio and arranging skills. Midway through part two, Giallo Assoluto begins with reverb tails and choral voices before expanding in brightness and texture until the audio field is practically levitating your hi-fi speakers, vibrating them with drones, twinkling keys and shards of digital noise. The closing composition Ritorno al Domani is a perfect balance of optimism and mystery. Tension and release collapse in on themselves as waves of ambient pads crescendo and then break over stretched-out sonic turbulence, before reversed synths bring the listener to a closing door, and the end of the journey.

It’s a mind-expanding musical exploration of other worlds and parallel universes which are surely all around us, and in many ways serve to remind us of the marvel that is our own planet.

The roots of Naima Bock’s music are far reaching. Born in
Glastonbury to a Brazilian father and a Greek mother, Naima spent
her early childhood in Brazil before eventually returning to England
and various homes in South East London. This heritage combines
with more recent pursuits in Naima’s music. From the Brazilian
standards that the family listened to while driving to the beach, to the
European folk traditions she tapped into on her own, and the pursuits
that interest her today - studies in archaeology, work as a gardener,
and walking the world’s great trails - Naima’s music draws from
family, the earth and music handed down through generations.
 Naima’s debut album, ‘Giant Palm’, is undoubtedly infused with the
Brazilian music of her youth and regular family visits. She found
inspiration in “the percussion, the melodies, chords - and particularly
the poetic juxtaposition of tragedy and beauty held within the lyrics.”
 By the age of 15, Naima was embedded in the music scene of SouthEast London, eventually forming Goat Girl with school friends and
touring the world. After six years playing bass in Goat Girl, Naima left
the band to try something new. She set up a gardening company and
started a degree at University College London in archaeology
because, as she jokes, “I liked being near the ground.” During this
time, she wrote music, played guitar, learned violin, worked with evershifting South-London collective Broadside Hacks, and met producer
and arranger Joel Burton through Memorials of Distinction labelhead
Josh Cohen. Joel’s burgeoning interest in Western classical music,
global folk music, and experience in large scale arrangement and
orchestration informed the collaborative process that eventually
culminated in ‘Giant Palm’.
 Recorded with the help of over 30 musicians (including Josh Cohen
on synth / electronics) by Dan Carey of Speedy Wunderground at his
studio space in Streatham, South-East London, and engineered by
Syd Kemp, the songs on ‘Giant Palm’ represent a snapshot of a
specific feeling, of brief moments in Naima’s life that make up a larger
whole.
 The expansive yet delicate arrangements highlight Naima’s love for
the collectivist values of traditional folk music, in which songs belong
to everyone, and singing can take on countless forms without the
need to exactly replicate something. “All the other representations
that I’d had of singing felt so unattainable,” she recalls. ‘Giant Palm’
finds Naima bucking these expectations to let her unique voice and
sense of communal creativity flourish.

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

Born in a Gambian griot family, kora virtuoso and afro-fusion pioneer Jally Kebba Susso has been active in the UK music
scene for twenty years. While based in London, he has tirelessly, through both personal and collective endeavours, built a
singular musical identity by working hard on making the timeless Mandinka kora, an instrument he's been playing since
his youth, sound like never before, combining the ancient West African strings with forward-thinking aesthetics and myriad
of musicians and producers from the thriving London music scene such as Onipa, Dark Sky and Kay Suzuki.
Jally Kebba Susso has already released two albums as a solo musician ("Malaye Warr", 2012 and "Banjul - London",
2017), as well as a member of the successful afro-fusion band Afriquoi, whose latest EP has garnered a very wide
support, culminating in several million streams and performances on some of UK's biggest festival stages (Boomtown,
Glastonbury).
Freedom! A heartfelt shout expressing the newfound joy of an African musician whose working conditions, despite his
long-standing roots in the London music scene, have sometimes been precarious.
A newfound freedom to be able to look ahead and fully persue one's need of self-actualisation. Hence this new EP, written
with the help of Jally's accomplished band members (Yuval Juba Wetzler, Nim Sadot and Oli Arlotto) and produced
by Tom Excell (Onipa, Nubiyan Twist), whose 4 tracks all deal with topics (identity, homesickness, family, social justice)
which are dear to Jally's heart as a Gambian native and West African musician settled in Europe.
A pleasant atmospheric opener, "Wulu Doula" rides on a classic Afrobeat groove, while Jally reminds us how we are only
what we become, no matter where we come from and who we inherit from.
"Justice" is a stomping mandinka funk hit, in which "freedom, equal rights and justice" are claimed by Jally for all fellow
artists and musicians from the West African diaspora working in Europe.
Clearly anchored in Gambian music tropes and reminiscent of the pioneering mandinka fusion of Ifang Bondi, "Fakoly"
tells the story of Jally's family lineage, as a member of the 74th Susso generation. As Jally puts it, "being a griot is a way
of life".
Homesickness can be a bitter feeling. But you can turn it around. That is exactly what Jally achieves with "Banjul", a
cheerful, funky tribute to the Gambian capital, in which Jally grew up, learning words of wisdom from his elders.

This three album Limited Edition Numbered set of Fleetwood Mac live
and studio tracks on Blue Vinyl recorded after the departure of Peter
Green and before the arrival of Stevie Nicks and Lindsey Buckingham
Fleetwood Mac made it big twice over: first as young kings of the late 1960's
British blues boom – blues fanatics who nonetheless made the pop charts with a
batch of memorable songs penned by founder Peter Green.
Then secondly, as the band that with its Rumours album Californian line- up,
tapped into a whole new market in the mid-1970's which became known as AOR -
adult oriented rock.
The music here is from a pivotal eighteen months in Mac's history as it lost its
original if- it- ain't- blues- we- don't- wanna- know attitude and looked to its own
songwriters - and America's West Coast sound - for inspiration.
After Peter Green's exit in May 1970 the rest of the band bravely decided to carry
on as a 4-piece, and so rented an oast house called Kiln House to try and 'get it
together in the country. Christine McVie joined, and one of the stand-out songs,
'Station Man', would endure for Mac in the bleak years before they moved to
California in 1974 where they struck gold with their eponymous white album and
then Rumours. 'Station Man' eventually found its way into the live set-list of the
Buckingham/ Nicks line- up and listening to it again here you can hear why: in
there, as far back as 1970, are some trademarks of the Rumours sound: threevoice harmonies, in- song tempo changes and ringing guitar sounds. Similarly,
'The Purple Dancer' and 'Jewel Eyed Judy' showcase a vocal harmonies and
melodic sense of things to come for Fleetwood Mac many miles down the line.

