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5 catchy tracks by eighties bristol outfit Umo Vogue Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit 'The AT's', along with Bristol based singer Debbie Marlow. Neil's Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine 'L'Uomo Vogue'. After winning the Bristol 'Battle of the Bands' in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in '83 and released their first single 'Just My Love' released in early 1984. The second single was 'Make It Real' and was never released as the band were culled from the EMI roster in late '84. For this reissue of their debut single we've added 3 bonus tracks, a demo of 'Just My Love', the unreleased follow single 'Make It Real' and a bedroom demo 'Erotica.'

Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band's archive. 'We're synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.' - Umo Vogue

Muse have announced that their eighth studio album, 'Simulation Theory'. The eleven-track record was produced by the band, along with several award-winning producers, including Rich Costey, Mike Elizondo, Shellback and Timbaland. Each of the album's songs will be accompanied by a video.

Recent singles, 'Something Human', 'Thought Contagion' and 'Dig Down', as well as brand new track 'The Dark Side', are all available immediately as a download when you pre-order the album. 'The Dark Side' is instantly recognisable as a classic Muse track, featuring Matt Bellamy's unmistakable soaring vocals and blistering guitars and the driving rhythm section of Chris Wolstenholme and Dominic Howard that have become a hallmark of Muse's stadium-filling sound.

'Simulation Theory' follows 'Drones', released in 2015. Since then the internationally acclaimed three piece have toured extensively, taking the ground breaking 'Drones World Tour' to fans across the globe. This concert was filmed and released in cinemas worldwide for 'One Night Only' in July 2018.

Muse is Matt Bellamy, Dominic Howard and Chris Wolstenholme. Their last studio album, Drones, was released in June 2015 and debuted at No. 1 in 21 countries around the world including their first No. 1 album in the United States.  The album went on to win the Grammy Award, their second, for Best Rock Album in February 2016.  Since forming in 1994, Muse have released seven studio albums selling in advance of 20 million albums worldwide.  

Widely recognised as one of the best live bands in the world, Muse have won numerous music awards including two Grammy Awards, an American Music Award, five MTV Europe Music Awards, two Brit Awards, ten NME Awards and seven Q Awards, amongst others.

- Direct from Spain and totally lost in time the orchestra Enterprise was a great blend of the ''Disco Orchestral'' and ''Space Disco'' styles.
- Amazing project, wisely conducted by Josep Llobell Oliver, a Spanish keyboard player, composer, engineer and producer.
- Enterprise was the perfect soundtrack to your space trip, that dancing hidden treasure you always wanted to discover.
- Remastered reissue includes pictures and linernotes by Dr. Vinilo (Madmua Records).
#funk #soul #spacedisco #cosmicdisco #josepllobell #oliversplanet #spanishgrooves
In 1975 he was commissioned by the label's artistic director to produce a studio album with a hefty budget. It was his first company and he named it after the intergalactic ship Enterprise. He assigned the bands logo (inspired by the musical group Chicago) to a friend-musician and selected the tracks: Barry White, Chick Corea, the everlasting Beatles, sonidos calientes and other well-known hits, all played by Llobell along with the labels other musicians, all on payroll thanks to Belter. Javier Cubedo, Enrique Tudela, Gabriel Martinez, Kitflus, Ricard Roda, etc. all gave their best on a magnificent first album that would be followed by 3 more, one per year, all including original compositions by the group along with international hits that are currently part of our countries wonderful music library, even though they still haven't received all the recognition they deserve, Garcia Segura, Santisteban, Calderón, Pepe Nieto, José Solà, Manolo Gas, Adolfo Waitzman and Algueró, Ramón Farrán, Miguel Ramos, Albert Peter, Jaume Cristau, Josep Llobell and many others, published albums in the 70's.
Josep has been inexhaustible, for many years he has influenced the career of soloists and bands, modernizing their sound, Manolo Escobar, Peret, Junco, arrangements and productions for Marfil, Bachelli, Ana Reverte, even great artists from 'La Movida' and rock music like Burning or El Último de la Fila.

World Music And Ethno Sounds With An Obvious Japanese Origin Meet Progressive Rock And Psyche. The Result Is A Captivating Piece Of Melodic And Deeply Atmospheric Music That Paints Pictures Of Life In Ancient Japan Into Your Mind When You Lay Back, Close Your Eyes And Listen Closely With Your Thoughts Turned Off. If Pink Floyd Were Japanese Their Music Might Have Sounded Like That. The Frequency Of The Arrangements On - benzaiten Reminds Of What Our English Heroes Have Created In The Early To Mid 70s Just With A Different Ethnical Approach. - benzaiten Is Even A More Progressive Effort Than Anything Most British Bands Have Ever Managed To Fabricate And Still Utterly Natural And Vivid Concerning The Flow Of The Music. All Participating Musicians Here Are Professionals And Their Performances Are Tight And Still Passionate. The Sound Is Warm And Vivid, The Song Structures Are Wide Open And Welcome You To Slip Inside. East Meets West On This Record And Osamu Kitajima And His Companions Really Grab You By The Soul. Electronic Elements In The Percussion Section Add Some Oddity To The Whole Musical Picture. Not Sure What Osamu Kitajima And His Band Intended When They Recorded This Record But I Am Certain They Achieved It. The Cool Aspect Of - benzaiten Is The Rocking Guitar Which Keeps The Whole Album Together. Must Be The Japanese Pendant To German Acts Like Amon Düül Ii, Embryo And Guru Guru. Well, There Is Definitely Some Truth In This Comparison. Anyway, This Album Will Enchant You!

