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The popularity of Brazilian music from the 60s, 70s and 80s has experienced quite the renaissance; artists such as Gal Costa, Gilberto Gil, Arthur Verocai, Joyce et al, have become household names to an international audience passionate about global sounds. However, even for die-hard fans and collectors of Brazilian music of the past, discovering contemporary Brazilian artists is not always easy, nor accessible. But, if you know where to look, you will see that there is a resurgence well underway that can be epitomised by an exciting new wave of Brazilian artists beginning to break through and gather momentum overseas. It’s with thanks to Sound and Colours, a website devoted to promoting Latin American music and culture, that we can help shine a light on one particular collective, bursting with creativity and camaraderie.

‘Hidden Waters: Strange and Sublime Sounds of Rio de Janeiro’ is compiled by Joe Osborne (founder of specialist Brazilian music platform Brazilian Wax) and Russ Slater (editor at large of Sounds and Colours). Focusing solely on the 'Rio Scene', rather than taking on the mammoth task of tackling Brazil as a whole, this collection presents 20-plus ground-breaking artists selected from Rio’s resurgent music scene. By presenting a snapshot into the pulse of the city and the vibrant musicians that live in it, ‘Hidden Waters’ collates tracks from a wide spectrum of musical genres from the avant-garde edge to bossa nova, samba, Candomblé, lo-fi rock, jazz and funk.

‘Hidden Waters’ showcases musicians such as iconic Rio mainstays Negro Leo & Ava Rocha, Brazilian jazz upstart Antônio Neves, critically lauded Avant-pop trailblazer Thiago Nassif, breakthrough artists Ana Frango Elétrico and Letrux, lo-fi psych rocker Lê Almeida, plus the Latin Grammy-winning Bala Desejo who are set to explode onto the world stage. The music featured on ‘Hidden Waters’ is unequivocally Brazilian, swelling with samba, bossa nova, funk, and jazz. But it’s within the album's blend; from sunny psychedelia to dusky synth-pop via experimental electronics, that marks the compilation as the sound of modern, multicultural Rio.

This comprehensive compilation comes with album artwork designed by Rio music’s leading album artwork designer, Caio Paiva. It features essays by professor and music critic Bernardo Oliveira and music journalist Leonardo Lichote, plus extensive notes on each track by the artists themselves.

It’s been a while since Toronto based Hi Bias Records and Crash Records left their indomitable mark on house music, and although not noted for being as musically productive as its North American counterparts of Chicago, Detroit, New York and Jersey, there is none the less a bubbling underground scene there, of which Brother Charles is at the vanguard of. Yogi literally stumbled across Charles on social media and called Roual up right away to make him aware of this prolific producer’s talent, and to explore the possibilities of a vehicle to drop Charles’ incredible, Afro, deep, soulful music on the street. Roual was in agreement with Yogi after viewing Charles’ numerous online videos, all of which feature Charles’ urban freestyle street dancing friends and his skater lovin’ crew too. Is it too early to compare Brother Charles’ deepness to the likes of Kerri Chandler, Larry Heard, Roland Clark, or Osunlade? We think not, and we believe that Toronto is ‘bout to be put back on the musical map, where it belongs.

Space Lady Recordings is a brand new label born out of an irrational musical passion harboured by two industry hardened cronies. Roual Galloway is the A&R man behind Cordial Recordings, was also one of the proprietors at Love Vinyl and he is a man with a wealth of knowledge in the vinyl and CD manufacturing business. Yogi Haughton has worked in A&R at several labels over the years, including one of the U.K.s first modern soul labels, Move Records, as well as numerous respected house labels. He is also one of the U.K.s most influential tastemaker DJs and a record producer, and a former scribbler at DJ Magazine (16 years).

In its main mix, Surprise is a classic early nineties house track that heavily nods towards the Big Apple, house music’s disco roots and the power of swinging drum programming, albeit with meticulous production work and engineering. In short, it sounded and sounds as un-German as Germans can. The Holy Bassline Mix on the other hand is already in the shape of things to come. Carried by a Roland TB-303, sprinkled with trance bits and elegiac pads, its in perfect balance.
Others thought so as well. Heavily supported by David Holmes and Andrew Weatherall, it was the manager of the latter who licensed it to Eye-Q Records UK with the addition of the Fake Jazz Mix and ordered remixes by freshmen Isoleé and Losoul who became pillars of Playhouse. The first known for his idiosyncratic and sculptural ways of creating dance music meets the irresistible funk of his peer and both add spice to the already great menu. Here you have the chance to listen and digest Surprise in all its glory and entirety for the first time. Carefully remastered and processed by Lopazz and packaged by Running Back. Remember the good times and get some more.

Alone was Modern Talking's eighth studio album and the follow-up on their comeback album in 1998. Their comeback was well celebrated, because this album topped the charts once again. The album was supported by two singles, “You Are Not Alone” and “Sexy, Sexy Lover”, which charted at #7 and #15 in Germany. The album itself debuted atop the German Album Charts and remained there for four consecutive weeks. Alone was eventually certified platinum in Modern Talking's home country.

Alone is available as a limited edition of 1500 individually numbered copies on yellow & black marbled vinyl and includes an insert. The run-out groove contains secret inscriptions.

Blue Room: The 1979 VARA Studio Sessions in Holland features two recordings of trumpet/vocal icon Chet Baker captured in glorious stereo at the legendary VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O’Clock Jazz. The April 10, 1979 session features pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, and drummer Charles Rice; and the November 9th session features pianist Frans Elsen, bassist Victor Kaihatu, and drummer Eric Ineke. Both sessions were originally produced by Edwin Rutten, and are produced for release officially for the first time by “jazz detective” Zev Feldman and Frank Jochemsen. The limited-edition 2-LP set (and deluxe 2-CD edition) includes an elaborate booklet with photos by Veryl Oakland, Jean-Pierre Leloir, Christian Rose and others; liner notes by Dutch journalist Jeroen de Valk, plus essays by Feldman, Jochemsen, and Rutten; and interviews with Baker bandmates Phil Markowtiz, Jean-Louis Rassinfosse and Eric Ineke, as well as trumpeters Randy Brecker and Enrico Rava, and pianist Enrico Pieranunzi. Transferred from the original KRO radio tape reels and mastered for vinyl by legendary mastering engineer Bernie Grundman

"The Concert" is the first discographic collaboration between percussionist Alexandre Babel and visual artist Latifa Echakhch. The record is intimately linked to the eponymous exhibition presented at the Swiss Pavilion during the 59th Venice Art Bienniale.

For her exhibition in the Swiss Pavilion, Latifa Echakhch created an orchestrated and enveloping experience, a rhythmic and spatial proposal that allowed the visitor a complete perception of time and of his own body. What is the origin of rhythm? How does the body perceive time? How does the mind rearrange it? Can we substitute one perception for another, the visual for the sound? Can fragments of memory go back in time and recreate a different story?

Her proposal entered a dialogue with the building around it, designed by Bruno Giacometti. The artist revisited its architectural programme as well as the prototypical progression of these exhibition spaces, originally defined for the display of classical art. She appropriated the entirety of the spaces, simultaneously exploring continuity, movement and sequence. Their relationship to light, and the different sounds that emerge from them. Yet the exhibition was entirely silent and the musical composition "The Concert" functions as its sound rendering, by following a similar path.

This one-sided vinyl is a complementary and inseparable partner piece to the exhibition and its eponymous catalogue, the latter having been published in April 2022 by Sternberg Press. The music features field recordings made at the Swiss Pavilion itself as well as pre-recorded percussion sounds and significant contributions by the Berlin-based musicians Jon Heilbronn, Rebecca Lenton, Theo Nabicht, Nikolaus Schlierf.

The record, available only after the closing of Latifa Echakhch’s exhibition offers a concluding phase to the project. The resonance of its sensory score. It reactivates the experience of the physical journey of the installation, without imposing itself as a transcription or an illustration. Through texture, temporality and its totality, the record stands as a resonance of the rhythms that have structured the pavilion, the harmonies that have composed it and the sounds that have inhabited it.

Latifa Echakhch Lives and works in Vevey, Switzerland. She graduated from the École nationale supérieure d’arts in Cergy-Pontoise and the École nationale des beaux-arts in Lyon. Galleries representing her include kamel mennour (Paris and London), kaufmann repetto (Milan and New York), Dvir Gallery (Tel Aviv/Brussels) and Pace (New York). She took part in the main exhibition of the Venice Biennale Arte in 2011 and was awarded the prix Marcel-Duchamp in 2013 and the Zurich Art Prize in 2015. Through her interdisciplinary installations, Latifa Echakhch is recognized for the fine balance between forcefulness and fragility of her visual language, inserting surrealist and conceptual elements, and her use of symbols that–in her own words–are both "political and poetic".

Alexandre Babel Lives and works in Berlin. He is a drummer, composer, and curator. His projects redefine the boundaries of musical convention, confounding listener expectations in the conquest of new contexts. Babel has been the artistic director of the contemporary percussion group Eklekto 2013–2022. In 2020, the monographic Festival Les Amplitudes in La Chaux-de-Fonds focused on Babel’s compositional and curatorial work. He is a laureate of the Swiss Music Prize from the Federal Office of Culture 2021.

2023 Repress

it was in february 2015 when japanese producer and sound designer kuniyuki takahashi, sometimes known as koss, releases with the ep 'newwave project '2' a record, that tapped some roots of his musical education: new wave, german electro punk from bands like a daf, ebm from acts like front 242 as well as industrial music.

styles, about kuniyuki claims that they are his 'favourite music'. now, nearly two years after his first newwave project ep, he drops an album that is leaning towards his musical love from the past. compared to his former work, that was rooted in worlds of classic, jazz, house, ambient, and electronic song-writing, his new tunes are full of melodic drifts and rhythmical shifts.

as usual all is loaded with tones and rhythms straight from the heart that filter and modulate human emotions without losing their natural source. to get a sound that is fresh but still leaning to the 1980ees, he used some old synthesisers like a roland jupiter 8, a juno 60, a korg ms 20, an old tape echo machine but also new instruments like the roland aira. furthermore, his modular synthesizers talk too.

instead of having a masterplan, kuniyuki just made sound, drifted on his machines and moved into a territory, that his far away from his former sound. also the use sampled voices and other alienated sound sources of unknown origin inject his new tunes otherworldly atmospheres.

his skills as a fine instrumentalist is evidence as kuniyuki also played the piano, percussions or flute, if he felt their warm sound is needed for his freely grooving tracks. some dance in a house or techno outfits.

other slam like a mix of funk and ebm. tunes like 'puzzle' or 'body signal' are twisted treasures that bemuse deeply. in-between you hear the echoes of cosmic spheres, the darkness of the cold war days and some bewitching tribal jungle vibes. a new, moving, unorthodox and yet catchy side of kuniyuki takahashi.

it is not totally novel to him, as he already released some industrial, ebm and electronic with the project drp in 1990 on the belgium label body records. but for his listeners, that know him for detailed house, jazz and classic or that love him as a man of collaborations who already worked together with artists like innervisions jazz house heavyweight henrik schwarz, the famous japanese pianist fumio itabashi or the british synth-pop protest spoken word icon anne clark, the 'newwave project' sheds a light on a different artistic side of kuniyuki takahashi.

it is diversified, has many rhythmical and atmospheric turns but stays stirring and compelling in all twelve tracks. a true new wave, formed, played in and envisioned with a view on the past that was filtered through the now while feeling the future. the cover art work comes from the swiss artist augustin rebetez - a man who also loves to generate unknown poetic universes in his drawings, sculptures, videos and installations.

First ofcial release of previously-unissued Eric Dolphy studio recordings
in over 30 years, including 85-minutes never before released. The
goundbreaking alto saxophonist, bass clarinetst and autst brought us
iconic LPs such as 'Out to Lunch!' and 'Outward Bound'.
The LP package is beautfully designed and includes an exhaustve 96-page
booklet replete with rare and never-before-published photos by Chuck
Stewart, Jean-Pierre Leloir, Val Wilmer, Hans Harzheim, Lennart Steen, Roger
Marshutz and many others, plus reproductons of the original album covers for
Conversatons and Iron Man.
Includes fve essays that cover dierent aspects of Eric Dolphy and this music
by jazz author/scholar Robin D.G. Kelley, Douglas label manager Michael
Lemesre, Japanese Dolphy scholar Masakazu Sato, and co-producers Zev
Feldman and James Newton, plus words by John Coltrane, McCoy Tyner,
Ornete Coleman and Charles Mingus.
Captured afer leaving Prestge/New Jazz Records, and just before recording
the tmeless classic 'Out to Lunch!' album, 'Musical Prophet' is a 3LP set that
contains the under-appreciated masterpieces 'Conversatons' and 'Iron Man'
recorded in New York City on July 1 and 3, 1963. Originally produced by Alan
Douglas- most well-known for his associaton with Jimi Hendrix, but who also
produced classic jazz albums such as 'Money Jungle' with Duke Ellington,
Charles Mingus and Max Roach- the tapes had been stored in a suitcase with
Dolphy's personal belongings and given to Dolphy's close friends Hale and
Juanita Smith just before he embarked on his fateful European trip in 1964.
Deluxe Limited-Editon, 180-gram 3LP gatefold set released exclusively for
Record Store Day's Black Friday Event on November 23, 2018

Repress

One of Moonshine Recordings' flagship artists, Radikal Guru is going from strength to strength for more than a decade and 2020 is a further proof of it. With the fourth full-length LP release on the horizon, the outstanding
Polish talent ascertains his status as one of he most relevant figures in the international Dub and Dubstep scene once more.

The new project including vocal talents like Junior Dread, Marina P, Troy Berkley or India's up and coming vocalist Lady Skavya encapsulate the musical versatility and collaborative spirit of the sound system veteran alongside spirited instrumentals in various levels of intensity - ranging from meditative bass lines to apocalyptic turbosteppers.

