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one hand on the steering wheel the other sewing a garden is the name of the second album by Canadian songwriter Alexandra Levy, publicly known by the moniker Ada Lea. On one hand, it’s a collection of walking-paced, cathartic pop/folk songs, on the other it’s a

book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut what we say in private with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. Due on September 24th from Saddle Creek and Next Door Records in Canada, the physical record will be released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.

Levy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer/engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.

The resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “damn” and “oranges” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “my love 4 u is real '', “salt spring” and “can’t stop me from dying” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.

Inspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand... center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “can’t stop me from dying” and then into the autumnal romanticism of “oranges” before returning back to New Year’s on “partner,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “All is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer” (from “my love 4 u is real”).

Whether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “sewing” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? And how can we appreciate its carefully knit blooms when the rearview mirror is so full of car exhaust?

one hand on the steering wheel the other sewing a garden is the name of the second album by Canadian songwriter Alexandra Levy, publicly known by the moniker Ada Lea. On one hand, it’s a collection of walking-paced, cathartic pop/folk songs, on the other it’s a

book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut what we say in private with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. Due on September 24th from Saddle Creek and Next Door Records in Canada, the physical record will be released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.

Levy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer/engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.

The resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “damn” and “oranges” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “my love 4 u is real '', “salt spring” and “can’t stop me from dying” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.

Inspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand... center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “can’t stop me from dying” and then into the autumnal romanticism of “oranges” before returning back to New Year’s on “partner,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “All is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer” (from “my love 4 u is real”).

Whether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “sewing” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? And how can we appreciate its carefully knit blooms when the rearview mirror is so full of car exhaust?

Black Vinyl LP with double-sided insert with historical information. Released in collaboration with the Alan Lomax Archive. First pressing 2011, second pressing 2021
These are the first recordings made of Fred McDowell—before the folk festivals and blues clubs, before “Mississippi” was inserted in front of his name, before the Rolling Stones covered his “You Got To Move.” They’re the sound of the music McDowell played on his porch, at picnics, and juke joints; with his friends and family; occasionally for money but always for pleasure. Remastered from 24-bit digital transfers of Alan Lomax’s original tapes, and annotated by Arhoolie Records’ Adam Machado and the Alan Lomax Archive’s Nathan Salsburg, they are an illustration of the mind-blowing revelation that was Fred McDowell.
On the first day of fall, 1959, in Como, Mississippi, a farmer named Fred McDowell emerged from the woods and ambled over to his neighbor Lonnie Young’s front porch with a guitar in hand. Alan Lomax and Shirley Collins were there recording the Young brothers’ fife and drum ensemble, as well as the raggy old country dance music of their neighbors, the Pratcher brothers, and they had no idea what to expect from this slight man in overalls. They certainly didn’t expect that Fred would soon become internationally known as one of the most original, talented, and affecting country bluesmen ever recorded.

TOTAL turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If TOTAL 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then TOTAL 21 feels abuzz and alive with possibilities. Significantly, it’s the first TOTAL in some time that’s streamlined down to a single disc; this makes TOTAL 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of TOTAL, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by KOLLMORGEN, remixed by PATRICE BÄUMEL into an astral torch song; Amsterdam’s NICKY ELISABETH, offering up ROMAN FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and CAPTAIN MUSTACHE swoops down into view, PLAY PAUL in tow, with the dream-like electro lift-off that is “Everything”. JONATHAN KASPAR also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to MICHAEL MAYER’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. JOHN TEJADA reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers VOIGT & VOIGT, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, JÜRGEN PAAPE kicks TOTAL 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, SASCHA FUNKE seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE BIONAUT returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. ROBAG WRUHME gets a little delirious on the ticking, twisting “No”, and then GUI BORATTO mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from MICHAEL MAYER, and MARC ROMBOY & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now TOTAL’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favor…

Beggars Arkive announce the LP reissue of Gary Numan’s
fifth album, ‘Warriors’, on orange vinyl. Originally released
in 1983 and co-produced with Bill Nelson, the album
continues Numan’s ambient-funk experimentations.
 “I still like a lot of the ‘Warriors’ stuff and Bill Nelson did a
lot of very inventive things on it which, because of our
differences, I failed to appreciate at the time. I think the
Mad Max image convinced a lot of people, the press
especially, that it was a sci-fi album. Much of it though was
actually quite autobiographical. Even songs like ‘The
Iceman Comes’ and ‘This Prison Moon’ were more to do
with what I was going through than anything sci-fi. Lyrically
I was already becoming overly focused on the career
struggle. ‘Warriors’ was written, in the main, in a hotel
room in Jersey. My girlfriend had just left me, I’d been
evicted from the house I was living in and I felt pretty much
alone in more ways than one. Despite its surface gloss of
futurism it was really very inward looking. To me the image
was meant to represent someone fighting for survival as
much as anything” - Gary Numan
 The achievements over his four-decade career (and
counting) are remarkable for someone who never made
any concessions to mainstream success. Seven Top 10
singles, including ‘Are ‘Friends’ Electric?’ and the debut
solo hit ‘Cars’; seven Top 10 albums, three of which
topped the charts; and huge critical acclaim, most notably
with the Inspiration Award at the prestigious Ivor Novellos.
 In a career that spans over forty years, the music evolves
and the themes change. But fans remain fascinated by
Numan for the v

SEX was composed during the formation of Imhof’s art show of the same name, previously exhibited at Tate Modern, London, The Art Institute of Chicago and forthcoming at Castello di Rivoli, Italy, this September. Imhof, Douglas and Bultheel, reworked the songs from how they appeared in the exhibition ‘SEX’. The result is a compelling record that acts as an imaginative accompaniment to the ‘SEX’ performances, as well as standing alone as a progressive collection of contemporary compositions.