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Land Of Hits was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Mistafide's colossal old-school rap behemoth 'Equidity Funk' has long been a record that makes the serious collectors salivate and is now here in full 12" form repress, too legit to quit.

Not much is known about the crew behind 'Mistafide', their government names are listed online but this is the only record they put out using this name. Suffice to say, this has no impact on the fury and style with which the MC's deliver their raps, backed with the studio nous of impresario Peter Brown. Across 12 minutes 'Equdity Funk' is a slamming Disco-rap monster, interpolating elements of the evergreen B-boy jam 'Theme From SWAT' it sounds like everyone just got into the studio and went for it. In the style of the times this is the real hip-hop flavour, a live band, some MC's and some death defying bars being dropped, proper old school. A truly rare recording, 'Equidity Funk' has been one of those records fans of the Disco-rap era have been fiending for for decades - often commanding prices over the $1000 mark you can now grab this slice of essential NYC street Funk.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, remastered with love by Optimum Mastering, Bristol UK.

At first, it's difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio's music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn't jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with 'Stranger Today', a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.

Since forming in Nathan and Tyler's Brighton home four years ago - Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and 'Stranger Today''s opener - Our Girl's members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself ('He did stuff neither me or Soph had ever seen anyone do before,' Tyler remarks), and he became an unofficial fourth member of the group.

'Stranger Today' is a special debut for several reasons: First, because it's the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio's hunger to finally get in the same room and put to tape years' worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. 'What band isn't itching to make their debut But it's quite frightening, knowing you're about to do it,' Wilson remembers.

The real clincher, however, is Our Girl's dynamic, and how it plays out across 'Stranger Today'. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan's visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson's rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love ('I Really Like It'), she's backed by a major-key afterglow. When the subject turns on its head ('Josephine'), out steps a wall of taut, earth-shaking noise. They each 'serve the song,' in Wilson's words, moving in sync but with their own personal slant. Not least on the closer 'Boring', where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.

Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, 'I was finally in the band I wanted to be in.' Almost half a decade later, and this eureka moment is sewn up on 'Stranger Today'. It's the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it's like to be young, invigorated and amongst people who feel the same.

Classic singles like Billy Fury's 'Halfway To Paradise', Dusty Springfield's 'I Only Want To Be With You' and The Walker Brothers' 'Make It Easy On Yourself' would not have been hits without Ivor Raymonde. As their arranger, and in the case of 'I Only Want To Be With You' songwriter too, he shaped the final recordings. He decided on the orchestration and backing
vocals, chose the instruments and determined what was heard on the radio - and what record buyers bought.
'Paradise: The Sound Of Ivor Raymonde' is a long-overdue celebration of Ivor Raymonde, collecting his work as an arranger, musical director, producer, singer and songwriter. The story of a British musical great is told for the first time.
Billy Fury, Dusty Springfield and The Walker Brothers are heard. So is the only vocal performance for which Ivor Raymonde received a credit on a record label. He worked with the pre-fame David Bowie and Tom Jones. He spotted the potential of Los Bravos, steering them into the charts with 'Black Is Black'. Near-misses and obscurities made with Brit-girls Cindy Cole and
Helen Shapiro, the soulful Sonny Childe and confrontational protopsychedelic London band The Flies are as fantastic as the hits. With these and more, 'Paradise: The Sound Of Ivor Raymonde' distils the essence of the magic of Ivor Raymonde.
'Paradise: The Sound Of Ivor Raymonde' is released by Bella Union, the label run by Ivor's son, former Cocteau Twins member Simon Raymonde.
Compiled by Simon and Kieron Tyler, it is a very personal tribute to a sadly missed father. Born in 1926, Ivor Raymonde passed away in 1990. The previously untold story is revealed through a moving reminiscence written by Simon and in-depth liner notes and a track-by-track commentary by Kieron. Ivor Raymonde played on the ocean liner The Queen Mary in 1949. In the Fifties, British television viewers saw him in legendary comedian Tony Hancock's 'Hancock's Half Hour' but music was always going
to be most important - the hits with Billy Fury and Dusty Springfield in 1961 and 1963 meant he was in demand. The 26 selections balance the wellknown with collectable rarities and tracks drawn from - until now - barely heard-of singles. Each is a gem and each shows the magic of an Ivor Raymonde recording.
'Paradise: The Sound Of Ivor Raymonde' is issued on CD and 180g heavyweight double vinyl album with digital download code. The vinyl version is sequenced slightly differently for listening flow. Every track was originally issued as a single issued in mono for the pop market until 1968 / 1969. Keeping the integrity of the compilation in mind, all but four tracks appear in mono as they did originally. The masters used are those of the original singles.