Radikal Guru's digital dub sound signature presents itself in a variety of musical forms in his latest project 'Beyond The Borders' - a testament to his years of experience in lighting up dancefloors around the world. Music with a message nested on monumental heavyweight foundations, his fourth LP deals uplifting and conscious anthems to a set of speakers near you with a high-grade set of vibrations.

Ten meticulous productions designed to make you move as well as to reflect, a journey for body, mind and soul - features a multinational list of guest artists from India, Germany, Italy, Russia, Brazil and France.

Electronic sounds come to life, infused with gratuitous amounts of soul warmed by live instruments and murderous arrays of echo chambers and 808's. Perfectly placed drum fills and vocal fragments to top it all off in style, a masterclass in modern dub production seeking its equal. Bridging both physical and mental borders, Radikal Guru's latest LP release is sure to be heard, felt and enjoyed for time to come

blue marbled vinyl

Tim Reaper ​returns to ​Lobster Theremin​ with a weighty masterclass of all things old school jungle, rave and D&B. 2020 has been a massive year for the rising London-based DJ/producer Tim Reaper, with an impressive output of twelves on labels such as 7th Storey Projects, Repertoire, Beyond Electronix & his own imprint Future Retro. On top of this, Reaper was also nominated in the ‘Best Producer’ category at this years DJ Mag awards, as well as the ‘Best Remix/Edit’ category. 2020 has paved the way for what is set to be a massive future from the versatile producer, his infectious brand of high energy jungle & D&B is making him the producer on everyones lips. His latest outing ‘Teletext’ EP for London based record label ​Lobster Theremin ​explores deep all things bass driven, head high rave breaks sit on top of euphoric vocals and synth patterns, creating a feel good masterpiece. Tim joins forces with long time friend & collaborator ​Devnull​ on two tracks, blending both of the producers individual sounds into a hybrid mash up, which works oh so good.

Emotional Rescue can be relied on to dig up obscure, left of centre dance gems and serve them up to newer, wider audiences. Adu's reggae-pop cut 'Burkina Faso' is a great example, re-purposed for the dancefloor without any of its original flavour lost in the overhaul. A
South Saharan/West African emigre to Brixton, Rauf Adu would go on to fairly sizeable European fame with the Eddy Grant-esque 'Human To Human'. This, however, is his 1982 debut for Copasetic Records, another reggae-pop inspired, ludicrously catchy effort with scorched electric guitar and a Compass Point-style drum/bassline providing rhythmic rocksteadiness. As well as the buffed up original, there's a dub mix, which gives his beautiful guitar plenty of room to breathe, and an appearance from the Isle of Jura Sound System boss Kevin Griffiths , whose remix completes the trio of mixes.

Swing Family's Music Force is dramatic mid-80s synth-funk. From the maverick mind of Sauveur Mallia, it's a thrilling and uniquely brilliant album from start to finish. It's undoubtedly known and revered for its unbelievable standout track, "Mission Africa". Those that know, know. And if you don't know, get to know. It's the reason this record has been hugely sought-after for the best part of two decades. Originally released on Tele Music in France in 1985 but now tear-inducingly rare, this is the definition of "a welcome reissue."

Swing Family is basically a supergroup of French Funk royalty. Led by French disco lord and Arpadys maestro Sauveur Mallia, they were augmented by trombonist Alex Perdigon from legendary French funk rock collective Godchild, trumpeter Kako Bessot from funky fusion group Synthesis and saxophonist Pierre Holassian, a member of Giant, Janko Nilovic's French jazz orchestra. So, about as heavyweight as it gets for funky French goodness. Mallia handles, of course, bass duties throughout, as well as utilising his arsenal of synths including his E-mu, Yamaha Dx7, Roland MSQ 700, Mini Moog and Oberheimm.

The maximalist disco fusion of "Exorcistor" is perhaps a bit too 80s French cheese for most tastes, so either linger on its singular style or head straight to the soundtracky typo-funk of "Greewich Boulevard". A deep, swaggering powerhouse, it comes on like mid-80s Chic jamming on the set of Beverly Hills Cop with Kashif. Yes, *that* good. It's followed by the vital "Music Force", a synthy, sleazy instrumental full of sax and flute and those 80s drum fills. Just the right side of acceptable.

OR! You can even choose to forget all the rest and just stick "Mission Africa" straight on. A rumbling, strutting, afro-cosmic low-profile banger. The slick drums hit hard, the synth strings warm things up, overlapping horns add swagger whilst electric guitar flourishes and a chanted refrain sit in the mix quite perfectly. A track that's almost impossible to describe and do justice to. You just need to hear it. Preferably as you saunter into your favourite after-hours club, after spotting all your friends at once, as you cut a swathe to the bubbling dance floor. A track quite like no other, it makes you sit up within its first bars and, to us at least, sound like something you'd have heard on a Print Thomas mix from the mid 00s. Basically, it's cosmo-galactic.

The B Side opens with "Musical Stars", an oh-so-80s funk-lite track which, at times, sounds like something Daft Punk may have left on the cutting room floor during their Discovery sessions. Another unimpeachable favourite of ours is the druggy brilliance of "Gentleman & Musician". You can almost hear the white powder through the speakers, as soaring, acidy synths, slick, heavy beats and the irresistible interplay of the primo horn players create a real sleazy wonder. "Film Action" follows, a galloping horn-heavy synth romp with moments of extreme bass breakdown brilliance before the drama-synths of "Episode Double" take things up another notch as it oscillates between gorgeous funky horns and urgent bleepy magic. Super tense, super funky and super stylish. Just ace. The elctro-tinged horn workout "Fatal Lady" closes things out majestically.

The audio for Music Force has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve - complete with perky Liberty Belle - has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Spatial & Co Vol. 2 may well be the best album in the Spatial & Co series. It's absolutely flawless. Again created by French disco lord and Arpadys maestro Sauveur Mallia for French library label Tele Music in 1979, it leans far more into the space disco sound than the clean cosmic funk of its predecessor. And it's all the more thrilling for it.

Wide-eyed opener "Discomax" is starts as pure piano-disco brilliance with a bassline to die for before heading off into wigged out territory, all acidic squelches and jaw-dropping percussive breakdowns. Perfection. "Space People" follows, an eerie, half-beatless sci-fi synth workout played out against a hauntingly metronomic pulse for the first half - proper slow-mo space disco business - before the beat kicks in, the electric guitar solo wails beautifully and the bassline that emerges at its conclusion rides in on some other shit.

Closing out the A-Side, the six minute long "Bass Power" is, unsurprisingly, a deep, low-end roller with head-nod drums, whizzing synths, blissed out ambient vibes and Mallia's otherworldly bass playing super high in the mix. It's white hot funk, make no mistake, and it sounds like a re-geared library version of Roxy Music. Yes, *that* good.

Side B is laced firstly by "Holidays Morning", an emotional disco-pop groover, all electric guitars, skipping drums and synthy bleeps with more than a few moments of pure driving funk.
One for the deep heads, longtime favourite "Electric Maneges" follows, a bleepy, haunted dancehall gem, uncut tropical balearic-funk from another dimension. The sophisticated digi-soul of "Loving Discovery" comes on like a weird, interplanetary Sade instrumental, all swelling synths, warm keys and syrupy guitar rhythms. Hearing is believing.

Arguably saving the best til last, the fierce, proto-techno of "Exotic Guide" closes out this extraordinary set. The intro genuinely sounds like Detroit would a good few years later - just wild - before it glides into a driving percussive funk break complete with both stabbing, insistent synths and those of a more winding, laconic variety. The one complaint? It's over far too soon. Remarkable.

Sauveur Mallia is a crucial figure in the history of electronic and dance music and a hugely underrated French library bass player and composer from the Arpadys / Voyage crew. This is just the beginning of Be With's Mallia - Tele Music reissue campaign!

The audio for Spatial & Co Vol. 2 has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Enemy is a 2013 psychological drama film directed by Denis Villeneuve and produced by M. A. Faura and Niv Fichman. The A24 film stars Jake Gyllenhaal in a dual role as two men who are physically identical, but different in personality. Enemy premiered in the Special Presentation section at the 2013 Toronto International Film Festival on 8 September. The movie earned ten nominations at the 2nd Canadian Screen Awards, winning five, including Best Director for Villeneuve, and Canadian Screen Award for Best Supporting Actress for Gadon. It was named Best Canadian Film of the Year at the Toronto Film Critics Association Awards 2014.

The score is composed by Daniel Bensi & Saunder Jurriaans who gained major acclaim for their score of the popular Netflix series Ozark. Danny Bensi and Saunder Jurriaans have been creating music together for over twenty years. In the last 10 years, they have completed well over 100 acclaimed film and TV scores.

Enemy is available on vinyl for the first time. This is a limited edition of 500 individually numbered copies on translucent yellow coloured vinyl. The gatefold includes liner notes by director Denis Villeneuve.

The duo WILDES from the south of Germany, consisting of Jana Pantha and Jenny Tulipa, presents a musical mix of electro-synth-pop, post-punk and dark disco influences. After the release of their first EP “RAWWR” in 2021, their debut album entitled “KLISCHEE” will be released on 3 February 2023. Released via the Kommando 84 label, the album features 11 songs and a musical re-interpretation of German-language Neue Deutsche Welle sounds. The songs combine spoken word passages in which the singers combine a certain irony with word-playful rhymes. In addition to world-political, social issues, the songs revolve around the complexity of the new romance in love - between cosmos and stereo. The strong and experimentally avant-garde lyrics accompany the danceable pulse of the drum computer, melodic synth waves and the shimmering solos of the lead guitar.

The album “Klischee” begins with an electro-pop track that combines consistent grooves with atmo- spheric sound arrangements and a lead guitar that accompanies our journey to the moon. With the chorus’ high-pitched words, „Konsum - leg mich auf den Moon“ (“Consumption - put me on the Moon”), WILDES dryly yet humorously allude to a society that couldn’t fly “higher”.

The following cheeky song Leger in Schwarz combines impeccable post punk with influences from the NNDW scene. A short love story led by the electronic beat of the synthesizer makes the hearts of the night beat faster. With casual reduction, a guitar riff leads through the song. The guitar solo finally rounds off the plea about the longing for a good flirt.

Italo disco shimmers and pulsates on the driving song Capri. With lyrics like “Pack the boats - Vai a bordo”, Capri is a homage to the tried and tested Italo feeling with a cappucino on the terrazza, or indeed on the yacht with a view of the rocky walls of the island. An electric charge of sequencers and synth tracks acts here as a lightness of being in contrast to the porosity of the rock.

An electrifying electric guitar solo kicks off the fourth track with a mysterious invitation to Steig ein translated, get in. Hypnotised by the lights of the road, dazzled in the side mirror, a clearly repeating rhythm leads into the chorus and through the coming verses. English spoken-word lyrics add to the stoicism of the German language. The song’s great power ends with the line Lost in the dark, holding open the finale of the “Night Drive” encounter.

Digital and stereo on all channels, the distinctly tight and robust rhythm sounds in the song Apparat. A clear and simple synth melody is heard as a contrast and the electric bass gives the balance of the machine at points. Hiddenly, WILDES points here to the superior power that can control human action beyond all limits. A piece as a laudation to all the science fiction novels that play with the switching of the individual parts.

Side One of the vinyl is finalised by a song called La Grande Bellezza that motivates to dance and sing along. The punky pop craft lives through the recurring beat of the rhythm guitar. Here the focus is on the woman in all her facets. The great beauty, una donna, who can do everything as well as wanting everything and nothing...a strong woman who, however, also staggers and wants to jump off the cliff. Clearly and distinctly, the musical accompaniment of the drum machine and the accompanying synth melody reflect hidden parallel worlds and the ambiguity of character - of life? We get a desire for more and turn the round record.

The B side starts with a powerful guitar riff, complemented by a catchy and strong bassline that runs through the song. In this work, WILDES provocatively describes the West’s lust for the much-cov- eted Schwarzes Gold black gold. The song is reminiscent of the works of the band D.A.F. and thus ties in with the electronic punk sound spate.

The driving guitar riff joins in with the reduced synth bass sequence - the electro-pop song with the title Hitze (Heat) came onto the digital music market as the first single from the LP in the summer of 2022. Pulsatingly, the drum computer lets the beats vibrate to the rhythm of heated air. The duo po- etically describes heat with supercooled voices, a clarity in the sky that makes everything flow, that makes the breath dry. The work ends with a melodic synth solo.

Ich lad dich ein, I invite you - we have all said or heard this sentence before. A chance meeting of two people later leads to the altar in love. A far-reaching question that more or less arises in many love relationships at some point “Do you dare?” positions itself in lyrical contrast to the simple ques- tion in the refrain “Do you need sugar?”. WILDES plays with laconic poetry and, full of irony, makes the listeners think about living together. Krautrock contours are skilfully used in this piece. Reduced to the essentials, the chorus immediately sticks in the ear. A cheerful mix of steel drums and infec- tious solo.

Toccami - touch me! We sit on padded leather chairs - “you’re a rocket! Peng Puff Peng” - this song by the band WILDES joins experimental art-punk-pop, electronically with flowing synth waves we take off immediately. Melodically sung, lyrical layers of lyrics dance loosely light and gracefully in the ears of the viewer. The rhythmic beat visualises the feeling of floating in a spaceship. It’s love in the universe - “I love you, my darling” sounds tipsy in the beat-heavy disco refrain.

Hypnotically, WILDES launches into the final song of the entire LP. The title Zone takes us on a journey through time. Inspired by the film Stalker, we find ourselves in a science fiction setting that couldn’t be more present in today’s European events. The musicality of the electric guitar riffs ac- companied by simple new wave drums drives the listener into unknown realms.