SEX references punk, industrial and grunge, and boldly juxtaposes these forms with music of the classical and baroque period. The album combines classical formals and orchestration with vocals that are rooted in subcultural traditions, thus beautifully overdrawing and overwriting these forms with the composer’s own. Harpsichord and oboe are combined with distorted electric guitar, or exuberant string ensembles with heavy industrial drums.

The amalgamation of genres contained in the album was also integral to the choreography of SEX, where walzes and tangos were contrasted with stage diving, slam dancing and moshpits. What resulted was a surreal ballroom, loaded with desire and aggression. In the same vein, the record fearlessly shapeshifts, blends genres and styles evoking an impressive array of moods. Oscillating between fragility and flamboyance, Imhof and Douglas’ versatile voices reinvent themselves from one song to the next, while singing songs of love and hate.

The last song on Sex is ended by a quote of the band LOW, `All you Pretty People, you`re all gonna die`. This ambiguous moment, a prophecy sung in Douglas’ vibrating baritone voice, rattles the listener despite the mundane truth of the statement. This complexity is reflected in the album itself, allowing for an unusual multiplicity of emotions and interpretations with impressive depth and dynamism.

The album is mixed & engineered by Ville Haimala and mastered by Rashad Becker, featuring design by ZAK Group and photography by Nadine Fraczcowski. All tracks by Anne Imhof, Eliza Douglas & Billy Bultheel, track 6* by Eliza Douglas & Ville Haimala.

Blind, Chicago soul singer Willie Williams was first discovered performing in clubs in and around the Windy City. He was signed to ABC records by their A&R Director for the Midwest Johnny Pate a former Jazz bassist, independent producer, arranger and songwriter in his own right. Pate was a friend and colleague of fellow musician, songwriter and founding member of one of ABC’s prolific vocal groups The Trends, Tom Dorsey. Pate and Dorsey would contribute heavily as writers and producer throughout Willie’s recording career, beginning with his first ABC 45 release in 1966 “Have You Ever Been Played For A Fool/With All My Soul”. The release’s b-side became a popular radio play at the time with Willie becoming known as Willie “Soul” Williams for a while. Two further ABC releases were to follow “It Doesn’t Pay/Just Because” (1967) and “I’m Through With You/Strung Out” (1968).

Willie’s next 45 release although recorded in Chicago under Johnny Pate’s supervision found it’s way to another major label, RCA, although credited as a GWP Production (Gerrard W. Purcell). The 45 in question being the excellent Tom Dorsey penned songs “Just To Be Loved By You/Name It” released during 1969.

Two Willie Williams 45 releases did appear on the Gamma label but I’m unsure if one or both of these are by the same Willie Williams in question.

Throughout his recording career Willie continued to work the clubs with his own band which was led by his bass guitarist and confidant Bradley (Brad) Bobo a man who featured as a session musician on many recording sessions including the creation of The Notation’s album of the same name for Curtis Mayfield’s Curtom subsidiary label Gemigo.

On the 22nd of December 1970 a recording session was held in RCA’s Studio B, on North Wacker Drive, Chicago with sound engineer Russ Vestuto. The session was financed by Tom Dorsey who amongst other song writing gratuities had been paid handsomely for the 3 songs “Love Machine”, “My Baby’s Love” and “How Are You Fixed For Love” which he had wrote and contributed to the blue-eyed hit group, The O’Kaysion’s “Girl Watcher” ABC album. The result of this session yielded four Willie Williams tracks. Brad Bobo played bass guitar on the session, the composer of the four songs Tom Dorsey supplied the arrangements and Tom’s wife Carolyn (also a former group members of The Trends) joined both he and Brad on backing vocals.

The four songs were then offered to Eddie Thomas who chose two of them to release on a 45 single. The two songs being “Must Mean Love” which was later renamed “The Baa Baa Song “and “Psyched Out” which Eddie then released on his own Lakeside label, thus leaving the two other songs to remain unissued in the can.

Willie has now sadly passed away but in his later life once the opportunity’s for performing artists began to dwindle he chose a different path in his life, gaining a Doctors degree, he went on to become a College Lecturer. Tom Dorsey too turned his back on the music industry apart from his publishing company to concentrate on his family life as well as founding a very successful business involving one of his other great life passions, photography. Luckily for us he never lost the master tape of Willie’s sessions and after several years of tentative enquiries he graciously relented to my request to put them out. So now before you we have the two excellent previously unissued Willie Williams songs that Eddie Thomas passed on, the delightfully soulful “Give It All I Got” backed with the funky, social conscience themed “Do You Understand”, lost early 1970’s Chicago Soul at its finest.