For this EP, Jófríður Ákadóttir has re-recorded some of the finest songs from her bands and solo-projects (JFDR, Samaris, Pascal Pinon) with new string arrangements. These versions have a simple, inherent beauty that is juxtaposed with their seething, stark intensity.

To replace the original arrangements with strings was originally planned as a one-off event: When preparing a Pascal Pinon performance in Portugal, Jófríður asked NYC-based composer Ian Davis to help her re-arrange four tracks. After the show Jófríður realized that the material deserved to be captured.

The featured songs were chosen from the repertoire of JFDR (her solo project) and Pascal Pinon (the duo she forms with her sister Ásthildur). There were no objective selection criteria: - I chose the songs that called for strings, songs that I was interested in continuing their story', Jófríður says. - Making this EP was meant to cast new light onto old bodies, to explore what is song and what is arrangement'. Indeed, the arrangements establish a fresh perspective on the selected songs (except for - My Work' - as the track will appear on a forthcoming JFDR album). Being freed from genre, these versions also expose JFDR's voice and its dynamics— the absence of beats gives her vocal performance new possibilities.

The EP was recorded live in a studio in Reykjavík, where Jófríður was joined by producer Albert Finnbogason, her sister Ásthildur (additional vocals and piano) and a string quintet. Ian Davis also made it to the recording sessions and brought two new transcriptions: - I wanted to have moments of clear simplicity juxtaposed with more dense, experimental passages. Sometimes the strings are just holding root notes and simple chords and other times they open up into more contrapuntal and textural moments', Ian explains. As a result, you'll find both moments of modest beauty as well as intensely seething passages. Even if Jófríður's voice clearly is the main attraction here, this EP - as she emphazises herself - is a collective work of those involved: - Trusting your collaborators is the truest gift'.

Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.

"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.

During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.

Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

Jonny Drop's debut, Sub Plot, was the very first album release on the fledgling Albert's Favourites label at the beginning of 2016. The initial offering, a 7" of album favourites Mind Field and This Is The One had quickly been picked up on by the good people at BBC Radio 6 Music as well as some of Drop's personal heroes including Kenny Dope, Mr. Thing and Nightmares On Wax.

But when the infectious rhythms and warm production of the beat tape landed, its impact was greater than anyone at the label could have hoped.

Although Jonny never stopped producing beats in the following years, he was also kept busy as a drummer, playing live for Andrew Ashong, The Bongolian and Connie Constance, whose Boring Connie EP he also laid down beats for.

Then in early 2018 his band The Expansions delivered their celebrated Murmuration LP. All the while, with the support of his label family, Drop had been evolving his solo sound too.

'The Only Sound sees a huge progression in my writing direction, as I collaborated with multiple vocalists and musicians, instead of the usual 'one-man band' approach.

The development of these processes make this LP a steady departure from the beat-tape influence of my past releases, and hopefully, showcase the more original sound I've been working to achieve over the past few years.'

The new album is more atmospheric, emotional and expressive. It is filled with beautiful vocal performances, musical contributions from label partners and close friends Deoke and James O'Keefe, and inspirational London jazz composer, flautist and master saxophonist Tamar Osborn (Collocutor/On The Corner).

Voices here include Shea Soul, Grace Walker, former Myron and E soul man Eric Boss with his Lucid Paradise and Pendletons partner Ishtar, plus First Word Records producer/Golden Rules collaborator Sarah Williams White.

While there are thoughtful, down-tempo moments of electronica in abundance here, Drop brings his favourite elements of disco and soul into the picture too.

And there's no shortage of low end throughout. The Only Sound is a welcome next step from Jonny Drop, the sound of a beat maker not just finding his feet as a composer, but thriving in new territory.

Huey Morgan (BBC Radio 6 Music),

Music Is My Sanctuary premiere for All This Trouble, Bonafide Magazine premiere for Looking Glass
'A really talented musician, absolutely loving that" Lauren Laverne on This Is The One, BBC Radio 6 Music

Second up on our Bobby Boyd unreleased recording we have some dope mid 80s material from Bobby, 'I Like What You Do To Me' is Boogie / Proto House joint that is totally my bag, feels like it should be in a 80s movie weightlifting montage (in a good way) it just works on the dance floor so well.

On the flip things get even stronger with the proto-house banger 'Girl Like You' a sick soulful number with with a biggest swinging kick drum I have ever heard, both proper club material.

If your not a rare soul or disco collector Bobby's name might not be a name your familiar with but as one of the founder members of Lafayette Afro Rock Band you will have experienced his music and influence which is far reaching.

Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD and Digital.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

On Video Age's forthcoming album Pop Therapy, out June 22nd via Inflated Records, longtime friends and songwriting partners Ross Farbe and Ray Micarelli conjure up a thrilling assortment of experimental pop songs. Using a palette of vintage synthesizers and the propulsion of a Sequential Circuits Drumtraks drum machine, the New Orleans-based group's buoyant synth-pop echoes from some imagined vision of the past, leaning on an invented nostalgia to soundtrack an ideal future that never arrived. Video Age brings that future fully to life on Pop Therapy. Emerging from New Orleans' DIY scene and label collectives, Farbe and Micarelli were intrigued by each other's songwriting among several curiously satisfying guitar pop bands. As a producer and prolific engineer, Farbe has helmed some of the most exciting releases from genre-pushing New Orleans artists, whose singular visions are made possible with his gifted ear and love of tape recording. Micarelli's talent for crafting simple, tangible melodies complements Farbe's studio world-building, letting ideas drift until they emerge into impressive arrangements. The pair's seemingly effortless gift for crafting earworm hooks was glimpsed on their 2016 debut Living Alone, a gorgeous collection of guitar-driven melancholy. On Pop Therapy, they're joined by Duncan Troast, Nick Corson and Jordan Odom, taking inspiration from the limitless possibility on sonic canvases of the late 1970s and early 1980s (Yellow Magic Orchestra, McCartney II, Donald Fagen's The Nightfly). Where Living Alone catalogued the solitude of reflecting on what was and could have been, the sentimental love songs on Pop Therapy gaze longingly at the likeliness of a brighter tomorrow.

"For the final part of SchleiBen 5 - 8, Emotional Response welcomes two Scottish based artists to close out the series. In Jon Keliehor you have a world and music traveler with history from psychedelic rock to fourth world exposure, alongside one of the best electronic producers of the last decade, Lord Of The Isles. As the drummer of West Coast folk rock / psychedelic band The Daily Flash, Keleihor spent much of the mid-60 based in and out of Seattle and Los Angles, playing alongside the likes of Jefferson Airplane, Cream and The Doors, before an increasing interest in meditation and philosophies outside of the 'rock' realm led him to England in the early 70s where he become involved in dance theatre. Teaching Advanced Rhythmic Music Studies at the London Contemporary Dance School, his music composition style became influenced by his studies of world music. Finally settling in Glasgow for over 20 years, while running the Luminous Music label and Gamelan Naga Mas, his earlier recordings for labels like Indipop, Touch and Bruton have seen a recent revival, with music appearing recently on contemporaries Optimo Music and Invisible Inc. The wonderful recordings included here span over 3 decades, from sessions at the Luminous Studio at The Diorama Theatre, London in the early 80s, through to recent field-work based recordings in the Cairngorms. Reconfigured and updated, a common thread appears through the pieces - a sense of longing and appreciation - as Jon's knowledge of outer-national instrumentation alongside equally extensive travels around the globe gives the recordings a seamless blend of organic craft. The tonal consonances within unlikely combinations of instruments, with tuned glasses (tarang), tabla, jaw harps, clay flutes and ocarinas, Chinese instruments that include Xiao-Bo and Xiao-Ping, large Noah bells, small and larges gongs all employed, the recordings have been reconstructed, edited and updated via sampling and digital processing. Featuring the playing of John "Jhalib" Millar - the extraordinarily gifted musician and tabla player - who has appeared with an EP on sister label, Emotional Rescue (ERC029), sadly recently deceased, the contribution acts as a tribute and more. To close, the music of Lord Of The Isles is an excellent companion to Jon's work. Neil McDonald's list of club-based releases on labels CockTail D'Amor, Ene, Firecracker, Permanent Vacation, ESP Institute and Phonica is comprehensive and exemplary, however within his productions has often been an other-worldly element, a space between the beats and occasional fully ambient pieces. Approached originally for series one of SchleiBen, the 7 pieces included were worth the wait, a journey in themselves and the perfect completion. Spanning almost 5 years, the majority were written during an extended exile in the Cairngorms. The lifting, ethereal, but melodic nature of the music fits that aesthetic. Blue skies, snow, long walks, space to think, but with a longing and appreciation of family and friends. The solitary nature found in SchleiBen 8 and the geographical incidence of both artist's recordings including sessions in the Scottish Highlands fits the series ideals and is a nice closure. Enjoy and listen. "

Speed For Lovers release debut album 'Hot Yoga Emoji' on society Records / Ubishi Recordings
Originally from Sheffield, Liverpool & The Forest Of Dean, the three lovers met in the network of little mesters music studios on John Street in Sheffield.Initially engineering, producing and playing on each other's projects, they subsequently teamed up to form Speed For Lovers in 2010.
The past eight years have been spent wearing out rave trainers, building studios in their attics and sheds, geeking out with Sound on Sound articles and faffing with tech.
With two members who came and stayed and one who couldn't leave, 'Hot Yoga Emoji' is the band's ode to Sheffield.
Field recordings of late nights out and early stumblings home link tracks together and place their moments of creation in the city.
Spurred on by Sheffield's Kabal nights and trips to The Electric Chair in Mcr, 'Hot Yoga Emoji' mixes live drums and bass guitar with pocket sound generators, old synths and vocals to create an album of irresistible live dance music.!

