quête:who is who

SOYUZ (СОЮЗ) stole our hearts back in 2022 when we released their album Force Of The Wind to critical acclaim. Here we proudly present the predecessor to that LP, the band’s sophomore long player from 2019 that was previously only available digitally. It captures a pivotal evolving period in the band's career, the recordings giving a snapshot of what would become their sound on Force Of The Wind, yet with echoes of avant-psychedelic-pop footprints from yester years.

Produced at a time when band leader Alex Chumak had moved from Minsk to Kyiv, torn between the need to try something new and the homesickness it brought about. Travelling back to Minsk almost weekly, Alex joined fellow band members Mikita Arlou and Stanislav Murashko to lay down II at Studio 42. The album captures these transient feelings, contextualised through the broad scope of influences the band were nourished by. From MPB to Ethio-Jazz and the Italian library soundtracks of Piero Piccioni and Piero Umiliani, the album shines with touches of joy from across the globe.

The opening track 'Verocai' is a tribute to the Brazilian maestro and 'Mirouze', whilst being named after a French favourite of the band, Jean-Pierre Mirouze, pays clear homage to Milton Nascimento and Lô Borges. A ghostly sample and invisible connection to music made miles away in a different era that has influenced and become part of the band’s lives. This is further reinforced in the album's enchanting closer, the aptly titled 'Nascimento', another nod to the great Brazilian musician and singer.

The beginnings of the cinematic, soul-laden jazz SOYUZ are now known for, are on display across the likes of ‘Lyric’ and 'Motive I'. The latter an orchestrated jazz instrumental with sensuous string sections, all of which were recorded on the warmth of a Studer reel-to-reel and waltzing Rhodes keys.

SOYUZ’s wide-ranging palate is further demonstrated in tracks like ‘Business Partners’ with its Krauty, kosmische, new wave production featuring Inturist, and the oh-too-short Anatolian-influenced interlude 'Corrida'. Elsewhere, 'Tezeta' and ‘ES-2 Jazz’ hint at the psychedelic haze of soul-funk, with the former featuring verses from Serbian rapper Petar Martic.

For this new physical and digital release, the whole album was mixed from scratch by Ryan Power before Joker worked his magic on the remaster. More excellence is to come from SOYUZ, but in the meantime, we are thrilled to present this essential recording from the band’s foundational years, mixed to a level that does it the justice it deserves.

Plizzken are back in a big way with their eagerly anticipated second LP, Do You Really Wanna Know? These German punks' debut LP was the first full length where lead singer Sebi sang entirely in English. Since that album's release to great acclaim from the international street punk commu- nity, Sebi suffered the setback of a debilitating workplace accident, but triumphantly rose above all expecta- tions for recovery, making a hard-hit- ting new record with his long-running band Stomper 98 to boot! Returning their focus to Plizzken, Sebi and the crew are locked in and razor tight, crafting 13 brand new tracks of anthemic working class street punk that will thrill their fans while taking them by surprise. What will strike listeners immediately is a renewed focus on melody and hooks. In short, these songs are CATCHY! By the time the handclaps come in on the fourth song, "Memory Lane," you may just find yourself dancing around the room to these tunes. Likewise for the post-punk/new wave influenced groove that drives tracks like "I Don't Wanna. "Without sacrificing the realism and grit with which they face the world and sound the alarms for the working class to rise up, Plizzken sound renewed, positive, and keen to encourage everyone ready "TO FIGHT THE GOOD FIGHT," as the gang vocals on "Mad World" put it. Although they are all punk rock veterans with decades playing music, Do You Really Wanna Know? has the energy of a hungry young band who are not about to waste a new lease on life. Combining street level punk rock 'n roll with a genuine pop sensibility and a rabble-rousing spirit, executed with the chops of seasoned players, Do You Really Wanna Know? is truly a record that will have old fans dancing and singing along with fists in the air, hand in hand with what is certain to be an army of new ones.

The Left Side is the latest body of work from the Iggy Pop-endorsed teens since the release of their acclaimed second EP We Aren’t Getting Out But Tonight We Might in summer 2022. With Saul at the creative helm, The Left Side is a mature and cerebral body of work with Saul once again writing and producing the entire EP (with co-production by Ali Chant (Yard Act, Katy J Pearson, Dry Cleaning) on ‘Conman’ and ‘ITSA’). Written in Saul’s bedroom, the EP is a retrospective insight into the young band’s journey so far as they tie up their teenage years.

