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This release is coming exactly 3 years after Geinst ARTS, Accents Records and Inerit discussed about a new place where they could converge musically and artistically.

A place to propose spontaneous and borderless music by avoiding any kind of standardization.

This place is now called ITAE and we are really proud to present the first release.

ITAE001 is a first great demonstration of the esthetic that ITAE wants to share and develop over time.

All the artwork had been thought and produced by Clemence Rivalier.

Demon Records is proud to reissue this album as part of the Gary Crowley’s Lost 80s project. This Classic LP
reissue is presented on 140g translucent green vinyl.
The Kane Gang’s 1985 debut album was originally released on Kitchenware Records, where their label-mates
included Prefab Sprout, Hurrah! and The Daintees. ‘The Bad And Lowdown World Of The Kane Gang’
reached #21 in the UK albums chart, and features 4 singles, including #12 charting ‘Closest Thing To Heaven’
and ‘Respect Yourself’ (#21).
Hailing from the North East, The Kane Gang consisted of vocalists Martin Brammer and Paul Woods, plus
multi-instrumentalist Dave Brewis. They made their recording album debut in 1985 with this, their poised,
stylish collection 'The Bad And Lowdown World Of The Kane Gang'.
“I am absolutely cock-a-hoop that it's being given a vinyl re-release under our GC Lost 80s umbrella because
it's an album that I return to regularly. Signed to the uber-cool Kitchenware label, they were an under-rated
band in my opinion whose distinctive sound saw them taking their cue from a raft of Soul Funk greats, and
you can clearly hear that love right across the album. Produced and crafted lovingly by Pete Wingfield and
featuring the likes of P. P. Arnold and Sam Brown on backing vocals, the album is chock-a-block with singles
including the impressive ‘Small Town Creed’ (chart placing No. 60), the sublime ‘Closest Thing To Heaven’
(No. 21), the moody ‘Gun Law’ (No. 53), as well as a delicious cover of the Staple Singers’ ‘Respect Yourself’
(No. 21). I love the entire album but there are also other songs that also stand out for me. The Chic guitar
driven joy of 'How Much Longer' and the dreamy, shimmering 'Crease In His Hat' being two cases in point.
The band would later go on to enjoy success on the American Black R&B chart (which must have thrilled
them personally to bits) and release an equally grand second album in 1987 in 'Miracle’.”

4 Hands, an intimate and surreal musical conversation on the piano from German sound pioneer Hans-Joachim Roedelius and American composer Tim Story, is an example of all the warm yet otherworldly beauty that can come from approaching a shared love for a singular instrument from overlapping directions.

Recorded sequentially but on one and the same grand piano, Roedelius laid down a few impromptu piano études in May 2019 whilst visiting his transatlantic friend Story. Tim then learned all their intricate phrasings to add his own parts in the following months.

"Together we shaped the basic compositions, sometimes carefully preparing the piano with various materials (including my own hands), and Achim’s performances were committed to tape. I continued to compose and refine my parts in the following months. Because it was all recorded on the same piano, the result has a very appealing consistency of sound, and hopefully blurs our individual contributions into a single integrated voice,” Story explains.

4 Hands encapsulates rippling minimalistic patterns and delicate, ghostly interactions with surprising harmonic twists. Roedelius’ intuitive and instinctive approach based in improvisation, paired hand in hand with Story’s deliberate distilling of ideas over time, creates two sides of an engaging and thought provoking conversation that seems to evolve and deepen with each successive listen.

"4 Hands is not just a new album — the logical continuation of the long-standing friendship between two composers. It’s our tribute to awareness and listening, coaxing a new sound language from the endless possibilities of a single piano played by our four hands. For me, these pieces express a different kind of beauty, they evoke more than the sum of their parts, they are a wordless dialogue, a bridge across the great water that separates our cultures from one another. Allons enfants des deux patrie, haha!” adds Roedelius.

Gold Vinyl

Madrid based artist _asstnt returns to his Opera 2000 label with a four tracks EP entitled "Love War" EP.

At the age of 14, _asstnt found in music a way to tell stories. In Madrid, his hometown, he discovered techno and embodied this musical genre to turn it into his own language. With his particular style, he bursts onto the scene again with this EP called "Love War". Love and war, two antonyms that end up merging through a mixture of romantic and melancholic sounds, along with the dirty roars characteristic of hardtechno. This trip through good lovin', a journey between heaven and hell, features the version of his admired partner, SlugoS, who adds the finishing touch on this four-track EP.

"Love War" delves into the origins of the artist and dares to mix flamenco rhythms with acid. The zapateado and the cajon, two of the most characteristic sounds of Spanish folklore, are presented in the song accompanied by an hypnotic vocal that is soaked in techno 303. The journey continues with "Catwoman Spotlight", which crosses a rainy and gray city with a seductive female voice as a guide. A sharp, and metallic snare takes over to give way to a warlike melancholy that takes us to heaven and gets broken by a stimulating and unsympathetic electric guitar.

The end of the celestial opens the gates of hell for us with "Track For The Apocalypse". The frenetic start is on a hard beat, a beastly crunch that progressively introduces us into the apocalyptic atmosphere with aggressive percussion. The atmosphere develops with a paralyzing break in which we can hear the passage of the riders threatening with the arrival of the end. The Berlinbased artist from Madrid, SlugoS, does a reading of the song at a 4/4 rhythm while offering a respite to the bass drum that maintains the crunch of _asstnt injecting his hard and raw style into the track.

A 'best-of' collection that focuses on the band's post-reformation catalogue from 2003-2007. All music digitally remastered. All music appearing on vinyl for the first time. All tracks completely remixed by acclaimed producer Paul Tipler

Possibly one of the greatest pop-rock bands of all time, Derry's The Undertones have roots that go back 45 years to the 1977 punk explosion when they were beloved and championed by BBC DJ John Peel. Their reputation as recording artists and a brilliant live act has carried them through the recent two decades since they reformed in 1999 with new singer Paul McLoone. Dig What You Need collects the best of their two reformation albums, 2003's Get What You Need and 2007's Dig Yourself Deep. Both albums have been digitally remastered and both are being released for the first time on vinyl. In addition, all tracks have been remixed by producer Paul Tipler (Stereolab, Elastica, Idlewild, Placebo, Julian Cope, The House Of Love).

In Detroit in 1969 the city was still rebuilding from the 1967 riots, there was still hope and a drive for the future and the good times that were just around the corner. Young people in America had an excitement for what they perceived was possible for them. Cue one such person – Larkin Yewell.

Many of you will likely not have heard of Larkin, or Fourth Level, Richard Martin, George Burnette or even Larkins record label U-Larc. But it exists as a moment captured in time, the 45 capturing the full extent of hope and ambition, the excitement and drive to capture the attention of people through music, aiming for the star and coming to Detroit – Motor city and the home of Motown. Larkin also came North to get a job in the Chrysler factory while hustling to make his name in the music business.

But here are the two tracks they recorded and released, so turn the volume up and hit play on both sides.

Gang of Youths today announce their biggest tour of the UK, including London’s O2 Academy Brixton to launch their upcoming album ‘angel in realtime’ which is out on February 25th through Warner Records. This week will see them support Sam Fender on his arena tour around the UK and play their own instantly sold-out club shows.

Gang of Youths say, “the album is about the life and legacy of Dave's father, indigenous identity, death, grief and God. And also the Angel, Islington.”

