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Dusky’s Life Signs project for Running Back remixed! The Londoners and their distinct hallmark of euphoric, yet multilayered dance floor dynamite get treated by Cinthie, KiNK and Rumu. Similar to the scope of original artists themselves, their interpretations are a wide choice of styles and suitable for different usages. Berlin’s true school house head Cinthie delivers her tried, tested and desired method of disco bass lines and deep house melodies on „Static“, while everyone’s favorite live act from Sofia turns the sounds of „Fridge“ into a lost mid-90ies techno classic. KiNK’s high-octane take would fit perfectly on every fantasy mixtape of Derrick May or Laurent Garnier of those days. Last, but not least, Dusky very own discovery and 17Steps artist Rumu uses „Lea Valley“ to punch his ticket with the UK bass and breaks fare. These goods sell well!

Martin Rude & Jakob Skøtt Duo released 2 albums in 2020: The Discipline of Assent & The Dichotomy of Control. For the third installation in their Stoic opus, they join forces with Tamar Osborn on saxophone & alto flute. Similar to their first 2 albums, Rude & Skøtt improvised a tidal wave of ideas and grooves in the studio of Causa Sui’s Jonas Munk, the perks of which were shipped to the UK for Osborn’s overdubs of echo-drenched sax and wah-flute. An improvisation rippling across time & space, merging a river of constantly in flux head-on improv, as well as making room for floating harmonies and studio-wizardry. Playful, experimental and explorative, the trio ventures into a free wash of exotica drenched in deep modal jazz-vibes - with splashes of something more futuristic and modern. But contrary to what the title suggests, there are also roaring waves of energy, sizzling funky grooves to complement the ambient undercurrent. It’s a record akin to the library & film music of the 60’s and 70’s and an ode to the willful river of experimental moderation. Far in. Bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a long-standing member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab, and is an in-demand session musician. Martin Rude: Multi-string instrumentalist & lead singer in Sun River, as well as stand-in bass player in Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, as well as responsible for the label’s visuals.

There is nothing quite like an evening under the rhythmic spell of the legendary David Morales. Stepping on the dancefloor while he's behind the decks requires full trust and surrender. You agree to hand the reins of your mind, body, and spirit to his intuition and ability to guide you to where you need to be at all times. It will occasionally be cathartic and intense. It will often make the hairs on your body stand on end, and make you sweat more than you ever have before. The endorphin release will be powerful. You will feel like you can touch joy and euphoria it in the air around you. As he gently brings you back down to reality, you will feel renewed and ready for anything life brings your way. This is more than a night of dancing. This is an experience at the hands of a magical maestro of music. How is this possible from a night on the dancefloor? Well, it begins with the brilliant mind of an artist at the peak of his creative power, imbued with the empathy necessary to connect with what has become a global legion of fans. "If there is any secret, it's really simple: I love what I do with all of my heart," Morales says. "I'm a DJ first. I thrive on human interaction. I am always adjusting my sets based on what the people in the room need. Each night, we form an emotional connection that inspires the music as it comes."

For Morales, "working in the studio is important, but it exists as a way of supporting the DJing experience. It's all to inform how it will work on the dancefloor."

To that end, you're reading these words as you dive into a new collection of Morales classics. Ever the collaborator, he has enlisted the input of a wide range of voices and talent. There is the diva power of fellow legend Ultra Nate, who brings her signature sass to "I Can Dream," while Michele Perera's explosive chemistry with David is all over the inspiring "Life is a Song" and "Never Give Up", as well as the impassioned "Addicted."

Morales reminds the listener of his ever-evolving musical scope in collaborations with blondewearingblack ("What Can I Do"), Lea Lorien ("Never Looking Back"), and Blakkat ("Can't Get Enough"). There's the clubland supergroup of David with Mr. V, Scotty P. and DJ Rae on "The Feels." Rounding out the set is a reunion with longtime muses Elle Cato ("I Feel Love") and British soul icon Joe Roberts ("Easy"). Just be sure to listen closely, because there's bound to be a surprise tucked between these grooves to tickle your ears and move your body.

The beauty of this sparkling new foray into electronic music is the heightened intimacy between Morales and the music. What you are hearing here is almost exclusively from the man's own fingertips. "The technology has evolved in the most extraordinary and liberating ways," he says, adding that he is now able to be far more directly hands-on during the building of each track. "Back in the '90s, I had to have more people involved, With the changes and growth in technology, I can now do it, myself. I don't even have to be in the studio anymore. It's smart, financially, but it's also way more fun and creative."

David adds, "I don't have to wait to manifest an idea anymore. I can just build my ideas as they come to me." In fact, he reveals that many of these new tracks were born in unique places, like planes, cars, his bedroom, and a host of other settings. "Music is always spinning around my mind. I no longer worry about losing an idea."

Surviving the highs and lows of an ever-changing world has also brought Morales back to the basic essentials of life and music. "The pandemic has brought things full circle for me," he says. "I love what I do and I still have the passion of a kid who is just getting started"

Yet, we know that Morales has been in the game for longer than a minute. He's a Grammy award-winning producer, remixer, and songwriter. He has lent his skill to countless of records by icons that include Mariah Carey, Madonna, Whitney Houston, Michael Jackson, Aretha Franklin, Donna Summer, Seal, and Jamiroquai. As a turntable artist originally from New York City, he earned his bones of credibility back in the '80s and '90s in clubs like the Paradise Garage, Red Zone, Tunnel, and Club USA. He initiated the concept of DJs touring beyond their hometowns with countless, wildly successful treks that have taken him the farthest-reaching corners of the world. As electronic music thrives on pop radium, David tops the list of every young artist and DJ as a primary influence.

Even with such a staggering legacy, Morales never looks over his shoulder.

"That is how you stumble and fall," he says. "If you get all caught up in the past, you're going to lose sight of what is right in front of you. You lose the excitement of discovery. That is what gets me off; taking what I know and combining it with what I don't know as I learn it. There is nothing better than experiencing how it all comes together. It's different every time."

And that is the ultimate secret to that extraordinary spell that David Morales casts over us all every single time.

Recorded in 2000 with essentially the same team as “Shades of Bey” and “River Man” and a similar variety of tunes and textures. It includes covers of two Milton Nascimento classics (“Bridges” and “Saidas e Bandeiras”), a cover of “Fragile” (by Sting) and standards such as “I’ll Remember April”, “Just Friends” (with strings), “Invitation" and “Little Girl Blue”, as well as the sultry original “Tuesdays In Chinatown”. This is Andy Bey in fine form, and includes performances by Ron Carter, Geri Allen, Mino Cinelu and Steve Turre. First time on vinyl.

Beyond their highly sought after 1978 album Festa Para Um Novo Rei­ - home to the mystical jazz-funk classic ‘Vidigal’ and released on Philips’ iconic Musica Popular Brasileira Contemporanea series (MPBC) - little is known about Marcos Resende & Index, even to aficionados of obscure Brazilian music. Far Out Recordings is immensely proud to present their previously unreleased self-titled debut album from 1976, contributing a crucial missing work from the glory days of progressive Brazilian instrumental music.

Born in Cachoeiro de Itapemirim, Brazil in 1947, Marcos Resende was a prodigious child who learned to play the accordion at the age of two, and the piano aged six. In spite of his immense musical potential, he travelled to Lisbon in the 60s to study medicine. Yet continuing to explore his musical passion on the side, he formed a trio which went on to open for Dexter Gordon at the Cascais Jazz Festival in 1971. From here he formed the electronic oriented prog-jazz group Status, who opened shows for the likes of Elton John, Phil Woods, Stan Getz, Art Blakey & The Jazz Messengers, but in spite of their relative live success they have no known recordings.

Now established as a highly regarded keyboardist, composer, and innovative electronic musician, Resende returned home to Brazil following Portugal’s Revolução dos Cravos in 1974. Inspired by US jazz and British progressive rock he’d experienced while residing in Europe, Resende went all out acquiring a keyboard arsenal to be reckoned with, which included the Prophet 5, Yamaha CP-708 and Mini Moog. Determined to integrate his newfound inspirations with Brazilian rhythms and jazz traditions, he formed a new quartet with Rubão Sabino (bass), Claudio Caribé (drums) and the late great Oberdan Magalhães, of Banda Black Rio and Cry Babies fame. Marcos Resende & Index recorded their self-titled debut at Sonoviso Studios with the legendary sound engineer Toninho Barbosa, known as the ‘Brazilian Rudy Van Gelder’ whose impressive resumé includes the era defining classics Light As A Feather by Azymuth, Previsão Do Tempo by Marcos Valle, and Quem É Quem by João Donato. Marcos Resende & Index fits perfectly amongst these masterpieces, sharing both the timeless ethereal qualities as well as the progressive and futuristic ideals of Light As A Feather in particular.

The wheels rattle into the thrilling unknown on The Coral’s first new music since 2018, finding the unsurpassed, metamorphic gonzo-pop five-piece in the company of crooks, sell-by-date candyfloss and plastic skeletons as they release Faceless Angel. Of misplaced memories from a place and time that might never have been, the track precedes a new and vividly evocative body of work from the legendary Merseyside band in the form of their TENTH and first, ever double-album: Coral Island.

Squinting into the neon-lit penny arcades and draining an after hours glass with the displaced and dispossessed once the power is pulled, The Coral’s latest caper concerns listeners with the light, shade, thrills and profound melancholy of coastal palaces packed with fun and fright. Both now and then, or perhaps never as fiction encroaches on reality, the feverous anticipation of a night amongst the screams, fights and romance of the fair become part of life on the newly-built Coral Island.

Welcoming travellers one trepidous step at a time, Faceless Angel sits amongst a series of promised audio visual portraits of and inspired by the Island’s inhabitants. Conceived and created by artist, Edwin Burdis, the single’s video was filmed ‘on’ Coral Island itself, a sprawling diorama purpose-built inside a deserted Chinese restaurant in Cardiff. It’s the band and fans’ first venture onto the surreal land mass, populated by surreal sculptural forms, charity shop-finds, looming mountains and gathering storm clouds. Filmed in debt to the traditional model-based filmmaking methods of greats like George Lucas or Ray Harryhausen, Burdis navigated Coral Island at waist-height and via camera-friendly pathways to gather 360 degree footage from inside and outside his and The Coral’s fascinating, fabricated world. The expansive and ambitious installation also provides the album artwork for Coral Island as well as designs for Faceless Angel and future singles.

Indebted in part to the classic pre-Beatles rock and roll era of Duane Eddy and Chuck Berry alongside the clattering of a weary ghost train’s rusted wheels on worn steel, Faceless Angel’s title evokes DC Comics ominous occult detective series, Hellblazer and the broken character of the strip’s protagonist, John Constantine.

Chicago legend and well known collaborator of Derrick Carter (Red Nail Kidz), returns with a brilliant full length listening experience. Tapping into his roots, Chris delivers a deep and melodic 11 track banger. Currently being supported by Mark Farina, JT Donaldson, Diz, DJ Heather, DJ Sneak, and many more.