A coming of age saga, the EP acts as a vehicle for Saul to dive into the psyche behind emotional evolution, and to unpack the complexities of maturity and the ability to say goodbye to the past. These themes present themselves not only in the songs, but right down to the title of the EP itself - which refers to the fact that the left side of the brain is responsible for comprehension.

Summarising the EP, Saul says: “It’s the closest we have been to knowing what picture we want to paint. It’s another window into the musical space we wish to explore, yet I think we’re closer to having our sound. I think the project signifies the end of a section in our lives, moving out from the haze of the moment and reflecting on our teenage years and all its chaos with more understanding.”

L’objectif have drawn instant acclaim across their two EPs to date with support coming from key tastemakers at 6 Music (where previous single ‘Feeling Down’ was daytime playlisted after being premiered by the station’s Steve Lamacq) such as Amy Lamé, Tom Robinson, and of course Iggy Pop, BBC Radio 1’s Jack Saunders (who made the band his Next Wave featured artist and featured

‘Burn Me Out’ and ‘Do It Again’ as Daily Delivery) and Gemma Bradley, Radio X’s John Kennedy, Apple Music 1’s Matt Wilkinson, and Australian national broadcaster triple j. The effervescent young band have already received ‘ones to watch’ tips from national media outlets NME (First On), The Line Of Best Fit (On The Rise), The Observer (One to watch), The Sunday Times Culture (Breaking Act), and more.

Hold Time is M. Ward's amazing follow-up to 2006's brilliant Post-War.Available on CD and LP, Hold Time is an eloquent and startlingly beautiful album. While past critics have compared him to everyone from John Fahey to Tom Waits to his old friend Howe Gelb, with Hold Time it's clear that M. Ward, with his brilliant guitar playing and innate sense of melody, is one of those rare and special talents who defy comparisons and compartmentalization.

LA/Joshua Tree based Sugar Candy Mountain deliver carefully built psychedelic odes in the style of Jacco Gardner and Tame Impala. Their breakout album 666 feels like something unearthed from a box of records found in your dad's garage, glowing wistfully with vintage inspired tones, rambling organs, fuzzed out guitars, shimmering keys and sprawling drums. Ash Reiter's woolly voice croons with the icy warmth of Francoise Hardy, while Will Halsey's tender Lennon-esque vocals uncoil with easy languor. Recorded with Jason Quever of Papercuts, the bands sophomore album sits comfortably between 60's Laurel Canyon bliss and more modern production of Dave Fridmann (Flaming Lips/Tame Impala). 666 is the band's first record after deciding to retire Ash Reiter's eponymous solo project to focus solely on Sugar Candy Mountain. With this shift Ash became more heavily invested in writing for the project. On 666 the band moves away from the grandiose production of their previous album, Mystic Hits, on which some songs featured over two hundred instrument tracks. The majority of basic tracking was done on Jason Quever's 16 track Ampex tape machine through a Neve console, and completed at the bands home studio. Under Quever's guiding hand, production on 666 is significantly simplified, favoring featuring strong melodies over the wildly playful orchestrations of Mystic Hits. Quever is also significantly featured on the record as a player, with his influence distinctly coloring the album.