Despite and indeed because of frontman Dave Le’aupepe’s father’s absence, his influence permeates every talking point that the album offers. At times it’s solely focused upon the precise, personal experiences of loss: the dichotomy of intensity and peace that comes as someone passes through their final days; the overwhelming feeling in the wake of their death that life will never be the same, even if the rest of the world at large remains utterly unchanged.

Following their recent singles, ‘the angel of 8th ave.’ , telling of falling in love in a new city and making a home in another, and ‘the man himself’, a song created around a sample recording from the island of Mangaia in the Cook Islands that is about living without the guiding hand of your own father, today they release ‘tend the garden’.

Although the album is eclectic - influences range from American minimalism and contemporary classical, to drawing upon the legacy of Britain’s alternative/indie scenes, from drum ‘n’ bass to the most transcendent moments of Britpop -- it’s equally rooted in Le’aupepe’s Samoan heritage, with the majority of tracks featuring samples from David Fanshawe’s recordings of indigenous music from the Polynesian islands and the wider South Pacific. ‘angel in realtime’ also features contributions from a cast of talented Pasifika and Māori vocalists and instrumentalists.

Le’aupepe says, “I hope the record stands as a monument to the man my father was and remains long after I’m gone myself. He deserved it.”

‘angel in realtime’ will be released on digital, double white vinyl and CD and is now available to pre-order. Fans who pre-order the album will receive instant downloads of ‘tend the garden’, ‘the man himself’, ‘unison’ and ‘the angel of 8th ave.’. HMV and select independent stores will offer a special edition of the vinyl which feature an alternate cover.

Fans who pre-order the album will receive access to a pre-sale for the band’s 2022 UK and European tour. The pre-sale will open at 9am local time on Wednesday, November 17th, and remaining live until remaining tickets go on general sale from 9am local time on Friday, November 19th.

Gang of Youths are: Dave Le’aupepe (vocals, guitar), Max Dunn (bass), Jung Kim (guitar, keyboards), Donnie Borzestowski (drums) and Tom Hobden (keyboards, guitar, violin).

By All Means (Feat. Herbie Hancock, Freddie Hubbard,
Lee Ritenour, Seawind Horns)
Reissue of Alphonse Mouzon's killer 1981 album 'By All Means', featuring
Herbie Hancock, Freddie Hubbard and Lee Ritenour - the album is a
classic of the period, blending funk, disco, and improvisational creativity
At the time of his death in 2016 at the age of 68, drummer, composer and multiinstrumentalist Alphonse Mouzon had for decades been a major force within the
jazz, fusion, R&B and pop arenas. The early eighties was a time when Mouzon
toyed with disco and channelled funk. His musical amalgam was a far cry from
the Saturday Night Fever brand – he brought more funk, more soul, more
spontaneous creativity into the mix.
For 'By All Means', Mouzon brought together musicians who were masters in
virtually any musical style. The rhythm section belonged to the who's who of the
LA studio scene. Electric bassist Scott Edwards had worked with such stars as
Stevie Wonder, Smokey Robinson & Aretha Franklin. 21- year- old guitarist Paul
Jackson Jr. was just beginning his stellar career, had recorded with Aretha
Franklin and within a few years he would participate in Michael Jackson's Thriller
and Bad and would go on to work with the likes of Elton John, George Duke, Al
Jarreau, and Marcus Miller. Lee Ritenour began playing and recording with
Mouzon in 1974. At the age of 17, Ritenour first worked with Tony Bennett. He
was also brought in to put a little more rock in the rock 'n roll of a couple of takes
on Pink Floyd's seminal "The Wall". Over the years he has recorded with many of
the giants of pop, rock, and jazz, and his own recordings have had a slew of
Grammy nominations.
Herbie Hancock stands beside Mouzon as the other major presence on the
recording. Like Mouzon, at the beginning of the eighties he delved into disco,
adding danceable grooves to the mix. During this period Mouzon was Herbie's
drummer on four of Hancock's albums, so it seems appropriate that these two
like- minded musicians came together for this recording. The Seawind Horns
provide the last needed ingredient in this tasty musical concoction. Guesting on
the title track, trumpet great Freddie Hubbard's contributes a flashy solo.
By All Means, get out on your private dance floor and get up with it.

Reissue of Rolf Kühn's funky 1980 LP 'Cucu Ear', beside his brother
Joachim Kühn, who as always took the place at the keys, Rolf brought
together an illustrious group of musicians from a variety of backgrounds
for this record, including Alphonse Mouzon, Philip Catherine, Charlie
Mariano, Herb Geller and Niels-Henning Ørsted Pedersen
For a German jazz musician to find international recognition as a major player
has been and remains a rarity. Clarinettist Rolf Kühn belongs to this elite class.
No one sounds like him on the clarinet; warm, round and masterful, his tone
remains unmistakable no matter what style he may be playing at any given
moment. His play resonates with a maturity and wisdom gathered from a long
and rich life of musical experiences.
"I have always had the desire to find unusual set-ups for my productions – like
working with musicians who come from very different genres such as classical
music, jazz fusion, pop, etc. But these trains of thought, which of course can be
very tempting, can never be implemented without a risk. In the case of "Cucu Ear"
for example Alphonse Mouzon and Niels- Henning Ørsted Pedersen played
together for the first time ever. With Niels and Alphonse, coming from such
different stylistic directions, the plan worked out so perfectly that they are among
my favorite rhythm groups today. Not least because of my brother Joachim, who
plays fantastic additional synthesizer solos in addition to his great piano playing.
These were two wonderful days in the studio and an unusual and extraordinary
session that is still today very special for me." - Rolf Kühn, 2019

In many ways, this trio recording is a milestone in the career of this young
Californian
Duke unveils more of his early experiments with the ARP synthesizer, as well as a
new creativity on such more conventional keyboards, as the Wurlitzer, Fender
Rhodes, and the clavinet. As a result, Faces in Reflection is characterized by a
wide variety of tonal hues. The journey moves from the explosive The Opening on
to the tender- tinged Capricorn, which Duke had snatched from the Cannonball
Adderley repertoire. Adderley had been the second major player he had worked
with during that early period; Frank Zappa was the first. Two impressionistic solo
intermezzi segue into the funky fusion escapade Psychosomatic Dung, with
superb interplay between drummer Ndugu and bassist John Heard. The title
piece's secretive synth lines are the moments of calm before Duke's passionate
love affair with Brazil on the B side. The most surprising excursion on this side is
the vibrant and rhythmically intricate adaptation of Milton Nascimentos' Maria
Três Filhos, counterbalanced by the synth laboratory of North Beach. Duke
himself cherished the recordings; he stated that, "This was the first LP that really
said what I wanted to say."

The beauty of the sound: clear, transparent, precise, a work of art - and
that includes both the actual recording, and the subsequent production -
something that was already an essential difference in clarinettist,
composer and sound researcher, Rolf Kühn's musical concept
The pieces were recorded on separate sound tracks, in a stereo technique that
lends a visual sense to the music. In fact, there is a cinematic feel as sounds
project on the mind's eye. For this special, sensual production, Kühn has gathered
his Berlin trio around him - his "working band" with Christian Lillinger (drums),
Ronny Graupe (guitar) and Johannes Fink (bass). Their previous studio
recordings have had a sense of freedom about them that has indicated the
direction in which these musicians are heading. Theirs is a concentrated,
compact play that has moved further and further away from the delineation
between notated and improvised music. Duo and group improvisations flow
across the interstices between the sketched-out musical islands. On 'Stereo' Rolf
Kühn goes even one step further; he condenses the compositions, providing
accurate and concise sound ideas. The sound of 'Stereo' is reminiscent of the
Blue Note aesthetics of the 1960s, when the stereo sound was something
outrageously new and greatly enhanced the tonal possibilities of the recordings.