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their debut album “Black Country Communion” was originally released by Mascot Records in Europe in 2010. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

On "Black Country Communion" most songs are sung by Glenn Hughes, with the exception of 'Song Of Yesterday' and 'The Revolution In Me' which are both sung by Joe Bonamassa. Hughes and Bonamassa share lead vocals on the songs 'Sista Jane' and 'Too Late For The Sun'. Also included on the album is a new version of Medusa, the classic rock song that Hughes originally recorded with his first band Trapeze. Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

Midway through his long, earnest and often very, very
funny essay on the role playing game ‘Dungeons &
Dragons’ in the September 2006 issue of The Believer,
writer Paul La Farge proposes that ‘Dungeons & Dragons’
is not a game at all but rather a ritual. La Farge notes the
marked difference between game and ritual. Whereas a
game seeks to demonstrate how unequal or distinct
players / teams are from one another, rituals seek to do
the very opposite.
 And so, across the 25-year history of Jagjaguwar - an
independent record label curiously named using a
‘Dungeons & Dragons’ name generator - we find this idea
of ritual as a conjoining practice. We see it early on when
Jagjaguwar join forces with a midwestern label called
Secretly Canadian for a powerful fusion. We see it in
familial relationships and collaboration among Jagjaguwar
artists and the ways those artists’ most treasured
collaborators make their ways to the Jagjaguwar game
board.
 ‘Join The Ritual’, a piece of Jagjaguwar’s 25th Anniversary
celebrations, looks to pay homage to the labels and artists
that, whether they know it or not, invited Jagjaguwar to the
table, to this wild, dark magic ritual of music. We’re talking
about independent titans like Drag City, Too Pure, K
Records and Touch & Go. We’re talking about heroes like
R.E.M., Slint, Stereolab and Tracy Chapman. These songs
captured the imaginations of founders Darius Van Arman
and Chris Swanson - and ultimately, opened up worlds to
them.

Fueled By Ramen will be reissuing one seminal album from our 25- year history each month throughout the calendar year of 2021. For September 2021, we will be releasing the adored debut album from power pop punkers Cute Is What We Aim For – The Same Old Blood Rush With A New Touch, originally released 2006. Again this will be on 140g Silver Vinyl as part of the FBR 25th Anniversary.

FBR 25 Podcast

We are currently working on a 16 part podcast that will delve into the history of FBR, it’s cultural relevance and Global impact over the past 25 years. Each episode will look at the careers of some of our most important artists, and deep dive into the making of albums told by the artists themselves in their own words.

25th Anniversary Merchandise

We announced the 25th Anniversary around Thanksgiving last year with our first 25th Anniversary limited merch drop, and then will be working throughout 2021 on new and exclusive designs to drop throughout the year.

A Civil Rights activist who marched alongside Jesse Jackson, preacher for Earth Wind & Fire, Stax recording artist, “Family Feud” contestant, Stephen Curry soundtracker, high school drop out, and Kanye samplee, Pastor T. L. Barrett stuffed a dozen lives into one. His signature 1971 spiritual soul jam “Like A Ship” has transcended its humble South Side Chicago beginnings, rediscovered by Leon Bridges and Beck and described by Radioheadʼs Colin Greenwood as “The most euphoric celebratory music that makes you want to jump around the house and explode with joy.” This box is the definitive statement on Barrettʼs two decades of recordings, 49 tracks spread across five LPs, including Like A Ship, Do Not Pass Me By Volume 1 & 2, I Found The Answer, plus a bonus album of singles and sermons, a 10,000 word blow-by-blow, and illustrated discography.

incl. 2 posters

Five years in the making, label boss Emmanuel aimed to deliver what for him was the very best selection of artists and people he could ever imagine in one single roof. We have repacked and redesigned our very first compilation after the great first run. 20 artists, 5 records, 1 box.

The Box is a meticulous work of one entire year, every artist of the 20 selected delivered something that connects deeply with the label and the reason why they are part of it. The study goes beyond when artists get different colors of palettes and a different surface to paint, their known soundscapes come with something freer than the usual approach that they did in their singles.

This is a pinnacle for a label that always placed music in front of everything but kept the design and the aesthetics on a top-level each release, each year. ARTS V.

This summer, Saft welcomes Dubbyman after a three-year hiatus from releasing music. He serves up a gorgeous new EP in the SAFTX series that features a remix from Detroit mainstay FIT Siegel.

Dubbyman is a master of the deep. As a DJ and producer, he explores warm and heady soundscapes that are rooted in house and techno but decorated with much more. His musical synths and compelling rhythms have resulted in countless vital EPs on labels like Ferrispark, Soul People Music and the Deep Explorer label he co-runs. Now, after a break, he is back and in brilliant form.

Opener 'En La Ciudad' is an effortlessly loose and languid house track. The hip-swinging claps and funk bass riffs bring a sunset vibe, with wordless vocals from Carlito Brigante Rojo and dreamy pads really soothing the soul. Remixing is legendary FIT Sound label head, FXHE associate and pillar of the Motor City scene FIT Siegel. His famously no-nonsense approach results in a track here that is laced up with smoky soul. The dusty beats roll deep, the twisted synth work brings light and lush pads soften the whole groove with a real sense of heart.

"Up Again" strikes another perfectly seductive pose with its jazzy keys, soulful vocals, and rough-edged beats that make you want to dance. It's a tune packed with feelings and irresistible funk, and is sure to be the soundtrack to many outdoor parties this summer. The Deep Explorer Mix is a little more direct, with dynamic house drums, sunkissed motifs and warm pads taking you straight to the Mediterranean. Last of all, "Tropic" featuring Arturo Sanchidrian on bass is a downtempo classic, with beachy vibes, gently breaking synth waves and soft-focus melodies sinking you deep into a
reverie.

This is an EP of life-affirming, heart-warming house sounds that take you to a better place.