Cardiff alternative rock duo James and the Cold Gun are pleased to announce the details of their debut EP False Start, set for release on April 29th 2022 through Gallows' label Venn Records and Seattle-based label Loosegroove Records, owned by Stone Gossard (Pearl Jam) & Regan Hagar (Malfunkshun, Brad, Satchel). False Start is available to digitally pre-order now, with a vinyl release scheduled for the summer: https://orcd.co/falsestartep Speaking of the new partnership between the band and Loosegroove Records, the influential indie label that was founded back in 1994, which has issued records from acts such as Critters Buggin, Malfunkshun, Weapon of Choice and Devilhead, and was the launching point for Queens of the Stone Age’s debut album in 1998, Stone Gossard said: “I heard James and The Cold Gun’s ‘Long Way Home’ on KEXP last year and thought this band fricken rocks! Who are these upstarts?! "This new track, ‘It's Mutual’ takes it to another level. Totally unhinged and letting it all hang out. Loosegroove Records is thrilled to be working with James and the Cold Gun on this new EP with a future full-length coming soon.” On 'It's Mutual', James Joseph said: "It's a song that embodies the feeling that you get when you hit a stalemate in a relationship, that feeling when you're both sat together but neither person is able to speak. We've all had those awkward silent car journeys where there has been an argument or something isn't right but we can't even chat about it. Next time you have an awkward car journey, grab the aux and chuck some Cold Gun on." James Biss adds, "We wrote these songs for False Start in our flat in 2020 during the pandemic and our first time playing them live as a band was to record them. It was pretty mad recording live around our drummer, hearing the songs played loud with real drums for the first time after months of being stuck inside writing them on the computer. Recording with Adrian Bushby was a dream though, he was bopping around the control room and egging us on to play louder and harder, he's technically the first person we ever played in front of." Taken from the EP, lead single 'It's Mutual' is out now: https://orcd.co/itsmutual The band have rapidly been building support from some of rock’s most respected taste-makers, including Kerrang! Magazine, Rock Sound, Punktastic, Dead Press, Running Punks, BBC Introducing Wales, Deezer’s Hot New Rock playlist, Triple J’s Short Fast Loud, Apple Music’s New In Rock, Beez at Mosh Talks on Twitch, Alex Baker at Kerrang! Radio, John Kennedy at Radio X, and Daniel P Carter on the BBC Radio One Rock Show.

Features all-analogue mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket.

The series highlights gems from Contemporary's extraordinary catalogue and features artists who both defined and expanded the sound of West Coast jazz.

1957's The Poll Winners was the first of five all-star trio sessions featuring the dazzling interplay of guitarist Barney Kessel, drummer Shelly Manne and bassist Ray Brown. For The Poll Winners, Kessel, Manne, and Brown did not record together simply because they all happened to have won first place on their respective instruments in the Down Beat, Playboy, and Metronome polls.

Their collaboration was due to mutual respect, and their sensitivity to one another's musical requirements. Here, in a set composed mainly of pop and jazz standards, they represent the ultimate in their fields, constituting a rhythm section that also provides brilliant solo interludes by all three members. Collectively, Kessel, Manne, and Brown won dozens of polls over the years; this record eloquently tells you why.

On Halfway to Eighty, riff-heavy anthems like "Helping Hand" are courtesy
of Wachtel, while art-rock thrashers like "Slacker" are Shaheen's
handiwork, and smirking punk numbers like "False Equivalent" are
Michicoff's
("What good can it bring now? / We're barely evolved" sings Michicoff on that last
song, a squall of guitars swirling around his trembling tenor.) When you keep an
ear out for them, you can hear each distinct personality in the songs, but taken as
a whole, it's yet another primo Panthers set of post-Cramps, post-DEVO outsider
rock and roll. Taken at full, Halfway to Eighty is an embrace of much more than
just a band. It's a statement of dedication to the calling of music - to sticking with
making art as long as you want to, age be damned.

In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic "Seven Steps To Heaven," "Joshua" and slow passionate versions of "Basin Street Blues" and "Baby Won't You Please Come Home."

A fantastic-sounding album. Mastered by Ryan K. Smith at Sterling Sound, and pressed on 180-gram vinyl by the best in the business, Quality Record Pressings. An old-style tip-on jacket by Stoughton Printing makes this one a jewel for your LP collection.

Our story begins in Jerusalem 1980 – Zadik Zecharia – a folk musician whose speciality is the Zorna – a traditional kurdish woodwind instrument – recorded a cassette of kurdish melodies played on Zorna and Dola, a kurdish drum.

The tape was released independently and distributed mainly around the kurdish-jewish community in Israel. Zadik mostly performed at weddings and ha as / celebrations and was also known by the nickname “Iron Lungs”, because of his ability to take only a few pauses for breath during his long gigs.

In 2005, one tape found its way to “Something on the Road” – an underground CD-r Jerusalem based label which reissued the music on CD-r. Overnight, these intense melodies became a cult phenomena in the hipster-ish circles of Jerusalem and beyond. The kurdish melodies could suddenly be heard during dj sets, topping electronic beats, or adding drones to heavy experimental sessions. which later led “Something on the Road’s” founder to initiate a remix compilation with Jerusalem’s nest producers. One of them is your truly, Mule Driver. The remix has became a cult by its own.

Fast forward to present time, a conversation with Legowelt about folk music led Mule Driver to dig an unreleased longer version of this techno remix. As well as ask the mighty Legowelt for his interpretation, that turned out as a killer acid track followed by an EBM – electro belter by Juju (Juju and Jordash) and PRZ (Clone).