Jesse B Weaver, since christened Schoolly D, is one of the most iconic
figures in rap music.
Within the hip-hop industry, Schoolly is considered to be the creator of
gangster rap via his globally acclaimed singles 'P.S.K.' and 'Gucci Time'
Schoolly D has transcended the boundaries of genre and created "rap" music that
has been integrated in films, animated series and sampled by some of the most
prolific acts in music including Beastie Boys, Siouxsie & The Banshees, Lil Wayne
and The Chemical Brothers.
Deemed a "pioneer" by Jay-Z (Decoded, 09) and credited by Ice-T as releasing the
first gangsta rap record (Props Magazine), Schoolly D's career has given
inspiration to countless musicians and fans alike. Songs like 'Gucci Time',
'Saturday Night' and 'P.S.K. What Does It Mean?' have become classics and
illustrate the uncompromising narrative that has become synonymous with the
hardcore gangsta rap of the eighties. His true-to-life lyrics give a snapshot of the
streets of his hometown, Philadelphia, and the influences that drugs and gang life
had on him as a young man. Today, Schoolly D has an almost cult-like following,
as his music continues to be referential. Even younger generations have been
turned onto him thanks to his work with Aqua Teen Hunger Force.
This release is Schoolly's 2021 album 'Cuz Schoolly D Is Crazy' and features a
remake of his classic 'P.S.K.' with appearances by B-Real from Cypress Hill and
Too Short. The album also features appearances by Chuck D and Ice- T. The
album was recorded using the same studio and production of his legendary first
three albums. It's reminiscent of his early work and showcases his rhythmic raps,
mastery of beats and sometimes-explicit lyrics, proving the lasting power of one
of rap's legendary b-boys.

Magic spells, time-traveling futurists, sword-bearing horse riders, mountain-residing sorcerers, possessed journeyman,

ominous warnings: Demons and Wizards lives up to its title as a collection of fantasy-based narratives rooted in dreamy,

gothic-minded arrangements. Universally recognized as the finest effort of Uriah Heep's four-decade-plus career, the 1972

LP also perseveres as a prog-rock landmark that influenced countless of bands ranging from Metallica to Styx. And now, it

sounds better than ever on this extremely cool green-vinyl gatefold pressing from Wax Cathedral.

The first album on which founding members Mick Box, Ken Hensley, and David Byron are joined by staple drummer Lee

Kerslake, Demons and Wizards captivates by way of taut songwriting and instrumental execution. Rather than function

as the primary attraction, make-believe lyrical themes augment a formidable assembly of folk-derived melodies, sharp

medleys, and powerful hooks. Acoustic guitars weave webs of finite textures through which crackling, church-like organ

passages and space-conscious bass lines maneuver. Songs come across with an ethereal, powerful feel.

Glowing with old-fashioned tube-amp warmth, concise and punchy fare like 'The Wizard,' 'Traveler In Time,' and the hit

'Easy Livin'' touch upon garage-rock basics. Epics such as 'Circle of Hands' and 'Paradise/The Spell'—a multi-part sonic

excursion whose choral grace and spiritual glide evoke distant lands, misty cloud forests, and peaceful eternities—cling to

a sensitivity underscored by deft piano touches. No wonder Uriah Heep spent the remainder of its lifespan trying to again

capture such a balance.

Exploring hybrid music styles and outernational, borderless musical influences, DJ soFa’s Elsewhere compilation series continues with a sixth instalment, and the second to appear on Kalahari Oyster Cult.

Always ahead of the tide, the Kalahari Oyster is a fine specimen when it comes to the discipline of next-level sound-snooping. Meticulously curated by Belgian sonic globetrotter soFa, Elsewhere XX showcases a dozen outstanding tunes, each dwelling in their own personal space between the imaginary worlds of post-kraut, DIY synth-punk and odd-pop ballads.

Melting these genres with contemporary club music is the mission here. Doused in a thick fog of arcane machine talk, tribal rhythms and cosmic synths, Elsewhere XX is an invitation to escape the hall of LED-backlit mirrors that we’ve so mistakenly come to call our “reality”.

Gathering artists from all corners of the globe – including Radio Hito, Anatolian Weapons, Eylul Deniz, Dame Area and Electronic Body Girl – soFa’s curation lays the groundwork for a unique and thoroughly immersive listening and dancing experience. Through a carefully selected suite of like-minded, yet diverse joints, we run the gamut from distorted funk (“Anita”, “Confiture") and cross-pollinated electroid blueprints (“Walk Away”, “An Abhainn Mhor") to oddball synthpop (“Credo” & Twin Peaks cover "She Can't Die"), reverb-soaked audio safaris (“Fifty Fifty (Anatolian Weapons Dub)") and static-filled postpunk (“Umani”).

soFa's Elsewhere series started in 2017 and this is the sixth compilation to date. Shifting focus with every new instalment, the compilations have previously appeared on labels likes Music For Dreams, Emotional Response and Crevette Records.

Together, sisters Noa, Naomi and Nataja form the band Velvet Volume. Things have moved quickly for the trio since their first concert in 2013. They have already released two albums, played at a myriad of festivals such as Northside, Tinderbox, Smukfest, Reeperbahn, Eurosonic, JA JA JA, Musik i Lejet, Rolling Stone weekender and Alive Festival. They have also performed at both The Crown Prince Couple's Awards, Gaffa Award and several times at P6 Beat Rocker. Velvet Volume has always been the guarantor of a fantastic live experience, where the audience gets to feel the sibling-energy, with all its synergy, love, and temperament - they are sisters with the same origin, but they are also three women, three individuals, and three personalities, unfolding the second they enter the stage. With new music on the way, they continue the study of their own musicality, which stands as an independent and unique sound in the Danish music landscape. What started as three girls playing rock music has now evolved into three young women who are so much more than that and who challenge the genre melodically and musically. Deep engagement to their different instruments – Bas, Guitar and Drums taking their playing to new heights and also now dareing to thing and work with more melody and listener friendly productions. Their third album “nest”will be released in Feb. 2022.

The first and truly stunning release on the new Deeptrax sub-label Chasing Sunsets is one that is hard to describe...

As an (electronic) multi-instrumentalist, ES has been making music on a daily base for more than 25 years but has not released anything meaningful to this day. When we asked for some demos, we were literally bombarded with hundreds of well-produced songs in a wide variety of styles.

ES is a very creative artist who, in addition to making (video) art, creates his own world with his music. He is a musician with a completely unique sound that sometimes evokes a strong association with other music or artists. It sounds familiar and is pleasant to listen to because all the sounds seem to fall into place perfectly. But at the same time, it's totally fresh and sounds like nothing else.

“I just want to make music and not worry about the hassle; you just have to do it for me...” was the answer to the question if we could talk about releasing some music on one of our labels. "Just pick the songs you like, releasing my music on vinyl would be great ..."

So that's what we did...

This first EP gives a nice overview of some of the many musical sides of ES. It's jazzy, funky, dubby and trippy electronica with bits of ambient, house, breakbeat, acid and many other weird ES sound mix-ups. The tracks are as they are, all recorded in one take/version. Unique songs with sharply programmed rhythm and bass complemented by brilliantly played guitar, piano and synth parts. It's a surprising debut from an artist who only shows a small part of his personality with this release.

Welcome to the world of ES....