Repetition and electronic synth sounds play a compositional role alongside rocking guitar riffs like their forerunners in the NDW scene. Lyrically, each song varies between pop-romantic and politically critical passages. Listeners start pondering about hedonistic life and its consequences. Sometimes it feels like listening to a Tarantino soundtrack in German, other times it feels like listening to an 80s track by a James Bond. Science fiction fantasies and reality add up in dadaistic theatricality to spir- ited synthpunk of the New German Wave from the South. Discoid beats and driving drums in digital are included.

Received a 7.5 rating from Pitchfork. The debut full length from Melbourne, Australia’s Romero is a burst of hard hitting, punk-laced powerpop. Well informed by the classics and every bit as relevant-as-it-is timeless, Turn It On! is a memorable party. An album that captures the vitality of a young band hitting their stride and doing it on their own terms without a single note of indecision. Much in the way that The Undertones, Blondie, and even Big Star debuted with a sense of purpose, Romero invite us to eleven tracks of soulful powerpop gold. Sharp production across Turn It On! catapults the impressive guitar work of both Adam Johnstone and Fergus Sinclair to the front of the mix alongside Alanna Oliver’s heart-pounding energy and show-stealing vocal prowess. Anchored by the smooth rhythm pocket of Justin “Murry” Tawil and Dave Johnstone, Romero waste no time in showing their hand on the quick-paced album opener ‘Talk About It’—recalling '80s powerpop rhapsodies. The title track beckons bodies to the dancefloor with a rich Runaways-like temper that naturally explodes into a fiery guitar solo. Meanwhile ‘Halfway Out The Door’ and ’White Dress’ show off the band’s adept ballad-writing, boasting truly emotional highs, lows and soaring choruses. Those hip to the incredible debut Romero single—‘Honey’ b/w ‘Neapolitan’ (Cool Death, 2020) will be overjoyed to see these relatable anthems recast in the album’s tracklisting. Turn It On! reveals stories of personal striving, restarting, mulling-over the unsaid, resisting control, deteriorating relationships, the emotional throes of uncertainty and celebrating growth through all such experiences. The rollercoaster of life is mirrored by the sonic and lyrical turns Romero have crafted into their debut album—a hopeful tonic for whatever you’re going through, and a dose of excitement for what’s to come. Includes lyric insert and 11"x17" poster.

Roadburn festival is arguably the world's most cutting edge boutique music festival out there, and has been a fertile breeding ground for innovative acts from a broad spectrum of musical genres for many years. Last year saw the unique collaboration of Danish electro-industrial duo John Cxnnor and Hungarian doom-folk artist The Devil's Trade take the stage to deliver a sonic journey into the void of deep space. Today, we are ex- cited to release this iconic set on vinyl to immortalise this one-time convergence of three akin artistic minds. John Cxnnor is made up of one half of Danish sci-fi-sludge metal juggernaut LLNN and sees the brothers Rasmus G. and Ketil G. Sejersen collaborating with numerous fellow artists to explore the synth side of their main project. Inspired by the Terminator-franchise and the scores of other sci-fi movies, the Sejersen brothers have been creating menacing industrial electronic opuses, the frst of which a crushing rendition of a The Devil's Trade track. "We've been enjoying the music from The Devil's Trade for quite some time now," commented the duo on the release of «Dead Sister Merope», describing it as "an interesting match of musical expressions formed by the same DNA." Indeed, the haunting atmospheric folk compositions of The Devil's Trade mastermind Da'vid Mako' carry a similarly cavernous quality which, when taken to the stage of Roadburn, is only reinforced by the sonic violence of John Cxnnor. Unlike many other live records, this set is captured and excellently produced down to the finest level of detail. On centrepiece «Lullaby», the trio seem to have perfected their definition of heaviness, with heavy bass blasts beyond anything you've heard before booming from the speakers. Together John Cxnnor and The Devil's Trade reach new heights in their respective trades capturing both the pressing darkness that gathers `round a bonfire at night as well as the void darkness of deep space. FOR FANS OF Author & Punisher, Godfesh, Lustmord, LLNN, The Devil's Trade, The Body, Uniform Ltd Gold (single colour) edition!

Dauw presents 'babel', the debut album from Belgian duo ZONDERWERK. The duo’s name means ‘’without work’’, but it also comes from “bijzonder werk”, where bijzonder is particular, special, unique. They like to work with images/paintings that are “bijzondere werken”, odd works.

babel is an ambitious exercise in translating images into sound. babel was initially created for the eponymous theatre piece by architect and artist Steve Salembier. Inspired by the biblical legend, Salembier envisions the legendary city as an abstract, sprawling modern metropolis in continuous flux. Its steel and glass skeleton is a representation of both an accumulation of overlapping contemporary cityscapes and a metaphor for the anonymous repetitiveness of our daily routines mirrored by the architecture. Subway lines, sky scrapers and whirling highways converge into a megalopolis of monstrous proportions. Despite the composition’s initial context as soundtrack for a theatre play, for the band this album is seen as a standalone work, whose complex sonic material can be appreciated without having seen the piece.

Their score focuses on fleshing out the imposing imaginary universe both in terms of scale and meaning. One of their biggest inspirations were Michael Woolf’s photographs, which served as the basis for the original theatre piece. His use of grey and repetition is translated into looped harmonies and fine-grained drones that progressively open up like blooming ice flowers.

With sounds of bells and metal as their primary materials, Carrijn and Sanders build soundscapes that are at once seductive and unsettling. The atmosphere on tracks like “DreamArp4Kort4” make for majestic, mysterious synths conjuring otherworldly visions, while the angelic glockenspiel set against subtle explosions in “VuurFeest” suggest a serene yet potentially dangerous place. Other tracks like “RoomCarousselTapeLoop5” create multi- layered textured drones through the process of tape decay, a commentary on the cannibalistic nature of the city.

Resulting from an arduous improvisational processusingold samplers with elements such as the Beam harp, a self-made metal instrument with piano strings, reel to reel tape recorders, field recordings and violin, babel perfectly captures the oxymoron of the man-made concrete jungle that is at once inhospitable yet endlessly awe-inducing.

ZONDERWERK is a duo consisting of Linde Carrijn and Dijf Sanders who started this project during the pandemic as a way of exploring their relationship as creative partners. Carrijn has a background in acting but recently came more to the fore as composer/performer with original scores for theatre and her other band Brik Tu-Tok founded with multi-disciplinary artist Maxim Storms. Sanders is a composer and gear enthusiast, more well-known for his eclectic works that draw from a wide-array of non-Western music. His milestone-album Moonlit Planetarium paved to way to a broader audience and recognition from major press in Belgium. In 2021, his work as a producer was recognized with a nomination at the Music Industry Awards.

The Hippo Sound System is a collective formed in 2018 by Bristol UK’s notorious ‘samba junglist’ DJ Hiphoppapotamus.
"Origins" is their long-awaited debut album!
Touring the festival scene across the UK and Europe their explosive live performances have earned them a well trusted reputation for blowing up dancefloors, moving feet and uplifting souls! Their tracks have been featured on BBC Radio 1, BBC Radio 1Xtra, BBC Radio 6 by Jeremiah Asiamiah, Don Letts and Craig Charles. Don Letts also included their track “Into The Jungle” on his “Best of 2020” round up.
Fusing their favourite elements of world music and sound system culture, they explore new possibilities between musical cultures, fusing ancestral rhythms with modern dance music.
Percussive rhythms and heavy bass drive this vibe train as this Hippo and his percussionist/production partner, Munki, draw influence from all over, Including Afro/Latin/world music, Jazz, Hip Hop, House, Breaks, Dub, Drum and Bass & Jungle for their productions. The result? A uniquely high energy and psychedelic global bass sound – complete with the flair of live musicians and the exciting builds and drops of bass music!
Passionate about collaboration with both their recordings and performances, they often call
upon guest features from artists such as K.O.G, Franz Von, Simo Lagnawi (Electric Jalaba), MC Spyda, Dr Syntax and many more. With almost no tempo untouched from 70-180BPM, they’re an extremely eclectic and versatile band that can customise sets for most stages and occasions.

The Magic Movement is happy to welcome Swedish artist Anton Kling with a full EP on their label.
After his mesmerizing single "You", which he contributed to a Various Artist release last spring, he's finally back in full force with his Phobos EP.

The EP contains atmospheric originals, full of warm and almost jazzy synth work, syncopated rhythms and haunting vocal snippets. There's a beautifully melancholic red line which flows through the EP. His passion for ambient music and lo-fi textures is clearly audible in every track, where spacious soundscapes meet gritty percussion sounds.

On remix duties we find Alex Banks, who made a name for himself on Alex Cooper's Mesh imprint, and who is a perfect fit for the track "Phobos". Praised by the likes of BBC Radio 6 and Mixmag as well as with work released on Monkeytown and Ninja Tune, Alex turns Phobos into a bass heavy broken beat bonanza, featuring hypnotic arpeggios and saturated lead synths.

Formed in the bygone barren period for British rock music that were the nascent
2010s, The St Pierre Snake Invasion have consistently shown themselves to be
an unapologetically creative force.
The long gap between debut album, A Hundred Years A Day (October 31st 2015)
and the release of underground sophomore smash Caprice Enchanté (June 21st
2019) was something the five- piece were reticent to repeat, but circumstance
beyond the Bristolians' control dictates that third LP, Galore, comes to us in a
markedly different world than the one in which St Pierre were building their
reputation and acclaim.
Sayell himself has been adamant that this latest offering would not be a COVID
album. He did not want it to address the ubiquitous isolation of global lockdown.
It immediately would date the record to a fixed point in time and not allow its
ideas to flourish and find a receptive audience for a continued period. Instead, the
changes represented in Galore are so fundamentally powerful and relatable to the
human condition. It is an album centered around universally resonant themes of
growth.
The summer of 2021 saw the birth of Sayell's first child. The concurrent writing of
the band's third LP has, naturally, been greatly informed by the experience of
impending fatherhood. Wondering about one's own impact on a life that you have
been a part in creating, the anxieties of what will be passed down to another
generation, and reflections on garnered wisdom with age; these are the key
themes that bring us to the band's magnum opus to date.
Alongside these introspective lyrics, the band's sound has taken on new life.
Where Carprice Enchanté was primarily informed by the musicality of Every Time
I Die, The Chariot, Refused and Mclusky, Galore builds on this framework by
incorporating influences as disparate as LCD Soundsystem, Soulwax and
Meshuggah into a coherent and daring whole. A song like That There's Fighting
Talk sees seething aggression taken to a mathcore nightclub, while the title track
and Apex Prey see the band exploring looser, quieter melodicism alongside Sang
Froid's Aisling Whiting, who brings a stake dynamic counterpart to Sayell in a
beautiful and captivating performance.
There are still tracks reminiscent of the band's previous work, such as
Submechano and Sleep Well - the latter featuring a sterling guest appearance
from Sugar Horse's Ashley Tubb - in which we hear the brash punk attitude St
Pierre's ever-growing fanbase adore. But ultimately, from the opening syncopated
notes of Pete Reisner's percussion and Sayell's distinctive vocals on Kracked
Velvet, it's impossible not to hear the palpable shift to another echelon of artis

The album is an atmospheric exploration into bereavement and nostalgia,
covering subjects such as worker's rights, adversity and hope. Upbeat, downbeat,
with swelling synths, jagged guitars and atmospheric percussion, it is unafraid to
be stark and bare, yet vivid and uplifting.Deborah is also known for her
enchanting vocals and musicianship in well-loved and critically-acclaimed band
Blueflint. This album is a collaboration with multi- instrumentalist Pat McGarvey
and leading percussionist Rich Kass. Deborah received funding from Creative
Scotland to create the album with renowned producer Paul Savage.
The album will be launched at Leith Depot in Edinburgh on 27th April. Deborah
will also perform at The Glad Cafe in Glasgow alongside LNFG label-mates Gates
of Lights (Louise Quinn) and Xan Tyler. So far Air In The Lungs has received a
great response and the recent singles have been played on BBC Radio 6 Music,
BBC Radio Scotland, BBC London, BBC Radio Ulster and more.

Steven Wilson, four-time Grammy nominee, multi-instrumentalist,
producer & founder member of Porcupine Tree, released his critically
acclaimed third solo album 'The Raven Refused To Sing' in 2013, reaching
#28 in the UK charts & #3 in Germany
In 2017, he shot back into the charts with his fifth solo album 'To The Bone' at #3
in the UK & #2 in Germany, which built on the success of fourth solo album 'Hand.
Cannot. Erase.', which reached #13 in the UK & #3 in Germany.
Originally released in 2011, 'Grace For Drowning' is the second solo album from
Wilson. A more experimental & more eclectic record it built on the artistic inroads
he forged with 2009's exceptionally well- received Insurgentes. It is a modern
homage to the late 60's & early 70's spirit of using the album as an artist's primary
means of expression; combining jazz, classical & psychedelic music to create
"journeys in sound".
'For me the golden period for music was the late sixties & early seventies, when
the album became the primary means of artistic expression, when musicians
liberated themselves from the 3- minute pop song format & started to draw on
jazz & classical music especially, combining it with the spirit of psychedelia to
create "journeys in sound". So, without being retro, 'my album is a kind of homage
to that spirit. There's everything from Ennio Morricone- esque film themes to
choral music to piano ballads to a 23- minute progressive jazz- inspired piece' -
Steven Wilson

10 Year anniversary reissue of Citizen's debut fan-favorite LP on "Evergreen" vinyl including updated deluxe artwork with die-cut slip-case o-card and new gatefold cover. To celebrate 10 years of YOUTH, Citizen and Run For Cover Records have teamed up to completely update the band's debut LP. Since it's initial release in 2013, the songs that make up Youth's tracklist have been staples in mixtapes, playlists and record collections for listeners chasing what felt like a long-lost feeling in alternative music. YOUTH takes notes from the headbanging tempo of grunge, the hazy reverb of shoegaze, and the catharsis of emo together to make something deeply personal and profound. Songs like opener "Roam the Room" and the anthemic sing-a-long "The Summer" have been soundtracked a thousand stagedives at live shows, while pensive and moody songs like "Figure You Out" and "Sleep" offer brief, downtempo respites with blissful melodies. YOUTH also features Citizen's two most popular songs: "The Night I Drove Alone" builds from a quiet, isolated guitar strum into vocalist & lyricist Mat Kerekes' diary-like confessional, exploding mid-song into a full-band barrage, while "How Does It Feel?" incorporates dreamy shoegaze elements into a somber mid-tempo wall of sound. New additions to the vinyl packaging include a die-cut slip-case cover to hold a new rendition of the album's classic flower text done by artist Mike Adams. Packaging also includes an updated printed inner sleeve with photos from the era as well as lyrics and updated liner notes. This updated version of Citizen's first record pays homage to a landmark record for the band and re-contextualizes it alongside their ever-growing catalog.