Graeme Martin and Liam Karima made the new pet deaths album to be
both explored and sat with
In age of dull disconnection and constant refreshing, unhappy ending, the London
duo's second full- length effort, was deliberately and acutely considered to be a
journey of its own; nine new songs but one whole immersive piece for the listener
to climb inside, in the quiet of reflection, in the sobering commute to and
from.Following on from the sparkling celestial folk of the band's 2019 debut To
the Top of the Hill, unhappy ending is the next step in pet deaths' somewhat
remarkable journey. Setting out to make their new album, the band had one
question in the forefront of their collective mind: Is life an unhappy ending, or do
we become part of a bigger movement to more positive things?
Across the album's nine tracks, this conundrum is explored in many and
meaningful ways, their subtle take on melancholic folk- pop conjuring a
bewitching atmosphere that hangs over every inch of the album. unhappy ending
thrives within the world it creates for itself, one of distinctive colours and shapes
that feel intimate and familiar but always slightly off- kilter, as if you've
momentarily stepped into someone else's dream. It sings of love and loss and the
unwieldy connection between those two things, in ways that feel quietly radiant
and beguiling, caught in an alluring contrast. Recorded at a residential studio in
Oxfordshire which they used as a retreat from the business of London – fleshedout and toyed with over time with their acclaimed producer Ian Davenport
(Slowdive, Gaz Coombes, Radiohead's Philip Selway) who encouraged the duo to
lean into the wilder parts of their creativity. Inspired, musically, by the spiritual
moments of Alice Coltrane, the freeness of Miles' 'Bitches Brew', with a sprinkling
of Talk Talk's 'Spirit Of Eden' in its colourful unravelling, unhappy ending is an
enveloping experience, touching upon universal themes but all shone through the
lens of Karima's signature perspective.
Tour in May & June in support of the release - dates in Newcastle, London, Bristol,
Manchester & Sheffield.
Pet Deaths previously supported the likes of Elbow and Arab Strap.
Support from So Young Magazine, Chris Hawkins (BBC 6 Music), DIY Mag, Clash,
Huw Stephens (BBC Radio 1)

The multi-instrumentalist duo that comprises Hermitude - Luke Dubber
(aka Luke Dubs) and Angus Stuart (aka El Gusto) - were in Japan when
Covid became a stark reality
Just making it back to Australia before the borders closed, they quietly slipped up
to Angus' place just outside of the Blue Mountain town of Blackheath as the rest
of the world went into meltdown.
The two holed up together in Angus' childhood home with a pared- back music
setup and began a process that was all about taking back control over how and
why they make music as Hermitude. As Luke says, "they say the artist is your
inner child, so it was like the children were out at play. There were no rules or
expectations; we just threw stuff at the wall. It was really fun, which is why we
started making music in the first place." A year and a half later, Mirror Mountain
was finished.
The album acts as a reawakening, a place to draw strength as time goes by..

It's been 10 years since Finnish troubadour, The Mattoid, returned to
Scandinavia after a decade living as an 'illegal alien' (stress the alien) in
Music City
During his time in Nashville, he recorded 4 albums with Cleft and 1 of decidedly
crooked covers for JEFF the Brotherhood imprint, Infinity Cat. 'Great Lovers' was
recorded and mixed during Mattoid's ten year exile between Nashville, Helsinki
and London. It serves as the final piece in a set of albums constituting a
subsequent, catalog spanning comp for release in later 2022, along with first time
pressings of his previous two full length albums on vinyl!

Winston 'Niney' Holmes AKA The Observer, must be one of Reggaes finest Roots Rebel producers. Capable of making some of the heaviest, innovative music, not only in sound but also in the Cultural/Political sense.
Born George Boswell, Montego Bay, Jamaica 1951, and name checked 'Niney' due to losing a thumb in a workshop accident. He began his career in music by organising bands to play at school dances. But his first steps learning the musical ropes came working under the tutelage of producer Bunny Lee around 1967, organising sessions for Bunny's stable of artists. He moved on to work alongside Lee Perry at Joe Gibb's 'Amalgamated' label setup, where on Lee Perry's leaving in 1969 to start his own 'Upsetter' label, Niney became chief engineer.
Inspired by Perry's success it wasn't long before his own 'Destroyer' label was under way. It was 1970, and his first production entitled 'Mr Brown' by DJ's Dennis Alcapone and Lizzy, proved to be a minor hit, but his own 'Blood and Fire' track released in December of that year would become a major hit. After initial problems with it's likeness to Bob Marley's track ' Duppy Conqueror' being ironed out, it's reissue on his now named 'Observer' label, saw it go on to become, Jamaican Record of the Year 1971. Far out selling Bob Marley's track to the tune of 30,000 copies in Jamaica alone. A roots classic...
Niney's reputation for building great roots tracks, was furthered with more success working with singer Max Romeo. Issuing cuts such as 'Beard Man Feast', the great 'Reggae Matic' and 'Aily Ailaloo' and renewing his friendship with Lee Perry on the track 'Rasta Band Wagon', who's production credit read Perry, Niney, Maxie. In 1973, Niney began working with Dennis Brown, who was already an established star from an early age, they found a chemistry that went on to produce some of Dennis' finest work. The 1973 hit 'Westbound Train' was followed in 1974 by 'Cassandra', 'I am the Conqueror' and the timeless 'No More Shall I rOam'. Another important connection around this time was the great King Tubby who Niney would take his tapes along to and even record some of his tracks at Tubby's house, 18 Drummlie Avenue, Kingston, which doubles as his Studio of Dub.
It's these tracks that we are concentrating on here. Tubby would strip the tracks back to the bone and rebuild then sometimes leaving off the hook line. Whether that be the horn line or keyboard line and adding effects over the top that could disguise the cut even more. Even Niney stating that when Tubby had finished with a cut, he found it hard to recognise the track himself. Its these tracks as dub plate specials that Tubby would play on his Hometown HI-FI Sound System and it's these such tracks that we have compiled for this release. Dub Plated that have not seen the light of day since tragically the great Osborne Ruddock AKA King Tubby was gunned won and murdered on the 06th December 1989. For a few dollars and a gold chain, reggae music has lost one of it's most creative, inventive forces.

Niney also cut tracks with many other Reggae giants such as Gregory Issacs, Michael Rose, Junior Delgado, Horace Andy and Delroy Wilson to name but a few. As in house producer at the legendry Channel Studios and supervising sessions at Dynamic and Randy's Studio 17, his magic touched many. DJ, Arranger, Producer, his Roots Rebel music still stands the test of time.
Hope you enjoy the set.....

LTD edition 300 copies pressed.

Comes in a stunning Picture sleeve

imagine a band that is Sharon Jones meets James Brown while putting a modern twist on 70s soul and funk music.
Whether self composed original tracks or classic covers, Bella Brown & the Jealous Lovers capture an era boldly envisioned!

So settle in and get to know us. Check out our music, join our mailing list to stay current on Bella's adventures and get discounts on merchandise, peruse our Social Media sites to gage Bella's current level of "influencer" status, find us on your favorite Streaming Service, and maybe throw some spare change in the Tip Jar to keep new music coming!

All this and more below! Enjoy!