We are celebrating 20 years of Kellermusik Records with a new vinyl record.
Exactly 10 years after "Forget the Past". Klima fresh Kellermusik sound in a contemporary guise
We would like to thank R.A.N.D. Muzik and of course all the fans who have always remained loyal to us.
Without you this record would not have been possible.
To the next years of Kellermusik Records!

Superb acid mental sounds... Another dimension... Swinging and progressive, with new ideas (like this echo on the flip side reminding me the echo in that subversive wicked movie "Don't Look Up")...

Also to notice... Played at 33 RPM the A & B side tunes are absolutly great too (check our 2 last previews)... Someone at the shop were asking me for some 120 BPM mental acid techno... I think maybe the answer is here : play the 45 at 33... Like the Hardtek french movement was playing records 45 in the early 90's... But now playing 33 instead of 45... Turntablism is all about that I suppose :)

Highly recommended. About the album Blind Emperor Through wetland, winters, rubble and fallout come horizons new; civilisation shattered under a vengeful cataclysm, eventually led to dawn from the light of a blighted leader. Every action has a reaction, and those who wish to prosper must first be willing to offer something of intrinsic value. As one empire crumbles, another takes its place. The struggle for a fleeting utopia comes at a cost, and those who strive towards golden gates must trek along a solemn valley. The Allegorist Berlin-based artist, The Allegorist, has been meandering through stories with her purposeful and introspective take on electronic music. Each release explores themes that require joint participation from the listener as they look to flood your mind with images of fabled characters and places through her artistic soundscapes. Her carefully build worlds that straddle sci-fi and fantasy, feeding off of the light and dark dualism are the perfect blend of reflective contemplation and storytelling. As a holistic artist, Anna Jordan (The Allegorist) encapsulates a myriad of her talents within her work. Her previous albums, Hybrid Dimensions I. and Hybrid Dimensions II., established her aesthetic and detailed fictitious stories, along with the language ‘Mondoneoh’, a language to unite all nations. Her latest endeavour, and 4th album, The Blind Emperor, portrays the essence of a mythical land that tells of struggle that will lead to prosperity. The protagonist, Blind Emperor, leads the charge into a brighter tomorrow. Like chapters from a novel, each track allows the listener to be carried by the story. It is an epic, cinematic, choral, ambient techno album. The album combines her depictive, written and musical storytelling with a concept portrayed visually, orally and audibly to deliver another saga in her ever-evolving figments of fantasy. It comes as an entire artistic project, as The Allegorist created the album art, wrote the included story and composed a poem that all combine to tell the tale of Blind Emperor.

First Word Records is very pleased to welcome back Quiet Dawn with a brand new EP entitled 'Movements'.

Parisian multi-instrumentalist Will Galland has been with First Word since late 2014, providing several releases for us over the years, from his acclaimed debut album 'The First Day' to his last EP release, the organic opus 'Human Being - The Short Story Of The Reed'. Collaborations have included Makaya McCraven, Oddisee, Miles Bonny and First Word crew such as Eric Lau, Bastien Keb and Sarah Williams White, who he teamed up with on his classic remix of the track 'Hum' and most recently on the track 'One By One' which appeared on the compilation EP 'A Family Affair' at the start of 2021.

For his latest project, 'Movements' sits firmly in the realms of broken beat, after being heavily inspired at First Word's infamous 14th birthday party at Total Refreshment Centre, where he played alongside label-mates such as Kaidi Tatham and Children of Zeus. This delectable six-track EP encompasses a series of deeply percussive grooves and squelchy synths. This is a predominantly instrumental affair, though does feature the supremely soulful vocals of Oliver Night on the track 'Change Must Come', following on from Oliver's work with the CoOp Presents crew amongst others.

Quiet Dawn says "after the birth of my son, I took the time to get back to making new music.

And when I started to work on new tracks, I wanted to compose something without concept, unlike my previous records, just because time is precious and I wanted to find pleasure again when I composeand not be fixed to a concept, or a story.



These new tracks are instinctive; made with my main instruments, rhodes & piano, synths, percussions, vocals, bass and guitars. They are naturally oriented towards my big musical crush, BRUK, along with different rhythms, vibes and grooves. For me, it's definitely a record for the dancers. For this reason, the new EP is called 'Movements'. Aside from the dancer's element, the title relates to everything that is happening in the world at the moment, working on this record over the pandemic. Affecting people in all countries, friendship, mutual aid, solidarity and movements in many instances are very important to me, my family and my musical family, First Word.'



The influences on this particular EP come largely from the West London music scene; DKD, Bugz, Neon Phusion, 2000Black, Domu, IG Culture, Jazztronik, MdCL, the First Word fam and many many more artists. There are also heavy vibes inspired by 70's jazz, funk, disco, latin & african music."

'Movements' by Quiet Dawn is released on First Word Records on vinyl & digital in late 2021.

C-L-A-S-S-I-C library breaks and beats set of super-heavyweight espionage-funk.

One of two Be With forays into the archives of revered British library institution Conroy, we present one of our favourites on the label - the super in-demand Background Action from Sammy Burdson, originally released in 1975. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig.

Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde.

Background Action’s first side is all Blaxploitation wah-wah, funky clav and heavy, heavy drums. It’s top-quality takes on the sort of hard-knocking psychedelic sleuth-funk that the library labels gave us in spades. However, we think the real killers are over on side B. Styles upon styles upon styles is what we have. The trio of swish “Water Pollution” variations are pure gold. The two-part mid-tempo b-boy drumathon “News Background” is nothing short of epic whilst the sensational “Kabul Trip A” and “Kabul Trip B” are two different takes on some tough funk, street jazz style with some dope organ, bass and drum sounds. In short, this is a must for both DJs and producers.

The British library label with those instantly recognisable “orangey-red” sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalogue typified the library industry’s strange mixture of tradition and experimentation from the start. Conroy’s early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market.

Conroy stopped putting out new music in the 1980s, but its history and its catalogue offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal.

This re-issue of Background Action has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the iconic, hypnotic original Conroy sleeve. Essential.

C-L-A-S-S-I-C library breaks and beats set of heavy drums and louche funk.

One of two Be With forays into the archives of revered British library institution Conroy, we present one of our favourites on the label - the super in-demand Dramatic Tempi / Larry Robbins Background Rhythms, originally released in 1975. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig.

As a single LP, Dramatic Tempi / Larry Robbins Background Rhythms is two distinctly different collections of music. The first side, Dramatic Tempi, is made up of four tracks each from Sammy Burdson and Klaus Weiss.

Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde.

About as cult as it gets when it comes to library music legends (German or otherwise) Klaus Weiss produced essential records on German library labels Coloursound, Selected Sound and Sonoton, as well as making two essential entries in the Conroy catalogue. Having started his career at the age of 16 as a jazz drummer, the Klaus Weiss trademark electronic sound is unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums.

The second side is both titled and also credited to Larry Robbins Background Rhythms. We have to admit to being stumped as to who Larry was, but we don’t think it’s too much of a stretch to assume it might well be yet another incarnation of Gerhard Narholz’s.

First up from Dramatic Tempi are the phased, gargantuan hip-hop beats of Sammy Burdson’s impeccable “Pop Waves”. This is otherworldly funk on a whole new level. Hearing is believing. The magnificently titled “Cyclodrom” is up next, a beast of booming bass and wah wah guitars over frenetic funk drums. “Devils Drive” is dramatic, blaxploitation street funk with rolling, pounding drums. “Crime Ways” is an acid-squelch, slow-pace neck-snapper.