For Wilkes-Barre’s One Step Closer - the concept of home is complicated. “I’ve never felt so distant in my life,” vocalist Ryan Savitski screams on the lead single “Pringle Street,” a place in his hometown that binds the album’s lyrics to both a precise location and feeling of displacement. On their first ever full-length album and debut for Run For Cover This Place You Know, the band offers a modern comingof-age story about growing up and grasping both the known and the unknown.

One Step Closer started in 2016 and in their short five years, Savitski, along with drummer Tommy Norton, bassist Brian Talipan and guitarists Ross Thompson & Grady Allen have come into their own as a modern hardcore mainstay. Their 2019 EP ‘From Me To You’ countered existing trends in exchange for a more melodic sound in the vein of bands like Turning Point and Title Fight. They went on to open for Have Heart at the band’s now legendary reunion shows that summer, and joined bands like Knuckle Puck and Turnstile on tour before pausing to write their debut album.

This Place You Know grapples with the weight of themes like isolation, depression, and loss - all amplified by driving bass lines, emphatic guitar riffs and unwavering drumming performed by the band. From the first moments of album opener “I Feel So,” the stakes are made clear by the anchoring lyric ‘this place you know, sometimes it hides the truth and lets people go” - One Step Closer is attempting to resolve the unresolvable anguish of moving on from everything you once knew.

- Debut full-length & first RFC release for One Step Closer
- Previous touring & show history with Have Heart, Turnstile, Knucklepuck, Fiddlehead
- US & international touring to follow album release in fall
- Music videos for “Pringle Street,” “Chrysanthemum” & “Time Spent, Too Long”

The Altered Hours have just announced details of their second full length album ‘Convertible’. The Irish group have just signed with Pizza Pizza Records and the 8 track album is set for release in May 2021. Following on from some successful headline tours across Europe supporting their debut album & some blistering EP’s along the way, the group found themselves looking for the next step in their ever- evolving journey. Having previously recorded in Anton Newcombe’s Berlin studio for their debut singles & ending up in the infamous Funkhaus studios to lay down what would become their debut album ‘In Heat Not Sorry ’, the band decided once again to



change the approach & take their new songs back to the privacy of their own studio space on the outskirts of Cork City. The new LP ‘Convertible’ is the result of countless late night/early morning sessions that took place over the past 2 years. Choosing to self produce and engineer this record was a conscious choice as the band felt an urge to take what they had learned on the road & in various studios previously, and condense all of this energy back into the boiling pot of their own rehearsal space.

The group have been a part of some exciting movements since the beginning and their path has been an organic one. They quickly became known in their hometown for taking over an ex-government building in the heart of Cork city, turning into a studio and creating a hub for the scene that surrounded them. The years that follow shine a light on the relentless energy of this group and unwavering love for playing shows anywhere & everywhere. Having been invited to perform at Liverpool Psych Fest numerous times, supporting the Brian Jonestown Massacre, selling out venues, churches & clubs, playing rip-roaring DIY shows in friends’ basements, getting joined by members of Spacemen 3 on stage and more recently, being invited by fellow Irish rockers Fontaines D.C to join them on their 2019 European tour playing sold out shows in venues like The Bataclan, Paris & Paradiso, Amsterdam. It’s been a wild ride for The Altered Hours so far & their music keeps evolving & growing as the experiences build. This is a group with the spirit of music deeply ingrained in them and a passion for making rock music something that you can believe in.

Their second full length album ‘Convertible’ is a window into the band’s idiosyncratic tendencies, a closer look into how their writing & sound continuously moves forwards while somehow remaining rooted in their own unique world all at once. The Altered Hours seem born to be an underground affair, something that they wear with pride and this album is a wonderful culmination of their DIY upbringing, their unfiltered rock ‘n’ roll spirit along with a confident stride into personal songwriting.

Robbie Williams will be reissuing his first two multi-million selling solo albums ‘Life Thru A Lens’ and ‘I’ve Been Expecting You’ on vinyl for the very first time. To be released on 24 September, both titles have been newly mastered at Abbey Road Studios, are pressed on 180 gram heavyweight vinyl and housed in gatefold sleeves, reproducing the original distinctive artwork. Both titles come with Download codes. Originally released in October 1997, ‘Life Thru A Lens’ was Robbie’s debut solo album. It entered the chart at number 11 but had to wait almost six months before it reached number one. It eventually spent 147 weeks on the Top 100 and has been certified 8x Platinum by the BPI for UK sales in excess of 2 million copies. It includes the hit singles ‘Old Before I Die’ (No. 2), ‘Lazy Days’ (No. 8), ‘South Of The Border’ (No. 14), ‘Let Me Entertain You’ (No. 3) and ‘Angels’ (No. 4), the latter his biggest selling single to date, and voted the best song of the last twenty-five years at the 2005 BRIT Awards. Now certified 10 x Platinum by the BPI, with UK sales in excess of 2.5 million, ‘I’ve Been Expecting You’ was originally released in October 1998 when it entered the chart at number one. It returned to the summit the following January and once again a month later. It includes the hit singles ‘Millennium’ (No. 1), ‘No Regrets’ (No. 4), ‘Strong’ (No. 4) and ‘She’s The One’ (No. 1). ‘No Regrets’ features backing vocals from Pet Shop Boys’ Neil Tennant and The Divine Comedy’s Neil Hannon, while album track ‘Win Some Lose Some’ includes the ‘Telephone Voice’ of All Saints’ Nicole Appleton.