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

At last, the vinyl reissue of this masterwork, adding two hitherto unreleased gems recorded solo for Charles Fox's Radio 3 programme Jazz in Britain, in the same few months of 1980 as the stunning Aida performances.The phrase 'in the moment' is often bandied about with reference to free improvisation, and indeed there's no better way to describe Derek Bailey's playing. The acoustic guitar is notoriously lacking in natural reverberation — notes barely hang in the air for a couple of seconds before they disappear — which explains the almost non-stop flow of new material in these stellar performances. Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there's never a note out of place. 'He who kisses the joy as it flies,' in the words of William Blake, 'Lives in eternity's sunrise' — and this music is forever in the moment, constantly active but never gabby, kissing the joy.One of the special pleasures of the BBC set is the guitarist's own laconic commentary, a deliciously deadpan description of what he's doing while he's doing it — 'I like to think of it... as a kind of music' — and the interaction between words and music is a particular delight. 'You may have noticed a certain lack of variety,' he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk's Round Midnight Surely not — for Bailey, like Monk, was a note man par excellence. And they're both still alive and well in eternity's sunrise.

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














l

One man's vision of Soul music's evolving potential' ROLLING STONE

The Bamboos are one of the highest profile soul / funk acts in Australia, and have been recognised worldwide as masters of reinventing the genre with modern songwriting within classic arrangements & production over the past 10 years. They've clocked up some impressive Spotify hits numbers on along the way: " Wilhelm Scream" (3.5 M), 'On The Sly' (2.8 M), 'Helpless Blues' (1.8 M)"
Mainstay members Lance Ferguson and vocalist Kylie Auldist are also the creative forces behind one of 2016's biggest singles, 'This Girl' by Kungs Vs Cookin' On 3 Burners. Ferguson played on and co-wrote the song (incl that infectious guitar riff and lyrics) which along with Auldist's powerhouse vocals. The remix went on to hit #1 in France, Germany, #2 in the UK, top 20 in Australia and the US and top 30 in 35 countries. It's edging close to half a billion Spotify plays and 300 million Youtube hits.
Having previously collaborated with the likes of Aloe Blacc and Alice Russell, their latest offering 'Night Time People' see's the band call to mind everyone from Martha Reeves to Sharon Jones, The Bamboos deliver two catchy singles that draw together the raw drive of their earliest LPs and their more recent progressive experimentations in the studio. It's a fresh approach that finds the band wholly reenergised.

At a time when on every street corner, adolescent wannabe gangstas believed they had to tell everyone and their dog about their greatness and the inferiority of all others, there was a cadre of Munich-based Hip-Hop artists producing incredibly fresh and imaginative music, inspired, of course, by the golden era of the 90s. They played gigs in small clubs in front of some dozens of people, spread mixtapes and Eps and were celebrated by their friends and the rest of the scene. The world took no notice - until now ! Tramp Records, specializing in unearthing forgotten pearls of musical art, documents with "Golden Hits", an era of Munich underground Hip Hop which flew completely under the radar, spanning ten years from 2005 to 2015. The musical bandwidth and quality of the tracks is astonishing, but so much more could have been possible. Much of this music remained fragmented or unreleased for a host of reasons, families, stressful jobs, musical reorientation, and even lost hard disks... but one story has a happy ending! When Masta Ace had a live show at the legendary Atomic Cafe, Primatune's Fid Rizz was able to hand over a CD with demo beats. Unfortunately the CD was blank by mistake! But the curiosity of Masta Ace had been piqued, and he got back to him, the rest is history. Features of other stateside rap heroes like Wordsworth or Declaime followed.

The very best of this era, including tracks never before heard and ideas remaining fragmented, has now been compiled by Tramp Records to take you for a fascinating listening journey.

Hip Hop, as it was since it's inception in the Bronx, fresh and real, and made with passion by neighborhood kids spitting truth about life and the struggle!

Key selling points:

- including many unreleased songs
- the vinyl LP comes with a full album download code

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

Favorite Recordings presents this new official album reissue of State of Emmergency by French band The Fizz: A real underrated, complete and intriguing album, originally released in 1986 as a private-press LP and quite hard to find in good conditions nowadays.

The Fizz is mostly the result of Patrick Jouanneau, a French musician, composer and producer who's still active today. He remembers: In the early 80's I had a recording studio allowing me to easily fulfil my desire to create songs. It was then that I began to compose and write songs, in French or in English in this case. State Of Emergency (spelling on the LP is a mistake), is born from a fierce will on my part, and the other four have followed, but it was not easy, the musicians, you have to get them out of bed! I have to say that Richard Larozé, the pianist, was a very strong guy with harmonies, and has somewhat changed my first version, much more oriented in Soul and R&B.'

And when asked about his main influences, Patrick says: It's always difficult for me to speak about influences, out of respect, and humility especially, but they nourished us and nourished this project, Stevie Wonder, Al Jarreau, Earth, Wind & Fire, and so on, were and still are important to me and this was the case for the entire FIZZ group.'

At the end, State of Emmergency by The Fizz is a very interesting and brilliant album with great inspiration in melodies and compositions. And who knows, listening to the title "A So Called Being", it could even have inspired a certain King of Pop'...