Klaus Weiss starts by askings us “Is It Hip” and we can only answer “yes it is!” to the clean, skipping drums, booming bass and proto-hip-hop bells, layered beneath laconic and melodic guitar shredding. This is just horizontal soul perfection. “The Camp”, propelled by jazzy guitar à la Joe Pass over fast drum and conga breaks, gives way to the dark guitars and cymbal crashes of “Tomorrow”. It sounds like an early New Order jam session. Closing out a pretty startling side of library greatness, “Rhythm Trip” presents early stuttering funk before easin' on in to a jazzy, soulful groove; all breezy guitar and warm keys. Lush.

Larry Robbins Background Rhythms is a lighter, poppier affair, but it’s not without its drum-heavy bangers. “Vox Pop” and “Pop Phase” each have clean, open-ish drum breaks, ripe for sampling or more daring DJ sets. “Pop Twang” is a short and sweet beat-heavy number that gives way to the fantastically out-there “Canned Pop”. We‘d love to know if this was ever actually licensed for something! The final seven tracks are a set of 1-to-2 minute “Percussion Takes”. All compelling, and all equally useful for any number of production needs. Get sampling.

The British library label with those instantly recognisable “orangey-red” sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalogue typified the library industry’s strange mixture of tradition and experimentation from the start. Conroy’s early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market.

Conroy stopped putting out new music in the 1980s, but its history and its catalogue offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal.

This re-issue of Dramatic Tempi / Larry Robbins Background Rhythms has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the iconic, hypnotic original Conroy sleeve. Essential.

Roaaaar time again! Delphi is one half of Tiger & Woods and back with a well-rounded solo effort. Far from unkempt or uninspired, his six efforts are sitting pleasantly between proto-house, Italo fun, new wave instrumentals and future dance. Silicone emotions meet vocodered vector graphics, handy rhythm trax that would have been hot on the mix shows of WBMX or WBLS are taking turns with neon colored leather hymns and test drive scores. All on one piece of wax. Love the past and join the future!

"The core of confusion and upheaval that drove some of the band's most fiery earlier work, however, is replaced by a more stabilized undercurrent, a mentality that's reflected in songs not afraid to try new things and honestly explore uncomfortable feelings. When combined with exciting production and songwriting choices, that mindset helps make Feels So Good // Feels So Bad one of the Shivas' best albums.” - AllMusic "Portland, Oregon-hailing psych-surf band The Shivas accomplish another time-traveling, reverb-ridden sound that refuses to get boring. Jared Molyneux’s guitar work knows when to be bright or bashful at the right times, breaking into guitar solos that possess a late-’60s groove… The Shivas seem to blissfully flourish” - Paste "a consistent treat for the ears” - The Vinyl District "Though the psych-tinged guitar riff that drives 'Feels So Bad' was written while The Shivas were still on the road, its lyrics didn’t fall into place until the band was well into lockdown, unsure of when they’d be able to return to their most imperative true love: Live shows... Accordingly, 'Feels So Bad' permeates with a sense of urgent desperation, building off a chugging prog-rock instrumental.” - Consequence (on “Feels So Bad”) "They hooked the audience with their throwback rock sounds. The guitar strums and rhythmic drum beats were layered atop smooth and hallucinogenic vocals. The eyes can tell the take at times and there was a sparkle there that said that the band members just love doing live performances." - California Rocker "This single layers on the fuzz but keeps it dreamy, with an especially sticky guitar riff sure to lodge itself in your brain with minimal effort." - Portland Monthly (on “If I Could Choose”) “'My Baby Don’t' translates the genuine vibrant joy


of the live experience into the studio, bringing the band’s ‘60s garage rock roots, sharp pop vocal harmonies, and fervent performances along for the ride." - Under The Radar "Perfectly straddling the line between a solid-head bopping track and an introspective deep cut, The Shivas’ 'Undone' is a rock & roll gem. The track sounds straight out of the late 60s and fits seamlessly in the Portland band’s electrifying catalog." - The Luna Collective "The first time I clicked play on this track, I knew it was a yes for me." - Ear To The Ground Music (on “If I Could Choose”) "The harmonies would make the “Happy Together” Turtles blush, but the unsettling guitar doesn’t shy away from the woollier implications of the ’60s." - Willamette Week (on “If I Could Choose”) "'Undone' is just the perfect song for the good days and the bad ones." - GlamGlare "another hit" - Austin Town Hall (on “Undone”) "one of the best forthcoming albums of the year" - Austin Town Hall RADIO: #3 Most Added @ NACC - 50 official adds BIO Every working musician has had their life turned upside down by Covid-19. For The Shivas, who had recently released a new LP and normally keep a rigorous touring schedule, it was a particularly screeching halt. “We were about to go to SXSW, the following weekend was Treefort in Boise, and then we were going to open for our friends’ band on tour in the US before going to Europe,” Jared Molyneux remembers. Then everything just stopped. They were faced with a dilemma. “It forced us to adapt or just quit,” Molyneux says. “The reality is that shows are our job.” In truth, live shows aren’t just The Shivas job: they are the band’s greatest love. Shivas shows are bombastic, explosive and thoroughly communal live rock and roll experiences where barriers between the performers and their audience seem to dissolve into the sweat and sound. The stage—or the basement, or the living room—that’s The Shivas’ true element. It’s their raison d’etre. It’s their religion. The band’s live urgency may have been born in 2006, when the band’s young members—who began booking West Coast tours while still in high school—waited without fanfare on sidewalks or in parking lots, before being rushed onstage for their sets at 21-and-up clubs. Maybe it developed a little later, as The Shivas blasted their way through Portland’s storied and unsanctioned mid-aughts house show scene. Whatever the origin of their famously kinetic live experience, it’s the show that keeps them coming back after over 1,000 performances spread over 25 countries in 15 years. In those 15 years, The Shivas have grown tight-knit as a group. Guitarist/singer Jared Molyneux, bassist Eric Shanafelt and drummer/singer Kristin Leonard have all been with the band since its earliest days; guitarist Jeff City, another high school friend, joined in 2017. Together they’ve learned to thread a seemingly impossible needle: They’ve honed and tightened their performances without sacrificing the element of surprise that makes each show special. And despite touring and recording for most of their lives, they speak about their project with humility, in the DIY vernacular of their Pacific Northwest upbringing. They talk up their own favorite bands, play all-ages shows as much as possible, and bring a sort of blue-collar humanism to the live performances they relish so much. “We just want to make people feel good,” Molyneux says. “We want them to forget they have to work tomorrow.” Kristin Leonard elaborates, “The live show is all about that feeling of catharsis—in ourselves and in everyone who comes out. We’re creating this safe space where we can all let go. Where we can exhale. And it feels really good when we are able to facilitate that.” So when Covid hit, the band knew it was time for transformation. After a settling realization that live music would be grounded for the foreseeable future, The Shivas booked significant studio time with Cameron Spies, who also produced the 2019 Dark Thoughts LP. They also transformed their lives: three of the band’s four members found work with a local nonprofit serving unhoused Portland residents. They became engaged in protests and fundraisers for social justice. They spent a whole summer actually living in Portland, settling into the city they had always called home, but that sometimes felt like a temporary stop between tours. “We got into a more community-minded headspace,” Leonard says. “And that did give us some purpose. It felt cool to see everybody come together to stick up for what they believe in. It feels like an incredibly formative last twelve months.” The album that emerged from this new moment finds The Shivas reborn as a band that seems seasoned and perfectly at home with itself. There is a calm, even a hopefulness, to Feels So Good // Feels So Bad that sounds new. The Shivas didn’t write or record the album with a particular theme in mind, but one seems to have emerged: where Dark Thoughts was about confronting your demons with fearless self-examination, much of Feels So Good // Feels So Bad is about what happens once you find that peace: how being honest with yourself changes your relationships and your priorities. “I do think it’s about acceptance,” Leonard says. “There’s a weird relaxation that comes with being at peace with things you can’t control or have regrets about.” Maybe that’s why the squealing, riff-laden break-up song opener, “Feels So Bad,” is such a shock to the system. But it’s more of an exorcism than a melodrama: more a song about not being able to do the thing you love (in