Lion's Drums full length exists as en exploration in multiple dimensions. First by challenging the notion of the album format by presenting a body of work that lies snuggly between remixes, edits and original works and secondly as a means to delve into the transcendent potential of the drum. The album sets the tone by putting these two concepts fully on display with its hypnotic chant, swaying one into ease over the first two songs. In orderly cue folding and unfolding, meditatively through, melodies as muddied pastelle whispers cast over the measured language of the drum. Breaking away from the musing themes of the opening songs we find an ecstatic ritual in "Tanz der Korperlinge" and "Journey to Middle Earth", two distinct varieties but both of the same perennial species. Inky ether seeps back in through the second half of the album with a peak of frenzied tumbling toms and incongruous textures hovering above in the Manos Tsangaris' collaboration "Crying Tafel" and his re-imagining of Tullio De Piscopo's unhinged drum excursion "Fastness". The closing exemplifies the edit/remix/original ethos proposed for this work with Lions Drums drawing from tapes and original material of electronic pioneers Suzanne Ciani and Roberto Musci. Drawing from unreleased music and song sketches by the original artists as well as field recordings from travels & studio sessions made by Roberto Musci & Manos Tsangaris in the 80's and early 90's he constructs a side winding journey through playful textures and ethereal moods.

‘The Afro Modern Seventies Sounds of Soweto’s First Nightclub

• Over ten years in the making, this is the first compilation from South African vinyl re-issue specialists Matsuli Music

• Ten track double gatefold album journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheid

• Uniquely South African take on the trans-Atlantic sounds of Philadelphia, Detroit and New York City

• Cover artwork by Zulu Bidi (of Batsumi fame) with unseen photographs, and liner notes by Kwanele Sosibo featuring interviews with key musicians, players and a former president of South Africa

• Audio mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany

A night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.
In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers as

its cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.
One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

Following the already classic Wamono A to Z trilogy, 180g presents an exceptional collection of jazz funk / rare groove tunes recorded in the mid-seventies at the Nippon Columbia studios by three giants of Japanese music: arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakuhachi master Kifu Mitsuhashi.

- 180g heavy vinyl pressing, reverse board jacket

- Fully licensed Nippon Columbia masters available for the first time outside of Japan

- Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland

- Artwork by Nker

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Born in 1932 in Tokyo, Kiyoshi Yamaya started his musical career in 1953 when he played in various jazz bands in town. In 1957, Yamaya joined Nobuo Hara's famous jazz big band Sharps & Flats as a baritone saxophone player and started composing, arranging, and recording for them and other big bands. He became a key jazz figure in Japan in the sixties together with Norio Maeda and Keitaro Miho, both jazz pianists, composers and arrangers, by forming the Modern Jazz Three Association – which aimed at improving the level of Japanese jazz composition and arrangement. In the mid-seventies, his Contemporary Sound Orchestra explored jazz funk fusions with traditional Japanese melodies and instruments such as the shakuhachi, koto, biwa, and shamisen. These works were recorded for a series of panoramic Japanese albums released domestically on Denon and Nippon Columbia, from which the tracks on this compilation are taken from.

Toshiko Yonekawa, born 1913 in the city of Himeji, not so far from Osaka, is the eldest daughter of koto and shamisen master Kin'o Yonekawa. She started studying both instruments with her talented father from the age of 3, played in her first concert at 8, and was only 12 years old when she first appeared on national radio. Her unique style of koto playing is widely recognized due to the extreme accuracy of the intonation and rhythm, as well as the unequaled beauty of the instrument's sonority. After a life decorated with awards and prizes, Toshiko Yonekawa was named a Living National Treasure in 1996.

Born in Tokyo in 1950, Kifu Mitsuhashi is a great master of Koto style shakuhachi. After completing the NHK Hōgaku Training Program in 1972, Mitsuhashi became a member of Pro Musica Nipponia, a group of leading composers and top-ranking musicians devoted to performing a wide-ranging repertoire of classical and contemporary compositions from both Japan and the West – in which all music is performed by traditional Japanese musical instruments. Mitsuhashi has toured the world for hundreds of recitals, also as a soloist, and has performed his art with the greatest ensembles such as the BBC Symphony Orchestra and the Berliner Philharmoniker. In 2020, Kifu Mitsuhashi was awarded the Order of the Rising Sun.

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All tracks selected and compiled by Greg Gouty and Maxime Brottes, with the assistance of Ryohei "Nitchiku-kun" Tanaka.

All tracks licensed by Nippon Columbia, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nicolas Kerembellec (Nker.fr).

Proofreading by Brian Durr (Diskotopia).

Executive producers: Greg Gouty and Maxime Brottes.

180GWALP04 - Manufactured and distributed by 180g.

Mondo, and Jagjaguwar are proud to present a limited edition vinyl pressing of Sharon Van Etten's incredible song 'Let Go,' recorded for the 2020 documentary Feels Good Man, chronicling the emotional journey of comic artist Matt Furie and the discovery that his lovable creation Pepe The Frog had become symbol of the alt-right. A super powerful film about reclamation, artistic expression, and above all else Letting Go.

Featuring the aforementioned original song 'Let Go,' as well as a cover of 'Some Things Last A Long Time' by Texas legend Daniel Johnston as B-Side.

“After watching the documentary, I just followed the feeling of coming to terms with something and tried to evoke peace through my melody and words," says Sharon. "The song and film’s producer, Giorgio Angelini was a great collaborator and communicator and I was given a lot of freedom. That says a lot about the film and the people who made it."

Music by Sharon Van Etten

• This slice of Louisiana deep Southern soul has taken on a life of its own since Dave Godin included it on his first “Deep Soul Treasures” CD, and the single has shot up to well over three figures in value.

• In 2021 the song is the subject of a cover version by the-name-to-drop Lady Blackbird and we felt it was about time that it was reissued in its original format.

he British singer Paul Young gained his highest level of commercial success with his second album The Secret Of Association, which featured several hit singles. The album was originally released in 1985 and was certified gold in the US and platinum in the UK, reaching #1 in the UK album charts. The album’s most notable single was his cover of Daryl Hall’s “Every Time You Go Away”, which hit #1 on the US single charts and
#4 in the UK. In addition, the album features “I’m Gonna Tear Your Playhouse Down”, “Everything Must Change” and “Tomb of Memories”, which all charted well.

The Secret Of Association is available as an expanded edition and includes various mixes of the singles, B-sides “Give Me My Freedom” and “Man In The Iron Mask”, and also live versions of “No Parlez” and “Bite The Hand That Feeds”. The album is available as a 2LP limited edition of 2000 individually numbered copies on gold & black marbled vinyl.

In a few short years, Bristol's The Longest Johns have gone from singing sea shanties in a kitchen to International folk festivals, tours, TV appearances and a huge online following. The success of their first album 'Between Wind and Water' spawned the global viral hit 'Wellerman', which gave the band their first Top 40 single. Now, The Longest Johns have returned with a rollicking set of songs and shanties.

Basque artist Elena Setién shapes the ethereal
into the immediate on the stunningly pristine songs
of ‘Unfamiliar Minds’. Her command of melody and
resolute voice are complemented by lush
arrangements that surround the listener in a world
of intimate beauty.
 Setién is an accomplished multi-instrumentalist,
collaborator and improviser, having worked with
artists like Mary Lattimore and Steve Gunn, as well
as composing for film and television.
 On ‘Unfamiliar Minds’, Setién reflects on isolation
and confusion and harnesses uncertainty with
optimism on ten ghostly wonders that capture
ineffable feelings in radiant detail.
 Produced by Xabier Erkizia, with whom Setién also
composed ‘Mirande’ and the soundtrack for
‘Altsasu’, a 2020 Basque TV miniseries.
 Mastered by Denmark’s RedRedPaw Mastering
(Oh Wonder, Colleen).
 LP with full colour inner sleeve and lyrics plus
digital download card.
 “Her songwriting invites curious listeners in, adding
texture and complexity where we may not have
found it ourselves.” - Pitchfork
 “Confident and auspicious... Setién masterfully
creates a musical space to cultivate social
progress.” - PopMatters (9/10)

A musical journey with Emile Parisien is an adventure, something way out of the
ordinary. The soprano saxophonist’s sound is instantly recognisable - as is the way
with the greats - and you know that you are in the best possible company to set off
for a destination shrouded in uncertainty.
 For the past twenty years, the one-time child prodigy of Marciac has found ways to
astonish, to shake up and to enchant listeners with colourful and productive
experiments. His driving force is a passion which seems physically to take hold of
him as he plays.
 Anyone who has seen his development as a performer knows what he’s about; there
is an element of the dance but also the tension of a coiled spring. And among the
musicians who seek him out are not only the very best of his own generation but also
the jazz masters, such is his reputation both as a leader and as an inspirational
partner.
 As a musician he is one of a kind, with a power to be evocative and to bring
convincing shape to the unpredictable. His musical language can express sudden
frenzy, keeping the listener completely on tenterhooks, but there are also outbursts of
tenderness and a palpable emotional honesty.
 ‘Louise’ takes its title from Louise Bourgeois and more specifically her sculpture of a
spider, ‘Maman’. Her monumental work has motherhood as its theme, also conveyed
through the metaphor of weaving, an underlying thread that runs through Emile
Parisien’s creation.
 He has assembled a group of musicians who bridge the two sides of the Atlantic. The
saxophonist has set out to combine the essence of jazz with his own purposes; so,
what shines through here are both his kaleidoscopic imagination and his appetite for
breaking down barriers. Three American musicians are in the group, all of them
friends whom he has got to know over time.
 Their eagerness to engage in fruitful conversations with a trio consisting of Parisien
himself and two of his closest colleagues from France is miraculous. All kinds of
nuances and a confluence of influences are to be heard here. We find variations of
pace from skittering syncopations to the softly majestic.
 Textures are meticulously calibrated, with a broad palette of instrumental colours
both in the original compositions and in a burning cover of Joe Zawinul’s
‘Madagascar’. This collective endeavour leaves plenty of room for individual
inventiveness, yet there is a happy balance between the different personalities as
well. Emile Parisien, always hyperalert, knows when to step back and to leave the
initiative to his partners, but will then re-enter authoritatively and be the catalyst who
completely re-energise them.
 ‘Louise’ is just magnificent in its twists and turns, and in the way it celebrates the
sheer joy of the groove. ACT have taken a path towards intoxicating freedom with a
team of artists in complete balance both individually and collectively. Through its
subtle amalgamation of diffidence and affirmation, this pellucid music tells us the
truth about life.

The album ‘Romeo’ explores Sega Bodega’s relationship
with his fictional girlfriend, Luci (after Lucifer: bringer of
light), who is a being made entirely from light.
 Featuring some of Sega’s best production work to date,
with a few real sonic curveballs. His vocal performance
is brought more to the forefront than ever before.
 The album shows Sega really coming into himself as a
multifaceted artist and independent great after a couple
of years of building a solid core fanbase and producing
for some impressive names in the alternative space
(from Shygirl to Caroline Polachek, for instance).
 ‘Romeo’ features guest appearances by acts including
Arca and Charlotte Gainsbourg.
 Previous press support for Sega comes from Dazed,
L’officiel (cover), Fader, Office Mag, NME, DIY, i-D plus,
at radio, Annie Mac (Radio 1), Matt Wilkinson (Apple
Music 1) and Nemone (6 Music) have previously
championed Sega’s work.
 Born in Ireland, raised in Glasgow and now based in
London, producer, performer and labelhead Sega
Bodega - aka Salvador Navarrete - has built a reputation
as being one of the UK’s most innovative and precocious
creative minds.
 Inspired as much by his close network of peers as his
love of cinematic soundscapes, Sega has made impacts
spanning across music, fashion and film, soundtracking
some of the most important cultural moments in recent
years, as well as building a catalogue of prolific and
critically acclaimed solo releases that traverse genre,
style and composition.