Fronted by the wonderful Carol Hatchett- She is known as one of Bette Midler's backup Singer/Dancers, the infamous "Harlettes" and has appeared in Bette's Emmy Award-winning "Diva Las Vegas" HBO Special, "The Showgirl Must Go On" HBO Special and numerous music tours worldwide . Carol is also the backing singer for Nick Waterhouse and tours with them regularly.

Applied Magic is proud to present the first full EP of one of the most promising duos out there: Last Men On Earth.

And not only is it their first EP - it will also be the first Applied Magic release available on vinyl. What a way to celebrate catalog number ten!

Applied Magic is proud to present the first full EP of one of the most promising duos out there: Last Men On Earth.
And not only is it their first EP - it will also be the first Applied Magic release available on vinyl. What a way to celebrate catalog number ten!

Originally hailing from Argentina, with Euge holding it down in Buenos Aires and Seba making waves in Tulum, they have been on a roll this year, releasing some incredibly well-produced and sparkling music along the way.
With tracks on Frau Blau, Amancay and most recently the incredible "Kakra" on Nandu's Out Of Options label, they have been supported by everyone from Dixon to Mano Le Tough, Trikk, and last not least Applied Magic labelhead Aera.

Pixel has actually been the highlight of Aera's sets for a while now, setting a unique vibe with its mix of breakbeats and a wistful melody that won't leave your head for a long time.

Here PT. I & II are the perfect flipside to this gem.
Part I is straight dancefloor fire. Distorted synths, big drums, and high-pitched crazy vocals driving you into a frenzy, with PT. II the introspective counterpart, a beautiful cinematic journey.

This time, the artwork is provided by Malaga based graphic designer Miguel Angel Salido.

BBC 6 MusicAlbum of the Yearas chosen by

DJ Craig Charles

★★★★Mojo

★★★★★Blues & Soul

★★★★★UK Vibe

9/10 DJ Mag (Single I Miss You)

"One of the very best soul voices I've heard for a very long time"

Craig Charles (BBC 6Music)

"Delivered with a vocal dripping with yearning and desperation"

4/5 Mojo

"A high octane soul masterpiece"

Blues & Soul,5/5Album of the Month

"Undoubtedly the album of the year"

5/5 UK Vibe

Burundian soul singer JP Bimeni is set to release his first music since his BBC 6 Music award winning album Free, from 2018. Give Me Hope is a slice of horn heavy, Afro tinged, Stax inspired soul and is the first taster of a new album set for release in early 2022

Give me Hope is the title track from his new album, featuring his band The Black Belts, set to drop on February 4thon Lovemonk Records.

A supremely funky number it boasts bassline and powerful horn arrangements, and gives a taster to a new work that dots between classic '60s Motown, psychedelia and Afro-funk.

Joona Toivanen Trio makes their We Jazz Records debut with their new album "Both Only", out 25 Feb 2022. A landmark work for the long standing group, the album showcases a new sound for the band, trekking deep into new ideas for an acoustic jazz piano trio. Since their formation as teenagers in mid-1990's, the trio of pianist Joona Toivanen, bassist Tapani Toivanen and drummer Olavi Louhivuori (of Superposition, Ilmiliekki Quartet and Linda Fredriksson "Juniper") has developed their remarkably coherent band sound step by step, touring the world over. Nowadays, the trio is geographically split between Gothenburg, Sweden (Joona), Copenhagen, Denmark (Tapani), and Helsinki, Finland (Olavi), but the unit has never sounded so together as one, and as adventurous as on "Both Only".

"Both Only" by Joona Toivanen Trio is a cocoon, a welcoming shelter of sound that opens up naturally for the listener to inhabit. The album is moody and introspective, even dark at times, but by the time you get to the closing track, "This and This", you'll likely notice something hopeful brewing up. This is not music dealing with nostalgia or a world lost. Instead, it's a body of work with delicate dynamics, taking a minute just to listen and to look inwards to learn something, to move forward.

The first single "Enlightened" is perhaps the most traditional piece on the album, yet it flows like a vessel beyond genre, conveying a mood, a feeling and an idea. Listen to how the piano, bass and drums discuss, how the groove moves with the instruments having their clear roles but also supporting each other and documenting a musical aging process exactly as that of a quality bottle of red wine. As a song like "Direction" proves, the melody is there all the way, yet there is nothing obvious about how it's carried by the trio. Things remain surprising, fresh and moving at all times. "Except For" keeps its intensity, while nearly erupting into a full on 4-to-the-floor banger. Nearly! The key here is how the energy sustains itself, building the intensity within the music.

"Both Only" is a powerful statement from a band ready to renew itself time and again, and one willing to do it slowly, outside of the hype. This process makes the impact enduring, nuanced and lovely.

WJLP37 Joona Toivanen Trio "Both Only" is available on vinyl as a black vinyl edition and as a LP+7" bundle also including WJ0716 "Except For (7" Edit)" / "Keyboard Study No. 2".

“More excellent poetic soundscapes from We Jazz! Love the flow through the tracks here – textural pieces moving into more rhythmic jazz abstractions. Beautifully recorded too.”
Quinton Scott — Worldwide FM

“Following on from the excellent Linda Fredriksson album We Jazz extend the journey with this innovative Joona Toivanen Trio set.”
Paul Bradshaw — Straight No Chaser

“You’ll look in vain here for extravagant splashes of color or bright swathes of sound, but what you will discover are a finely-chiselled set of compositions that make the most of the trio’s limited palette: flint-sharp melodies hewn from the ice, crisp and crackling rhythms.”
Cal Gibson — Ban Ban Ton Ton

“Incredible album from Joona Toivanen Trio and a strong start to the new year from We Jazz.”
Kerem Gokmen — Dubmission

“Encapsulating a new movement in jazz.”
Jay Scarlett — Sounds Supreme

“Interesting listen on the shortest day of the year. They have a very definite and saturated style.”
John Chacona — All About Jazz

“Airplayed the track”
Tom Ravenscroft — BBC6 Music

“Jazz album of the year released already in February?”
Ralf Sandell — Hufvudstadsbladet

“★★★★★”
Iida Simes — Voima Magazine

Numbers will release ‘Clear’, the debut album by FFT, on 24th June 2022.The result of three years of focused writing and programming by the London-based producer, ‘Clear’ is deeply psychedelic, defined by a mature sense of melody and structures crafted at a monumental scale.