Since its beginnings, Hypnótica Colectiva has always shown a special interest in the music recorded and released in the city of Detroit.

A place with which we have both a blood and spiritual bond because of what occurred there socially and artistically during the 20th century.

This love led us to become ambassadors of what was happening there on a musical level, holding cultural events to screen documentaries translated into Spanish, as well as a number of themed sets at our events, dedicated motor city sections in our record shop or recently lectures on the history of the city and its music at the Museum of Illustration and Contemporary Art of Valencia (Muvim).

The time has now come to bring all this history, this musical influence, to the editorial section of our label HC records.

Detroit Legacy was born from the idea of capturing these influences on vinyl. Seeking artists from all over the world who share this passion that inspires them to create their music, what we can define as the universal Neo-Detroit.

For this first edition or first volume, the collective has enlisted in its ranks creators affiliated to the label who have shown us in their careers, this influence and this feeling.

Paul Cignol opens the record with Distance. From Dublin he offers us a track of warm sequences inspired by Deep Techno, with deep pads responding to organ keys and a subtle touch of 303.

Mallorcan LLuis Barcelo Sureda is responsible for the second track Funk Station. With a Techno Soul character that we might hear from Detroitish labels like Acacia or producers like Blake Baxter.

A real eminence in Techno is the Catalan Don Alex Martín, who already released in the mid-90s on Monssieur Garnier's label (France Communications). The Barcelona native brings his wealth of experience and wisdom through Megatech, which transports us to the spectrum of Derrick May’s Transmat who, in his day, was nicknamed "The Innovator". This track provides agile sequences of complex syncopated rhythms, combining with a dreamy Michigan style synth.

The anthem of the album comes from Ghent. The sublime Belgian creator, Mariska Neerman, once again makes our hairs stand on end and our hearts melt with a heavenly composition entitled Stellium.

No one interprets Neo-Detroit quite like Mariska, whom we baptise as a sovereign heiress of the genre in the world. If we have to think of an influence for this piece, we go straight to the genius of Detroit, the one and only Jeff Mills, in his most symphonic and harmonic facet of tracks released on his label Axis Records such as "The March", A Universal Voice That Speaks To All That Will Listen or A New Found Sense Of Being.

Some of these songs have been re-interpreted by world class philharmonic orchestras such as the Montpellier Philharmonic Orchestra at the 2005 Blue Potential (Pont Du Garde). Mariska's score in this song fuses organ keys with harmonic layers and violin - favourite instruments of the Detroitian extraterrestrial - with a harmonic result of strength and hope. An authentic anthem of classic emotional Techno.

Old School electro takes centre stage with the Master from Terrassa Ivan Arnau a.k.a. Dark Vektor. In the influence of Juan Atkins (the creator) as Cybotron or Model 500 and later creators who developed this sound like Aux 88. Metaverso Frik is a great recital of a urban poetry created and interpreted by Ivan, to completely devastating effect.

Croatian Bojan Jascur a.k.a. N-TER, closes the vinyl with We Will Emerge, in a exercise of vindication, a common weapon in the context of Detroit music. Raging, trippy electro in the purest style of Cosmic Force or Dynarec.

This first tribute to 8 Mile doesn't end with the vinyl, as 2 digital bonus tracks are included in the release.

We return to Barcelona with Pastin Futon in another sequence of consecutive oscillated rhythms oscillated much like Kevin Saunderson (The Elevator) in his day and the Techno Groove that we know today.

The most robotic touch of the release is the closer with this synthetic jigsaw puzzle of a track with echoes of the 1967 Detroit Riot, the Detroit Rebellion. Again produced by another Barcelona native, The Bandit (Dj Spy / Util Records). The sequences are very reminiscent of Arpanet and Drexciya.

The idea for the cover comes from Motor City itself by Jon Yowell, first cousin of HC records founder and head of HC records David Verdeguer.

Born, raised and a lifelong resident of Detroit, Jon is an enormously talented musician capable of writing lyrics, performing them on the mic and manipulating a number of stringed instruments as well as the drums, where he is a true master.

The cover is a tribute to the formative backgrounds of many of the city's musicians in every sonic trend. Wayne State University in the capital of Michigan.

Founded in 1868, it has offered didactic teaching to many of the city's musicians.

Not all of Detroit's creators went to university, and even less so when talking about Techno, many artists are self-taught or learned in a non-academic way, but it seems to us a good base to begin to highlight the origins of the city's music in a historic building, where those who have the opportunity to learn about music have been and continue to be educated.

The adapted designs are the work of our image manager Dani Requeni.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK).

You&Me continue the momentum with a new addition to the label Ed Hodge.

Across all 4 tracks your eyes will be kissed with beautiful synth work along with irresistible drums. These have plenty of emotion throughout and will serve both a sunset and a sunrise very well.

Beautiful, soulful jazz record by Jimetta Rose and The Voices of Creation, a Los Angeles-based community choir, a mainstay of the local scene. Highly recommended!!

The Voices of Creation are a community-based choir led by vocalist, songwriter, arranger, producer and mainstay of the Los Angeles scene Jimetta Rose. Made up of a multigenerational group of mainly non-professional singers backed by some of the city’s finest musicians,their music marries hip strains of gospel with layers of jazz, soul and funk. While aspects of their music might recall Kamasi Washington, The Staple Singers or Sly Stone, Jimetta’s unique vision has resulted in new spiritually-charged forms of music whose whole-hearted embrace of love, joy and peace act as sonic healing balms for the soul.

For Jimetta - whose resume includes collaborations with Miguel Atwood Ferguson, Georgia Anne Muldrow, Sa-Ra Creative Partners, Angel Bat Dawid, Shafiq Husayn, MED and Blu - the very act of creation was part of a healing process: “I was very low at the time and I wrote most of the songs going through hardship. But I found comfort in the songs and a way to adjust my mindset to where things got better. So I thought ‘if this music works for me, maybe it will work for other people’ I believe that every person has their own voice and their own note and that we can use our voices to heal ourselves. That’s the intention behind creating the project.”

After putting out a call on social media for people interested in joining her choir she was met with a sea of replies. Members were chosen in less-than conventional fashion: “I recruited people based on their interest in healing themselves and others, not necessarily on their musical experience or being seasoned performers” she says. Among those accepted into the ever-evolving collective, which was begun initially as a community choir, were the likes of Sly Stone’s daughter Novena Carmel, better known as a radio DJ for KCRW’s flagship breakfast show. Jimetta’s upbringing in the Pentecostal church, where she was a youth choir director, fed into her otherwise intuitive teachings of her songs and arrangements to the inexperienced members with help from the group’s seasoned organ player/co-musical director Jack Maeby.

Produced by Mario Caldato Jr. (Beastie Boys, Seu Jorge) and his wife Samantha Caldato the results show the incredible sense of togetherness and communal spirit that the group had built up over time in the rehearsal sessions. The six tracks of their debut album, a mixture of originals and rearranged covers, are performed in a wide-eyed mix of styles that reflect Jimetta’s vision for borderless music: “It’s new black classical music,” she explains. “It’s all the hodgepodge of being an African American but also with creativity and vision for the future. It has a taste of what is to come and what we can do. What we have gone through and who we are now.”

The group’s propensity for warm and buoyant sonics finds representation on album opener Let The Sunshine In, a sparkling rework of the Sons and Daughters of Lite’s deep jazz classic. Their version finds the group’s dynamic group harmonies offset with Allakoi Peete’s nimble afro-percussive touches and plenty of soul- drenched keys courtesy of pianist Quran Shaheed and organ player Jack Maeby. A similarly uplifting take on Rahsaan Roland Kirk’s choral jazz classic Spirits Up Above follows, with Maeby’s groove-laden organ lines inspiring some gorgeous group harmonies as well as prime solo turns from the likes of Kellye Hawkins, Zavier Wise, Tamara Blue, and Khalila Gardner.

Another Sons and Daughters of Lite cover follows as Jimetta leads the choir in the groove-drenched ode to self-affirmation Operation Feed Yourself. Written as a series of mantras for everyday living, the Jimetta-penned composition How Good It Is harnesses the full transformative power of music to generate a stirring and joyful ode to positivity - it’s chanted declarations bringing out some of the group’s most deeply-felt and affecting vocal performances over some superlative piano and organ accompaniment with a surprise feature vocal from Novena Carmel.

Jimetta’s talent for re-imagining songs in her own light is highlighted in Answer The Call, her vivid re-telling of Funkadelic’s Cosmic Slop: “When I listened to the original song, the Mom in the story was really going through it. I thought of how I could turn this into a song that can encompass the glorification of all mothers and I thought of the Egyptian cosmic goddess Nut. To that mother we’re all the seeds planted in the garden. Answering the call in your life is literally that. Finding out exactly what you’re here for through your heart.”

The album finishes with the standout original gospel number Ain’t Life Grand. Over swaying organs and clapped percussion Jimetta’s lyrical mantras serve to emphasise the good feelings that come to those with a grateful heart. Good feeling is an apt descriptor for the mood of the album as a whole. Its shining positivity provides a welcome ray of light in an increasingly dark world. “It’s a shortcut if you will to the better feelings” Jimetta says. “The hope that we need to keep pressing forward. We are saturated and inundated with images of chaos and destruction, death and hatred. There’s so much we can witness. So, I want to make sure that there is a representation sonically of the other parts that are still there to witness so that we can continue to build those things. So that the systems we support actually reflect what we want to experience. So it’s like: “Don’t give up and Let The Sunshine Into You” and then find out what your purpose is and answer the call.”

An intergenerational meeting of minds, Galaxy is the first collaborative EP from Meanjin, Brisbane musicians Sam Poggioli aka Sampology and Charlie Hill. Equal parts brain dance and body music, Galaxy’s seven tracks represent a vivid intermingling of 70s jazz-funk, fusion, machine-funk, Latin house and broken beat, accented by flourishes of minimalist composition. Considered as a whole, it evokes the possibility and potential of a space-age future where technology and nature exist in simpatico.

One of the most in-demand young jazz drummers in the Meanjin (Brisbane) music scene, Charlie started producing electronic music on his laptop three years ago. It was a vibe shift that hit him after several months spent immersing himself in Europe’s jazz and electronica scenes on the eve of the global coronavirus pandemic. After returning home, he approached Sam about recording some music together.

Sam, a well-travelled Australian DJ, producer and Worldwide FM radio host, was cautious about starting a new side project. However, when he heard his demos, he realised Charlie was blending rhythmic fundamentals he’d learned while completing a music degree with a beautifully wide-eyed approach to jazz-tinged electronica.

With Charlie on drums and Sam on MPC, they set about recording the songs on Galaxy, along the way discovering Sam’s mother taught Charlie visual art as a child. They also learned that Charlie’s mother plays with Sam’s father in the Queensland Symphony Orchestra, synchronicities which made their collaboration feel like it was meant to be.

As part of the Galaxy sessions, Sam and Charlie collaborated with fellow Australian vocalists Tiana Khasi and Merinda Dias-Jayasinha. On ‘Constant Call’, Tiana threads neo-soul/modern soul melodies through a backdrop that sounds like Burial on a future jazz tip. ‘Merinda’, on the other hand, sees Merinda laying a repeated Steve Riech-style vocal refrain over a man/machine instrumental accented by stargazed synths.

At the same time as they were creating Galaxy, Charlie was also busy recording his debut solo EP Yore, both of which are due for release in August 2023, respectively, through Middle Name Records.

CHANGE THE MOOD present...

Faithful remake of Winston Francis Studio 1 classic 'Let's Go To Zion'.

Winston ('Mr Fix It') Francis originally recorded this song in 1968 at the legendary Studio 1 in Jamaica. The music was written, arranged & performed by maestro's Jackie Mittoo (who had to be woken from sleeping under the piano that day) & Ernest Ranglin.

Many official (& unofficial) versions of varying quality have been issued over the years, this recording by 'Change The Mood' band, has been made with respectful & diligent attention to the Studio 1 sound as well as the music.

Winston himself (now in his 80th year!) voiced the track again as freshly as ever (over 50 years after the first time) & added a little extra lyric and Jamaican spice along the way.

Since the beginning, space and the sound of it has been one of the cornerstones of Tapani Rinne and Teho Majamäki's music. The two previous albums contain meditative music recorded in acoustically interesting and atmospheric locations - temples and caves in India, as well as deep underground in the railway tunnels of Helsinki's metropolitan area.

With the new album, the musicians wanted to keep outside factors to a minimum and record compositions in controlled studio conditions. In this way, different spaces can be created electronically afterwards into the works. Aleksi Myllykoski and Mika Kalmi are responsible for mixing and post-production. The tracks are based on Teho's metal percussion instruments and Tapani's woodwinds.