Sarcasm has had a storied career. Originally formed in Sweden in 1987, Sarcasm would release blistering Death Metal throughout the early and mid-90’s. After a short-lived reunion in 1997, they would come back into the fold in 2015 with a new re-designed version of their lineup. Now they return with their new full-length album “Stellar Stream Obscured”. A concept-based album that is a journey. Managing to sound like their old selves, the bands launches a fine assault here featuring plenty of furious melodic rhythms alongside their traditional leanings. Although, they clearly have their ties in being an older Death Metal band, their sound still brings with it the youthful exuberance of newer Death Metal bands. They have this almost blackened style of Death Metal that cuts like a knife. The impressive guitar work is highlighted by the brutal blast beats and vile vocals emanating in every track. A surprising factor to their music is the slowing down of the tempo to offer up a more melodic sound. A lot of times the old school Death Metal bands seem to be stuck in their ways, but Sarcasm has implemented the more melodic sound to their brutal repertoire. One should appreciate the vile black metal styled vocals on the album, as they work so well together with the professional sounding musicianship. Take Black Metal, melodies, and Death Metal and blend it all up then you’ll have “Stellar Stream Obscured”. The music is beautiful, vile, and brutal all in the same. “Stellar Streams Obscured” is a triumphantly diverse Death Metal album that brings a complete and competent sound. Sarcasm deliver on every facet musically.

It’s January 2022, and therefore time for the third album from the largely Berlin-based band PICTURES. Following “Promise” (2017) and “Hysteria” (2018), the well worth watching documentary film “Könige der Welt ” (We Were Kings), gigs as support act for Paul Weller and the Kaiser Chiefs, performing at Haldern Open Air and on their own tours, “IT’S OK” is their most ambitious and cohesive album to date.

For them, it is also the discovery of a new feel and a new approach, and you can hear it.

Russell Marsden and Emma Richardson first started writing songs together in their teens after meeting at school in their Southampton hometown. Forming Band of Skulls 17 years ago with drummer Matt Hayward, they went on to make five acclaimed studio albums together. Now, the pair have temporarily stepped away from Band of Skulls to focus on a new musical project they’ve been dreaming about since their earliest songwriting days.

The album covers the full breadth of human emotions, mining deeply into songs about human connection, vulnerability, loss, change, love, identity and forgiveness – as well as the future and hope. It’s vast in scope, something magnified by its grandiose cinematic feel that leans towards the soaring jazz arrangements of the 40s and 50s. The album’s strings were scored and directed by Tom Edwards, who had worked with Band of Skulls previously when he’d reimagined several of their songs. “When Tom sent back the first song, ‘Outsider’, it was a jaw-dropping moment for us to see what he’d done with it,” Emma says. “We challenged him to take inspiration from the incredible composers and arrangers from the 40s and 50s jazz era

The latest addition to Chick Corea's remarkable discography is Chick
Corea Akoustic Band 'LIVE', the long-anticipated reunion of his beloved
Akoustic Band with bassist John Patitucci and drummer Dave Weckl,
together as a trio for the frst time in more than two decades
Under any circumstances, these thrilling live recordings would be a welcome
addition to Corea's prodigious discography. With the news of his passing still so
fresh in listeners' minds, its release comes as an opportunity for fans to bid
farewell while cherishing the communal energy and playful vigor that made the
pianist a favourite of jazz lovers around the world for nearly 60 years. 'LIVE', the 2-
CD/3-LP set was recorded January 13, 2018 at SPC Music Hall in St. Petersburg,
Florida. The trio's intricate interplay and highwire jousting refects more than 30
years of collaboration between Corea's Akoustic and Elektric Bands and serves as
a celebratory reminder of Corea's singular genius, with more than two hours of
inspired playing and spirited camaraderie.
Chick Corea attained iconic status in music. The late keyboardist, composer and
bandleader was a DownBeat Hall of Famer and NEA Jazz Master, as well as one
of the most nominated artists in GRAMMY Awards history with 68 nods - and 24
wins, in addition to 4 Latin GRAMMYS. From straight-ahead to avant-garde, bebop
to jazz- rock fusion, children's songs to chamber and symphonic works, Chick
touched an astonishing number of musical bases in his career after playing with
the genre-shattering bands of Miles Davis in the late '60s and early '70s

PAUL DRAPER RETURNS WITH HIS NEW ALBUM, 'CULT LEADER
TACTICS'
Former Mansun frontman, Paul Draper, returns with a collection of his
fnest songwriting since the bands' imperial phase
'Cult Leader Tactics' is a self-help manual on how to become a complete cult in
the music industry & is his frst solo album since 2017's much- lauded 'Spooky
Action'.
'Cult Leader Tactics' offers a satirical analysis of the self-help manual genre. A
guide on how you can get to the top of your chosen profession, or ahead in life &
in affairs of the heart, by acting in a Machiavellian manner, employing dirty tricks
or 'Cult Leader Tactics' to achieve your life goals. After experiencing these types
of human behaviours & themes, the album arrives at the conclusion that the only
true answer in life is love.
Paul plays most of the instruments on the album, including lead vocals, guitar &
various Moogs & synthesisers. An album produced with long-time collaborator &
acclaimed producer Paul 'P-Dub' Walton (Massive Attack, The Cure, Bjork) at Loft
Studios, it also includes guest appearances from Porcupine Tree's Steven Wilson
& Gam of the band 'Sweat' as well as featuring a 288- person C.L.T. Lockdown
Choir.
'Cult Leader Tactics' offers a selection of Paul's most focused & ambitious work
so far, a brilliantly dark commentary on an industry he is all too aware of.
Digipack edition with 16-page bookletOn tour across the UK from 27th February
to 23rd March 2022.'Cult Leader Tactics' will be available via Kscope.

25TH ANNIVERSARY OF GAVIN HARRISON'S DEBUT ALBUM REISSUED
Gavin Harrison has established himself as one of the most revered
drummers in the progressive rock scene in recent years
As a member of Pineapple Thief, Porcupine Tree & King Crimson at one time or
another, as well as guesting on numerous acclaimed recordings, he has secured a
reputation as one of the most thrilling drummers around.
In 1997 Gavin released 'Sanity & Gravity', an impressively ego- free debut solo
release featuring performances from a stellar line-up including Mick Karn, Richard
Barbieri, Jakko Jakszyk (21st Century Schizoid Band) & Dave Stewart (Egg,
National Health). Avoiding making a typical 'solo' drum album as a means of
demonstrating his prodigious technique, Gavin created an expressive & emotional
album that is strong on both groove & melody.
In his own words, "faced with the prospect of making a 'solo' drum album I
decided I would take a more experimental approach to playing my instrument,
rather than make a record of fast fashy solos & flls to try & show off my
technique. I felt there was a way to express emotion from the drums played with
the attitude of "blowing" on a saxophone or "twiddling" around on a piano."
The original album has gone on to gain legendary status in the 25 years following
its original conception with the CD fetching high sums on the resale market.
Kscope is now thrilled to present the album reissued & remastered with an
exclusive bonus track & new original artwork for the anniversary. Essential
listening!
'SANITY & GRAVITY' WILL BE ISSUED VIA KSCOPE

Mikkel Holm Silkjær, the frontman of Danish indie rock combo Yung, is fnally set
to release his long-awaited debut solo record as Holm - the frst release with this
solo project since 2018""s 'Dappled' EP. Titled 'Why Don't You Dance', it's a product
of three years of writing and nearly six months of recording, it's a gleefully varied
guitar- pop record that veers between styles, from the fzzing energy of
'Descending' and opener 'Intelligent Moves' to the gorgeously melodic 'Like a Dog'
and 'The Rope', via the stately introspection of tracks like 'K's Choice' and 'Back
Home'. Recorded by Yung bandmate Tobias Guldborg Tarp (who co- produced
alongside Neil Robert Young), Why Don't You Dance is the sound of Silkjær
stepping away from his group's predilection for taut rock and roll and instead
embracing a different side of his musical personality, one defned by his sharp ear
for a hook, as well as - crucially - his burgeoning ability as an expressive lyricist.

The wheels rattle into the thrilling unknown on The Coral’s first new music since 2018, finding the unsurpassed, metamorphic gonzo-pop five-piece in the company of crooks, sell-by-date candyfloss and plastic skeletons as they release Faceless Angel. Of misplaced memories from a place and time that might never have been, the track precedes a new and vividly evocative body of work from the legendary Merseyside band in the form of their TENTH and first, ever double-album: Coral Island.

Squinting into the neon-lit penny arcades and draining an after hours glass with the displaced and dispossessed once the power is pulled, The Coral’s latest caper concerns listeners with the light, shade, thrills and profound melancholy of coastal palaces packed with fun and fright. Both now and then, or perhaps never as fiction encroaches on reality, the feverous anticipation of a night amongst the screams, fights and romance of the fair become part of life on the newly-built Coral Island.

Welcoming travellers one trepidous step at a time, Faceless Angel sits amongst a series of promised audio visual portraits of and inspired by the Island’s inhabitants. Conceived and created by artist, Edwin Burdis, the single’s video was filmed ‘on’ Coral Island itself, a sprawling diorama purpose-built inside a deserted Chinese restaurant in Cardiff. It’s the band and fans’ first venture onto the surreal land mass, populated by surreal sculptural forms, charity shop-finds, looming mountains and gathering storm clouds. Filmed in debt to the traditional model-based filmmaking methods of greats like George Lucas or Ray Harryhausen, Burdis navigated Coral Island at waist-height and via camera-friendly pathways to gather 360 degree footage from inside and outside his and The Coral’s fascinating, fabricated world. The expansive and ambitious installation also provides the album artwork for Coral Island as well as designs for Faceless Angel and future singles.

Indebted in part to the classic pre-Beatles rock and roll era of Duane Eddy and Chuck Berry alongside the clattering of a weary ghost train’s rusted wheels on worn steel, Faceless Angel’s title evokes DC Comics ominous occult detective series, Hellblazer and the broken character of the strip’s protagonist, John Constantine.

On August 27th 2021 The Third Sound released their fifth album ‘First Light’ on Fuzz Club Records and it is now being given a second pressing after selling out upon release the first time aorund. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavor since the release of his self-titled debut on Newcombe’s A Recordings a decade ago. Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.” ‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

Cardinal Fuzz are pleased to bring your way The Band Whose Name Is A Symbol – Ensemble 2016. Eight players made up the iteration of the always mutating ensemble cast, who were as follows for this recording - John Westhaver, Nathaniel Hurlow, Bill Guerrero, Jason Vaughan, Dave Reford, Scott Thompson, Mark McIntyre and Eric Larock.

The session for Ensemble went down at their spiritual home of Birdman Sound in Ottawa in August 2016 where what you hear on record was recorded direct from the floor (and mastered/tweaked by Chris Hardman).The whole session (and note this is an edit to fit the constraints of vinyl) - flies by with a reckless, organic abandon, as at times 8 players fly off in different dynamic directions of abstract playing and improvisation with trumpet player Scott Thompson much to the fore and blowing wild.

At times the feel of this recording is like a collision between a 70s album on the German Sky transported to a San Franciscan Ballroom is ’68 as the audience are peaking on ‘Orange Sunshine’ as Ensemble finishes up like a beautiful trip, well taken.

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, "Forms" has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. Last year, The Micronaut released Olympia (Summer Games) - an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track Bobsleigh, which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. 'He thinks it's cool to just play with an iPod or a USB stick,' we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, 'Curling' is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on "Curling" I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer.