Robbie Williams will be reissuing his first two multi-million selling solo albums ‘Life Thru A Lens’ and ‘I’ve Been Expecting You’ on vinyl for the very first time. To be released on 24 September, both titles have been newly mastered at Abbey Road Studios, are pressed on 180 gram heavyweight vinyl and housed in gatefold sleeves, reproducing the original distinctive artwork. Both titles come with Download codes. Originally released in October 1997, ‘Life Thru A Lens’ was Robbie’s debut solo album. It entered the chart at number 11 but had to wait almost six months before it reached number one. It eventually spent 147 weeks on the Top 100 and has been certified 8x Platinum by the BPI for UK sales in excess of 2 million copies. It includes the hit singles ‘Old Before I Die’ (No. 2), ‘Lazy Days’ (No. 8), ‘South Of The Border’ (No. 14), ‘Let Me Entertain You’ (No. 3) and ‘Angels’ (No. 4), the latter his biggest selling single to date, and voted the best song of the last twenty-five years at the 2005 BRIT Awards. Now certified 10 x Platinum by the BPI, with UK sales in excess of 2.5 million, ‘I’ve Been Expecting You’ was originally released in October 1998 when it entered the chart at number one. It returned to the summit the following January and once again a month later. It includes the hit singles ‘Millennium’ (No. 1), ‘No Regrets’ (No. 4), ‘Strong’ (No. 4) and ‘She’s The One’ (No. 1). ‘No Regrets’ features backing vocals from Pet Shop Boys’ Neil Tennant and The Divine Comedy’s Neil Hannon, while album track ‘Win Some Lose Some’ includes the ‘Telephone Voice’ of All Saints’ Nicole Appleton.

Digitmovies is proud to release on LP the OST by Ennio Morricone: "Noi lazzaroni" (aka "We Rascals”). Ennio Morricone has composed a very "rural" score with the sounds, that represent the life of the protagonist. Although integrated within modern society, the soul of this man is always directed to his past, to his land, to the teachings of his father which he could never leave behind. This adherence to the homeland is expressed through deliberately wild and almost enraged vocal performances of Edda Dell'Orso. Ennio Morricone has composed music which reflects the bucolic atmosphere of this tale through a series of archaically flavoured themes played by instruments like recorder and mandolin. Among the recurrent themes there are a mysterious motif, dramatic music for dissonant strings and a lounge theme with the typical Morricone sound. The main theme is reprised for recorder and guitar and there is Baroque music for the puppet theater played by woodwinds and percussions. Our LP contains two bonus tracks, unreleased alternate takes of the original album versions which will surely be quite attractive for fans and scholars of the music of Ennio Morricone.

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their second album, simply called "2" was originally released by Mascot Records in Europe in 2011. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

Producer Kevin Shirley explains "On '2', you can hear the band own their music, own their sound, and it is an astonishing musical group unlike any other and they are absolutely the kings of their genre." He continues sstating, "I wanted to explore more of the Bonham sound and more importantly each member of the band gets a unique opportunity to shine, but the music always has the distinct sound that is BCC." Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

The 'Stages of Grief' series made up one of the inaugural releases on the newly launched Vaknar label, back in 2018.

3 years later, the series comes to an end via its third and final iteration, ‘Acceptance’, which is presented via 2 parts, containing compositions by both, old and new label affiliates and friends.



As the curtains draw on one stage, a new light might be shining somewhere else, and we are reminded that with every ending, there is always a beginning. Thus, hopefully this final segment will let us review these arduous and tumultuous previous months through a forward seeking gaze, accepting the weight of the past, while embracing the virtues of tomorrow.

This is part two of ‘Acceptance’.

Light Blue Vinyl

**Tracks 'Sixth Sequence' and 'Tenth Sequence' are bonus tracks & exclusive to the vinyl release only.** limited transparent green vinyl LP

Past Inside The Present is pleased to announce 'Wave Variations' which is a new mini-album by veteran ambient producer Dennis Huddleston AKA 36.

36 has often enjoyed exploring self-imposed restrictions, as it forces him to be creative, while allowing an inherently coherent sound between the different compositions. All the arrangements on Wave Variations use a limited pallete of mostly synth-based sounds, with particular focus on keys and melodies. Each track directly influenced the next one.

Dennis has kept almost every track around three minutes in length. He states, 'I feel like a lot of ambient music (including my own) is often unnecessarily long and these small vignettes work as a nice counter to that. Don't expect long build-ups or over-extended crescendos; These are short tracks that take you straight to Elysium and then dissolve into the ether.'

He further explains the output of Wave Variations, 'Ocean tides inspired the album. I think we've all felt that sense of longing and wonder while standing at the beach, staring at the waves and gazing into the endless horizon. I think it's something that transcends all generations of people. Like the waves, these tracks leave as quickly as they arrive. I feel it's one of the most minimal records I have made, with far fewer individual sound sources at my disposal. It keeps me on my toes and forces me to deeply explore the instruments I have available to me.'

This stripped-back sound gives the album a hypnotic quality to it. Like much of Dennis' work, there is a delicate balance between melancholic melodies and rich textures, resulting in an understated yet deeply exhilarating sound. Fans of emotional, melodic ambient music should find plenty to enjoy.

We are thrilled to announce the first release in 25 years on Suzanne Ciani's Atmospheric label, which focuses on her live electronic music. Improvisation on Four Sequences was performed live in quadraphonic on the Buchla 200e and the Animoog at Festival Antigel in Geneva, Switzerland on January 25th, 2020. This record is specially encoded to be played back in quadraphonic sound and is also stereo compatible.