In the finished pieces, the duo went towards free musical dialogue, in which the boundaries between improvisation and composed music become blurred and insignificant. Instead of listening to the sound of the space itself, musicians tuned in to listen to the vibration of the metal and wooden instruments. ”We focused on sensing the mutual resonance of the instruments and the sensitivity of the improvisation. A presence on the border of familiar and unknown.” Says Tapani and Teho. The recordings took place in Kitee, Eastern Finland, near the Russian border. The location and way of working gave birth to the name of the record - On The Border.

Limited Edition Blue Cyan Vinyl – 100 units Hand numbered

This production is a sound parenthesis that will make you think and think beyond words or actions. Senses that may be able to break this glass ceiling of these invisible chains but how well anchored in collective consciousness. We are all different, but one humanity. Let's cultivate it.

Wandalhouz

Following up his score for the japanese Netflix Anime series “Carole & Tuesday”, Mocky returns to album mode with his new orchestral opus “Overtones For The Omniverse”. Just days before the first Covid lockdowns, Mocky brought a 16 person orchestra comprising of his usual who’s who of underground talent into LA’s Barefoot Studios (and into the same room where Stevie Wonder recorded “Songs in the Key of Life”) to record a pile of scores he had come up with during his previous year’s sabbatical in Portugal. The result is a stunning orchestral album recorded in 36 hours in one or two takes straight off the written page. Shunning the “possible perfection” of today's recording techniques, Mocky looked back as a way to find an alternate future.

According to Mocky:
“We had to do it quick with no rehearsal to capture that big open sound of people working together in a room - in all its imperfect glory. In the imperfections you find the humanity. And in today’s tech driven spaces you have to fight to preserve a space for humanity. I felt a deep desire to create a sonic trajectory path for us to follow as we ascend and evolve our understanding of love and what it means to be human. This is the inspiration for „Overtones for the Omniverse“”.

The album runs the gamut from Steve Reich infused minimalism overlaid with Dorothy Ashby style harp runs (“Overtures”) to atonal analogue synth sounds over Martin Denny style percussion (“Bora!”). There's a classic Mocky crooning number that gives a Jim Henson-esque take on the state of “Humans” and the album as a whole captures Mocky's skill of bringing together the joyful energy of a unique cast of LA collaborators.

Featuring:
Randal Fisher / Flute, Vicky Farewell / Piano, Vocals, Harry Foster / Bass, Vibraphone, Tubular Bells, Vocals Joey Dosik / Organ and Glockenspiel, Vocals, Guilermo E. Brown aka Pw / Percussion, Vocals, Jhan Lee Aponte (TossTones) / Percussion, Vocals, Timpani, Paul Cartwright / Violin, Molly Rogers / Viola, Gabe Noel / Cello, Contrabass, Liza Wallace / Harp, Coco O. / Vocals, Mocky / Compositions, Drums, Vocals, Roland Sh-1000

O for the O Choir :
Nia Andrews, Leslie Feist, Moses Sumney, Durand Bernarr, Eddie Chacon

Recorded at Barefoot Studios, Los Angeles March 6 + 7, 2020.
All songs written by Dominic “Mocky” Salole and published by Heavy Sheet Music/Warner Chappell except "Wishful Thinking" written by Dominic “Mocky” Salole and Matt Corby and "Bora!" written by Dominic “Mocky” Salole, Guillermo Brown, Aponte Poro.

Produced by Mocky, Justin Stanley and Renaud Letang. Mixed by Renaud Letang at Ferber Studios Paris
Mastered by Emilie Daelemans. Cover artwork by Rand Sevilla. Photo by Vice Cooler.

ABOUT MOCKY
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder" and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist and Chilly Gonzales.
In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011, after work in Big Sur on Feist's "Metals", Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials and eccentric working methods collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney.

Whilst in L.A. songs he has written have been sung by Mary J. Blige, Jill Scott and many more and he has collaborated with artists as diverse as Mali’s Bassekou Kouyate and the GZA. His monthly rooftops gigs at the ACE Hotel breathed new life into the LA live scene and Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. I-IV.

After co-producing and co-writing Feist's "Pleasure", Kelela's "Take Me Apart" and Joey Dosik's "Inside Voice", in 2018 Mocky released two albums: "Music Save Me (One More Time)" - a collection of the best of Japan-only/unreleased gems and favorites from his so far digital only "Moxtapes" series and "A Day At United", an instrumental jazz album, recorded in a single day in the legendary LA recording studio United Recording.

In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe (Cowboy Bebop) on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards 2020.

Already in 1983 SWEET CHEATER from Bremen were founded, who felt as much influenced by current trends like Metal Church, Metallica, Helstar or Fates Warning as by the typical old heroes (Thin Lizzy, Led Zeppelin, etc.).

After a demo (partly heard on this CD) the new label called Flametrader (Demon, Savage Grace, Cancer, Siren, etc.) beckoned with a record deal and the debut „Immortal Instant“ was recorded at HGM Studios (Black Fate, Siren, Dissidenten, etc.).
The result was not only well received by the fans, but also earned very good reviews - which was already something special for a German band not dedicated to thrash in 1986!

Unfortunately, the line-up fell apart before they got back together, albeit under the new name Secrecy. After renewed line-up changes, they finally managed to release an acclaimed album („Art In Motion)“) via Noise Records in 1990, followed by „Raging Romance“ Noise Rec., 1991).

The only album by/as SWEET CHEATER has unfortunately been released illegally on CD quite often in recent years, so guitarist Mick Sebastian and Golden Core have gone the extra mile to make this re-release worthy and definitive.
This includes a perfect overdubbing with audio cleaning by Patrick
Engel (Metal Blade, High Roller, etc.) and a respectful remastering by Neudi (Manilla Road, Griffin, Blues Pills, Avatarium, etc.).

Fortunately, an important re-release gap is finally filled!

After Joao Selva, Dowdelin, The Bongo Hop, Underdog Records continue their exploration of the Black Atlantic with IREKE.Ecstatic brass, 70’s keyboards, elastic guitars, round bass and world percussion: from this sonic heritage, Ireke makes a unique fusion, enhanced by the audacious contribution of his dub science, and a few electronic touches

IREKE

Ireke? Sugar cane in Yoruba. Like her, the duo loves tropical climates and intoxicating rhythms, quick to liberate the bodies gathered on a dancefloor. Afrobeat urgency, funk suppleness, dub alchemy, highlife jubilation: with Tropikadelic, Ireke summons the heritage of the masters and the audacity of machines to give life to new sonic territories. At the crossroads. For the love of groove.

From the West, with their ears to the Black Atlantic, Julien Gervaix and Damien Tes- son are both children of the collective and of improvisation, playgrounds for these complete multi-instrumentalists.

The first one puts his talents of arranger-saxophonist at the service of the Nantes collective Soulshine and of numerous formations - in turn funk or rhythm’n blues - where swinging is the rule.This is notably the case of the afrobeat group Walko, in which Julien Gervaix had the honour of sharing the stage and the studio for several years with Kiala Nzavotunga, guitarist extraordinaire for Fela Kuti and Egypt 80. Meanwhile, Damien Tesson was being trained as a dubmaster-guitarist-arranger at the reggae roots school with the digital option of the Vendée collective Shi Fu Mi Temple.This initiation led Damien Tesson to join, among others, the Nantes-based group BIBA (Bingy Band) and then to collaborate with Jideh High Elements, a key figure on the international dub scene, Roberto Sanchez and the team of his Lone Ark Studio, as well as Sana Bob, a famous reggae singer from Burkina Faso.And then, life being well done, the paths of Julien Gervaix and Damien Tesson ended up crossing within the jazz-funk combo Playtime, before meeting again in the Vendée a few years later.

With an obvious tropism for Afro-Latin grooves, tropical colours, electronic tricks and furious swaying, the two musicians create Ireke like a glass of well arranged rum. Here’s to us, here’s to you! As if guided by the spirit of the plant, Ireke toasts the immense richness of these danceable rhythms, true generators of life, connection and energy.

Like Legba, the Yoruba orisha of intersections and crossroads, Ireke thrives in the between worlds.Aware of the lineage of goldsmiths who preceded them, Ireke

knows his classics and humbly draws inspiration for Tropikadelic from the musical genius of Pat Thomas, Poly-rythmo Orchestra, King Tubby,Tony Allen, Fela Kuti, Maître Gazonga, Ernesto Djédjé or the Vikings of Guadeloupe. Ecstatic brass, 70’s keyboards, elastic guitars, round bass and world percussion: from this sonic heritage, Ireke makes a unique fusion, enhanced by the audacious contribution of his dub science, and a few electronic touches patiently flushed out in the studio - which the duo considers as an instrument in its own right.

Finally, to give voice to his compositions, on Tropikadelic, Ireke calls upon an army of serious enthusiasts, each member of which has come up with his or her own lyrics. Thus, alongside Ireke, we find the groove griot Pat Kalla (“Femme qui Danse”,“Love Is Jokin”), the Franco-Laotian reggaeman Amatah Keo (“Man Bo Diak”), the Vendée- based Agnès Hélène (“Petit à Petit”,“Oh Ma Chérie”) and Charly Sanga (“Bas Les Masques”,“Oh Ma Chérie”), the Burkinabè lion Sana Bob (“Métissage”) as well as the Nantes soulman Jy Cooly (“Kinkeliba”).

For the duo, music is above all a collective practice, an active liberation, a rhythmic approach to letting go, a source of communicative joy... In short, groove is the weap- on! And Ireke knows how to use it.

Unseelie is celebrating the one year anniversary of goddexx by galen tipton, an Ohio-based electronic producer who continues to push boundries in the world of pop experimentalism.

Since releasing goddexx last year, galen has appeared as a guest on Rinse FM, contributed a mix to TANK Magazine, interviewed by PAPER, and featured on The Needledrop's Best of 2021 Spotify playlist as well as Anthony Fantano's official YouTube Channel.

goddexx was instantly met with positive reviews upon its release, with Our Culture magazine giving it 4/5 stars and saying "goddexx rightfully claims its own place in today's flourishing experimental music scene".

The EP was written by galen in her homestate of Ohio with cover art by Sam Rolfes. It was originally released on unseelie in Summer of 2020 and quickly became a best-selling release on Bandcamp.

The deluxe edition includes galen's second single on unseelie called pixie ring, and another song of hers called elf fetish that introduce the listener to the next chapter of the goddexx story. The remaining songs on side B are remixes by Orange Milk artists Seth Graham and Giant Claw (Keith Rankin) ft. Tamanaramen, as well as a dancefloor heater by Cologne-based DJ and producer Swan Meat.

GRAMMY® Award-winning, RIAA platinum-certified international icon Tiësto will release his highly anticipated album ‘DRIVE’ on the 21st April, with pre-order set to go live on the 6th March. The album is more than just an “album,” it’s an experience that showcases Tiësto’s unique style. “DRIVE” will take you on the ride of your life; featuring previously released Don’t Be Shy, The Motto, The Business, Hot in It & 10:35, which have all accumulated over 3.5B streams leading into its release.

Tiësto is a GRAMMY® Award-winning, RIAA platinum-certified, international icon. The DJ and producer is the only artist to ever hold the titles of “The Greatest DJ of All Time” courtesy of Mixmag, and “#1 DJ” according to Rolling Stone. From his underground dance floor bangers to his high profile Las Vegas residency and worldwide crossover success, Tiësto created the blueprint that defines what it means to be a superstar in today’s dance music world. With over 36 million albums sold, 10+ billion cumulative streams, and a social platform with an audience now exceeding 30 million fans around the globe, he continues to revolutionize the dance music landscape.

Tiësto’s first single upon signing with Atlantic Records, 2020’s “The Business,” has dominated airplay and charts worldwide since its September 2020 release, hitting #1 at US Dance radio while also garnering over 1.6 billion worldwide streams to date. A top 10 hit in 10 countries, as well as a Top 50 success on Spotify in 31 countries, “The Business” was honored with “Best Dance/Electronic Recording” nomination at the 64th Annual GRAMMY® Awards as well as 15 platinum certifications and eight gold certifications in countries around the world. “Don’t Be Shy” with Karol G followed in 2021, marking Karol G’s first-ever English language song and the first Latin Artist collaboration for Tiësto.

The historic track currently boasts over 867 million streams, over 1.2 million TikTok creates, and video views exceeding 290 million. The third single from Tiësto’s upcoming album on Atlantic Records, “The Motto” with Ava Max, proved another blockbuster, reaching the top 5 on Billboard’s “Dance/Electronic Songs” chart while earning more than 929 million worldwide streams to date. This summer saw “Hot In It” with Charli XCX reach the top 10 on Billboard’s “Hot Dance/Electronic Song” chart, fueled in part by over 200 million views across TikTok and IG Reels, and over 122 million streams to date.

Red Vinyl
Infonabeat Records (Mexico) is proud release ISSR A002
A Compilations of tracks from VA producers around the world
that projects a contemporary vision of Techno that emphasizes on industrial and obscure sonic scenarios.
with tracks By:

Olēka:The new alter ego of the already well-known Bosnia & Hercegovina-based DJ/Producer Forest People, He has affirmed himself as a new powerhouse in today's techno scene,
This moniker emphasizes the more industrial, and distorted side of techno.

Dahraxt: DJ producer and label owner based in Berlin Germany has a proposal with heavy basses and delicate rhythmic transitions.

Voca Negra : This project is the collaboration of Label Owners Ricardo Carmona (Ixbalanke) Based out of Tijuana Mx. and Miguel Angel Vazquez (Netika)Based out of San Diego Ca/ Tijuana Mx
This project portraits a contemporary and fresh approach to techno representing the region, displaying it with complex rhythmic patterns,
hard and robust bases with non conventional lead designs and vision.

Ixbalanke: Ricardo Carmona DJ/Producer and Label Owner Portrays a Obscure and abstract landscapes ,penetrating and vibrant sequences with unique Leads

Repress!

Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG.