Kryptox label member Niklas Wandt comes with his second vinyl release on the German jazz-tronica label. The German DJ, drummer, producer and radio host is by now one of the key figures in everything wild that's coming from Berlin these days: His jazz stuff on Kryptox is just one of his many sonic faces. He is the head of German indie-pop band Neuzeitliche Bodenbeläge as well good friend of Jan Schulte aka Bufiman- and know for several collabos with him. Now Wandt comes up with what could be his most advanced release. A free-jazz album recorded with Swedish saxophonist Otis Sandsjö. And it might sound strange to some, but Berlin is becoming an international center of free improvisation. It makes sense as the city has been the center of techno for years - the music that is extremely formalistic and all about repetition and standardised sounds and grooves. Free jazz is the extreme opposite to that formalistic tool music of the last years.

2024 Repress

Cool - gelassen - überraschend: Volume 15 dieser superlativen Serie wurde wieder von Compost’s Mentor Michael Reinboth zusammengestellt. Das pralle Paket birgt 21 Tracks, davon 8 exklusive unveröffentlichte Delikatessen und gibt es als 4-LP / 2xCD. Viel Vergnügen.

Die exklusiven Tracks kommen von: Area (schätze, man kennt seine brillianten Innervisions Veröffentlichungen), Arnau Obiols & KAYYAK (schwer von Gilles Peterson gefeatured, ihre EP “Chang‘an” war in seiner 2021 top 5 Liste), Ron Deacon (gehört zur Workshop-Crew mit Move D, Even Tuell and Kassem Mosse), Class Compliance, oh man was für ein Hammer Track, Mille & Hirsch (Operatoren des feinen Polish Records - Labels), All Is Well (dahinter steckt natürlich Fred Everything), Ben Sturm (ein neues Talent aus Leipzig’s viraler Underground Szene) und Oliver Kieser (bestens bekannt als Teil von Kieser & Velten mit einigen Platten auf G-Stone).

Gut, schön, wie immer, fast alle Tracks sind wunderbare Hybride, perfekt für jedes eklektische Set, aber auch für den entspannten Genuss von Wein, Bier, härterem oder grünem Zeug. Vielleicht besonders zu erwähnen wäre der Esa Williams Remix von Bantu Clan Vs Sarabi and Kevin Yost’s Original Mix von “Another World”, die gab es so in den Versionen bisher nicht auf Vinyl.

Diverse Magazine haben die Future Sounds Of Jazz als eine der besten Compilation - Serien aller Zeiten gewählt. Wir sind geschmeichelt. Mit dem Start der Reihe 1995 wurde das Genre Future Jazz quasi aus der Taufe gehoben, unetabliert.

"Emotional Rescue presents the first ever reissue of Sugar Minott’s rare 12” of I Remember Mama. Recorded in Soho in mid-80s London, the Boogie meets Reggae song comes in vocal and instrumental mixes, as well as a wonderfully teasing long Discomix by NAD aka Dan Tyler (Idjut Boys).

Having grown up and become a star out of Kingston, JA, with over 50 albums and hundreds of singles for the likes of Studio One and Black Roots labels, the legendary vocalist was a pioneer of the Dancehall and then later Lovers Rock sounds.

Based in London for much of the 1980s, a chance meeting in the Wackies offices he met producer Steve Parr, who had recently opened the Sound Design Studio next door.

Hatching the idea to create a label to showcase their capabilities, Parr played all the instruments except the distinctive sax by friend Andy MacDonald, while Minott’s delivery is at his prime, storytelling in the Jamaica tradition of hardship and praise.

Released on 7” and 12”, they have striking differences. The “Sound Design” instrumental / version sees the studio team craft a disco meets reggae in a cod-style to wonderful, almost Balearic effect.

The collaboration with Dan Tyler continues, as he again works his desk dubbing magic. Extending and editing between the two mixes, teasing the instrumental before finally bringing the sax and vocals together for a ‘discodub’ finale. "

Hailing from Sydney, Australia, prolific producer Cabu (860K Monthly Listeners and more than 90M cumulative streams on Spotify alone) has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit (37M Spotify-streams) to Big Wild's "Empty Room" flip (20M Spotify-streams) – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

From his early days in 90s collective KMD to his reinvention as a masked supervillain leading the indie hip-hop revolution, MF DOOM has consistently pushed the boundaries of hip-hop in new and unexpected directions. While DOOM's lyrical genius is well documented, he has quietly become an important figure behind the boards as well. DOOM has always produced his own music, and in the early 2000s he released the acclaimed ten-part Special Herbs instrumental series, introducing the world to the dusty, lo-fi loops that define his production aesthetic. In the years since, DOOM has supplied soundscapes for Ghostface Killah's classic Fishscale album, produced an entire album for Masta Ace, and witnessed a new generation of emcees (including Joey Bada$$, Capital STEEZ, and Bishop Nehru) using Special Herbs beats on their breakthrough mixtapes. Now, the villain is putting the spotlight back on his production with the official vinyl release of Special Blends, Vol. 1 & 2. Originally self-released in extremely limited quantities back in 2004, Special Blends Vol. 1 & 2 pairs vintage DOOM-produced Special Herbs instrumentals with classic hip-hop and R&B vocals. Mixed by DOOM himself, this collection incorporates vocals from a wide range of iconic records. Special Blends Vol. 1 & 2 is available in standard 2XLP vinyl format, as well as a deluxe version inside a custom-printed burlap bag.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

"""Riding SCORCHING hot on the heels of their recent self-titled debut, fans could be forgiven for expecting more of the same from Champyun Clouds’ second long player of
2021. A hodgepodge of cutting-room-floor-fodder and experiments that would’ve been b-sides or Japan-exclusive CD bonus tracks in those halcyon days of physical formats’ golden ages is not what we’re getting. Let’s save those for a deluxe anniversary reissue
one day. Nah - sheer, unabashed creativity fuels this album; and weirdly enough, they’ve managed to branch out in interesting ways while also creating an album that is more immediate and banger-centric. Although Nail’s eclectic psych-lounge tendencies and
Asa’s irreverent poetry and broad Nottingham lilt remain the key touchstones of CC’s sound, opener “Check For Silt”s rough drum’n’bass beats offer an immediate and clear sonic progression for the Nottingham duo. The LP ultimately plays a bit like a haunted
jukebox in outer space - with elements of dub, britpop, early house, trippy, blissed-out sunshine pop (reminiscent of mid-90s His Name Is Alive at their most Beach Boys-aping), William Orbit-esque 90s psych-pop electronica, distorted glam rock shuffles and
garage-y funk. There’s a particularly great moment of sequencing at the end of the first half where I got lulled into a state of near-euphoria with the Air-like “The Flowered Crown” before getting slapped ‘round the face by “I’m Not Right For You”, which sounds
like Nile Rogers producing a demo for Sheila & B. Devotion, except he recorded it at the bottom of a well. Sophomore slump? Never heard of him, mate."""

The Senior Service returns with a brand new 10” for 2022. A year or so ago, The Senior Service decided that it wanted to add a little more to its well-honed instrumental sound. On one slightly drunken night out, they approached local songwriter and chanteuse Rachel Lowrie and asked if she’d like to perform guest vocals on some specially written new material. By this time, Rachel had supplied impressive ‘pipework’ on quite a few Medway records so the band was confident that she’d be able to deliver – the band was right.
Following a lengthy hiatus in activity due to lockdown restrictions, The Senior Service was finally able to get together to record the new songs, so they piled into Ranscombe Studios to crack on. It soon became apparent that they’d lost none of the chemistry that had made them such a powerful musical collective and the instrumental backing tracks were laid down with relative ease. It was when Rachel arrived and sprinkled vocal sugar over the tracks that they really began to shine! Intuitively, she understood the approach needed and delivered a made-to-measure performance for each song. this collection includes four original tracks penned by the band plus two rollicking covers of lesser-known instrumentals; John Schroeder’s take on ‘Lovin’ You Girl’ – a slinky slice of lounge grooviness, given a slightly chunkier sound, informed by the band’s musical aesthetic, and ‘Mysterious Land’ – The Chris Lamb Orchestra’s little heard filmic masterpiece; a track seemingly tailor-made for the band to get its musical chops around. So, we invite you to spend ‘A Little More Time with The Senior Service’.

10” black vinyl with download code. File under: Indie, UK. It’s been four years since we last heard from Tigercats, with the 2018 album Pig City marking the expansion of their sonic palette from indie-pop and alt-rock, to include highlife, afrobeat, and scuzzy West African psych. The New Works EP is another step into the new for Tigercats, the sound of an increasingly political band, unbound by the records they’ve made previously, and enjoying the freedom of exploring and experimenting for these 5 new tracks. “We’ve been a band over 10 years and it felt like all of our previous recordings have been leading up to this one. After Duncan switched from guitar to kalimba a few years back, and we welcomed a horn section into the line-up, the sound has been getting denser and grittier, particularly live. With this recording we’ve finally managed to capture some of that energy on record.” The opening track New Work, a song about the relentless tyranny of labour in the 21st century, grows from the synth bass riffs and riotous brass lines with production inspired by industrial techno like JK Flesh, to display lyrical ferocity not often heard. The Space came together completely improvised in the studio, and reflects on the fight for space to create art - in a world fighting for your attention 24-7, and the depletion of available arts spaces. The intensity subsides for The Picture, a track whose origins date back to the writing of the band’s second record. More reminiscent of Tigercats’ indie credentials, drawing on the textures of Low or Yo Lo Tengo, it is developed here by a band confidently hitting their stride. New Works was written in 2019 and recorded at Lightship 95 on the Thames, and at Big Jelly in Ramsgate. Originally scheduled for a spring 2020 release, we’re excited to finally bring you these 5 tracks and the promise of a return to blistering live shows from Tigercats. Tigercats are a kalimba-led psychedelic pop band from East London. Having honed his songwriting craft in the short-lived but much much-missed Esiotrot, in 2010, Duncan Barrett went about forming a new band and recruited sibling/long-time producer Giles Barrett (bass), talented songstress Laura Kovic (keys), as well as Paul Rains (guitar, of Allo Darlin’). The band have performed throughout the UK and Europe and have supported The Wave Pictures, Allo Darlin and Darren Hayman among others. They have also performed at the End of the Road and Primavera Festivals and have appeared on Spanish TV (RTVE Radio3) and Indietracks. A tour of the USA and Canada included a headline appearance at NYC Popfest. New Works harks a return to Fika Recordings, having released the debut Tigercats album Isle of Dogs back in 2012, bookending albums with Fortuna Pop! (2014’s Mysteries) and El Segell Del Primavera (2018’s Pig City). Tigercats are: Duncan Barrett - Vocals, Kalimba. Giles Barrett - Bass, Production. Laura Kovic - Keys, Vocals. Paul Rains - Guitar, Vocals. Will Connor - Drums, percussion. Seb Silas - Baritone saxophone. Meridyth Dickson - Alto saxophone. Thom Punton – Trumpet.