Though FFT has previously released a handful of tracks under various names, it wasn’t until 2017’s ‘FFT1’ EP on theUncertainty Principle label that his production talents began to fuse into a distinct and personal style, especially evident in FFT’s‘Regional/Loss’ EP on The Trilogy Tapes in 2019, multiple releases on Bruk Records and2021’s ‘Disturb Roqe,’also released on Numbers.Through it all, FFT has mastered a complex sense of mood catalyzed by sound itself: He builds patches and presets from scratch, and feels these synths and software have their own objectives and reactions, creating a kind of compositional feedback loop.The result is an album that brings to mind a collision of electronic pioneers like Delia Derbyshire and Bernard Parmegiani, 2000’s braindance, the Max-imized wares of an OPN or Objekt and the rough rhythmatics of SND or Mika Vainio

The layering of sonic elements and intentions is starkly audible across these nine tracks.They can be seismically concussive and grandiose, but granular and fluid - echoing the Icelandic volcanic eruption that features in the artwork photography byGeorge Cowan. ‘Clear (Eight-Circuit Mix)’sets a euphoric tone immediately accelerated by the jagged sounds and vocal textures of ‘Redeemer’. ‘3 Sided’ channels hyper-urbanity from its almost entirely analogue palette, and by contrast ‘Disturb Roqe 2’is bracingly digital, gyrating in random cycles between clustered percussion, metallic splinters of audio and artificial vocal tics.

Opening side two, ‘You’ve Changed’ adheres to a more abrasive core, while ‘Heal’ and ‘Heal (Alt Mix)’evolved out of linked pieces in FFT’s live sets that grew into complete tracks in the months before Covid-19.The significant intensity of ‘Heal’ in particular was refined during strobe-heavy live performances and is the album at its most turbulent, the claustrophobia interrupted by dazzling arpeggios.The overall impact of 'Clear' is cinematic and precise, marking the arrival of an impressive electronic musician who is not new but has come into his own as a fully developed artist

Höga Nord Rekords kindly welcomes Teecwa back to the label, following up his last full length-album “Beyond the Altai” with “Elysian on Moon Lake”. He is still exploring the intersections between house, electro, techno and dub and once again he manages to harness the analogue electronics in his machines to produce modern psychedelia.

“Elysian On Moon Lake” is rawer, less airy and not as sparkling as his last album. This is a tighter, and slightly darker experience than Teecwa’s previous work, maybe caused by being in quarantine for extensive time during production, letting some of the dreaminess aside for the harsher reality in a pandemic world. Still, you get a mind-altering experience in a lot of tracks since the album starts off in a lighter tone than how it later develops. Switching from the A- to the B-side works as a rite of passage going from dusk to night; the sun rays through the blinders are replaced by neon light dancing on the walls and ceiling.

Regarding the dramaturgy of “Elysian On Moon Lake”, this album has movielike qualities; a well-directed piece from the opening impact and setup through the confrontational part where intensity builds up to the climax in “Hythmdoser” to the cooling down effect of the peaceful closer “Celestial Trails”. The trip eventually ends up in a safe and happy place after the cathartic finale.

This is not a just collection of songs, this is an album made to experience in full length without interruptions.

1985 session by piano great Duke Jordan alongside bassist Jesper
Lundgaard and drummer Billy Hart
Duke Jordan (1922-2006) famous for his intense lyricism embarked on the world
jazz scene as a member of the classic Charlie Parker Quintet in the late 40s with
his trademark introduction to "Embraceable You". Jordan unlike many other
American jazz musicians in Bebop era found his artistic and personal living space
in Europe since the early '70s. His extensive recording output on SteepleChase
including this album from 1985 recorded in Denmark makes up the huge part of
his discography.
"A most agreeable set that is both eminently listenable and very
enterprising...Jordan was always a fleetly swinging but subtle pianist whose allround musicianship has never got the recognition it merits. This fine trio deserves
to sell well and spared his name further afield." - Richard Palmer, Jazz Journal
International

'Hotel Florida', the debut album by trombonist Andreas Tschopp and
baritone saxophonist Matthias Tschopp's Swiss sextet Sparks and Tides,
delivers an enthralling, improvisation-laced set of electro-acoustic
soundscapes
The first collaboration co- led by brothers Andreas and Matthias Tschopp, the
Swiss sextet makes a subtly enthralling debut with Hotel Florida, an album
marked by lapidary textures, extended melodies, and finely calibrated production.
Sparks and Tides also refers to the flow of their music, which unfurls in unhurried
waves until suddenly surging with quicksilver flurries. Cinematic and full of
intriguing passages, it's music for unsettled dreams. "There are lots of little things
like drum machine tracks, bass drones, live sampling of the horns by the
keyboardist and using the sounds as samples, and also some modular synth
processing of the saxophone," Andreas says.
The group brings together some of the most creative figures on the small,
intertwined and fervently inventive Swiss jazz scene. A member of the R&Binfluenced electro- duo True, drummer Rico Baumann is as deeply versed in hip
hop, pop and electronic music as he is jazz and improvised music, which is the
terrain he inhabits with Andreas in the collective jazz quintet Le Rex.

It's dark in the forest. Especially in the »northwest«. You have to adjust all your senses. But once you have, the forest will take you in his arms. The forest will protect you. Just like Daniel Herrmann's first album for Live At Robert Johnson will protect you.

Herrmann is far from being unknown in the world of music - let alone in the art or photography world. In the music field, he is probably much more known under his Flug 8 moniker where he released five albums on Disko B, Doxa Records, Ransom Note, and Acid Pauli's Smaul Recordings. Under his given name, Daniel Herrmann's relationship with LARJ's label boss Ata Macias goes way back. As an artist and photographer Herrmann was the only one allowed to take pictures inside Ata's ROBERT JOHNSON club, thus creating an iconic series of pictures of clubbers and club life in general. Herrmann’s pictures of the partying punters themselves were presented as wallpaper all over Robert Johnson back in 2002.

With »Enroute« Herrmann enters new territory: It is his most ambient work up to today. And yes, it is a piece of work created during the lockdown. Herrmann's studio is situated in the outskirts of Frankfurt, near the forest - a quite remote place already in-between the Taunus mountain range. Imagine life during the lockdown in such a place … This is where Herrmann set up his former basement studio in the large living room with a variety of instruments besides a cozy fireplace spending warm light and warmth. A warmth that despite its seemingly rather "cold" atmosphere can be heard all over »Enroute«. Once you soak in the sounds (or get soaked into the sounds) of the first tracks like album opener »northwest«, »Fly By Wire« or the 11min »Dark Trace« you might feel this warmth too. A cold warmth you could say, yet a warmth that only modular systems and synthesizers can create.