this case, playing live shows) than splitting with a partner. “It’s like part of you goes to sleep,” Leonard says. As bandmates who are also in a long-term relationship, Molyneux and Leonard know that their songs might be seen as glimpses into their personal lives, but their songwriting is rarely autobiography. Leonard compares their process to something more akin to screenwriting. “There’s bound to be some autobiographical material in there,” she says. “But the common denominator is the exploration of universal feelings: ones that everyone experiences or can relate to.” The goal is to use the music to drill down into something genuine and sincere, beyond genre or stylistic affectation. That’s where The Shivas have arrived. Whatever growth led the band to Feels So Good // Feels So Bad, plenty of their fascinations remain. They’re still turning love songs into psychedelic, transcendent epics. “Tell Me That You Love Me” subverts doo-wop extravagance and dabbles in Flamenco rhythms. “Rock Me Baby” is a bubblegum anthem soaked in so much reverb that we might just be hearing it from the stadium nosebleeds. “Sometimes” is almost impossibly huge, like a witchy outtake from the Brill Building era. Those songs feel like logical expansions from a band that has always excelled at a timeless sort of rock and roll that tinkers with and explodes elements from every era. But on the towering and mournful “You Wanna Be My Man,” a slow-burning six-minute shoegaze prayer for a higher sort of love, there is a level of emotional nuance that feels like something altogether revolutionary. It’s there again in the stripped-down vulnerability of the album-closing elegy “Please Don’t Go.” Yes, Feels So Good // Feels So Bad is an album about acceptance. Sometimes that acceptance feels enlightened and sometimes it feels like the end result of a lot of kicking and screaming. The Shivas have adapted in both of those ways. With new tours scheduled and a new album on the way, they’re still hoping--like all of us--for a new era of vibrant, cathartic live music. The lessons they learned from having their normal upended, though, have only helped them grow

2022 may bring much much uncertainty to the world but one thing we know for a fact is that we are introducing our most innovative and intriguing new act in years – the French duo Archil & Leon with their five track debut (appropriately called) “Blooming”.

Having both released in the past independently, Archil & Leon were originally brought together thanks to their teenage band His Majesty and from there, their passion to create music together never has faltered. Leon is a veteran session and live drummer who also produces music for his own dance project Ongaeshi and the dance collective moovance. Archil is an accomplished solo electronic musician and the force behind Archil Lab handmade musical devices. Using elements like springs (Springophone) and wheels (Roulettophone), his instruments are lovingly manufactured in wood and somehow carry the characteristics of modular gear but in the most unconventional way possible.

At a first listen, Archil & Leon’s music comes off as a well oiled live jam but as you dig deeper, it’s clear these tracks have a precision and style that separates them into a category of their own. Their EP “Blooming” is the result of two full years of being locked in their studio, writing and experimenting together. Indeed, an underlying flow of 70’s funk permeates throughout their music, however pigeonholing them into such a stereotype would be a travesty as they have impeccable song writing skills and their self made instruments conjure an experimentalism which is through and through rooted in electronic music. We can only hope that fans of now-classic Jamie Lidell / Super_Collider will appreciate where they are coming from, and you agree their “sound” is brilliantly individual. After all, they created their tracks literally from the ground up.

Watch more about Archil & Leon and their wonderfully outlandish instruments.Das Jahr 2022 mag viel Ungewissheit in die Welt bringen, aber eine Sache, die wir mit Sicherheit wissen, ist, dass wir euch mit dem französischen Duo Archil & Leon unseren innovativsten und faszinierendsten neuen Act seit Jahren vorstellen werden. Passenderweise trägt ihre ihre Debüt 5-Track EP den Titel "Blooming".

Archil & Leon haben beide in der Vergangenheit unabhängig voneinander Musik veröffentlicht haben und kamen ursprünglich durch die Teenager-Band His Majesty zusammen. Von da an hat ihre Leidenschaft, gemeinsam Musik zu machen, nie nachgelassen. Leon ist ein erfahrener Session-Musiker und Live-Schlagzeuger, der auch Musik für sein eigenes Tanzprojekt Ongaeshi Studio und das Tanzkollektiv moovance produziert. Archil ist ein versierter Solo-Elektro-Musiker und die treibende Kraft hinter den handgefertigten Musikinstrumenten des Archil Labs. Seine unter Verwendung von Elementen wie Federn (Springophone) und Rädern (Roulettophone) hergestellten Instrumente sind liebevoll aus Holz gefertigt und erinnern irgendwie an modulare Geräte, aber auf sehr unkonventionelle Art und Weise.

Auf den ersten Blick wirkt die Musik von Archil & Leon wie ein gut geölter Live-Jam, aber wenn man tiefer gräbt, wird klar, dass diese Tracks eine Präzision und einen Stil haben, die sie in eine eigene Kategorie einordnen. Ihre EP "Blooming" ist das Ergebnis von zwei Jahren, in denen sie sich im Studio eingeschlossen haben, um gemeinsam zu schreiben und zu experimentieren. Ein unterschwelliger Flow von 70er-Jahre-Funk durchdringt ihre Musik, aber sie in eine solche Schublade zu stecken, ginge gehörig am Thema vorbei, denn die beiden haben tadellose Fähigkeiten was das Songwriting angeht und ihre selbstgebauten Instrumente zaubern einen Experimentierfreude hervor, der durch und durch in der elektronischen Musik verwurzelt ist.

Wir sind uns sicher, dass Fans von dem jetzt schon klassischen Jamie Lidell / Super_Collider Material ahnen, woher der Wind hier weht und von welch individueller Brillanz Archil & Leon's Sound ist. Immerhin haben die Jungs ihre Musik wirklich von Grund auf neu kreiert. Schaut Euch ihre wundervollen, außerweltlichen Instrumente auf ihrer Website oder YouTube an

Array expresses the experience of a remote Antarctic research station through the convergence of sound, site and performance. The result is an immersive and affective experience of the spaces, protocols and conditions comprising the bracing polar environment. Array is a companion piece to Polar Force, a performance-installation work by Philip Samartzis and Eugene Ughetti, presented by Speak Percussion.

Array features recordings of radar and scientific instrumentation used for upper atmospheric research and terrestrial communication. These sounds reveal the sophisticated technology and architecture used and heard within the Australian Antarctic Territory. Many of the recordings focus on the way the built environment is transformed through stress and fatigue caused by extreme climate and weather events including freezing temperatures and high velocity winds.

Together with the field recordings are layers of live performance using custom built instrumentation to produce a unique series of textures, rhythmic cycles, resonances and timbral phenomena. The application of tension and pressure upon the assorted instruments recalls the distressed state of highly specialised infrastructure found within the perimeters of a research station.

A polar research station comprises many types and volumes of prefabricated space. In dialogue with this are the unique spaces used to record the instrumental performance. By merging different spaces Array brings into focus various industrial resonances, spatial characteristics, timbres of metal and concrete, and sonic artefacts produced by hard and permeable materials and surfaces.