Karma Sutra were an anarcho pacifist band from Luton, Bedfordshire who formed in the early 80’s after the demise of the legendary the Phallic Symbols. Karma Sutra only had one release at the time - an album self released in 1987 called Daydreams of a Production Line Worker which came towards the end of their lifetime. Sealed Records now release the earlier years of demos and compilation tracks on a 15 track round up. Be Cruel with Your Past and all Who Seek to Keep you There includes their first and primitive demo The New Economy Roast from 1983. It’s very basic and has a Bullshit Detector Compilation quality to it. A few years later came the second demo Shoppers Paradise which is the best material Karma Sutra recorded. Six tracks of well produced classic 80’s Anarcho punk with a driving sound. It’s passionate, tuneful and politically aware. How this wasn’t released at the time on vinyl, is a travesty. Also included is two tracks from the Mortarhate Compilations Who? What? Why? When? Where? and We Don't Want Your Fucking Law!. Finally the last three tracks were from the final line up of the band and were recorded with Spon from UK Decay adding more post punk elements to the sound. The LP comes with a 40 page booklet of Lyrics, handouts, fanzine interviews and statements. FFO: OMEGA TRIBE, CRASS, EXIT STANCE, ALTERNATIVE

"We all know what teenagers are like. Bratty little gobshites. Moody shits. Forever toeing the line between cocky arrogance and whiny self-doubt, and to hell with anyone who gets caught in the crossfire. And this old fucker should know; he was really good at all of the above (still keeping on top of the ‘gobshite’ part, you’ll notice). For some reason, the entirety of rock’n’roll is predicated on music made for and about these states of mind - well, I guess if you mix ‘em all together, they can make for one helluva sense of reckless abandon. So it shouldn’t come as a surprise that Melbourne quartet Mr Teenage sound exactly like their name suggests: chaotic, raw, emotionally volatile… and of course they bind all this together with their own brand of heroically melodic garage rock. Produced by Billy Gardener (of Ausmuteants, Smarts, Cereal Killer and god knows how many other vital Aus-punx), this debut EP snarls, spits and swaggers with all the glorious self-belief of a drunken 4am stumble to the petrol station to buy a pack of skins. And the songs are fucking great too. Title track ‘Automatic Love’ expertly showcases the combined sounds of their cited influences (Thin Lizzy, Dictators, Martha Reeves, etc), with frontman Nic Imfeld’s voice at times edging close to the sandpaper soul of their countryman Shogun (ex-Royal Headache). Meanwhile ‘Waste Of Time’ sees him blending their garage licks with Joey Ramone bubblegum, just as ‘The Loser’ fashions a delightfully adolescent chorus of ‘the loser says what?’ from an airy melody that either The Shangri-Las or Del Shannon would be proud of. They wrap things up with another slab of pure punk/pub rock genius called ‘Kids’ that’ll get the hairs on the back of your neck standing on end, as you fight the urge to crank-call your former school teachers and blame the kid who used to take your lunch money. Of course, singing about ‘kids these days’ marks Mr Teenage out as being older than their name suggests, and sure enough their name comes from an old wrestler rather than identifying with an age bracket they’ve outgrown. But with tunes like this… honestly, who gives a fuck what they’re called? This record is perfect." Will Fitzpatrick.

Crazy superb romantik Speedcore... Here you can listen MP3 as 33 rpm AND 45 RPM (its original speed, of course). But as 33 RPM it's not that bad as well as we say ^^ ahahah

A superb 13th OPUS in the vein of some XMF or INGLER oldskool tunes

Together, René Audiard and Ali Cakir are Düve: The symbiosis of René Audiard's electronic programming virtuosity and Ali’s expressive oud playing. Their first EP on Mesma, “Part 1”, compiles four diverse productions compatible with late night dances as well as escapist mind-wandering. Combining elements of dance music with improvisational oud performance and poetry, Part 1 oscillates between house, experimental music and free jazz. As a return to beat-based electronic music, Düve’s Part 1 reconnects Mesma to its love for moody microscopic house.

The opening track, “Baglama”, introduces Ali’s acoustic presence with an atonal improvisation, soon turning into a rough and upbeat rhythmic jam under’s Soren electronic direction.
“Djinn Tonic” is an intricately layered progression of loops generating an unsettling atmosphere, both futuristic and nostalgic.
Following the introductions, the full breadth of Düve’s project is developed in Avvad: A dark, textured and moody journey into an ever-changing world of echoed and looped oud phrases over a familiar house beat, connecting the whole to smokey underground dance floors.
Finally, “Santr”, the EP’s longest piece, is a hypnotic promenade led by Ali’s voice and oud and accompanied by Soren’s chopped up drums and bouncy bass — an expressive and performative track, evoking dance music only in a volatile manner.

- The Complete Film Score by Tom Holkenborg aka Junkie XL - 180 Gram Neon Pink Vinyl (Disc 1) and Neon Yellow Vinyl (Disc 2) - New Artwork and Design by Oliver Barret - Exclusive Liner Notes by Director Zack Snyder - Deluxe "Zeus Zombie" Tear Away Front Cover with Triple Gatefold Jacket // Tom Holkenborg is a Dutch composer, multi-instrumentalist, DJ, producer, and audio engineer. He has worked with Hans Zimmer and his company Remote Control Productions on Man of Steel and Batman v Superman: Dawn of Justice, as well as composing the scores for Zack Snyder's Justice League, Mad Max: Fury Road, Deadpool, Tomb Raider, Terminator: Dark Fate, Sonic the Hedgehog, and Godzilla vs. Kong. Waxwork Records is thrilled to present the score music to ARMY OF THE DEAD as a deluxe double LP album featuring never-before-seen interactive packaging with new artwork and design by Oliver Barrett. Listeners must tear open the screaming visage of Zeus, the film's zombie leader, to reveal a locked vault door. The packaging then expands into a neon pink and yellow soaked triple gatefold which unlocks the vault to reveal a horde of Las Vegas zombies inside. As the listener continues opening the album packaging, and all zombies are killed, you'll be greeted by Valentine, the film's beloved (and first-ever?) zombie tiger! The score has been pressed to 180-gram neon pink and yellow vinyl and the album features exclusive liner notes by director Zack Snyder.

Home Stories is Hainbach’s fourth release on Seil Records. It displays an uncompromising approach to sonic world building and explorative ambient music.

The majority of Home Stories was recorded in the Black Forest, the artist’s old home, but the album is far from a reflection on the past. It is about the changes this area has seen and more importantly, about transformation in general. As humans have always been changing the landscapes - for better or worse - Hainbach takes a tentative listen to what can be found in taking the well-known and changing it to the uncanny.

Thus the piano, that often serves as a compositional root sound and familiar element changes over the course of the tracks, is abstracted, re-synthesized, shaped into abstract forms and relocated to physically impossible places. The premise of this album is that transformation is possible. It frees the known to dare into the unknown.

Based out of Berlin, Germany, electro-acoustic music composer and performer Hainbach creates shifting audio landscapes, using esoteric synthesizers, nuclear test equipment, magnetic tape and a collection of idiophones. Hainbach has become known for his immersive live shows and an unique sound that is both abstract yet very much a corporal experience. Otherworldly and intimate, raw and heartfelt. On his wildly popular YouTube channel, Hainbach shares his love for experimental music techniques and his passion for forgotten machines with a wide audience. Inspiring over one hundred thousand each week to explore synthesis, electronics - and to leave beaten paths.

Tape

Home Stories is Hainbach’s fourth release on Seil Records. It displays an uncompromising approach to sonic world building and explorative ambient music.

The majority of Home Stories was recorded in the Black Forest, the artist’s old home, but the album is far from a reflection on the past. It is about the changes this area has seen and more importantly, about transformation in general. As humans have always been changing the landscapes - for better or worse - Hainbach takes a tentative listen to what can be found in taking the well-known and changing it to the uncanny.

Thus the piano, that often serves as a compositional root sound and familiar element changes over the course of the tracks, is abstracted, re-synthesized, shaped into abstract forms and relocated to physically impossible places. The premise of this album is that transformation is possible. It frees the known to dare into the unknown.

Based out of Berlin, Germany, electro-acoustic music composer and performer Hainbach creates shifting audio landscapes, using esoteric synthesizers, nuclear test equipment, magnetic tape and a collection of idiophones. Hainbach has become known for his immersive live shows and an unique sound that is both abstract yet very much a corporal experience. Otherworldly and intimate, raw and heartfelt. On his wildly popular YouTube channel, Hainbach shares his love for experimental music techniques and his passion for forgotten machines with a wide audience. Inspiring over one hundred thousand each week to explore synthesis, electronics - and to leave beaten paths.

Having produced the Emskee – Wall To Wall 12” released early 2021, AE boss Mr Fantastic is back with another slab of essential Hip Hop made without pretence or adhering to modern trends – in others words, how it used to be. Featuring Teekay of Dragon Fli Empire, hailing from Calgary, Canada, ‘Breakdown’ is a stand-alone single with no plans as being part of any album release right now and comes with the Instrumental version on the flip. Pressed on black vinyl and supplied in full colour card sleeve, as is the standard high-quality packaging from AE Productions.

Although only being acquainted via the internet, Mr Fantastic and Teekay have mutual admiration for each other’s work which lead to this collaboration. This funky 45 features crisp drums and disco funk samples that have been chopped into that good old Hip Hop. The beat has a reasonably sparse stabbing feel with subtle wah-wah guitar between the stabs which bounces along not just at a perfect tempo for DJ’s but also sonically perfect for a big sound system, hence this track being picked for a single release and packs that punch that sounds best played loud. No moody introspective thing here, this is crowd rocking Hip Hop.

Teekay’s rhymes flow over the beat like it is 2nd nature to him because, well, it is 2nd nature to him, and is further evidence of why his group Dragon Fli Empire alongside DJ Cosm, have been able to maintain a steady string of superb releases going all the way back to 2002 and have toured Canada, USA and Europe. The chorus features Mr Fantastic’s turntable skills backing up Teekay’s vocal giving a nicely conceived and executed song structure with a little help from 2 of Soul and Funk’s legends.

The artwork for this one was hand painted by Bristol graffiti heavyweight Turroe who favoured a nod to comic book covers for the theme which was then scanned and arranged into the sleeve format with courtesy of AE artwork regular Nick Pointon of Fine Print.

One of the most promising and talented composer/arrangers of her generation, Japanese, New York based and Grammy-nominated composer / Conductor Miho Hazama releases her inspired new album, Imaginary Visions. Lauded in Downbeat as one of “25 for the future” Miho is an international star in the making. As a Japanese artist based in New York, she is also chief conductor of the Danish Radio Big Band as well as a permanent guest conductor of Metropole Orkest in The Netherlands. Imaginary Visions, her first album with the Danish Radio Big Band featuring entirely her own music is a full-bodied and fresh exploration of big band music, bursting with exuberance and compositions that conjure images of release/escape, encouraging us to be free and to embrace life.

Over the last twenty years Comeback Kid have been hailed as one of the major counterparts when it has come to shaping and pioneering both the Canadian and international modern punk and hardcore sound and scene alike.
After having released their first demo in 2002, before quickly drawing the attention of Facedown Records for the release of their debut, Turn It Around, the last twenty-one years have seen the band produce some of the most acclaimed records within the genre. Signing to Victory Records (Thursday, Refused) for 2005’s career defining records, Wake The Dead and Broadcasting, the five piece have undoubtedly over the years been able to balance a DIY ethos and dependability, with that of a humanitarian ethos, and genre defining musicianship which has broken down the boundaries of hardcore, and transcended the genre onto a global stage. With a back catalogue that would produce some of the most seismic and influential anthems to transverse across both punk and hardcore, 2017’s signing to Nuclear Blast Records (Hatebreed, Madball, Slayer) saw the release of powerhouse heavy hitter, Outsider.
Arguably noted as a record and turning point in both sound and the band’s career, this release would be a definitive moment in pioneering a new path of which an entire generation of new artists within the genre would follow, thus solidifying Comeback Kid next to the likes of NOFX, Terror, and Converge as both major headliners, and forefathers to set the course for what it means to be one of the most adverse punk bands of the 21st century. “We’re a hardcore band, but we don’t feel like we belong to any particular sect of that,” states Neufeld alongside band members, Jeremy Hiebert (guitar), Stu Ross (guitar), Chase Brenneman (bass), and Loren Legare (drums). “We don’t want to be limited in any sense and prefer to work on our own terms.”
Now one of the most volatile leaders within the global heavy music community and continuing to break down boundaries and champion new territories, Comeback Kid’s seventh studio album, Heavy Steps is solidifying the band’s revolutionary status.
Returning to their roots, literally, by recording in Winnipeg and co-producing with John Paul Peters (Cancer Bats, Propagandhi) as well as collaboration with prominent mixer Will Putney (Knocked Loose, Every Time I Die, Four Year Strong), Heavy Steps is no longer a prerequisite to realizing Comeback Kid’s influence on modern punk, but a delivery of pure anthemic chaos, sheer speed and force. It is a statement of intent. “It’s about hitting the ground running, not knowing when or where the ground could break from underneath you.” summarizes Neufeld. “It's heavy steps on thin ice. Heavy steps on hollow ground.”