Stop. Breathe. Reload. And dive into "El Paso, Elsewhere: The Album". Black Screen Records, Lost In Cult Records and Strange Scaffold are teaming up to bring the original songs of RJ Lake and LAKE SAVAGE to life on glorious vinyl. "El Paso, Elsewhere: The Album" takes aim at the key songs that punctuate the game's dark and introspective journey through haunted hallways - with heavy doses of hip-hop, electronica and Trace-Wave coalescing into a pellucid vision of influences and a deeply entrenched sense of identity, akin to the works of seminal hip-hop artists such as Kendrick Lamar and Open Mike Eagle. All tied together within the beautiful gold foil cover artwork by Bri Neumann. RJ Lake shared some of their thoughts going into the creation of this album: "Months before the first thing I ever started working on with Nelson Dog Airport Game (that's not the actual title, but it might as well be) even came out, he asked me if I knew anyone who could make a horror game. I knew a guy. A few months in, we did a touch-base about the music and mutually agreed that none of it at that point was totally working. It was good (look, I'm not going to put myself down here; even back in 2020, it kicked ass) but it wasn't RIGHT. He gave me a bunch of reference materials and kept pointing to them and saying: 'Okay, but these? These are RIGHT. These have the juice we want.' The thing every single song he showed me had in common, was that every one of them had vocals. After some back and forth, we both agreed: 'El Paso, Elsewhere' had to be a rap record as much as it had to be a game. So, three and a half years later, here we are. This is probably the most lavishly mixed thing I've ever made, full of weird, intricate beats, layered vocals from both myself and Nelson, lyrics that go everywhere from bleak to so-party-that-you'll-die to totally ridiculous, loads and loads of genre switch-ups, and absolutely zero subtlety. For 'El Paso, Elsewhere', I made a full score, but that's not what this is. This vinyl is a fucking album and it's sequenced like one. Play it loud!" Alongside the LP, explore what happens after the events of "El Paso, Elsewhere" within the diaries of James Savage - an exclusive in-world archive of the thoughts and feelings directly from the heart and soul of our protagonist within the liner notes. As well as a 5-page excerpt from the "El Paso, Elsewhere" original script and never before seen concept art by Demente Animation Studio.

Gary Clark Jr. releases his new studio album JPEG RAW on 22nd March 2024.

This new body of work signals a brave new world for Clark’s ever-expanding creative palette. The new music is dense and adventurous with a more cohesive synthesis of his eclectic musical universe. His samples, Thelonious Monk and Sonny Boy Williamson, decorate flourishes of African, World Music, and even Jazz while merging with rock, R&B, hip-hop and blues; familiar areas he has ventured before, this time with more unity forging a fresh new style.

Clark’s lyrics are pointed, deeply personal, outspoken and socially conscious with occasional forays into rap and spoken word from Clark himself. The sonics are immersive, verging on modern groove-oriented psychedelia with hip-hop driven beats in verses giving way to anthemic choruses, rich with power-chording and wide fuzz riffage.

JPEG RAW is Clark's first album since 2019’s critically lauded This Land, which became his third consecutive top 10 on the Billboard 200 chart and garnered three Grammy Awards, including Best Rock Song and Best Rock Performance (“This Land”) and Best Contemporary Blues Album (This Land). Clark’s first Grammy win was awarded in 2014 for Best Traditional R&B Performance (“Please Come Home”).

In 2014, Wye Oak released Shriek, their fourth album. It was a necessary departure for Jenn Wasner and Andy Stack, who found themselves on uncertain ground after two years of constant touring for 2011's Civilian, living on opposite ends of the country and trying to revitalize their creative partnership. Wasner set aside her guitar for a bass. Stack took on the band's upper register, playing syncopated, meditative keyboard parts that interacted with Wasner's voice, which was newly freed from its call-and-response relationship to the guitar_what had been, until then, a signature of Wye Oak's sound. "This idea and the ensuing creative reworking of our band did what it was meant to do," Wasner writes in 2024. "It ended a long, painful period of creative stagnancy and reconnected me with the joy of making music." During that period, Wasner and Stack were introduced to William Brittelle, the Brooklyn-based composer whose 2019 LP Spiritual America featured Wye Oak, the Metropolis Ensemble, and the Brooklyn Youth Chorus. His orchestral reimaginings of five songs from Shriek (Shriek: Variations, if you will) are the centerpiece of this package, which serves not only to mark the tenth anniversary of a great album, but to demonstrate the richness of Wye Oak's compositions. Stack says of Shriek: Variations: "It's like looking at the songs in a funhouse mirror. The songs on Shriek can be stripped down or embellished_this is maximal embellishment. William took the album and blew it to smithereens, looking at it in a weird, prismatic way." Through Brittelle, Wasner and Stack found themselves at the intersection of classical, experimental, and pop music. Further collaborations, like the Brooklyn Youth Chorus- featuring No Horizon and Paul and Michi Wiancko's string arrangements on "My Signal" from The Louder I Call, The Faster It Runs, followed, as this connection fundamentally changed the way Wye Oak approached making records, incorporating an entirely new palette of sound into their work. That shift began here. Shriek: Variations may feel like a startling take on the material, something like light bursting into a room through drawn curtains, but Brittelle's arrangements are largely original to his first collaborations with Wye Oak a decade ago, suggesting that his maximalist arrangements have lived comfortably within the framework of Shriek the whole time, waiting for the right moment to emerge. It's a fitting reintroduction to the album, which upon its initial release was pigeonholed into the easy one-note talking point of being the "no-guitar" record. But even so, as that happened, Shriek quietly started to become a staple among Wye Oak's core fans. Here, with help from Brittelle's expansive compositions, the release draws attention back to the songwriting_how, regardless of the instrumentation, Wasner and Stack's uncanny musicwriting partnership at the core is what makes both Shriek and Wye Oak excellent. Joined by the Metropolis Ensemble, Paul Wiancko, and Lizzie Burns, Wye Oak turn songs like "Logic of Color" inside out, reaching towards a kind of pastoral bombast, Brittelle's aesthetic with Wasner and Stack as an anchor. In fact, "Logic of Color" in this iteration takes that "no-guitar" script and flips it, with Wasner playing the synthesizer ostinato on acoustic guitar at its center. If Shriek is a record that charts the depths of solemnity and inner space, its Variations, roiling in a sea of winds, brass, and strings, recolors that space and complicates it, a gorgeous, unexpected response to the original's siren call.