WHITE RING mark a triumphant return with a brand new full-length Gate Of Grief, due out on Rocket Girl on 22 June 2018. Their debut album arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe. Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. One of the most acclaimed proponents of the "Witch House" movement, WHITE RING blend heavy, distorted electronics with eerie, unsettling vocals. However, their new material, created over the course of seven years, pushes the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix. As Bryan Kurkimilis explains; 'We treat our influences like tools to create a certain feeling. We are interested in covering more ground than sticking to a certain formula.'
Bryan and Kendra originally met on Myspace in 2006. At the time Bryan lived in New Orleans and Kendra was in New York, and they didn't even meet face-to-face until 2008 after they had already released a few singles. In 2010 they released the EP Black Earth That Made Me, which was a collection of songs that they mostly recorded before they met in person. The record confounded expectations by selling out immediately on pre-order, making it very rare and highly sought after, with copies going on Ebay for large sums. It was reissued by Rocket Girl in 2011 and still continues to sell in voluminous amounts.

They started playing live in 2009 and rapidly grew a reputation for their captivating performances, usually bringing their own lighting equipment and putting on a spectacular laser show. They have played for large crowds in their hometown of NYC and toured the UK in 2010 in support of their sold out split 7" with oOoOO, playing InTheCity and SWN festivals - which were their first shows outside of New York. They have since shared the stage with the likes of Cold Cave, araabMUZIK, Liturgy, Blank Dogs, Gatekeeper, Blondes, oOoOO, Clams Casino, and others.  
They started recording Gate Of Grief in 2010, with the hope of exploring new musical territory, however they took a while to find their path. Bryan and Kendra had some tough personal battles to fight, a sense that pervades the whole album. Thematically it delves in to some pretty dark places whilst exploring the concept of time and what it does to people, relationships and society. As Bryan explains; 'There is a lot of tragedy in this album but there is also hope at the end of it.'
By 2016 pressure was building to finish recording, however due to Kendra's ill health, they needed to bring in someone new to assist with vocals. Fortunately they found Adina Viarengo, who had played in various bands and gave them the impetus needed to complete the album. Shortly after meeting in Brooklyn, Bryan and Adina moved to Joshua Tree, California to finish recording the album, before settling in Massachusetts. Her vocal style fitted in seamlessly with what Kendra had been doing, and although she sang on half the songs, it's almost impossible to tell who is singing on which track, thus making her the perfect addition to the band.
Gate of Grief can be considered the second part of Black Earth That Made Me, or rather, they are the first two chapters in an overarching trilogy about evolution. As Bryan explains; 'First you are born but then you realize what you are and what is against you and it's a flood of emotion that you can only hope to hold on for and let it pass.'
The album title, Gate of Grief, refers to the real gate between Africa and Saudi Arabia that is believed to be the spot where the first humans migrated out of Africa and went on to populate the rest of the world. The album art ties in with this concept, with an image depicting a group of settlers in the USA in early 1900 during a parade. They were actually from a cult in the early 1900s in Bryan's hometown of Fort Myers, Florida.













M 13) Burn It Down

And now for something completely different...CGI is extremely excited to present the Proof Of Concept EP from Shanghai-via-
Chicago's OSHEYACK. These are productions with a weight and freshness that we at CGI have not previously encountered. While on
a small US tour in June 2016, Osheyack played a set in Atlanta and thoroughly blew everyone in the room away with a mastery of
rhythm, sound, and arrangement that is uncanny.


We approached Osheyack after the gig for demos and what we received was as dense and inspiring as the live set. Words don't do this sound justice but it's perhaps most fun to close your eyes and imagine a demonic cirque-du-soleil-esque techno marching band stomping through the graveyard of your dreams and resurrecting all of the wasted souls to stomp on their
graves in a frenzied trance...

Who Do You Go To For Your Very First Session When You Have Just Been Gifted Your Very Own Top-flight 'stradivarius Of Synth Based Studios' Enter 'the Grid' ...mr David Ball: One Man Band Of Pioneering Electro-pop Distorters Soft Cell, Part Time Psychic Tv Personality, Film Soundtrack Composer And All Round Synth Afficionado & Richard Norris: Eclectic Beat-meister & Ambient Dj, Record Producer, Commited Psychedelicist From 'beyond The Wizard's Sleeve'. The 1990's Saw Worldwide Commercial Success As The Grid Scored 10 Uk Chart Hits, Many A Euro Hit Including 1994's International Mega-hit 'swamp Thing' Featuring A Twisted Use Of Sampled Banjos Lifted From The 1970's Okie Shocker Movie 'providence. In 1996 The Grid Went On A Holiday And They Didn't Return Till 2005. In The Initial Week Of The Moog Sound-lab In Early 2015 As The Studio Was Literally Put Together Around Them, Our Abiding Memory Was Their Absolutely Delighted Grins As Each Moog Unit Was Added To The Lab. Dave & Richard Created This Benchmark Album Of Deluxe 'tronic Trax That Showcased Their Prarie Wide Knowledge Of Electronica & Their Ocean Deep Skills As Both Technicians & Original Soundscapers - Kraftwerk-ian Werk-outs, Space Noise Jams, And Slinky Grooves With Subtle Pop-tones.