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

2020, a year that will be forever engraved in our memories as Year One of the Covid debacle.

So much has already been said about it that we feel there is no need for more.

However, 2020 was also the year when we’ve released Tapan’s remix to Decha’s song Niebla from her sold-out debut album Hielo Boca as part of MT0028 Decha - Hielo Boca Remixes. This remix led to a fresh collaboration between the Serbian duo and the German vocalist, which in time bred a brand new track, titled simply TWENTY.

On Twenty, Tapan’s massive bass lines, heavy kicks and their sense for drama and epicness, meets Viktoria Wehrmeister aka Decha’s soft poetic lyrics and tribal style. The result is a massive slow yet heavy tribal industrial track for the alternative dance floors and late night situations in dark dark basements.

The record is comprised of 4 tracks, an original version and a beatless version as well as a deep and trippy dancehall interpretation by our favourite remixers Full Circle (aka Joakim & Alexis Le-Tan) and a punky mid-tempo banger by Mexican maestro and total inspiration Rebolledo who gives his signature sonic attitude to his interpretation of the original track.

Ludovico wollte schon seit mehreren Jahren ein Solo-Klavieralbum schreiben, brauchte aber das richtige Umfeld, um sich voll und ganz darauf einzulassen.

Lockdown gab ihm diese Gelegenheit. Er nahm die Isolation von seinem normalen, geschäftigen und komplexen Zeitplan an, um einen Ort der Einfachheit zu finden. Dies ist also eine positive Sicht auf Lockdown und Isolation; er nutzt diese seltene Gelegenheit, um die einfache Schönheit des Songschreibens in seiner reinsten Form zu erleben. Keine Technik, keine äußeren Einflüsse, nur Ludovico und sein Klavier.

Infolgedessen ist das Thema des Albums die Freiheit von den typischen Grenzen unseres täglichen Lebens. Dies wird in der Metapher ”Underwater” ausgedrückt. Ein freier und offener Raum, in dem man sich bewegen und erforschen, schweben, innehalten, sich in 3 Dimensionen bewegen kann usw. Ich persönlich denke, dass ein Vogel, der durch die Lüfte fliegt, auch als Metapher für dieses Gefühl der Freiheit funktioniert.

Ich nenne es Songwriting und nicht Komposition, es war ein neuer Ansatz für mich: Beim Komponieren denkt man nach und erforscht, vergleicht und ist ehrgeizig. Wenn man ein Lied schreibt, ist es wie Atmen, die Form ist kurz. Ein Lied ist wie die Schönheit eines einzelnen Atemzugs - eine Welle, die kommt und geht. Es ist schön, wie es ist - es braucht nichts anderes.“

A year after his debut on Atomnation, Milio unveils his exceptional first album Nachtzon. Due for release on October 8th, the 12-track album showcases the Dutchman's flair for escapist melodic sounds.

Email van den Dungen started this solo alias in 2020 after previous success as part of the Tunnelvisions duo. But he has ways been a skilled pianist from a musical family, which explains why his well-crafted, emotive melodies always make such an indelible mark. He has a love of beautiful voicings, coloring, melody and harmonies. Personal relationships and close friendships also instill his music with a sense of fun and honest connection and he is someone who spends hours honing his craft, practicing theory and growing ever more conformable with his array of both vintage and modern synths, pianos, guitars and drums. All of this translates to this debut album, which is an expansive affair stuffed with gorgeous grooves and real musicality.

Nachtzon is a widescreen record that proudly wears its heart on its sleeve.

„Sybilline“, „unique“ and „peerless“. These are some of the adjectives that were used to describe Everyone Is A Door – Panoram’s first full-length on Edinburgh’s Firecracker Recordings. Since then, the elusive producer, founded his own label Wandering Eye, produced automated piano music in Los Angeles (Thom Yorke Sonos playlist approved), composed synth lines underwater for Amen Dunes Freedom and toured two years with the band as well being involved in their collaboration with Sleaford Mods Feel Nothing and their upcoming album on SubPop. But Panoram can also hold its own very well. His debut on Running Back’s Incantations series lets you hear and experience that after the first few bars already. Acrobatic Thoughts is surreal, abstract, puzzling and urgent, yet filled with beautiful, slow-moving melodies and emotional passages. Eccentric humor meets serious soundscapes, acrobatic thoughts evolve around abstract key notes, while an out-of-time and out-place atmosphere surrounds a microcosmos that seems to be otherworldly and very natural at the same time. Panoram manages to build a house that can be as much of a home for ambient record collectors as for futuristic pop fans and all the ones in-between those poles. Or to describe it one sentence while quoting two titles of this enigmatic record: Seabrains controlled by beautiful engines.

C.Z. debuts on LA's Evar Records with the uncompromising Heat Index EP.

The Los Angeles-based producer, beatmaker and DJ sets a course through IDM, techno, jungle and trance to deliver five frenetic, emotionally-charged dancefloor cuts.

Over the course of an intensely productive career, Colby Zinser (aka C.Z.) has made music spanning genres like pop, rap, hardcore and jungle. As well as releasing music as C.Z., he's operated multiple aliases, including the prolific Ice Underlord. Drawing from a longstanding fascination with breaks, trance and the IDM of artists like Warp Records' Clark, he's developed his own rich and eclectic style of club music - a sound that crystalized on his 2020 debut album Hyperfocus.

C.Z. emerged from 2020 armed with a mass of new dancefloor tracks, freshly inspired to make club music a central focus, after years of smuggling techno, trance and breaks elements into the rap beats he was making for others. As he explains: 'It's great to come back to music and just make what I love, I don't want to be someone else's secret weapon, I want to be my own.' Heat Index refuses to toe a line, steering skillfully through genres and setting a tone that oscillates between club-fuelled euphoria, heartbreak and the looming threat of planetary crisis.

Opener 'Midnight' rattles along at a breathless 160 BPM, transporting you to a breakdown in the middle of a pounding hard trance set. Within a minute the rushing neon trance synths collide with huge, sub destroying kicks. The title track 'Heat Index' follows, with brooding pads bolted onto a tight breakbeat, leaving space open for the razor sharp, searching synth line.

Moving rapidly through the gears, 'Hurricane' is an aptly titled exercise in precision programmed classic jungle breaks, carried forward by bubbling earworm melodies. 'Retrograde' shifts the focus again - a pitch-black, dark, fast and seething techno track ripe for warehouses and dungeons, before 'Radial Lens', a melodic, anthemic set-closer built on a muscular, downtempo break.

C.Z.'s first appearance on Evar Records, the LA label founded in 2020 by Trickfinger and Aura T-09, follows a series of hard-hitting releases from Speed Dealer Moms, Limewax and Kilbourne, all artists who like C.Z., are able to traverse twisted electronica, club music and pure abstraction with ease. 'I want to help encourage a more open electronic music space, less pretentious, and encompassing all genres.' C.Z. says. 'It's an important goal of mine, and one the label shares.' Heat Index is a wide-ranging EP from a versatile producer, and a celebration of unfettered expression, for minds and dancefloors free from inhibition or genre restriction.

Hypernatural, comprises of Dan Whitford, better known as one of the pillars of Melbourne heavyweights Cut Copy, Mirko Vogel, the engineer extraordinaire who has recorded for Modular and Room40, and Mike Gamwell, also known as Knightlife, who’s racked up several releases on Cut Copy’s own Cutters Records. You could say their roots are in Melbourne, Australia, but it seems unfair to pinpoint the trio to any specific location.

That’s because their sound lies somewhere deep in misty forests, or half-remembered dreams and subconscious wells of ancestral emotion. The transformative power of these 7 tracks was no accident however. The music was pieced together during two trips - one to the remote Swedish coast and another to the Scottish highlands. The three producers used a set of guidelines that allowed each of them to compose and arrange tracks separately yet collectively, like a connected Oblique Strategy. They took inspiration from the stark beauty of their natural surroundings, which had a huge effect on the music they were making.

The resulting tracks inhabit a world of their own, full of shimmering arpeggios and drifting pads, taut drums and sound effects. The opening track Longboat cruises into view with white noise washes and galley master rhythms, conjuring Old Norse battleships and a sense of sailing the open sea, destination unknown. The single Stormfront is a depth-charged deep house burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios and weighty drops, it swells like moody clouds on the horizon and releases tension like the first rain of a summer storm.

Hypernatural particularly succeeds in its world-building, and there’s a cohesion to the tracks despite their many differences in tempo and style. Spirit Walk joins marimbas with modular pulses, as well as slide guitar and snappy shakers, to bring out some Ry Cooder swagger. Unknown Caller taps into the phone line at the speed of 5G, sending breakbeats down the wire on a cold calling mission to recruit ravers for the next after hours. But there are also tracks nodding to blissed-out comedowns and daydreams. Both Changing Tides and New Dawn slow down time to an introspective moment, a catch of the breath, the witness to a beautiful moment. Album closer Valley harks back to classic rave-era ambient, an avalanche of optimism down a majestic mountainside.

Hypernatural evokes panoramic vistas and serene countryside, and you could certainly imagine it soundtracking a hike along coastal hills, or a field at a festival. But it also resides beyond the pastoral, finding a home in airport departure lounges and autobahn service stations, until it eventually settles down inside us - even without the headphones on.

Stormfront
Hypernatural’s single Stormfront is a depth-charged house-tempo burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios, raindance incantation and weighty drops, it swells like moody clouds on the horizon, and releases tension like the first rain of a summer storm.

Endlessly sampled, covered, quoted and requoted, this may well be one of the most influential hip-hop singles ever released. But, in many ways, its importance goes beyond its sheer classic status as a single in its own right.

In retrospect, it shows the duo of Erick Sermon and Parrish Smith as pioneers in production, creating a funk-based sound that helped to provide a blueprint for artists on the other side of the country. In 1987/88, most West Coast rap still adhered to an East Coast audio blueprint. By 1989, they were leaning as heavily on Zapp and Roger Troutman samples as EPMD were on this single.

The foundations of the track are interesting, with a snatch of Juice’s much-plundered ‘Catch a Groove’ (which has popped up everywhere from The Beastie Boys to Kings of Pressure) overlaid with big chunks of Kool & The Gang’s ‘Jungle Boogie’ and Zapp’s irrepressible ‘More Bounce to the Ounce’. Vocodered funk was a rarity in New York hip-hop until this song, but it’s the West Coast G-Funk artists who really ran with it.

Its popularity spanned the country (and the globe, to be fair), with EPMD performing numerous shows in California on the basis of the sound, moving away from their James Brown-obsessed peers to display their own musical tastes. That said, the flipside – here presented on 7” and, indeed, on any single, for the first time – takes it back to that JB-era. ‘(It’s Not the Express), It’s the JB’s Monaurail by The JB’s is woven with Otis Redding and Beastie Boys to create a mid-tempo headnodder par excellence. It was always too good not to be a single.