It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists' Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester's younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group's own label.

Since the formation of Black Artists' Group in 1968, the home of this multidisciplinary arts collective had been St Louis, Missouri, the city where the Bowie brothers had grown up. It was there that Lester Bowie had started to investigate the expanding horizons of jazz before moving, in 1966, to Chicago where he joined the recently established Association for the Advancement of Creative Musicians (AACM). His close friend Oliver Lake visited Bowie, attended AACM concerts and meetings and was inspired not only by their artistic vision and integrity but also by their efficient organisation. In Chicago musicians were making things happen for themselves, taking control of their own destinies and giving shape to their lives as creative artists.

In June 1969, the Art Ensemble of Chicago had taken their music to France. During the preceding decade Paris had established a reputation for audiences that were unusually well-informed and open-minded, receptive to the uncompromising music of black American innovators such as Cecil Taylor, Ornette Coleman, Albert Ayler and Sun Ra. The city that had nurtured not only Cubism and Surrealism, but also Jean-Luc Godard and contemporary cinema's Nouvelle Vague was well prepared for the sonic collage forms and stylistic dislocations of the Art Ensemble. During that same month violinist Leroy Jenkins, trumpeter Leo Smith and saxophonist Anthony Braxton also arrived in Paris, three further emissaries from the AACM.

The adventure of collective improvisation resonated with the Parisian zeitgeist. Enthusiastic audiences attended their concerts and coverage in the media. In Paris, Aries 1973 offers an isolated and fascinating glimpse into that phase of the group's existence. The album is dedicated to the memory of Kada Kayan, a bassist who had hoped to make the trip from St Louis to France but, tragically, had grown ill and died. His absence adds special poignancy to the sound of the bass when it appears on this recording, played by Baikida Carroll. Listeners keen to hear Kayan himself in the company of Lake, Bowie, Shaw, LeFlore and Carroll should seek out Red, Black and Green by the 10-piece Solidarity Unit, Inc. That album, recorded on 18th September 1970 and dedicated to Jimi Hendrix, who died on that day, features an earlier version of Shaw's composition 'Something to Play On.'

In Paris, Aries 1973 reveals BAG's musical affinities with the Art Ensemble of Chicago. Both groups preserved an independently minded approach to the notion of free jazz and a carefully filtered awareness of pan-African musical practices, while their creative interest in space, mobile structure, chance occurrences and simultaneity also suggests parallels with the concerns of leading experimental composers working at that time. These performances in Paris of Shaw's 'Something to Play On' and Lake's 'Re-Cre-A-Tion,' plus two collective compositions/improvisations, display the dedication to structural fluency and sensitivity to coloration that accompanied BAG's unorthodox group dynamics and their unconventional instrumental combinations. In this case the musicians embrace congas, log drums, marimbas, woodblocks, cowbells and gongs. This is not a showcase for solos, but a shape-shifting and multi-centred statement of togetherness, quest and discovery. Removed from BAG's original multidisciplinary context the music still exudes an exhilarating spirit of collaborative exploration and shared excitement.

For the 7th installment of their split-series, Dalmata Daniel welcomes both Roberto Auser for his sophomore contribution to the label, as well as a fresh addition to the catalogue: Cestrian, aka. Ali Renault, the tireless Margate-based DJ and producer, well known for his frantic, dazzling and rough releases at labels like Bunker, Cyber Dance Records or Mechatronica.

Massive, thumping kickdrums and hypnotic whispers introduce the first tunes of side A, that is 'Awakening' - Auser's take on slow, EBM-esque industrial vibrations as an eerie, industrial waltz. 'Selvage' drives effortlessly to disco- and retrofuturistic territories, arriving at the closing track of Auser's side, 'Long Night' This third cut is his longest one, steadily building up harmonic layers of dark, intertwining melodies with the devoted beats of a minimalistic drum machine, full of echoes and shimmering high-ends.

Side B starts with the energetic, rolling bassline of 'Satan'. Ideal title for such a fiery, blazing electro hit: if you ever find yourself in any sort of Inferno-situation trying to Shazam that heated banger you hear, it is likely that it's one of Cestrian's intense tracks from this 12". 'Zoltan' delivers a gentle rumbling of a dusty bass-synth. An atmospheric, chill sequence dominates the split's penultimate track, with dreamy chords and smooth twists on a chaotic noise-source. Finishing off the split, Cestrian hits us with 'Lids' - an excited and raw vision of electro, full of hazy sparks and detuned, tense oscillations. The bass cuts into our minds like blades from a giallo-opus, leaving behind nothing but the unsolved mystery of ineffable horrors.

In his South London flat, James Howard gestures apologetically at the mess of books, lined A4 paper and stationary at his desk. “I butcher poetry for a living,” he explains, “It isn’t a pretty job, but someone has to do it.” This being 2022, every emerging musician needs a side-hustle to keep the house warm. In the daytime, our host writes study guides to help teachers teach poetry to pupils who would rather be elsewhere. “I make sure the poems are clinically dead by the time they reach the schools.”
An explanation punctuated by a mildly contrite shrug makes you want to lean forward and remind Howard about some of the stuff other people are doing for a living. And, more to the point, aren’t doing. Which brings us to the real matter at hand. For Howard, foregrounding his own songs hasn’t always come naturally. An enthusiastic collaborator, he made two well-received albums with his previous band Blue House and played with the likes of Rozi Plain, Alabaster dePlume and his wife Dana Gavanski, as well as running his own music night with Sam Tyler in London, Incredible Society. It’s important to mention these creative hook-ups because Howard feels that, in one way or another, they all helped to give form and shape to the lilting lunar lullabies that would ultimately comprise his ravishing solo debut Peek-A-Boo. 

A deluxe edition as a 2 x LP on yellow vinyl, features bonus demos, b-sides and live session recordings. The Hidden Cameras burst onto the Toronto music scene in the early 2000"s boasting an irresistible combination of pop and queer sensibilities. Playing self-proclaimed "Gay Church Folk Music" a new genre of their own making and songs ranging from haunted, aching ballads to foot-stomping anthems, the band"s outrageous stage shows packed such disparate venues as sweaty dance bars, art museums, a working porn cinema as well as many churches. Fronted by lead singer-songwriter Joel Gibb, the ensemble continues its musical provocations to this day, with Berlin now as its centre of gravity. The Hidden Cameras had yet to release a note of commercially available music when, in early 2002, they became among the most discussed and celebrated unsigned bands in the history of their native Toronto. By the close of the year, they had been the subject of uncommonly sensational features in The Globe and Mail (Canada"s national newspaper) as well as in every daily and weekly in Toronto. The reasons for the reckless enthusiasm of these usually cautious journals was simple: revelatory live performances that attacked and transcended the staid, dispassionate traditions of rock nightclub culture; and the songs of band front-man and mastermind Joel Gibb, a talent of uncommon melodic and poetic gifts. "The Smell of Our Own", The Hidden Cameras debut album was originally released in April 2003 on Rough Trade to tremendous critical acclaim.

Welcome vinyl reissue of the rare and in-demand boogie classic 'Summer Groove' by The Joneses. Originally released in 1981 on tiny US label Good Records, the 12' features the full eight and a half minute long 'Moving On' version of this magnificent soulful disco burner. Big on the UK's jazz-funk scene at the time as well as in the US, this super-cool grooving track still fills floors today with its soaring strings and vocals, hi-voltage guitars and pumping heavy bass. Essential summer party jam - don't miss!

With the verve of the early onset of a love affair, Julian Muller’s and MRD’s first release on NALI isn’t shy of evoking deep feelings on the backdrop scattered bass lines. The four-track EP draws from transcendental soundscapes and blends them with well-crafted solid techno. Hopeful, revolutionary and yet club driven, the vocals are pop-leaning with a hint of the aesthetics of popularized club culture that came up in the late 90ies. A promising kick-start for the freshly conceived label and its musical agenda.

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

BLUE & BONE VINYL

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

After co-writing a top five song for Kitty Wells, Mommy For A Day, Buck ended
1959 with a hit of his own, Under Your Spell Again. The next six years brought
many more; Foolin' Around, Under The Influence Of Love and Heartaches By
The Number. However, Owens’ popularity had peaked by the late 1960s. So,
in 1969 he embraced the small screen and became co-host of Country Music
TV programme, Hee-Haw. The arrival on the scene of Country-Rock pioneers
the Flying Burrito Brothers in the late 1960s gave Buck Owens another share
of reflected glory. They loved the raw Hillbilly feel of his music, developed to
compete with the string-laden ‘Countrypolitan’ sound so popular in the early
1960s in the hands of Eddy Arnold, Jim Reeves and Patsy Cline.

Spawning from the Manchester music scene in 2008 and now sucking in members from all over the UK, the Riot Jazz Brass Band is a nine-piece genre-mashing, foot stomping party behemoth bringing the love buzz to ears and feet all over the world

New album RIOT JAZZ MAKES PEOPLE HAPPY is the culmination of a 15- year mission to spread joy and get people moving. With three trumpets, three trombones, sousaphone and drums bringing the noise and MC Chunky conducting the chaos, the result is a gleeful cacophony encompassing jazz,hip hop, drum 'n' bass, trap, grime and more.

The intoxicating sound and spirit of the Riot Jazz Brass Band, as well as its deep commitment to exploring all sorts of musical genre, has seen it tapped to collaborate with a variety of top artists and play at festivals across Europe.

One of the most established festival bands on the circuit with appearances at Glastonbury (West Holt Stage), Womad (Big Top), Jazz Sous Les Pommier (France) to Soundwave (Croatia) and everything in between. Recent UK tour last April/May all across the country.

Out of the many artists, both new and established, that Futurepast has welcomed to its family, Spanish producer and DJ Eduardo De La Calle is one that we can definitively call a legend. His vast discography includes many of dance music's most appreciated labels, so we're humbled to present a full EP from him.

His EP "Kardama" emerged as the winter of 2022 bled into 2023, a period where he'd actually been producing more downtempo works, so "Kardama" is his most recent take on techno; a genre he is certainly well-versed in with over 25 years experience.

As a reflective work, De La Calle processes emotions and thoughts with analog methods, reverse delays and pedals on "Kardama". The emotions that he holds close to himself show up in the detail that sits deeper within each track.

"I simply make music with the intention of feeling better" says De La Calle, "it is a therapy for my mind and for my spiritual state. Through a creative process, I feel calm and useful for the world and for myself."

Malice was one of the more noteworthy bands of the ‘80s Los Angeles metal scene. License to Kill was their second album and was originally released in 1987. Max Norman produced, engineered, and mixed the album, he’s best known for producing several Ozzy albums during the ‘80s, as well as Megadeth’s Countdown to Extinction, and albums of various other metal bands like Y&T, Armored Saint, Savatage, and Lynch Mob a.o.

Old-school Megadeth fans will be tickled to discover that Mustaine and Dave Ellefson are credited with background vocals on two songs. Another guest appearance was made on this album by Tommy Thayer of Kiss. Founder Jay Reynolds later joined Dave Mustaine’s band Megadeth for a brief spell, and after that became a member of Metal Church.

License To Kill is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl

The ten-track LP marks the latest collaboration of "Swiss born Gotham bred" (SPIN) indie rocker Sam Koechlin with his longtime producer / "Second Beatle" Daniel Schlett (Iggy Pop; The War on Drugs) and mastering engineer Greg Calbi and features Chris Egan (Solange; Blood Orange) on drums and Josh "JD" Werner (Ghostface Killah; CocoRosie) on bass.

Singles Golden Days (Sept 16) and Never Let Me Go (July 22), the album's title track, offer a taste of what to expect from the "King Of Tears’" (Radiotélévision Suisse) sophomore effort: a soundtrack for the first day after what looked like the last, fueled by the madness of a rapidly accelerating career trajectory, the thrill of touring with his band again, and the promise of a reopening world whose studios, stages and dance floors we get to share again at long last. In 2021, Sam released his debut album Power Ballads, a largely home-recorded yet “well-crafted set of atmospheric post-punk” (KEXP) to international acclaim.

Deluxe Eco Vinyl LP with 16 page lyric booklet! London slowcore band deathcrash have announced their new album Less, due March 31st via untitled (recs). Recorded at the UK's most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective. "The mission statement was to be super minimal," says deathcrash singer Tiernan Banks. "Just simple and beautiful guitar parts and to be really bare. To be...less." Swiftly following Return, the band initially had no plans to make a full length. "The last thing we felt like doing was making another album," says bassist Patrick Fitzgerald. "It was like, 'let's do this little EP that's aesthetically quite different and pared down'." Less was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. "As time went on, we started putting much more emotional weight into it and it became more important to us," says Banks. The result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks' voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as 'Duffy's' before unleashing a doom metal growl in thundering unison with the band on 'Empty Heavy'. The record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud & Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single 'Duffy's' and we expect support from BBC 6 Music, Apple Music and other tastemaker stations

Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth. Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends ("Giver Taker") and family members ("1978") along with lost selves ("Maker," "Baby No More," "In Your Eyes.") But here, grief yields an opening: a chance for new growth. Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. "1978" and "Maker" both begin as Sufjan Stevens-esque pastoral ballads with Chithambo's mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80's pop and African music Chithambo's Malawi-born parents played around the house) and harmonies by Bowe. "In Your Eyes" starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than the Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably "Maker") grasp not only towards reconciliation between his trans identity and his parents' strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality.

Brazilian experimental multi-instrumentalist Carla Boregas follows plates for Bokeh Versions and Hive Mind with a ghostly set of deep listening electronics that plays like a symphony for an imagined woodwind orchestra.

Carla Boregas is best known from her tenure in São Paulo's genre-bending experimental post-punk scene, playing in long-running outfit Rakta as well as other related offshoots. Her solo material has been knottier to unpick, here developing ideas from a collection of unfinished fragments and notebook scribbles exploring the possibility of finding a wind instrument that could be played collectively by several musicians. Coinciding with the pandemic, however, she soon realised the inherent risks involved with sharing breath and so the concept took a different direction, with added resonance.