Around the year, the sturdy red brick walls of an old Cable Factory stand there like a mountain, facing weathers of all kinds rising from the Gulf of Finland. It might be freezing winter winds whipping the whole shore line into submission, fog heavy as concrete, or the relentless sun of the summer months, softening the asphalt to a boiling point. Whatever the weather may be, the narrow courtyard of the old factory embraces those musicians, who are looking to get down. They gather from all directions, making their way towards a pair of doors that lead towards a flight of stairs, again through a few doors all the way to the last portal, where an open padlock and a loosely hangin crossbar signal that Cold Diamond & Mink are inside, locked in a groove.

Who could it be with them this time, perhaps the jazz prophet Jimi Tenor beaming out of his space ship, maybe it's the golden voiced knight of soul Tuomo "Pratt" Prättälä, the number one trumpet wielding dandy Jukka Eskola or the saxman Pope Puolitaival, who loses nothing in coolness compared to the former? The reel to reel is always there in the monitoring room, catching each analog layer of sound, even the silences and banter between takes. Seppo lays down the guitar and tries to catch the riff on organ instead, Jukka throws a rare tune on the turntable, hoping to guide their unit through that wobbly chorus, Sami waits there bass in hand, maybe already thinking about the next production.

After a whole lot of playing instruments, arranging and taking care of business, after the moon has travelled around the old industrial building for some rotations, Carlton Jumel Smith comes waltzing through those same doors. There's a handful of unnamed tracks waiting for him. He sits there listening and then starts writing, maybe echoes of soul classics from his own record collection in New York projecting inside his mind. Then the tape is rolling again. Starting with a short intro rap Carlton lets it out, singing on the edge of shouting "Woman you made me...". After the vocals are in the can, Carlton ascends out of the basement and heads out to entertain an audience somewhere. Some months later, after the mix is said and done, there's the question of the instrumentals. It seems they're pretty good as they are. And here they are.




d 04: Help Me (Save Me From Myself) Instrumental

Elite Beat is a musical collective from Portland, Oregon with a history spanning back to 2006.

'Selected Rhythms' captures the finest moments from all three of their ultra limited cassette series 'Casual Rhythms'.

Packed full of DIY dub mixing, cosmic orchestration and raw, percussion driven polyrhythms, the recordings have been remastered and put to vinyl for the first time with sections from Casual Rhythms Vol. 1 being re-shaped into previously unavailable single tracks.


Recording plays a big role in the Elite Beat creative process. The studio as an instrument. Much of the Elite Beat music is mixed in an all-hands-on-deck dub style approach - live with an analog mixer and loads of FX being thrown and dubbed in real time. The sound is genre-less rhythm music with an emphasis on live playing, free form expression and technique that borrows from soundsystem culture. Inspiration can be heard from all parts of time and place. Some Ethio Jazz, Black Ark psychedelia, Exotica, Malian blues, even Haight-Ashbury in the summer of love. Each member an accomplished musician in their own right, Elite Beat thrive on collaboration. 2018 saw the release of their astral-Saharan jams with celebrated Taureg guitarist Mdou Moctar.

The players get together every Wednesday evening, sometimes to chat, sometimes to play. The 'record' button gets pressed when they find what they are searching for. For this crew it's all about 'Casual Rhythms / Harmonious Lifestyles' - if things don't fall under that mantra, then it's got to go. 'Less is more' for Elite Beat and their cosmic sounds.

It's the dawning of a new era... after many months of being connected via proxy the time has come to get together... Tonight My Dance, Is All About You!

Pascale Project brings you three original dance music compositions in the key of having a good time. Soaked in the tradition of summer fun in the city, elements of Freestyle and Electro weave in to the House beat. These sounds evoked by our beloved corner of the world are now broadcast to the global network of party purveyors. A pulsating chill-out version of 'Welcome' by DustWORLD head Dust-e-1 sits nicely at the A2 position to be used as needed.

All cut at 45rpm for diverse playing styles!
Music by Pascal Mercier.
Mastered by Nik Kozub.
Artwork & design by Kris Guilt

This time you'll find the Wax's #plectrum with the vinyl; a little gadget to stimulate your musical fantasies. (only for the first 200 orders!)

Four years and ten releases later we can say that Apparel Wax -the vinyl-faced hero- has been able to always renew itself and its sound because, as our manifesto says, we try not to submit to any genre. We wanted every release to be the outcome of a long research through uncommon sounds and APLWAX010, yet again, is an unidentified sonic object picked up by our radar. The last one though! We didn't plan it, we just felt like the time has come -eventually- to close this beautiful chapter. More than one factor led us to take this decision: the progressive concern about the planet (therefore the impossibility to keep producing plastic bags and gadgets), the desire to leave at our peak and to invent something new are just two of them. The constant process behind the renewal of our sound -which we embraced ten years ago with the birth of Apparel Music- sometimes passes through hard choices and we need to feel again that sensation of 'void' in order to create something fresh, different, as we did when we started Apparel Wax. We won't drag our masked hero to a point of sonic stagnation. We'd like to send you all a big greeting and a heartfelt thanks for every second of your time spent listening to Apparel Wax, it literally meant the world to us. What was initially just a bold idea became a musical reference point for many people around the world, and we will be forever grateful to y'all because, without you, it would have never been possible. Finally, a huge thanks to all the artists involved in the project. They contributed with their art to a bigger cause, the biggest: music. YOU are the true masked heroes, you are Apparel Wax. As for us, we'll live on and our sound too. Our ideas, our passion and dedication for the one and only thing that really makes us happy will never die. Something new will always come on our end because that's our purpose, our philosophy. Manman, what a journey has been, now on to the next one!