A year after its first edition, the Open Space series returns in order to keep exploring what ambient music might mean nowadays.

A breadth of fresh artists, some new to the label and others renowned for their more dance-centric works, the compilation aims to give each individual artist their creative freedom to explore the space.

Techno producers such as Arthur Robert or label head Len Faki himself keep the beats present but this time focus on evoking states of introspection rather than the shuffle of dancefloors.
On the other end of the spectrum, we find seasoned multi-instrumentalist Laraaji, who has been crafting deeply meditative soundscapes since the 80’s. Using the special opportunity, the label reaches outside its usual sphere, inviting artists like the modular synth expert Jeremy Wentorth or Jimmy LaValle’s band project The Album Leaf. All while still featuring some well known veteran producers the likes of John Beltran or Exos.

No matter their respective scene or background, all artists are using their unique approach to display something deeply emotive. Be it the warm, expansive electro of Future Beat Alliance or a bubbly cosmic arpride by Hamburg Duo Can Love Be Synth.

Truly living up to its name, the Open Space series aims to open up possibilities for artists to freely pursue their creativity in a completely undefined area, a space for exploration and connection.

What If It Works’ first release, minimum wage maximum joy arrives by way of newcomer 11:68PM. Produced in Berlin in the winter of 2020 and mixed & mastered at the newly minted Brewery Studios, minimum wage maximum joy’s five tracks are precision-tooled for the club, showcasing 11:68PM’s veneration for UK-leaning house and techno.

11:68PM’s moniker, as well as the EP title minimum wage maximum joy draws on the artist’s experience of balancing the grind of the 9-5 with dreams of realizing his creative vision. The skittish breaks on “Bluff Mind State” and “Sway”’s glitchy “Call Mohandes Dub” reveal this state of mind, while “Vertical Mobility” reveals a playful side with its irresistible acid bassline and soaring synths.

In 11:68PM’s words: “Writing the record in the evenings in my bedroom on one of the loudest streets of Neukölln, after I had clocked out from work, I found myself in the ever-present struggle of being artistically active while making ends meet. In making this EP, I decided to prioritize my own desires and not wait for some hypothetical moment to pursue this project that might never arrive.”

Visually, this is underscored by Philipp Pess’ striking artwork, depicting the gaunt face of a man whose tired eyes hint at a lifetime spent in front of a screen.

With minimum wage maximum joy, 11:68PM offers a compelling glimpse into a new generation of Berlin’s left-of-centre club producers.

His partnership with the label has already resulted in a collaboration with Modern Heads, as well as one of the first entries in the Monad series, and now a fascinating new EP that showcases his talent for testing the limits of perception.
Alistair Wells is a producer whose current work is synonymous with a kind of benevolent intensity: he excels at sculpting tonally rich and percussively complex tracks that seem to both enlighten and confront. Under his most well-known alias as Perc, he has established a deep roster on his Perc Trax label to carry out a similar-minded program, and has built up a formidable arsenal of EPs and singles in the wake of enigmatic LPs like 2011's Wicker & Steel. His 'eclectic-yet disciplined' methodology practically guaranteed he would eventually come into the orbit of Stroboscopic Artefacts. His partnership with the label has already resulted in a collaboration with Modern Heads, as well as one of the first entries in the Monad series, and now a fascinating new EP that showcases his talent for testing the limits of perception.

The ominously titled opener "Death of Rebirth" - a title hinting at some form of hellish repetition - starts things off with a sense of dark premonition. Yet, in signature Perc style, that aura of uneasiness beckons listeners to explore further rather than to flee from it: in this context, the reliable 4/4 kick drum throb is the only means of orienting oneself or angling through a glassy and metallic labyrinth where foreign objects conspire to make previously unimagined percussive noises. "Negative Space" is a variation upon this theme of trying to maintain focus within a foreign environment bristling with strange enticements and potential dangers: with the kick pattern from the previous pice still acting as a trusty guide, new sound forms arise at every turn: a novel sort of hybridized piano / gamelan tone, a shuddering assembly line, and snaking delay feedbacks. Like dub music meant to be listened to in a hall of mirrors, "Negative Space" induces a heady feeling of multiplying realities.

The closing "Ma", if translated into Japanese, can mean "space / pause" and thus acts as a nice complement to "Negative Space." However, this massive, side-long audio force field dispenses with the previous tracks' steady pulse, and suggests a rigorous act of ritual contemplation taking place in the midst of phenomenal chaos and challenging blows to the body. "Ma" succeeds in modernizing the industrial-era rhythmic invocations of artists like Z'ev, achieving an almost classical solemnity without sacrificing Perc's usual love for cleverly maniuplated electricity. Altogeher, 'Ma' is an eye-opening, ear-infliltrating statement that will warp your understandings of time and space in a most exquisite way.

"On May 15th 2021 Paul Weller performed an exceptional concert with the hugely talented BBC Symphony Orchestra and award winning arranger Jules Buckley.

This extraordinary performance was a first for Paul, performing with a full orchestra, and saw a quintessential selection of his vast catalogue exquisitely reworked and updated into 75 minutes of breath-taking music that was broadcast across the BBC.

A variety of ambient and experimental cuts to be found here. A re-release of sorts, all original tracks were done by Enitokwa (Takashi Hasegawa) as rehearsal for a live performance at Tokyo - Batofar Festival in Paris in 2001 and were released on a limited CDR "promo." in 2002. All 8 tracks were recorded and mixed live in one sitting, and have been remastered, given names and pressed on heavy vinyl with a beautiful cover design by Berlin artist Nik Patrick.

The sample sources were largely inspired by records that Takashi listened to in High School - and feature two hugely well known British hands (one of whom have just reformed and have a new album out…), some old Jazz, Bossa Nova and Hawaiian records, as well as samples from ambient legends Deep Forest and Brian Eno. The result is an earthly nostalgic feel with deep moods to match the times we are living in.

The first track ‘Pop’ bursts into life with an etherial presence. ‘Ssab’ and ‘Chinese Girl Goes to Hawaiii’ have a rather filmic quality to them, whilst ‘Resonating’ seems to float over the wreckage of human activity, a post apocalyptic vision of Planet Earth. ‘Liquid Sky’ is a minimal groove which could be a sonic report from an eerie space station, which is itself a remix of Dub Sonic aka Takehito Nakazeto’s ‘Donigma Dub’.

‘Hope on Hop’ will appeal to today’s generation with its Techno and D’n’B influences, and features voices taken from Wim Wender’s ‘Paris Texas’. Track 7, ‘Mingos’ turns Gal Costa’s voice into a soaring atmospheric haze of digital memory, and the track ‘Holy Spiral’ is a combination of this one and ‘Resonating’, an ascendent 12 minute march to the release’s final close.



Takashi Hasegawa is a respected DJ, producer and live performer who plays live electronic and DJ sets regularly today in venues and festivals across Japan. He has been producing house, techno, experimental and ambient music since the 90’s - spending some of that time in the United States, including working in the music scene in the New York, before returning to Japan working as a sound engineer, A&R and producer for the famous Tokyo-based record label Club Yellow. Now based in Osaka-Fukuoka, Takashi’s music is still resonating with fellow music lovers around the world.



Now, 20 years on from its creation, this music is rediscovered and given a wider audience. The sound on ’Re-Promo’ interestingly gives an insight into the music Enitokwa is currently working on - reflecting the cyclical nature of creative output - and represents a slight departure from the swirling delicate ambient textures that you can hear in o.n.s.a and on the intricate and more musical 2069, released in 2017 and 2016 respectively.



Each track has a video accompaniment to be released in various media outlets, the label head Tom Ransom having partnered with diverse artists in Colombia, Denmark, Japan, Poland, France, Britain and China to create a wide range of visual outputs.



The release also sees two digital only remixes, one coming from London and Wigan’s enigmatic Isherwood (Edward Regan), and the other from Mat Fink - a unique DJ and up and coming producer raised in Pittsburgh and Berlin. Watch out for these…



Machines used:



Yamaha SU700

Sequential Circuits Pro One

Roland TR909

Roland TR808,

TC Electric D-Two

MAM RS3

Pedals



Remastering and additional audio treatment by Kabamix (LMD) on Dec.4.2017.

Dedicated to Takehito Nakazato (SONIC PLATE)

"Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

Punchline: Enjoy this first single "Waiting For A Star To Fall" from swedish allstar band AT THE MOVIES, doing unique cover versions of their favourite movie songs. Taken from their upcoming album "The Soundtrack of Your Life - Vol. 2" and with members from Pretty Maids, HammerFall, King Diamond, The Nightflight Orchestra, Therion and more! 1. SINGLE - 12.11.21 „Waiting for a star to fall“ 2. SINGLE - 19.11.21 „Last Christmas“ 3. SINGLE - 10.12. „(I Just) Died In Your Arms“ 07.01.22 on album release day): - „Heaven Is A Place On Earth“ FOCUS TRACK: „(I Just) Died In Your Arms“ "Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

Having already proven that he is capable of maintaining sonic quality and distinction over the course of a full original program, Chevel (a.k.a. Dario Tronchin) now makes his LP debut for Stroboscopic Artefacts. His other S.A. contributions (including the inaugural entry in the label's singular Monad series, the "One Month Off" EP, his participation to the label's five-year retrospective series) have already hinted that a more complete exposition of his unique inner world would surface, and here it is at last.

Over the course of his young career, Chevel has gained a mastery over several compositional elements: Polaroid-like slow melodic fades, sharp ricocheting beats, and simply making one's headphones feel like a viable means of physical transportation. All of these elements come into play shortly after the needle hits the grooves of (Track A1), a euphoric introductory track marked by a spectral panning sequence and by beats chopped with a culinary expert's sense of elegance. The drum kit sounds that feature throughout are used sparely but - either because of this or in spite of this - provide maximum impact upon the listener's nervous system. The almost 'far Eastern' use of 'block' percussion on (Tracks A2 and B1) perfectly complements the synthetic sheen produced by fuzz distortion, radio static and bandpass-filtered sound bites, taking us to a terrain where a palette of decay effects provides just as much aesthetic inspiration as the presence of technological advancement.

There is more than enough humor and playfulness at work here, too, helping to once again banish the persistent stereotype of the modern techno producer as a sterile technician: the queasy melody line, sliced-and-diced whistling and gelatinous bounce of (Track D2) evoke a child's wonderment at playtime more than they do the rarefied rigour of the laboratory. The less pulsating numbers like (Track C3) and the closing (Track D3) will engage the listener as well, being like short audio films of abiogenesis (i.e. spontaneous generation of life from 'non-living' material) taking place. These tracks are not so much 'interludes' or contemplative retreats from the action as they are enhancers of it, utilizing fluttering cycles of melody to engage in a kind of conversation with the more driving tracks. As to the 'driving' tracks themselves: the places that they drive the listener to are satisfyingly beyond customary experience.