Boregas developed a synthetic alternative, layering vocals and environmental recordings to suggest wind instrumentation without attempting to mimic it. The sounds here are airy, but rarely diegetic - on the title track, Boregas uses analog arpeggios and plucked, sustained tones to approximate the kosmische world of Ash Ra Tempel or more recently Emeralds, as if trapped in a wind tunnel, moved forward by an unseen force.

There's a whisper of the ancient past that harmonises with Wojciech Rusin's speculative medieval gasps, and Bloedneus & de Snuitkever's severely underheard ‘Milli Mille’, an examination of the ancient Greek aulos. On ’Grafia Do Invisível' the sound is completely different again, but the concept remains, using precise analog drones and minuscule timbral shifts to imitate the character of a wind instrument and simultaneously harmonise with the deep listening meditations of Éliane Radigue and Kali Malone.

A voice enters the frame on 'Sopro’, chopped into deviated gulps and syllables, creating a language that's unfamiliar and percussive. The use of breath is subtle, and vocalisations criss-cross between synths and faint whistles, forming an expression that's different from its predecessors but intrinsically interlinked. This is where ‘Pena Ao Mar’ excels, by viewing breath and its application in electronic music from multiple angles simultaneously. Fans of Lucy Duncombe, Lucrecia Dalt, or Sarah Davachi - don't miss this one.

Civilistjävel! returns to Copenhagen label FELT with a four track EP following on from 2022's Järnnätter album.

Equally well placed next to the Biosphere / early Fax +49-69/450464 camp as well as various decades of electro-acoustic drone practitioners, Fyra platser (Four Places) also includes a trip-hop leaning collaboration with Cucina Povera. Whilst Järnnätter drew influence from the cyclical, chasmic nature of dub techno, Fyra platser hones further in on the ‘between’ areas in a minimal, reductivist fashion. The rhythms are there to follow but are primarily beatless and more expansive, though skewing perceptions of time in the same trademark manner.

Three locations in the Nordingrå area of the Swedish high coast are exorcised and channelled through sound. ‘Kolugn’ is a deliberately grainy, sepia-tinged continuation of the likes of Robert Rutman’s work across the 70s American avant-garde. It sits in contrast to the more obviously synthesis-led direction of fellow longform piece ‘Valmsta’. The location slowly changes to Finland via Athens, scenes of cafe conversations and hazy polaroids informing the lyrics of ‘Louhivesi’. The result sounds like a 90s illbient record dropped around 30 bpm and the stylus has caught on a perennial 8-bar loop. The balance of Cucina Povera’s cold, reverb-heavy vocal inflections drive the track into another dimension. If Moral were the Scandi Joy Division, this pairing must be the Scandi Massive Attack.

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment.

Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forwardlooking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles.

There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more selfaware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light.

Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway— feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.

Mammal Hands announce spell-binding new album 'Gift from the Trees', their fifth studio album, pointing to subtle shifts and exciting new departures for the unique trio
"We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance..."
Mammal Hands fifth album 'Gift from the Trees' offers a fresh perspective on the unique trio's singular music. The first to be recorded in a residential studio, the band enjoyed the opportunity to go late into the night searching for a deeper, more organic experience, closer to both their writing process but also their trance-like live performances. While some of the music was pre-composed and had even been performed live, the band also enjoyed the opportunity to improvise ideas in the studio. Drummer Jesse Barrett explains:
We wanted to have a more immersive experience that felt closer to our writing process. One thing that was really important to us was feeling free to jam out ideas as they came to us. We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance and just follow that thread where it wants to go. Sometimes it's something as simple as a rhythmic, textural flow, like in Sleeping Bear.
There was also a conscious decision to move away from the sound and ambiance of the recording studio, with the band opting to engineer the record with their go-to live engineer Benjamin Capp before mixing the sessions with Greg Freeman in Berlin. The idea was to try and capture more of the energy of the band's captivating shows, saxophonist Jordan Smart explains:
Considering the group of tracks we had, it made sense to try and capture this process as organically and honestly as possible, and so a change in studio environment felt like the right move to us. Some of the tracks have a raw joy and energy that came with being able to play together again after a long period of time of having been apart, and capture that feeling of just being happy to be in a room with our instruments altogether again.
Whereas for pianist Nick Smart there was also the chance to really go deep into the band's music:
The new studio environment really opened us up to different ways of working and thinking because we could record at any hour of the day or night. I think this allowed us much more freedom to try unusual ideas and push elements of the music to extremes because we had the time to really focus in on the detail and work on things without time pressure. With some tracks, we were trying to find the boundaries of our playing ability and push beyond that point. With others, it was just getting into the right mindset and putting as much energy and emotion into the take as possible.'
The Welsh environment outside the studio doors seeped into the music presented on Gift from the Trees, with two recording sessions (one in winter and one in the spring) bringing different moods: one bleak and wintery, the other more hopeful and bright – an energy that permeates through tracks such as Kernel and Dimu.
Gift from the Trees opens with wonderfully elevating The Spinner which grew from one of Nick's piano parts and was developed and arranged into a complete tune without losing the feeling of constant flow and motion. It is almost like a dance, with the interaction of different melody parts and the doubling of certain parts melding together and fitting into the overall energetic flow, while Jesse's drums are both floating and deeply melodic. Riser aims to capture the band's raw energy and intriguingly is influenced by both breaks and modern drum production but also minimalist classical composition. Nightingale features the band at their most delicate and lyrical – a band favourite it draws heavily on modern folk with a beautifully realised melody that came unforced to pianist Nick Smart before being jammed out together. It was recorded early one morning, bringing an extra light and brightness to this beautiful performance.
Another album highlight is Dimu which utilises one of drummer Jesse Barret's favourite rhythmic devices from the Tabla repertoire and draws inspiration from Indian, Greek and Arabic music as well as modern folk arrangements. Dimu starts with saxophone over a bed of drones and percussion and moves through many different sections that frame and present the melodies in unique ways. The beguiling, intimate Deep within Mountains aims to place you in the room with the band as they play; it was recorded late at night to capture a dreamlike, liminal ambiance. The piano solo really reflects this mood and energy while the tenor is some of the softest and closest on the recording. Elsewhere, the remarkable Labyrinth started with what Nick describes as "some weird recording on my phone from a soundcheck, where Jordan was playing some crazy sounding bass clarinet part and I quickly recorded him", giving birth to a captivating, complex slice of propulsive 'almost' contemporary classical that like so much of the music on Gift from the Trees really couldn't be any other band than Mammal Hands.
Finally, the album draws to a close with the glorious Sleeping Bear, a tune that was wholly improvised in the studio. Nick and Jesse entered a simple but 'weird' locked groove and Jordan improvises melodies over the top. The track came about without any planning or thought; it was one of those special things that came by surprise and the band felt offered the perfect ending to their latest gift to us all: a deeply enthralling album that captures so much of what makes Mammal Hands a special band while mapping out new routes and paths for their beautiful, beguiling music.

KSI’s first official full length album Dissimulation was an international smash debuting in the TOP 10 in 11 countries! Jam packed with top level features including Offset, Lil Pump, Trippie Redd, Lil Baby, Rick Ross, Smokepurpp, Jeremih, Rich The Kid, S-X, AJ Tracey, and many more. A limited pressing of 1,500 vinyl units have been made and will be released on 14 April.
KSI recently scored not one but TWO KO’s in his second boxing event! KSI is currently a TOP 5 artist in all of the UK, as well as one of the biggest YouTube personalities in the world. KSI launched the highly successful sports drink PRIME with LOGAN PAUL, which just recently became the OFFICIAL SPORTS DRINK of the UFC.

Brilliantly remastered (picture) LP/CD with new stunning artwork!
Lo-Fi India Abuse was recorded in 1998, some tracks are “pure” Muslimgauze and some are re-mixs of tracks from Systemwide’s “Sirius” CD (see also Systemwide meets Muslimgauze “at the City of the Dead” 12″). Nearly all of the tracks have hand percussion in varying tempos and intensities and at least 1/2 make use of electronic noise surges. The sound is very crisp and clean, extremely well produced, recorded and nicely varied throughout the length of the disc. Some track by track comments: “Antalya” is obviously from the same sessions as “Fakir Sind” seeing as it shares the same hand percussion sound, whistles, vocal wailing, cut-ups and delays. “Valencia Flames” sounds like a Systemwide remix. A dub bass line, hi-hat and background vocal of some sort are all obliterated by numerous delays, starts, stops and re-starts with an unpredictable nature in these cut-up tracks. “Al Souk Dub” injects background voices, market sounds and drones into the cut-up mix of slow hand percussion playing. “Catacomb Dub” and the final two tracks make use of twinkling synth waves, presumably a Systemwide sound source. “Dust of Saqqara” has a heavy pulsating electronic sound wave over an old beat box rhythm. “Android Cleaver” is brutal (as is “Nommos’ Afterburn”) hand percussion, jabs of noise and an oft repeated, unintelligible vocal sample. Yes, Lo-Fi India Abuse is yet another great Muslimgauze release, grab it!
All tracks recorded by Muslimgauze 1998
Some tracks are re-mixes from Systemwide’s “Sirius” album
Re-mastered by Višeslav Laboš
Sleeve by Oleg Galay
Originally released in 1999 via BSI Records (BSI 1999-3).

Ellie Goulding überrascht uns mit ihrem fünften Studioalbum „Higher Than Heaven“. Die Albumankündigung folgt auf Ellies aktuelle chartstürmer Single ”Easy Lover”, welche die Fans in gespannter Erwartung auf diese neue Ära von Ellies Musik zurückgelassen hat.

Mit Greg Kurstin (Sia, Maggie Rogers, Elton John), Jessie Shatkin (Charli XCX, Years & Years), Koz (Sam Ryder, Madonna, Dua Lipa) und Andrew Wells (Halsey, Yungblud) hat Ellie einige der besten Popmusiker für die Produktion des Albums gewonnen und verleiht der modernen Popmusik ihre eigene Note. ”Higher Than Heaven” ist vollgepackt mit ansteckenden Hits, bei denen Ellies unverkennbarer Gesang im Mittelpunkt steht, während die Produktion Popmusik vom Feinsten ist, mit kräftigen Basslines, schwebenden Synthies und euphorischen Melodien.

Das Album ist als Mintpack CD, Digipack CD und Standard Vinyl erhältlich.

Welcome to the "Consume Land Flea Market". This is the atmospheric setting and at the same time the luminous title of the debut album of young producer Noayama. "It centers on the contradiction between turbo-capitalist consumerism and the desire for vintage stuff in all kinds of shapes and colors to escape reality for a bit. I think it's quite a nice and suitable metaphor for the position my generation is in right now" says the 21-year-old producer, musician and interdisciplinary artist.

On about 40 minutes, Noah Berger, who grew up near Munich, spans a wide musical arc with his alter ego Noayama. He combines Hip Hop aesthetics with playful Electronica and acts skillfully in the interstices of Pop. Hints of 70s Funk hedonism, Old-School House vibes and modern J-pop sensibilities can also be found on "Consume Land Flea Market." The binding agent of the album is Noayama's "Punk Attitude" which comes through clearly on his tracks and beats and is an elementary part of his producer DNA. "I just like to drift, it's very central to the way I work" adds Noah.

Just as important for him are intergenerational collaborations, which adorn his debut work in numerous ways. An illustrious round of artists is therefore represented on CLFM. It starts with young female rap artist Maassai from the New York underground scene who can be heard on the pulsating opener "Get You Back". Also from N.Y.C is Hprizm, a member of the legendary avant-garde rap group Anti-Pop Consortium, who is featured on the dark and gritty "I Went Left" and the bouncer "War." Funkstörung is also involved here. Not too much of a coincidence as Noah has been encouraged since his teenage days by his father Michael Fakesch, one half of the Glitch-hop pioneers who became famous in the late 90s. With "The Legendary Godmother of Japanese Electronica" Coppe' on "Majesty" and the German singer-songwriter her tree on the song "Flâner", introverted pieces have also found their place on CLFM. In addition multilingual verses with Silo Inf3rnx from the townships in Gugulethu on "Ingozi" and on top "the homies from the neighborhood" Anothr and Taprikk Sweezee who give the album further facets through their contribution.

Noayama combines elements and working methods of the last five decades in a relaxed manner and bundles them into a genuine piece of work. Emblematic of this approach is the choice of features. So is the gear he uses. He incorporates old synths (Roland Jupiter 8, Nordlead) and drum machines (Roland 808, Roland 909) with playful ease with common software tools. It's also pretty convenient that he's currently studying Digital Arts at the Kunstuni Linz. In fact, his semester project is the visualization of his own album which means that every single track and every interlude gets its own video. Well, Noayama is just a gambler.

Detroit house and techno fans with their ear to the ground are well tuned to the sounds of Brian Kage. He's shown his skills on the likes of Omar S' FXHE, Carl Craig's Planet-E and Rob Modell's Echospace. Now it is his own label Michigander where he appears with a new EP that kicks off with Taho and Kage combining forces once more. There is acid to start with next to uplifting piano notes underwritten by deep chords on the opener, 'Warehouse Vibes' then brings driving kicks and dubby techno bliss. Things step up again on 'JAX' which is a full-body workout with first pumping rhythms. This is another EP that adds to the rich heritage of Motor City musical magic.

This genre-bending album takes the listener on a sonic journey through moments of gritty hip hop as well as lush soul/R&B soundscapes, also providing a glimpse into modern jazz.

World Champion Battle DJ, Rhettmatic, reminds you why he’s one of the most respected DJs in the world with his masterful scratches throughout the album. In a time where musicians are scrambling to copy whatever the latest trend in music is, more than ever.