In three parts, Array presents Antarctica as a liminal space oscillating between representation and abstraction to challenge often repeated tropes. The intent is to blur the relationship between the recorded and performed to produce a hyper-realistic encounter of the powerful forces that operate at the margins of our planet. One hears the precariousness of a remote research station contorted by unrelenting stress, compressed air forced through waterborne fipples and the volatility of weather events.

Life on remote research stations is progressively resembling the broader contemporary experience, in which strict protocols are used to govern and preserve life. The resilient communities who live and work in these places have learnt how to co-exist with an increasingly hostile environment, along with its unknowns and necessity for hyper-vigilance. Rather than consider it as a place on the edge of elsewhere, Antarctica and its assemblage of durable, super modern colonies provides an archetype for an uncertain future in anticipation of the volatility that awaits.

One On One Crew are Leslie Lawrence & Danny Arno. They experimented with various styles and directions with the aim of creating different music; a deep house sound. There are strong influences from Detroit and Chicago, but still with an unmistakable London style and identity. Both tracks were produced in 1989, and this is the first time either are released on a full length 12".

The Nonesuch debut of Hurray for the Riff Raff (aka Alynda Segarra), LIFE ON EARTH, is a departure for the Bronx-born, New Orleans-based singer/songwriter. Its eleven new “nature punk” tracks on the theme of survival are music for a world in flux – songs about thriving, not just surviving, while disaster is happening. Hurray for the Riff Raff tours North America this spring, beginning March 19 in Atlanta and continuing through April 20 in Nashville, with stops in Austin, Chicago, Los Angeles, and New York, among others. International tour dates will be announced shortly.

For her eighth full-length album, Segarra (they/she) drew inspiration from The Clash, Beverly Glenn-Copeland, Bad Bunny, and the author of Emergent Strategy, adrienne maree brown. Recorded during the pandemic, Life on Earth was produced by Brad Cook (Waxahatchee, Bon Iver, Kevin Morby).

Life on Earth’s first single, ‘RHODODENDRON’, is about “finding rebellion in plant life. Being called by the natural world and seeing the life that surrounds you in a way you never have. A mind expansion. A psychedelic trip. A spiritual breakthrough. Learning to adapt, and being open to the wisdom of your landscape. Being called to fix things in your own backyard, your own community,” says Segarra.

Of the ‘Rhododendron’ video, which was directed by New Orleans-based artist Lucia Honey, Segarra says: “It is really far out and fun. I got this bodysuit that just looks like the inside of the human body. It looks like you’re skinless. It’s in a scene where I’m playing to an audience of plants. Just really absurd, but I put that suit on and I was like man, this feels really good. It feels like, ‘This is who I am. Let’s just take the skin off.’

“It reminds me a little bit of Kids in the Hall,” they continue. “With this ‘Rhododendron’ shoot, something clicked in me where I was like, ‘All I have to do is be myself.’ I had been thinking that I had to be something bigger than myself. I felt like I was just never quite making the mark and then something clicked where I was like, ‘I just gotta be me. I could do that. I could show up and be me. And if people don’t like it, then I don’t know what to fucking tell them.’ It was like a brain shift of, ‘Oh, this can be fun. It doesn’t have to be suffering.’ With so many videos and photo shoots before, it really felt like suffering. I felt so uncomfortable being perceived. I didn’t know who I was.”

Honey adds: “We wanted to create something surreal, playful, and saturated that indulged heavily in the aesthetic of the early ‘90s. Alynda and I had many overlapping visual and philosophical references which sparked the initial collaboration. We wanted to make this video an homage to Gregg Araki’s Teenage Apocalypse trilogy but as a nature documentary crossover. I came across Araki’s work as a queer teenager, and he’s always been a big inspiration. Sex, blood, punk rock, camp, etc.

“We live in a moment where the future is bleaker and more unknown than ever, so there becomes a deep comfort in nostalgia and reliving the past. Through our talks, I realised Alynda’s new album touches on many of these same subjects, but perhaps in reverse; running from a past that is always haunting you. Shifting into a more refined self/identity through confronting one’s trauma and baggage. It was easy to reach collaborative synergy for this video project because we’re both interested in tackling similar issues.”

Alynda Segarra was born and raised in the Bronx, which they left at the age of seventeen, running away from everything and everyone they knew, hopping freight trains or hitchhiking across the country in the company of a band of street urchins. Segarra moved to New Orleans in 2007 and formed two bands: Dead Man’s Street Orchestra and Hurray for the Riff Raff. In 2015, Segarra decamped to Nashville, then to New York, to make her most recent album, 2016’s critically praised The Navigator, an ambitious and fully realized concept album that was her quest to reclaim her Puerto Rican identity. Segarra’s previous records as Hurray for the Riff Raff are Crossing the Rubicon (EP, 2007), It Don’t Mean I Don’t Love You (2008), Young Blood Blues (2010), Hurray for the Riff Raff (2011), Look Out Mama (2012), My Dearest Darkest Neighbor (2013), and Small Town Heroes (2014).

In 2020 double bassist and composer Lara Rosseel was thé revelation of the Belgian jazz scene. With her album 'De Grote Vrouw' she managed to conquer the hearts of jazz aficionados. Her compositions are firmly rooted in the jazz tradition but spiced up with exotic influences, balancing on that enviable border between mystery and recognisability. Music that didn't rely on boastful gymnastics, but a loud beating heart tailored to a wide audience.

Now Rosseel is continuing this journey of conquest with a young quintet and a new repertoire. Foundation and fantasy are key in her arrangements, intimate digressions and fine sound paintings.

The new album Hert is released on WERF Records on 18 March 2022.

Tougher Than Tough – Trojan Rude Boy Sounds is an exclusive release from Music On Vinyl’s Trojan compilation series, which celebrates the best works from the legendary reggae label Trojan Records. It was compiled by Laurence Cane-Honeysett, who also wrote the linernotes. Some of the artists featured on this compilation include Stranger Cole, The Pioneers and Alton Ellis. 2000 individually numbered copies on orange vinyl. The package also includes exclusive Trojan Records and Music On Vinyl coaster.

Vinyl Only

Undefined #12 comes from the hand of Dan Piu. Since 1992, Dan has been keeping it versatile by blending different styles of music throughout his career. We are very happy to welcome him to the Undefined family.

His 'Fantasy Juxtaposition' EP resembles exactly what Undefined stands for; versatile and timeless.

On the A side we have a straight up DJ track with a certain techno and bleep flava combined with deep luscious vocals. Aa. gives us an old nu groove kinda beat with naughty 80ies jazz and old school bleepy acid house.

The B side starts with a real old recorded 90ies track, one of Dan's first tracks ever made. A dull love romance evolves from a harmony of batteling synthesizers layered on a break beat groove and fueled with a portion of soul. A mindbending trip. The Bb rounds it off! A track that Dan created back in 1998 together with his friend Gary Rich, Take a walk to a mysterious forest with this uplifting vibe. Gary Rich was a mysterious producer himself - people may know him from his Nightstalker moniker which he was in together with Dan.

"Black Truffle proudly presents The Refrain from Melbourne-based artist Francis Plagne, whose growing catalog of collaborative and solo releases range from song-based work to abstract audio collages.

Closely aligned with Plagne's Moss Trumpet LP (released by Penultimate Press in 2018), The Refrain’s two side-long tracks mix sounds of the mundane with the otherworldly; rising, receding and overlapping. The result feels like being led through a series of scenes devoid of context or direction. Furthermore, it’s hard to define the scenes as either inviting or disconcerting, as they’re often both at the same time. As the record progresses sounds reappear and are juxtaposed so as to only hint at the familiar. A hall of mirrors, perhaps?