In other words, despite Chevel's keeping the sonic toolkit and overall atmosphere consistent from track to track, there is a rich variety in the emotional affectivity on display here. The net effect is like a dream state that leaves strong impressions even though one can't pinpoint exactly why they are doing so (and which leaves one wanting to dive back into the dream pool and experience something similar again.) This is a talent that unifies the diverse constellation of Stroboscopic Artefacts producers, and one that makes Chevel in particular one to continue watching, listening to, and experiencing.
Wire (USA/Germany/UK) - ''Very intriguing, can/'t wait to dive in.''
Pitchfork (USA) - "Nice use of space, though do find the atmosphere a little one-note. Percussion really pops."
RBMA - "Thanks for reaching out. Having a listen now and the album sounds really good. Happy to give it a shout on RBMA Twitter whenever is best for you."
Paramount Artists (UK) - "20/10 top effort!"
NTS Radio (UK) - ''Nice IDM music with fine textures and bass frequencies..''
Groove (Germany) - ''Very interesting delicate structures. Suggested for review in Groove.''
Exclaim! (Canada) - "I like this. I'll float it to my team and I'll let you know if anyone's interested in covering it."
Big Up Magazine (USA) - "Absolutely epic album."
Vicious Magazine (Spain) - "Great sounds, for our september issue, thx a lot!"
Little White Earbuds (USA) - ''Fantastic album from Chevel. I have unfortunately been at work today without my usual headphones but even listening on very poor quality ones, the rich sonic mastery comes through. Can't wait to get home and listen to this properly.''
Cone Magazine (UK) - "Thanks for sending this through. Looks great, and always interested about a new Stroboscopic release. I'll let you know when something goes up."

The third entry in Lucy's trio of adventurous full-lengths is visually introduced by artwork of a pearl-bearing shell, designed by Stroboscopic Artefacts' resident visual artist (and Lucy's brother) Ignazio Mortellaro. This drops a subtle hint as to the nature of its contents: just as a pearl slowly forms within its enclosing body in response to organic challenges, Lucy's work is also a kind of crystallization of memory and experience into an artifact of great value.

Listeners to this album will be struck immediately by how different it sounds from past Lucy productions, while still retaining the feel of relentless questing that defined his previous two solo LPs Wordplay for Working Bees and Churches, Schools, and Guns (or, as Lucy himself defines the feeling, the equal valuation of precision and exploration'). Initially feeling like Lucy is guiding his listeners on a slow and slightly apprehensive down-river trip through the Amazon, or some similarly thriving but as-of-yet undiscovered terrain, the album is enriched by several layers of ambience and by the wordless, improvisational (yet still somehow narrative) vocals and flute of Jon Jacobs. Without a doubt, it's an album with an initiatory' atmosphere that listeners should commit themselves to hearing in one sitting, with as little interruption as possible. However, unlike many initiatory rites, this is no arduous ordeal at all: great care has gone into connecting each chapter of the album with the same silver thread of entrancing story-telling. On standout pieces like She-Wolf Night Mourning,' electronic arpeggiation and persistent synthetic flutters perfectly merge with the unique tone colors of resonant acoustic percussion and pensive woodwind. Elsewhere, pieces like A Selfless Act' reconcile technoid pulses with melancholic, yet intoxicating echoes of Mediterranean musical traditions.

Interestingly, many of the tracks on Self-Mythology refer to old legends and well-known fairytales (e.g. the opening track which references Baba Yaga's magical hut), or to more broadly defined states of consciousness ( Samsara,' which features an especially strong, sustained choral interplay between glassy synth sequences and earthy flute sonorities). This is where the album is truly unique and relevant in its ambition. The interplay between the graphic design, the vocal and flute performances of Jacobs, and the sound design chosen by Lucy aims to be an intimate audio autobiography of its creators while also referring back to the stories that have shaped human destiny for millennia. This work is a meditation upon the reciprocity between personal hopes and fears and collective dreams and nightmares, an exploration of the endless interplay between the universal and the deeply individual. It is the tale of that uncanny process by which our own conscious experience draws from the pool of archetypal information, while also contributing to it.

The seventh album, The Night Before, by the Belgian band Hooverphonic was originally released in 2010 and marked a new period in their existence. Singer Geike Arnaert left the band and was replaced by Noémie Wolfs. The new formation worked out well, since the album went platinum in Belgium. The two singles “The Night Before” and “Anger Never Dies” entered the top five of the Flemish single chart.

The Night Before is available on black vinyl.

Darwin Grosse debuts on One Instrument with the album “Fresco”, solely created on the Korg ARP 2600 FS, a remake of the classic semi-modular synth of the 70’s. He states that he loves the ARP 2600 not for its complexity, but for the purity of its sound, and this can very well be heard in this wonderful dreamy ambient electronica release.

All of the tracks were created using a hand-written script on the monome norns hardware device and were recorded in a single session, with errors and recorder glitches embraced as part of the performance.

Each track reveals Darwin’s harmonic and melodic sensibilities, his love of lush reverb and passion for the beautiful tone of the Korg Arp 2600.

“Fresco” is an elegant undertaking to be listened to from beginning to end. The 8-part, 30 minute work is an ideal example of how warm minimalism and thick melodic soundscapes are combined, becoming a graceful richly textured trip.

The Wombats kick off the most exciting phase of their constantly evolving success story today with the announcement of their fifth studio album Fix Yourself, Not The World, due for release on 7th January 2022 via AWAL. Alongside this, the indie heroes have revealed plans for a five date headline UK arena tour in April 2022, playing massive nights in Leeds, Glasgow, Cardiff and Liverpool, as well as their biggest ever headline show at The O2, London on 15th April. Tickets will go on sale from 9am BST on 20th August.

The announcement comes accompanied by a brand new single ‘If You Ever Leave, I’m Coming With You’, which is BBC Radio 1’s Future Sounds Hottest Record In The World.

Recording remotely over the past year from their respective homes, the band have been working hard to produce some of the most captivating, inventive and forward-thinking music of their career to date. With frontman Matthew “Murph” Murphy in Los Angeles, bassist Tord Øverland Knudsen in Oslo and drummer Dan Haggis in London, they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee (U2, The Killers), Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves), Mark Crew (Bastille, Rag‘n’Bone Man) and Mike Crossey (The 1975, The War on Drugs, Yungblud) to mix into the finished tracks. “It was pure madness, to be honest,” explains Murph.

“We’re so excited for people to hear this new album! We’ve explored new genres and pushed ourselves further than ever musically. It will always stand out for us in our memories from our other albums as we recorded it across three cities during lockdown, and we weren’t all in the same room at the same time!” says Dan Haggis.

The Wombats kick off the most exciting phase of their constantly evolving success story today with the announcement of their fifth studio album Fix Yourself, Not The World, due for release on 7th January 2022 via AWAL. Alongside this, the indie heroes have revealed plans for a five date headline UK arena tour in April 2022, playing massive nights in Leeds, Glasgow, Cardiff and Liverpool, as well as their biggest ever headline show at The O2, London on 15th April. Tickets will go on sale from 9am BST on 20th August.

The announcement comes accompanied by a brand new single ‘If You Ever Leave, I’m Coming With You’, which is BBC Radio 1’s Future Sounds Hottest Record In The World.

Recording remotely over the past year from their respective homes, the band have been working hard to produce some of the most captivating, inventive and forward-thinking music of their career to date. With frontman Matthew “Murph” Murphy in Los Angeles, bassist Tord Øverland Knudsen in Oslo and drummer Dan Haggis in London, they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee (U2, The Killers), Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves), Mark Crew (Bastille, Rag‘n’Bone Man) and Mike Crossey (The 1975, The War on Drugs, Yungblud) to mix into the finished tracks. “It was pure madness, to be honest,” explains Murph.

“We’re so excited for people to hear this new album! We’ve explored new genres and pushed ourselves further than ever musically. It will always stand out for us in our memories from our other albums as we recorded it across three cities during lockdown, and we weren’t all in the same room at the same time!” says Dan Haggis.

This is the repress of celebrated American rock band Against Me!'s album 'Shape Shift With Me' on blue double vinyl. Originally released back in 2016, it has been out of stock on vinyl since 2018. It is the follow up album to the band’s critically acclaimed studio album, Transgender Dysphoria Blues, and came out at the same time as frontwoman Laura Jane Grace announced her memoir titled TRANNY: Confessions of Punk Rock’s Most Infamous Anarchist Sellout. Recorded, mixed and engineered by Marc Jacob Hudson (Taking Back Sunday, Saves The Day) at Rancho Recordo, ‘Shape Shift With Me’, Against Me!’s seventh full length album, has the distinction of the first album frontwoman Laura Jane Grace has written truly from the heart, with no metaphorical cloaks cast over the lyrics. It’s an album about love, that deceptively complex emotion we all struggle with yet has somehow eluded most of Grace’s songwriting for the past 20 years. In a career already full of classic punk records, Shape Shift With Me feels like the definitive Against Me! album—it’s poppy and catchy (“Rebecca,” “Suicide Bomber”), aggressive and in-your-face (“ProVision L-3,” “Dead Rats”), sentimental and longing Crash,” “All This (And More”). Moreover, it’s the culmination of four years of existence as Laura Jane Grace—there’s no going back now, so she might as well embrace it.

"Beyond the Permafrost" is a tightly played, thrashy as hell, and damn tuneful album. The disc combines classic thrash with a bit of melodic death and black metal, and a NWOBHM undercurrent, all of which is given a modern (though not glossy) production. An added twist are the scruffy and snarling (kind of like a CARCASS-y "Heartwork" era crossed with black metal) vocals of Chance Garrette. The guy strikes the balance between a truly sinister aura and good 'ole evil fun. Some death growls are smartly utilized as well. Count "Beyond the Permafrost" as one of those albums that just feels right. Hell bent and upping the irons, SKELETONWITCH gets "it" right on every single one of these smoking tracks. I'll even go out on a limb by saying that from the standpoint of talent and urgency of approach, SKELETONWITCH reminds me a little of THE BLACK DAHLIA MURDER when they first began their ascent. Crank this one really, really loud. - BLABBERMOUTH

Corrosion Of Conformity - Animosity CD - Animosity is the second studio album by the US American metal band 'Corrosion of Conformity'. It was released in 1985 and recorded at Track Record Studio (track 1-5) as well as at Hummingbird Sound Studio (track 6-10). The cover artwork was created by Pushead.

Corrosion Of Conformity - Animosity CD - Animosity is the second studio album by the US American metal band 'Corrosion of Conformity'. It was released in 1985 and recorded at Track Record Studio (track 1-5) as well as at Hummingbird Sound Studio (track 6-10). The cover artwork was created by Pushead.

Ereb Altor always promises one thing with each release: Epic, Folk-blended Metal inspired by the Norse legends. “Vargtimman” shakes things up again with a true and sincere Pagan theme in its lyrics and art. Each song delivers majestic riffs and some of the best vocal work from the band. Sharp Heavy Metal riffs, Nordic melodies, catchy choruses and pounding drums burst set the tone for the rest of the album. While it does retain the Norse mythological themes in its lyrics, it’s probably the most emotionally song collection that Ereb Altor has released. Aside from the well sung lyrics, both in a harsher blackened voice and incredible epic clean singing, Epic riffs ring throughout the whole album to give it the titanic feeling this juggernaut deserves. Ereb Altor’s songwriting style is their biggest strength, they write killer songs, memorable songs. When they break away and get into some real shredding they even add to the incredible strong atmosphere. This is by far the best composed and therefor mature Ereb Altor album in their already impressive career, thanks to its added keyboards, good blend of epic and more traditional riffs, and the vocals being arguably the best ever laced

All By My Ownsome' is the frst solo offering from Jackson Lynch
The album features fve original songs by Jackson Lynch as well as traditional
folk, blues and gospel songs in Lynch's distinctive style and arrangements. Born
in Ireland, Jackson Lynch moved to New York City's East Village when he was
young. Jackson is an integral part of the New Orleans music world with his band
The Janks. He now resides in Red Hook, Brooklyn where he is also a vital part of
the New York music scene.
Jackson Lynch plays solo, with The Janks and with his string band The Down Hill
Strugglers, hailed by Amanda Petrusich in the New Yorker as, "the very best
interpreters of traditional material presently going.”