There is a change of mood with »Intercontinental« - literally as it seems that Herrmann indeed is on an intercontinental journey here despite the strolls and long walks in silence through the Taunus forest. This is also the place where Herrmann took many photographs of the forest and its trees (to be seen on his Instagram account) - and the picture on the cover: This spooky yet fragile high seat in the mist in front of those trees. Yet darkness alone is not dominating this album. Even during these dark days, there was a bit of light at the end of the tunnel. And it shows in the beauty of »Bouncing Rays«.

»Enroute« is done all alone and in total isolation. And one can hear it. But it also invites the listener to be a part of this lonely world. And we all know that being lonely is made easier with someone on your side - »Enroute« to a better place. A place that isn't lonely at all.

PS: For all digital music lovers we have included two bonus tracks: The GLOK remix of »Bouncing Rays« and Herrmann's clattering and creaking tune »Economy« - enjoy!

The Entertains were a vocal group from Cleveland Ohio whose line up at different times varied between four to five members. Initially signed to Belkin Productions in Cleveland the group were persuaded by Nick Holiday to move to his Pittsburgh Steel Town Records Label. The group had already been working on two songs penned by C-Way Productions Richard Calloway who had strong links with Cleveland through his work with Jesse Fisher and Lester Johnson at Way Out Records. The two songs in question being “Love Will Turn It Around” and Why Couldn’t I Believe Them”, demo cuts of both songs where touted around to several major labels with 20th Century showing some serious interest, but the owner reputedly turned down 20th Century’s advances and instead chose to release the songs on his own Steel Town Label. Recorded at Jerree’s Studio in New Brighton P.A with the musical arrangements being provided by Don Groton, The Entertains 45 received limited local airplay reputedly due in part to Holiday’s refusal to provide a set of Dining Room furniture for an influential local radio promotion man. Greater radio play was eventually received with “Love Will Turn It Around” gaining air time on WANN, Annapolis Maryland’s largest Black radio station, courtesy of Disc-jockey Charles “Hoppy” Adams. For a time, a popular tune throughout Baltimore, Washington and Delaware without breaking out nationally. Wider appreciation of the Entertains 45 would come from foreign shores as copies of the 45 found their way in the UK. The effervescent dance side of the 45 “Love Will Turn It Around” was heavily championed by Legendary DJ Colin Curtis and became a firm favourite with the dancers within the Highland Room of the Blackpool Mecca and subsequent Northern Soul venues of the time. The Entertains line up on the Steel Town sessions where Donald Rice, Howard Rice (the cousin of Donald) Alfred Wilson and Andrew Wright the lead vocalist on all The Entertains songs. During 1978 Richard Calloway held a second recording session on The Entertains again at Jeree’s Studio’s which yielded a further two songs “I’ll Answer You With Love” and “Your Love I Give It Up” which due to lack of finance at the time of their conception remained in the can. These two songs have now been brought to life through Soul Junction’s licensing deal with C-Way Production’s in the format they originally intended for. The A-side of the release is the emotional charge stepper “I’ll Answer You With Love” with the opening monologue parts been performed by Howard Rice. While the B-side “Your Love I Give It Up” is a punchier up-tempo version of Richie Merrett’s earlier C-Way Records recording “I Gave It Up”, the flipside to “You’ll Always Have Yesterday Standing By” (C-way 103).

In later life Donald Rice would perform with Lonnie Turner Jr a former member of the Detroit groups The Mighty Lovers (Boo-Ga-Loo and Soulhawk) and Innervision (Private Stock and Ariola America) and his daughter Africa Turner in a vocal combo known as The Ambassadors Of Soul, sadly Donald has now passed. It is believed that the other members of The Entertains are still out there performing solo or as members of other different groups.

"Catch me in the corner not speakin'/Crushed out heavenly/ U.G. rock the sweet daddy long fox minks/Chicken and broccoli, Wally's look stink"

Ghostface Killah released his debut solo album 25 years ago on October 29, 1996. Produced by fellow Wu-Tang Clan member RZA, Ironman found inspiration in sources ranging from blaxploitation films to classic soul and charted a whole new direction for hip-hop in the process. The album features classic bangers like Daytona 500 featuring Raekwon and Cappadonna to soulful emotionally moving cuts like All That I Got Is You with Mary J Blige. To commemorate the 25 year anniversary Get On Down is proud to present Ironman in a 2xLP set available on both ‘Blue & Cream’ and ‘Chicken & Broccoli’ half-n-half colored vinyl, each version housed in a deluxe gatefold jacket, packed inside a ‘shoebox’-style 2nd outer jacket embossed with the year 1996.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Otis Spann is widely recognised as one of the greatest blues pianists of all time. Although Spann made a name for himself in Chicago by the mid 1940s, it wasn't until 1960 that he got the opportunity to record an album of his own. Otis Spann Is The Blues is not only the first solo album ever recorded by Otis Spann, it is also the first album ever recorded for the fledgling New York City based Candid Records label. Stripped down to just the two musicians this magnificent set showcases Spann's voice and piano.

Available on vinyl for the first time since it's original CD-only release in 2007. Tenor saxophonist Fred Anderson and drummer Hamid Drake had the closest of relationships, as close as a father and son might have. Their communication was at a higher level musically and emotionally. The music on this album reflects not only their masterful musical skills, but a conversation in music that is exceptionally powerful and unique. For From the River to the Ocean, they assembled a band consisting of fellow Chicagoans to record the most relaxed, perfectly balanced album they made together. It may seem hyperbolic to call From the River to the Ocean Fred Anderson's greatest album, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a powerful contender. From the River to the Ocean is an especially varied outing, ranging from Anderson's classic set-closing blues "Strut Time" to the meditative, spiritual, modal track "For Brother Thompson," dedicated to the late trumpeter Malachi Thompson and featuring bassist Harrison Bankhead on brooding piano and Drake chanting in Arabic. The record's title track and the closer, "Sakti/Shiva," find bassist Josh Abrams laying down an astounding bed on guimbri, the threestringed Moroccan acoustic bass familiar to fans of Gnawa music. Another of the album's delights is guitarist Jeff Parker, well known Jazz guitarist as well as member of Tortoise. Here, Parker displays an immense sensitivity and melodic genius, sharing solo spotlight with Bankhead's cello on "From the River to the Ocean" and sculpting a stunning array of shapes on the group's swinging take on Anderson's "Planet E." Underneath it all is Hamid Drake, an intensely creative soul continuing to challenge himself. Drake's growth is not measured in how many different instruments he plays - indeed, he's scaled back his arsenal over the years - but in the depth and musicality of his feeling. On this record he is remarkably light and airy, playing with tremendous delicacy and clarity. Propulsion can be introduced without a pneumatic drill, and Drake instigates an avalanche of rolling forward momentum on the opening moments, inspiring the two basses and guitarist to move, to make something moving, and in turn to further inspire Fred Anderson to some of his most forceful and imaginative playing ever documented. If the individual is a small receptacle of expressivity, a mountain spring if you will, then it is in ideal settings like this one that the springs join forces, turning into streams, then bigger and bigger tributaries, finally swelling into rivers that open into the oceanic creative waterways. Thank goodness Anderson and Drake tapped into that wellspring, drawing directly from the source