Favorite Recordings proudly presents Combattant, first EP by Pat Kalla produced by Bruno Patchworks' Hovart (aka VOILAAA).

PAT KALLA is a musician, singer and storyteller. Patrice of his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course. Born in Lyon, from a Cameroonian father, musician and political activist, and a French and literary mother, he explores from his childhood the Soul, the Slam, the Funk ... and the art of telling stories, life being a great one...

After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), and several acclaimed titles on the two albums by Voilaaa, he comes back with this project to put a bit of primordial lightness in a rainy world: A tribute to the African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa.

Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti & The Black Style, all these legends' vinyls have turned on the family turntable and the collection has whetted the child's appetite. Through this new trip, he revisits styles that are sometimes little known to Western audiences, such as High-Life, Makossa, Angolan Music, Afrobeat, Afro-Disco and others. We could talk about Franc CFA', we could talk about Jacques Foccart, but we will rather dance, because "the dancer seems naive, but his feet must be connected with earth to understand history..."

Backed by the "Super Mojo Disco", a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware « c'est médicament » (it's medicine)!!

Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album 'First Album" was released in 2001 followed by . in .

Lost Tracks Vol. 2' contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80's European New Wave/Italo Disco with 90's Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent.

All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, We were naive, innocent, adventurous and we didn't expect anything in return'

Giovanni Damico keeps amazing things coming and takes it with this release on the mighty label Kalakuta Soul Records to the next level. Joining forces with the mighty Gabriele Spagnuolo and Francesco Di Domenico on guitars and Saxophone, the italian boogie doctor brings to life three filthy stompers inspired by amazing artists from the african continent who have shaped what we now call (dance) music. To Fela's People is one of three stompers delivered for this joint teaming up with Mr. Villy Odili - Lead singer of the amazing nigerian band Villy and the extreme Volumes - who's precise lyrics and drifty voice joins forces with a charging afrobeat rhythm hailing from Giovanni Damico's bad ass laboratory. Afro Stomp and Baba on the other side come with the most furious drums and bassline one could ever imagine accompanied by a celestial instrumentation that hits the mind, the soul and the hips. Vital Sales Points: - Limited to 500 copies - Great feedback from Nomad, Lakuti and Antal

Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.

Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'

Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.

Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.

The War On Drugs announce their fourth full-length album, A Deeper Understanding, out August 25th on Atlantic Records. A Deeper Understanding is the band's first album since 2014's universally acclaimed Lost In The Dream, and their debut album with Atlantic. Following the Record Store Day release of the 11-minute Thinking of a Place,' The War On Drugs present the album's lead single, Holding On.'

For much of the three and a half year period since the release of Lost In The Dream, The War On Drugs' frontman, Adam Granduciel, led the charge for his Philadelphia-based sextet as he holed up in studios in New York and Los Angeles to write, record, edit, and tinker—but, above all, to busy himself in work. Teaming up with engineer Shawn Everett (Alabama Shakes, Weezer), Granduciel challenged the notion of what it means to create a fully realized piece of music in today's modern landscape. Calling on his bandmates - bassist Dave Hartley, keyboarding Robbie Bennett, drummer Charlie Hall and multi-instrumentalists Anthony LaMarca and Jon Natchez -- continuously throughout the process, the result is a band record' in the noblest sense, featuring collaboration, coordination, and confidence at every turn. Through those years of relocation, the revisiting and reexamining of endless hours of recordings, unbridled exploration and exuberance, Granduciel's gritty love of his craft succeeded in pushing the band to great heights.

Sing a song fighter have never been more proud and happy than to finally announce and release this unissued and unheard fantastic recording South African in exile Johnny Dyani was one of the greatest bass players. Played with Don Cherry, Chris McGregor, Archie Sheep, Dollar Brand / Abdullah Ibrahim etc etc. He also made many great albums as a bandleader. And a few rare minimal albums where it was mostly him and his upright bass. He died way too early, in 1986. Karl Jonas Winqvist (Sing A Song Fighter) ranks some of Dyani's works ("African Bass", 'Witchdoctor's Son" with Okay Temiz and "Good News From Africa', with Dollar Brand) as "the most natural, creative musical force there is'. KJW investigated for years if there was more recorded Dyani material waiting to be heard. And where After e-mailing endlessly with the National Radio Museum in Switzerland he finally found what he was looking for.In 1978 graphic designer Niklaus Troxler arranged the great Willisau Jazz Festival in Switzerland. A lot of legendary artists like Max Roach, Jan Garbarek, Elvin Jones and Don Cherry were performing, and Johnny Dyani was one of them. He did this rare solo concert with some of the material that two years later would end up on his great album "African Bass". This LP contains the concert from beginning to end, showing Dyani at his very best on piano, gong, bass and vocals. Spiritual, adventurous and truly free,beautiful music.Gatefold cover, with extensive liner notes from Francis Gooding and Niklaus Troxler

Recorded in the Autumn of 2017 at their studio in Vancouver's Deep Blue, MVX / U41A' is the first new music from Minimal Violence to be released on Ninja Tune's Technicolor imprint and the first to be recorded outside their usual home production space. The result is a record that intends to reduce pop music to its emotive qualities and apply that abstract nostalgia back into dance tracks. Their penchant for the heavier and more aggressive side of dance music is most evident in its infiltration of the duo's often raw and disorientating live set. Formed in 2015 the duo, consisting of Ashlee Luk and Lida P, have a string of releases to date with labels such as Lobster Theremin, 1080p and Jungle Gym Records. Drawing on Luk's years of experience playing in punk bands, they combine hardware sequencers, drum machines and synths, to weave together acid tinged compositions that derive inspiration from early electronic and minimal synth through to heavier UK rave and hardcore.