Andy Compton is undisputedly one of the hardest working producers in dance music. With over 40 albums and 150 EPs released either solo or as part of deep house legends The Rurals, the Bristol-based producer just can't stop creating profoundly funky and vibey music that works on loose-limbed dancefloors, beach bars and shag carpets alike.
He has appeared regularly on quality labels as diverse as Lumberjacks In Hell, Hed Kandi, LARGE and naturally, his own vital imprint Peng.

Andy's latest long player for Tangential Music is a collaboration with LA artists Irantzu Pujadas and Brad Kent under the name Blue Dream.
Aptly titled: 'A Trip To LA' the album is a deliciously louche and laidback twelve tracker of pure LA heat. The project began as many great ones do, without a plan. Visiting Brad's studio to check out his huge vintage analogue synth collection in search of new sounds for The Rurals, they got to thinking...and jamming. With Brad on the dusty old drum machines, Irantzu on the microphone and Andy in synthesiser heaven, Blue Dream was born.

Their first and equally good album 'California Dreaming' was released on Peng in early 2019 and now we are here with a second round of perfectly realised dream-like grooves. Think of the sun-facing vibes of Shuggie Otis, Eddie Chacon, Bobby Caldwell or Roy Ayers at his most relaxed and add a passionate knowledge and experienced grasp of electronic forms. They make this seem easy goddammit.

'I Wanted To See You' sounds like Khruangbin with a 303, 'You Want Me Back' with its mid-tempo shuffling groove, saucy squidge bass line and seductive soul house vocal is pure daytime at Houghton Festival happiness, like Crazy P in the hot tub.

At no point are we required to sweat. Lie down if you must, stand up and sway if you're ready. This could be lovers music or just for you alone. Irantzu's vocals throughout are whispers and purrs, evocations of humid love drenched in reverb and easy living. Sunset music.

The singles 'I Wanna Go Home' and 'Sandwich Dub' don't deviate far from the endless feeling of hazy cinematic sunshine, one a sultry plea for intimacy, the other a heavily dubbed-out slice of musique française amour.
'Trip To LA' with a vocal more than suggestive of the Balearic classic 'Sueno Latino', spare guitar chords and a prodding repetitive bass line creates a feeling of slinky bliss.

Every track is full of sensual melodies and the space required to be truly funky. Press play and invite a bit of California magic in...

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time vailable on 180g Vinyl. For fans of Joanna Brouk, JD Emmanuel and Pauline-Anna Strom.

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The “Music of Rana” Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

FACT MAG: "These deeply meditative pieces are an expert take on how subtleties and concentrated listening go hand-in-hand. There is inherent beauty here, but it’s the deeper aspects that make the biggest impact."

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time vailable on 180g Vinyl. For fans of Joanna Brouk, JD Emmanuel and Pauline-Anna Strom.

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The “Music of Rana” Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

FACT MAG: "These deeply meditative pieces are an expert take on how subtleties and concentrated listening go hand-in-hand. There is inherent beauty here, but it’s the deeper aspects that make the biggest impact."

Speiz Bois is a trio of three seasoned Hungarian musicians active in countless other projects (think of the already cult Jazzbois outfit) playing a unique fusion of hip-hop, spaced out psychedelic grooves and melancholic 80's guitar sounds.

'SpeizBanger' on side A is one of those timeless songs that are hard to be described, but we are pretty sure this is what an imaginary demo by random members of BadBadNotGood and Khruangbin, recorded in a smokey Budapest home studio would sound like.

'BreakBottle' on the flip starts off as a more conventional live groove until the ethereal synths and guitar harmonies come in, from then it sounds like the fictional demo described above.

The single is limited to 300 copies

25 years ago the undisputed Godfather of Australian techno dropped LSD - the track that is - and at the time it was massively supported around the globe.

Here we are in the year 2021 and its time for the anniversary edition to be released on his bespoke label REFLECTOR. This release features a reimagining by producer Steve Ward and his Acid Manipulation accompanied by the newly remastered version of the HMC original.

Vinyl purists rejoice as this will be released first with a limited edition sleeve deigned by Adelaide/Australian Style Writer Kab 101 - be quick to secure your copy.

There will be a complete digital package including additional remixes to follow.

HMC was never one for hype so we’ll keep this brief except to say that we’re so excited for this to be played LOUD - again - across the sound systems of the world.

Tape

Pauline Oliveros and Guy Klucevsek's "Sounding / Way" was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing.

The Sounding / Way concept was simple. Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's Tremolo No. 6 performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition The Tuning Meditation, also performed by both Pauline and Guy.

This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros.

Guy Klucevsek is one of the world’s most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn.

Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others.

Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not

to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.



In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.



The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.



“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”



There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.



The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.



“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”

EAT MORE HOUSE presents Nu-Cleo - Around The World!
We are very happy to welcome this great artists from Italy on the 10Th edition of our label. Around The World is timless masterpiece by Michele Lamacchia aka Rhythm Of Paradise!