Available on vinyl for the first time since it's original CD-only release in 2007. Tenor saxophonist Fred Anderson and drummer Hamid Drake had the closest of relationships, as close as a father and son might have. Their communication was at a higher level musically and emotionally. The music on this album reflects not only their masterful musical skills, but a conversation in music that is exceptionally powerful and unique. For From the River to the Ocean, they assembled a band consisting of fellow Chicagoans to record the most relaxed, perfectly balanced album they made together. It may seem hyperbolic to call From the River to the Ocean Fred Anderson's greatest album, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a powerful contender. From the River to the Ocean is an especially varied outing, ranging from Anderson's classic set-closing blues "Strut Time" to the meditative, spiritual, modal track "For Brother Thompson," dedicated to the late trumpeter Malachi Thompson and featuring bassist Harrison Bankhead on brooding piano and Drake chanting in Arabic. The record's title track and the closer, "Sakti/Shiva," find bassist Josh Abrams laying down an astounding bed on guimbri, the threestringed Moroccan acoustic bass familiar to fans of Gnawa music. Another of the album's delights is guitarist Jeff Parker, well known Jazz guitarist as well as member of Tortoise. Here, Parker displays an immense sensitivity and melodic genius, sharing solo spotlight with Bankhead's cello on "From the River to the Ocean" and sculpting a stunning array of shapes on the group's swinging take on Anderson's "Planet E." Underneath it all is Hamid Drake, an intensely creative soul continuing to challenge himself. Drake's growth is not measured in how many different instruments he plays - indeed, he's scaled back his arsenal over the years - but in the depth and musicality of his feeling. On this record he is remarkably light and airy, playing with tremendous delicacy and clarity. Propulsion can be introduced without a pneumatic drill, and Drake instigates an avalanche of rolling forward momentum on the opening moments, inspiring the two basses and guitarist to move, to make something moving, and in turn to further inspire Fred Anderson to some of his most forceful and imaginative playing ever documented. If the individual is a small receptacle of expressivity, a mountain spring if you will, then it is in ideal settings like this one that the springs join forces, turning into streams, then bigger and bigger tributaries, finally swelling into rivers that open into the oceanic creative waterways. Thank goodness Anderson and Drake tapped into that wellspring, drawing directly from the source

Dreamy ambient drifters by The Vision Reels

"A personal journey into one's self, this music was written over a really unpredictable part of my life it's to remind myself to always be true to my own colours and a reminder of how beautiful the world can be when you look at it through a different lens, it helps me see the beauty in everyday life. The album is a very personal thing that I will leave open to the interpretation of others, a welcome invitation into my vision and sound." - Adam O'Hara (The Vision Reels)

All tracks written, produced and mastered by Adam O'Hara aka The Vision Reels.
Original Artwork by Dima Rabik
Design by OFF T

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Versatility does not even come close to describing how the humble Japanese ¥ØU$UK€ ¥UK1MAT$U is considered to be one of the best DJs in the world by many of his peers. From his debut at DJ Nobu’s FUTURE TERROR event to performing 3 years consecutively at Berlin Atonal Festival, Yukimatsu’s sets have to be heard for you to understand.

In this special mix album, Yukimatsu gathers round his producer friends to build vessels of the story structure. Threading the pages together, interweaved by friendship and sine waves, he has crafted a masterful presentation from their individual messages. Pulling and stretching all sonic shapes and shades while exploring the farthest reaches of sound, the result is a frequency soup of twelve outstanding tracks that when sequenced together, become part of a greater, grander story: Midnight is Comin’.

From the sound art experimentations of orhythmo – Nagel and wide yawning strings in Ryo Murakami – Reminiscence to the rhythmic slo-mo haze of Sapphire Slows – Hinotori and the exponentially pulsing colours from DJ Nobu - Yakou Gai. The DMT-like spacious virtual meditation hall of KEIHIN – Exhale follows the uneasy footsteps of YPY – MS to the intermissioning chapter of City – 9K. Fall into the wormhole of COMPUMA –Flowmotion (IN DUB) and be transported to the reverb-drenched, intimate experience of Coni – Ängelsbäcksstrand, the primal invocations of Gabber Modus Operandi – Kisah (which also means story in Bahasa Indonesian) to the transcendent notes of SPINNUTS - Zweimal schlafen atmosphäre. The soaring universe of Albino Sound – Celestial Sphere wraps up the album with crystalline notes.

“Versatile is not even close to describing his music selection and mixing skills as he plays anything without prejudice and is purely music loving. He is extremely humble, can mix anything and make it sound interesting.” – nolens.volens (Bangkok, Thailand)

Lonefront puts out his first EP on wax with Kajunga Records. Two raw and hypnotic techno tracks channeled from deep.

“Additive spectra” uses the basics masterfully to draw in the mind and body and transport the spirit to ancient spaces. A deep kick and bass drive through the whole track while the high end remains sparse with a subtly shifting pulse and restrained hi hats keeping the tension alive.

On the B side, “South of Forever” is an even more stripped back, slow burner. Nonstop kick and trance inducing percussion anchor the listener in while resonations and reverberations are twisted and mangled to create a strange evolving space out of darkness.

Lonefront is an artist out of MN by way of the bay area. He produces raw explorative techno tracks and performs live using modular hardware. His stripped back productions shift between the speculative future of progress and the drone of decay. Get in tune with carcasses of factories, a chorus of tongues spouting silent mantras, a silent stream of error-riddled program scripts: the flux and snap of trauma incants the noise beyond language that compels movement, and sets you free.

Amy Winehouse’s Live at Glastonbury 2007 will be available on vinyl for the first time from June 3. It captures her performance on the Pyramid Stage at that year’s festival, 15 years ago this summer.