Completed in 2020 using material recorded from 2012-2020, the record uses tapes of shelved, unfinished, and forgotten projects that featured field recordings from various locations, domestic sounds of plastic bottles, bubble wrap, creaking chairs, voice, and instrumental recordings, including an appearance from crys cole on Casio. These pieces were re-amped, processed and edited, then additional instrumental pieces featuring synths, guitars, plastic saxophone, melodica, and percussion were added, the results shaped into drifting, episodic assemblages.

Although essentially a tape piece, The Refrain presents as a crude, non-idiomatic composition that feels both timeless and transitory. It’s a million miles from the polish and rigour of GRM, perhaps more in line with Jacques Bekaert’s eponymous Igloo LP, or Costin Miereanu’s Luna Cinese. The Refrain could be read as a psychedelic Krapp’s Last Tape; one man’s response to listening through forgotten and discarded tapes, reflecting, reconciling, and forging a new path. A potent tonic for these absurd times."

-- Nick Hamilton, August 2021

In 1994, hip-hop was going through an at-times painful growth spurt. Since N.W.A.'s and Ice-T's ascent in the late '80s, the rap game was no longer owned by the East Coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The East Coast / West Coast feud that would later indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. The hype behind young Queensbridge native Nasir 'Nas' Jones had been in full swing months before his smash debut album Illmatic, thanks to Columbia Records' promo machine. From his earliest appearance on Main Source's 'Live at the BBQ,' to his own accomplished debut 'Half Time' (as Nasty Nas, on the Zebrahead soundtrack in late 1992), it was clear that this kid was something special. In fact, the pressure on him must have been overwhelming at times. April 19, 1994 couldn't have come soon enough. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire East Coast breathed a collective sigh of relief. God's Son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers - Premier, Pete Rock, Large Professor, Q-Tip and a youngster named L.E.S. - the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the East... we are BACK.' Illmatic was actually a slow-burn, which might surprise fans that have come to its genius more recently. Despite an unheard-of '5 Mics' in The Source - despite an unwritten rule of never awarding classic status to debuts - it didn't go gold until early 1996, and didn't hit platinum status until late 2001. But when you dive deeper that shouldn't be a shock: like Black Moon and Wu-Tang's debuts, it was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills and heart.

Established UK-talent Made By Pete lands on Damian Lazarus’ flagship Crosstown Rebels imprint this February. Collaborating with Savage & SHē on the two-track Walls of Zion, it acts as the debut release of 2022 for each artist and marks Made By Pete’s third release on the label.

The title track sets the tone, taking the form of a spacious, shamanic inspired cut. Rattling percussion reverberates around shimmering hats, as resonant vocals dive in and out. It feels atmospheric and soothing in one, opening neatly into the stripped-back sounds of Too Drunk To Dream. Lucid and dream-like, there’s a spiritual theme throughout, with whirring synths residing beneath tribal-like drum patterns to form an ethereal, club-ready cut.

Born and raised in London UK, Made By Pete is an artist who can count mavens of the electronic music scene like Damian Lazarus, Sasha and Kolsch as big fans of his sound. He has seen his work snapped up by taste-making labels such as Crosstown Rebels, Saved, Rebirth and Radiant to name a few, whilst performances across the world at clubs such as Space (Ibiza), Chinese Laundry (Sydney), Fabric (London) as well as Thailand’s famous Full Moon Party have highlighted him as a truly global artist.

Mexico-based duo Savage & SHē have garnered an international following thanks to a consistent schedule of quality releases. Imprints such as Abracadabra, Earthly Delights, TrueColors and Trndmsk are just a few examples of labels they’ve graced over the years, whilst sharing the stage with standout performers in the form of Adriatique, Be Svendsen, Matthias Meyer and many more besides.

2 new big tunes featuring N.E.D & Ostapuzz MCs, giving this release a special meaning, these songs are already well known in Ukraine and just have to complement the vinyl collection of Derrick & Tonika fans. Instrumental versions have been added in separate tracks!

Clear Smoked Vinyl

"As a child of the 80s a highlight of Saturday morning TV was an episode of Transformers. My first attempts at sampling and music production was sampling the 1986 movie on my Amiga 500. Then last year during lockdown I decided to dig out the samples and have another bash and ended up with two tracks which I thought were pretty cool... and here we are!"
- Soul Intent

BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.

In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.

This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.

The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.

By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.

Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.

Tape

The occult and folk music have been friends for a while. In the 21st century, hauntology and the resurface of some cult soundtracks from the 1970s and 1980s helped to create a new sense of folk, not associated with the typical acoustic feeling, but more relatable with library, krautrock/kosmische and industrial music. João Kyron and Tony Watts, long time collaborators since the late 1990s with their band Hipnótica, and more recently with Beautify Junkyards (Ghost Box) are well acquainted with this friendship. Hidden Horse is their new project as a duo and “Opala” their first release.

With eight tracks and almost thirty minutes, their first release explores dense and greyish urban utopias. The song titles explore ideas that mix sci-fi, horror, science, space and urban phobia, and the music Kyron and Watts create delivers, using electronics and drums with great relish. Their relationship as musicians, which spans more than two decades, can be felt in the way their music flows with a continuous dialogue.

“Opala” is always keen to take you to another dimension. It lives in its own twilight zone, where the obscure entangles the most obvious senses of reality. It sounds like Jacques Tati “Playtime” with a hauntology soundtrack: it kind of feels that this imaginary world is real, but it’s not. And it sucks you in to be a part of it and enjoy it: close your eyes and let yourself go while listening to “Levitação Magnética” or “Fantasmas do Planeta”. You will feel like a foreigner in a new city.

"It’s a voice that soars –pure, clear and true —above bass and synths, traditional percussion and infectious Mande guitar grooves. A stop-you-in-your-tracks voice instantly familiar to anyone in Mali, West Africa: Rokia Koné, aka the Rose of Bamako. On her debut international release, she’s teamed with Irish-born, California-based rock producer Jacknife Lee —and reimagined the Malian sound in ways leftfield and ground breaking.
BAMANAN is a collaboration that connects the great ancient kingdoms of Mali and the bustling modern street life of its capital, Bamako to a remote recording studio nestled within California’s Topanga Canyon. That bridges deep tradition and forward-facing innovation. One of Mali’s most beloved and dynamic artists, Rokia Koné is a force to be reckoned with. Her captivating performances in the city’s local maquis clubs very often last for hours, as Koné runs the gamut of emotion from joy to despair, fury to tenderness, wielding that astounding voice with grace and power. In 2016, she joined feminist supergroup Les Amazones d’Afrique and made her debut on an international stage alongside the likes of Oumou Sangaré, Angélique Kidjo and Kandia Kouyaté. Jacknife Lee is the acclaimed producer of bands including U2, R.E.M and The Killers, and has a Grammy for his work on Taylor Swift’s multi-million selling Red. Stadium-sized soundscapes are his speciality. Yet BAMANAN finds Lee upholding the stark beauty of Rokia’s voice with subtlety and sensitivity. Every nuance and breath is heard, each inflection and melismatic improvisation carefully preserved on this exciting debut."

The recordings of Grant Green are sought after and this
album is no exception. Presenting six quite varied tracks
where the moods and playing styles shift effectively,
supported by Ben Dixon on Drums and Organist Baby
Face Willette it crosses genres from Jazz and Blues to
R'n'B. The critic Dave Hunter retrospectively described
Green's playing as 'lithe and lose', and by 1962 he was
presented with the 'Best New Star' award by the famed
Downbeat Magazine.