Essential Aliensis the 10th Helvetia album. Helvetia is the solo project of Jason Albertini from Duster. Helvetia resides in Portland, Oregon but was formed in Seattle, Washington in 2005 after Duster first went on hiatus. The songs onEssential Aliens were recorded over the last year, in Jason's basement. Since the band's inception, Jason has continued to employ a rotating cast of band members and collaborators, which now includes Steve Gere and Samantha Stidham. Steve and Jason also played in Built To Spill together from 2012 until 2018. In 2019 Duster started playing shows and recording again. During this time Jason started writing what would becomeThis Devastating Map. Released at the beginning of August last year, Post-Trash called it"a constantly shifting project that takes experimental lo-fi into brilliantly colored psych directions with a concise glow."Then the pandemic took hold. With normal life at a standstill and unable to hang with his bandmates, Jason focused his energy on his daughter's homeschooling schedule, and recording. He focused on finishing one song a day and was soon honing in on a new album. Essential Aliensdistills and simplifies the Helvetia sound. Reverb and delay are absent, replaced by warm fuzz and intimate room sounds. Progressions morph with stoner repetition and end in head scratch. Drums distort, muted bass lines prop up acoustic guitars blown out on a cassette four-track. Cheap electric guitars are barely in tune and recorded direct, almost painfully in your face. The songs are short blasts of psychedelic chill, unrooted by genre, a rummage around an alien radio dial. These are simple songs about keeping yourself from falling apart, to remind you that you can be strong. The visual elements for the album come from a recurring dream, which centers around a period in Jason's childhood when he lived in Basel, Switzerland, and believed that he lived with a ghost. In the dream, Jason's life becomes turned upside down because of a series of unexplainable events that turn out to be orchestrated by the ghost, and he wakes up convinced that he is a ghost as well. These are simple songs about keeping yourself from falling apart. To remind you that you can be strong. This is a weird blues.

‘Something Good Will Happen’ marks another defiant chapter for MarthaGunn, who consistently prove they are worth their weight in gold through honest and conscientious song-writing, partnered with pristine pop melodies that have caught the attention of tastemakers CLASH, Independent, Dork, The Line of Best Fit, BBC Introducing Track of The Week and John Kennedy (Radio X). This is the sound of a band ever evolving their euphoric sound, where nuanced production and kaleidoscopic samples lift them into the stratosphere. If there’s one goal MarthaGunn want to achieve with their music, it’s connection. Whether it’s Abi giving a voice to her contemporaries via her Songwriters Circle on Instagram live, where she invites her favourite songwriters for a Q&A about their process, guests including Another Sky, Katy J Pearson, Willie J Healey, Flyte and Buzzard Buzzard Buzzard, or setting up a virtual tour in light of having shows cancelled and playing a special live set including a locally sourced cover - her and her band want to remind people that they’re not alone and that, at end of the day, we’re all human and we all have that in common.

Arkham are an early historic Belgian 70's prog-fusion outfit that played eclectic jazz and rock mixtures in the 'Canterbury' vein, inspired by Soft Machine and Egg. Featuring keyboard player Jean-Luc Manderlier who would later join Magma, drummer Daniel Denis who would also move on to Magma as well as Univers Zero, and drummer Patrick Cogneaux.

Arkham aren't nearly as dark as Magma or Univers Zero, their jazzy overtones placing them a little closer to Soft Machine. The three musicians, who show some maturity, are obviously pouring their hearts out through out the album, which exudes an intensity that can't be ignored.

Never released before on vinyl, the recordings reproduced on this album come from magnetic tapes of some of Arkham's concerts and rehearsals, recorded at various times.

Nick Dunton has been involved with music since the early 90's and helped push the sound of UK Techno to it's very limits as one half of the 65D mavericks with Richard Polson (RIP). He has recorded and remixed for his own labels and many others and released music from the leading lights of the UK scene and beyond.

Exalt Records are pleased to release the first album from Nick Dunton under his Ever Vivid guise. These 12 tracks were recorded between 2003 and 2013 and reflect the most personal side of Nick's musical production, echoing around themes of movement, loss, bereavement and love.

Presented in a beautiful gatefold sleeve with original artwork and design from David Watson at Grid Pattern.

"To mark the 50th anniversary of the 1970 concept double album, Jesus Christ Superstar, it has today been announced that a variety of special anniversary edition albums will be released on September 17th. This landmark release, which includes full cooperation from the creators Tim Rice and Andrew Lloyd Webber, features an array of exclusive demos, commentaries, interviews and much more.
The special anniversary editions are a celebration of the original 1970 concept double album and its continued success spanning 50 years. With the new editions all having been re-mastered at Abbey Road, fans have a great selection to choose from.

Sinner is the debut studio album by American heavy metal band Drowning Pool. Originally released on June 5, 2001 by Wind-Up Records, it is considered to be the band’s most popular album – earning RIAA Platinum certification within the first six weeks of its release. This was due at least in part to their hit single “Bodies,” which remains the band’s most well-known song. Dave Williams, the band’s vocalist at the time explained how the album got its name in an MTV interview: “I got that “Sinner” tattoo tattooed before we named the record. We were working on the song “Sinner,” and our A&R guy said, “That would be a good name for the record.” It was just a natural progression that became the whole theme of the record. There are a lot of religious issues on the record and a lot of relationship issues. It just seemed like it would fit.” This is album is especially unique in that it is the only studio album to feature the band’s original singer Dave Williams. While touring in support of Sinner, he died on August 14, 2002 from cardiomyopathy. This album is available on vinyl for the first time to celebrate the 20th anniversary of its release.