Winehouse’s show, her second at Glastonbury, will be released in a 2LP black vinyl set. They bring back to the fore one of the most memorable highlights of her all-too-short career, capturing not only her unique artistry and song craft, but the singer and writer’s trademark, between-songs banter and the sheer love for her emanating from the festival crowd. Highlights include “Rehab,” “You Know I’m No Good,” “Love Is A Losing Game,” “Valerie,” and “Tears Dry On Their Own,” as well as her cover of Toots and the Maytals’ “Monkey Man.”

Amy played a second set later the same day on the Jazz World Stage, and returned to the Pyramid Stage the following year, firmly establishing herself as part of the world-famous festival’s remarkable history. The artwork for the forthcoming release includes recollection of the performance by Glastonbury Festival’s co-organizer Emily Eavis. “Amy Winehouse was a Glastonbury-goer through and through,” she says. “She either came and played or, when she wasn’t working, came and camped. She played in the blistering heat and the heavy rain, and there were so many magical moments to her performances.”

Hassan Ideddir’s 1989 single “Atfalouna” sees an expanded repress courtesy of Dark Entries. Born to Berber parents in Morocco, Ideddir began making music at the age of 10 after being discovered singing in the stairwell by his school’s headmaster. Encouraged by his peers, he began playing concerts, and his status grew. In 1987, he played a string of sold-out concerts in Casablanca, Rabat, and Marrakesh, in support of a children’s charity. The success of these concerts secured him a record deal, and he went to Paris to record his debut single “Atfalouna” in 1988.

Released in 1989 on WEA, “Atfalouna” is a dense slab of multi-genre pop. An opening wash of digital synths and reverberant vocals quickly falls away to a cascade of orchestra hits and pulsing electronic drums; the monotone chant-rap of a female chorus collides with Ideddir’s soaring melismatic vocals, pleading against the injustice and hunger in the world. While Hip-Hop and New Beat borrowed tropes from Arabic music, “Atfalouna” inverts the gesture, resituating orchestra hits and sampling techniques within a Moroccan music framework. A shorter instrumental version follows, which preserves the female vocals. Also included are two tracks not on the original 12”. “Ibina” is a moody, downtempo instrumental that sounds like a cult Italo B-side. The record closes with “Ydouchababe”, an electro number driven by funky guitars, electronic claps, huge horn riff. Here, Ideddir sings of a youth festival honoring Hassan II, former king of Morocco.

All songs were remastered by George Horn. The sleeve is a replica of the original 12” cover art, featuring Ideddir set in a cheeky collage of clocks, columns, and camels. Also included is a postcard with a photo of Hassan, as well as lyrics in both Arabic and English. We will be donating 100% of proceeds from this release to Sphere who provide support to the young queer community across Ukraine and the Palestine Children's Relief Fund who help provide urgent humanitarian care for Gaza's children.

Kicking off proceedings on new label, Scene Unseen is Yorkshire’s finest, Jinjé a.k.a. Lee J Malcolm.

Scene Unseen will focus on exploring and showcasing scenes from around the world (some seen or some maybe unseen), as well as releasing music from artists who incorporate sounds from across the globe within a music style that's closer to home. This is where Jinjé steps in, delivering an EP of Afro-funk and Afro-tech. He draws upon his usual duties as a fine Techno, House and Electronica producer and combines them with rhythms inspired by African and Indian music, using instruments (played and recorded live by Jinjé) and field recordings from both regions.

Jinjé (Lee J Malcolm) has released on labels such as Messrs. Kicks & Drums, EPM Music, Mesh and Ostgut Ton. He was also a founding member and mainstay in the Leeds band, Vessels (Different Recordings), until leaving a couple of years ago to concentrate on solo projects.

The track names tell all, as Jinjé gives a clear nod to the Africanism is his music. First track, 'Ngoma' is a name used across Africa to describe certain drums and percussive instruments, which can be heard here, like Djembes from the Conga region, as well as live and acoustic components, blended with modular and other electronic sounds.

'Burkina Faso' takes us west and hits the ground running with a vocal sample of Tribal women from the area, singing praise and joy to engineers who have come to provide fresh water to the village: "Praise God for they have come to build us a well." The progression of the track is based around this joy and develops nicely alongside some intense bass and drums.

'Dusk' is inspired by thoughts of the Serengeti planes at night fall, all built around Jinjé's live M'bira plugged into a modular synth, grouped with live flute and field recordings from India which provide additional percussion.

'Ya Maji' is a collection of high energy rhythms from a Moroccan frame drum, congas, clapping, live bass, distorted marimba and the mighty Korg Ms20 playing the lead synth lines.

Last up is 'Jara', a nod to Steve Reich and his six marimbas, as well as drawing inspiration from Fela Kuti. Vocal samples bring in more of the field recordings Jinjé made in India, as well as the clapping elements. Acoustic and electronic sounds intertwine to great effect and sum up the EP as a whole.

Look out for more from Jinjé in this musical direction as he seeks to bring these tracks and future ones to a live band setup.

Four killer tracks of high grade electronic soul from James Baker AKA REKAB. A fantastic EP showing both breadth of style and respect for the roots and traditions of the music from this artist.The first, Locked on Dodge, is a driving deep Detroit techno track with a hypnotic arpeggiated lead and filtered atmospherics to lose yourself inside. Don’t get too comfortable though, it’s capped with a surprise electro switch in the breakdown to keep the floor on their toes! The second track, We Need to Care, delivers a cool clear synth sound design over Chicago influenced house tempo beats and lush pads. Simultaneously groovy and comforting, this is a track for those special moments. Jacking with your eyes closed and a big grin on your face.
Third we have a clear tribute to Drexciya with In Search of the Deep Sea Dweller. Tough 808 beats and laser zaps punch through a bed of evocative strings whilst a filtered single note loop rises and falls like the tide. An abstract robotic voice presides over the track, adding atmosphere whilst giving it a sense of mysterious machine driven intelligence.
Lastly, Too Much Time gets its space boogie on. Electro funk beats jump round staccato synth chords and a simple but effective Moog-like bass line. Once the scene is set, a writhing 303 joins the proceedings accompanied soaring pads and beautiful melodic leads that make you feel like you’re being lifted into the cosmos.
----------
ReKab aka James Baker from the UK started Djing in the early 90’s. Later on he started playing around with music. Finally the ReKab sound was established in 2019 with his first release on Where We Met records. Other releases followed soon on Móatún, Withhold, Intellitronic Bubble, We’re Going Deep and Fourier Transform.
His music is very deep and full of emotions and influenced by his love for Detroit.