JRawls’ signature Jazz-Hop sound meshed with Rhettmatic’s West Coast bounce creates an undeniably hypnotic & original sound that is all their own.
Tracklist RawlsMatic Intro
Play Your Position
Excalibur
State My Case
Doty X & The Sen
Stay Good
Role Reversal
Brazil
Straight Shot Of Whiskey
Everyday Sh-t
The Brink
The Sun
Xanadu

Key Selling Points
-The powerful duo, Rawlsmatic, consists of respected hip hop producer-DJ’s, Rhettmatic (Member of the World Famous BeatJunkies, Cypress Junkies) & J Rawls (Produced for Black Star, Slum Village, Beastie Boys, & more).
-Their debut collaborative album "Role Reversal" via Chavez Sound features Craig G, Blu, Ras Kass, Illa J & Frank Nitt, John Robinson, Wordsworth, Sadat X & El da Sensei, Trek Life & Supastition, Ann One, Cyrus Baty & B-Jazz.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

ElCamino, hailing from Buffalo, New York, had a huge 2022 with the release of his Bethlehem EP with Chase Fetti as well as two solo albums, Let There Be Light and ElCamino 3. ElCamino officially signed to Benny The Butcher’s Black Soprano Family imprint in 2022 and was featured on several acclaimed #BSF releases including “80 Bills,” “We Here” and “Saint Maurice” and the B$F album Long Live DJ Shay. Other collaborations with the likes of 38 Spesh, A$AP Ant, Curren$y, Harry Fraud, Jay Worthy and Keisha Plum have proven ElCamino to be one of the hardest-working artists in the game. His notable performance alongside Wiz Khalifa on “Back to Shore” off of the 38 Spesh and Harry Fraud Beyond Belief album was an easy fan-favorite. Here You Go is another high quality release featuring 9 new tracks with ElCamino standing alone and showcasing his supreme lyrical talent. Pressed On Splatter Colored Vinyl! Limited To 500 Copies Worldwide!

38 Spesh has quietly become tastemakers’ top pick for “next to blow.” Just ask LeBron James, Kevin Durrant, DJ Premier, Sway, Method Man, or Lloyd Banks, all of which have co-signed this Upstate New York emcee. His 7 Shots EP, the third and final instalment in his fan-favorite “Shots Series,” marked the moment that many caught on to the TRUST movement. The 8 track offering gives underground Hip-Hop fans exactly what they want, hard bars over soulful beats. The project features guest verses from Freeway, Ransom, Eto, and Che Noir, as well as production from Streetrunner, The Heatmakerz, LT Beats, Thanos Beats, and more. Mixed and mastered by Chris Pinset Cover by Laz Art Direction by Jordan Commandeur A&R by Ransom









[h] B4. Last Gasp (feat. Ransom & Tearz) [7 Shots Version] (prod. by Mayor, Ty Jamz & Bernard B. Westwood)

"Released in April 1966 by Decca Records, Aftermath was the Rolling Stones’ fourth British studio album. It was issued by London Records in the US in June 1966. Recorded at the RCA Studios in California, it was their first album released in true stereo.
It is also one of the first ‘popular’ albums to eclipse the 50-minute mark, and contains one of the earliest rock songs to exceed 10 minutes (the blues jam Goin’ Home). The album’s release was briefly delayed by controversy over the original packaging idea and title – Could You Walk on the Water? – due to London Reocord’s fear of offending Christians in the US.

The album was considered an artistic breakthrough for the band, being the first to consist entirely of Jagger–Richards compositions, (after their maverick young manager, Andrew Loog Oldham, had shut them in the kitchen of their flat until they had written some more original songs!).
It also featured strongly the immaculate guitar work of Brian Jones and the remarkably wry, observant song-writing of Jagger–Richards
Jones played a variety of instruments not usually associated with their music, including sitar, dulcimer, marimbas and Japanese koto, as well as guitar, harmonica and keyboards, though much of the music is still rooted in Chicago electric blues. The burgeoning influences of psychedelia, Bob Dylan and the tensions around the world, are evident in classics like Paint It Black, an eerily insistent number one hit, available on the US version of the LP.

Other classics included the jazzy Under My Thumb, where Jones added exotic accents with vibes, and the delicate Elizabethan ballad Lady Jane, with distinctive dulcimer, the wry observational Mother’s Little Helper with its unashamed lyrical drug references, and the overlooked gem – the brooding, meditative I Am Waiting.

The American edition was issued with a shorter track listing, substituting the single Paint It Black in place of four of the British version’s songs, in keeping with the industry preference for shorter LPs in the US market at the time."

"Released in April 1966 by Decca Records, Aftermath was the Rolling Stones’ fourth British studio album. It was issued by London Records in the US in June 1966. Recorded at the RCA Studios in California, it was their first album released in true stereo.
It is also one of the first ‘popular’ albums to eclipse the 50-minute mark, and contains one of the earliest rock songs to exceed 10 minutes (the blues jam Goin’ Home). The album’s release was briefly delayed by controversy over the original packaging idea and title – Could You Walk on the Water? – due to London Reocord’s fear of offending Christians in the US.

The album was considered an artistic breakthrough for the band, being the first to consist entirely of Jagger–Richards compositions, (after their maverick young manager, Andrew Loog Oldham, had shut them in the kitchen of their flat until they had written some more original songs!).
It also featured strongly the immaculate guitar work of Brian Jones and the remarkably wry, observant song-writing of Jagger–Richards
Jones played a variety of instruments not usually associated with their music, including sitar, dulcimer, marimbas and Japanese koto, as well as guitar, harmonica and keyboards, though much of the music is still rooted in Chicago electric blues. The burgeoning influences of psychedelia, Bob Dylan and the tensions around the world, are evident in classics like Paint It Black, an eerily insistent number one hit, available on the US version of the LP.

Other classics included the jazzy Under My Thumb, where Jones added exotic accents with vibes, and the delicate Elizabethan ballad Lady Jane, with distinctive dulcimer, the wry observational Mother’s Little Helper with its unashamed lyrical drug references, and the overlooked gem – the brooding, meditative I Am Waiting.

The American edition was issued with a shorter track listing, substituting the single Paint It Black in place of four of the British version’s songs, in keeping with the industry preference for shorter LPs in the US market at the time."

Potent, seductive, and raw, Love You Anyway, the new album from singer, songwriter, multi-instrumentalist Devon Gilfillian is an intoxicating, genre-blasting game changer. A musical polymath with a deep knowledge and love of vintage soul, R&B, rock and hip-hop, the Philly-born, Nashville-based artist’s second full-length LP re-imagines modern soul music by redefining its possibilities. With an incisive eye and unassuming swagger, Love You Anyway, ignites the mind, and makes the body move. Produced by Jeremy Lutito (Joy Oladokun, NEEDTOBREATHE) and recorded in Nashville, Love You Anyway, confronts as well as comforts. Chronicling Gilfillian’s journey as a Black artist living in the tumult of 21st century America, the album’s 10 original tracks, (all co-written by Gilfillian) are as much about fighting for what you believe in, equity and representation, as it is about love: finding it, making it, and channeling it into every facet of our lives.

re-release Neben Fehlfarben zählten Palais Schaumburg zur intellektuellen Speerspitze dessen, was man zu Beginn der 1980er Jahre marktschreierisch als Neue Deutsche Welle zusammenfasste. Anlässlich der Band-Reunion in traditioneller Erstbesetzung mit Holger Hiller und Thomas Fehlmann veröffentlicht Bureau B nun ihr leichtfüßiges und verqueres, abstraktes und poppiges, dilettantisches und versiertes Debütalbum, das seit seinem Erscheinen im Jahr 1981 - ähnlich "Monarchie und Alltag" - eine Sonderstellung einnimmt, in angemessener und ergänzter Form wieder, was das Ganze zu einem Leckerbissen für Kenner und Sammler macht: Das Reissue beinhaltet über "Palais Schaumburg" hinaus noch eine zweite CD/LP, die sämtliche vor dem Debüt eingespielten Stücke sowie einen bislang unveröffentlichten Mitschnitt eines Konzerts in Holland enthält. Das üppig ausgestattete Booklet präsentiert seltenes Fotomaterial und einen Begleittext von Chris Bohn, Redakteur bei "The Wire".

First solo LP by the talented Peruvian artist Betico Salas, lead trumpet player of the great Sonora de Lucho Macedo, one of the best ensembles playing Cuban repertoires in the early '60s. This 1966 album features Alfredo Linares on piano and sonero vocals by Benny del Solar, and combines a mix of guarachas, guanguancó and even cumbias. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history. First time reissue.- DETAILS: Alfredo Linares on piano and sonero vocals by Benny del Solar stand out on this album. Benny del Solar sings lead vocals on the cumbia of Argentine origin 'Nos vamos a casar'; the Colombian 'Lo que pasa es que la banda está borracha', a continental hit since the early sixties; the guaracha 'A los muchachos de Belén', by Puerto Rican musician Tito Rodríguez; the guaracha 'Ritmo del amor'; the elegant Cuban guaguancó 'Así namá', also well known for Tito Rodríguez's rendition; and the cumbia 'Qué le digo a mi mujer'. Singer, César Gonzales, who would have an extensive career in Peruvian tropical music, sang lead vocals in the guaguancó by the Sonora Matancera 'Lindo Omelenko' and the bolero 'El árbol', a hit for the singer Roberto Ledesma, also recorded that same year by Peruvians Carmita Jiménez, Anamelba, Raul del Mar and Lucho Macedo himself, who decided to sing for his new record label. The mythical singer Johnny Arce, years later known as Mr. Macondo, also appears on the album on the two guarachas: 'La renga', a composition by Esther Forero, known as La novia de Barranquilla; and 'Yo soy candela', a composition by the Colombian Ray Rodríguez. Finally, 'La chola' is a cumbia by Peruvian composer Tomás Benítez; and 'Mambo Jazz' is a version of the descarga 'Yayi's instant mambo', an innovative instrumental track performed by Puerto Rican Willie Rosario, who recorded it in the United States at the start of 1966 with his own orchestra. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history.

WRWTFWW Records is overjoyed to announce Ar Ais Arís, the third album by Irish producer Gareth Quinn Redmond, following his amazing Satoshi Ashikawa-inspired Laistigh Den Ghleo released in 2019 and this year’s ambient-meets-Irish-traditional-music soundscape Umcheol. The 8-track LP comes as a limited edition of 500 copies worldwide with an artwork by Dublin artist Barry Gibbons and liner notes from Gareth Quinn Redmond himself. It is available in digital format as well.

Ar Ais Arís is Gareth Quinn Redmond’s fortuitous love affair with the art of tape loops - a practice he discovered while performing with Ross Chaney and Myles O’Reilly in late November 2020. Fascinated, he spent months experimenting with the technique: "By cracking open the shell of a cassette, cutting the tape and splicing the ends together, I created repeating sound loops of varying lengths. After reassembling and slotting the cassette into the Tascam Portastudio, I recorded and played back the sounds of the tape loop. These sounds were then manipulated using the pitch wheel to make subtle and warbly inflections to the recordings. This is achieved by speeding up or slowing down the playback speed of the tape, which offers dynamic contrasts in both mood and texture."

The result is 8 deliciously enchanting minimalistic tape loops creating a very rare kind of daydreaming environmental music full of accidental miracles and dusty soothing backdrops. It’s a very very very pleasant listening experience inspiring a feeling of enveloping warmth and gentle coziness, with an uncanny touch of spellbinding magic. Press play.

Gareth Quinn Redmond’s previous albums, Laistigh Den Ghleo, an ode to the work of Satoshi Ashikawa, and Umcheol, mixing ambient with traditional Irish music instruments, are still available on WRWTFWW Records - perfect occasion to complete the collection!

Hot on the heels of last year’s Mermaids reissue retrospective, Hull’s deep listening house forerunners return: this time revisiting a pair of originals as well as previously unreleased versions.

It’s testament to the depth of feeling that Steve Cobby and David McSherry can conjure, that these tracks sound as potent and impactful as they did when they first came out - and not just for the dance. Throughout their 30+ years, the Yorkshire duo have produced ten albums amid many more collaborations, and transformed the remix into an artform, putting their fingerprints on everyone from Busta Rhymes to The Orb to Radiohead.

This EP collection finds them at the full scope of their powers: from disembodied mood music, to tripped-out dubby beats and raw house sessions for the club. The title track Subtle Body sounds like it drifted in through the window in the middle of a snowy night. Its layered chimes, looped delay feedback and floaty chords (played on a Wurlitzer Electronic Piano that Steve bought from Bill Nelson), mark it out as an enduring piece of ambient music, and a favorite for film-makers, able to soundtrack both haunted memories and afterparty comedowns with finesse. It precedes an unreleased instrumental version of Nightfall from Fila Brazillia’s 2002 album Jump Leads (named Mixmag’s chill album of the year), and as an instrumental, the chunky electro bass and mix of ephemeral tones and bird-like chirrups are brought clearly into focus. The attention to detail is what makes Fila Brazillia’s sound palette so rich, and Nightfall a certified smokers’ anthem.

On the B side, the tempo and temperature rises, and we’re treated to The Light Of Jesus, a favorite from Fila Brazillia’s 1994 debut LP Old Codes: New Chaos. Atop a bumping house groove, the song weaves together smooth organ pads and electrified guitar licks with syrupy bass and gospel-tinged exaltations from Charles Bukowski. The EP rounds out with Room ‘96, a live house jam from Hull’s Room nightclub, and a veritable time capsule back to the halcyon ‘90s rave days, when the lights were still on, everyone was home, and anything seemed possible.

The songs here on Subtle Body might be a window into a time long past, but they remain in the present: and as long as bodies seek pleasure, and dancers want to keep going til sunrise, Fila Brazillia will endure, and soundtrack those moments for us all to get lost in.