African Scream Contest 2

A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure- trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks o Les Sympathics' pile-driving opener, it's clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you're trying to get o the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces' Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation.

The screaming does not stop there, in fact it's only just beginning. But the

strange thing about African Scream Contest II's celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "search and destroy" enemies of the country's (then) Marxist-Leninist president Mathieu Kerekou.

Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to oer them licensing deals, rather than to arrest them.

Where some purveyors of vintage African sounds seem to be strip-mining the

continent's musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends.

Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and eortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon André - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin's vinyl predominance by importing and assembling the turntables that would play the products of his Bond villain-acronymed pressing plant SATEL, a factory that would revolutionise the music industry in the whole region.

The scene documented here couldn't have been born anywhere else but in the Benin Republic , and the prime reason for that is Vodoun. It's one of the world's most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from that country were no less diverse than that army of dierent Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

One especially irascible Vodoun-adept was Antoine Dougbe, who styled himself The devil's prime minister' while turning ancestral rhythms into satanically alluring modern beats. As Orchestre Poly-Rythmo songwriter Pynasco has observed sagely, Evil is not elsewhere, evil extends into the house'. And African Scream Contest II is a gloriously cinematic road-trip through an undiscovered realm of music lore whose familiarity is every bit as thrilling as its otherness.

Written by Ben Thomson, March 2018

A near-perfect record, White Magic was the lauded CD-only debut album by Sorcerer (Californian native Dan Judd, one half of Windsurf with Hatchback). Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

Back in summer 2007, this majestic set gently nestled itself into the Balearic soundtrack-to-summer slot for many, making him a household name for Cosmic Disco heads alongside the likes of Lindstrom, Metro Area, Todd Terje, Mudd, Studio and Quiet Village. In the intervening years, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"White Magic is a reflection of personal freedom and discovery. Having been in bands for years, this was a chance to develop music that stood alone and for me to be in full control.

I was living alone and worked on jams whenever I could. I was highly inspired by a new openness to music as a pure inspiration, not being part of any scene. I tapped into the mixes I was hearing coming out the UK where deejays were playing "cosmic" sounds that were so strangely familiar.

I was picking up all kinds of $1 vinyl and throwing bits of it into my sampler almost randomly to see what would come out.

In my mind, I was making music to be played at my friend's Broker/Dealer Pop nights where they fused golden German techno sounds with the new disco emerging at the time. Also, I took vacations and reconnected with the Pacific Ocean where I spent so much time as a kid: it spilled out into the sounds.

Lastly, I forged a partnership with Hatchback (Sam Grawe) who was working on music in the same way. I learned so much about arrangement and the colors of music. We began recording together as Windsurf and released our own stuff. It all seems like a small glorious moment in time, so I am so excited to keep the legacy alive and I continue to work on my music with these spirits inside of me."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

Following the 'Screaming Ghosts' collection highlighting the music of C Cat Trance, Emotional Rescue and Malka Tuti return with the first of two EPs where the band's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.

A seminal album of the 1980s DC Punk sound, the album was the first to feature drummer Dave Grohl, who replaced Stax for the album, and stayed with the band until they disbanded in 1990.  This was the first ever album the now world famous musician ever played on.

Since disbanding, several incarnations of Scream have reunited/resurfaced for tours and recordings since. Members of the band went on to form countless other influential acts, including Nirvana, The Foo Fighters, Wool, Queens of the Stone Age, Goatsnake, The Suspects, and others.

Southern Lord is proud to be chosen to reissue Scream's everlasting 'No More Censorship' album. The band found the original multi-track tapes and Southern Lord had them baked/prepped for a remix at Grohl's 606 Studio. The new mix sounds vital and intense; the entire packaging, layout, and design are completely different from the original, including unreleased photos of the band during that era.

Scream was formed in 1981 by vocalist Peter Stahl, and brother Franz Stahl on guitar, Skeeter Thompson on bass, and Kent Stax on drums. The next few years would see the addition of second guitarist Robert Lee Davidson and keyboard player Bobby Madden, following three LPs through Discord Records — "Still Screaming" (1983), "This Side Up" (1985) and "Banging the Drum" (1986) — Scream's 'No More Censorship' was released via reggae label RAS Records in August 1988.

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel.

Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard.

You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing.

Welcome To Our Disinformation.

Limited To 500 Copies - 180g

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel. Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard. You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing. Welcome To Our Disinformation.

Limited To 500 Copies - 180g