United States Of Islam is the second part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music. Armed with a cleverly provocative title, USoI showcases a moodier side of Muslimgauze. While the trademark blend of driving percussions and minimalism reigns supreme as always, the general feel is much more dreamy and mysterious than on some of Bryn Jones’ more forthright pieces.

The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.

New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues. All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

One of the rarest, and greatest, horn instrumental dub albums of the seventies featuring the soaring saxophone of Tommy McCook in combination with Glen Brown, 'The Rhythm Master', is finally given a legitimate release.

The original title for this long playing release was initially advertised on the label of the seven inch release of 'Determination Skank' as 'The Sannic Sounds Tommy McCook', however the album was released in Kingston in 1974 in very limited quantities on a white label in a plain recycled cover rubber-stamped 'Tommy McCook Dub'. Three years later the set was released through Grounation in London, once again on a white label and without a cover, where it was known as 'Horny Dub'. It gave music lovers a fascinating opportunity to compare and contrast the work of Tommy McCook, one of the architects and builders of the Jamaican sound, with Glen Brown's role in taking and breaking it into pieces...,

Dub Store Records is the Ska, Rocksteady, Reggae, Roots and Dancehall reissue label run by the eponymous Tokyo based record store. The label aims at accurately covering the 50-plus years of Jamaican music, and pass on many rare and magnificent recordings, which are non-commercial and highly artistic. Carefully handing down the tradition of reggae music, Dub Store Records has so far issued recordings from labels and artists such as Studio One, Federal Records (Federal, Kentone, Merritone), Bunny Wailer's Solomonic, Familyman's Fam's, Jammys, King Tubby's Firehouse, Derrick Harriott, Kiddus I, Redman International, BMN and much more to come.

In 2013, between Hypnoflip Invasion and Stup Virus, Julien Barthélémy aka Stupeflip composed the soundtrack for Parenthèse, the first feature film directed by Bernard Tanguy. Julien and Bernard had recently met at a photo exhibition by Nathalie Sauvegrain, whose film Océane Bernard produced. Bernard, who has just been nominated for a César and shortlisted for an Oscar for a short film, is developing his first feature-length film as a director: Parenthèse, a buddy film about the feeling of growing old, an in camera film on a sailing boat in the Mediterranean, set against the magnificent backdrop of the Port-Cros and Porquerolles National Park (Var). A Stupeflip fan, Bernard considered Julien to compose the music, in his Pop Hip version rather than King Ju, convinced that his 80's style would fit perfectly with the nostalgic vision of the heroes of the story and that Stupeflip was also capable of bridging the gap between generations. Julien composed 11 tracks for the occasion, 8 of which found their way into the final version of the film. The title track, "Parenthèse", features arrangements by Anne Gravoin's string orchestra, giving it a depth and density never before seen in Stupeflip's discography. For the 10th anniversary of the filming, the soundtrack, which was only available on the DVD released in 2017, is being offered for the first time in a remastered version (Marie Pieprzownik, Translab), including 3 previously unreleased tracks not included in the original cut.

Available for the first time on vinyl in a remastered version + 3 previously unreleased tracks

“Mother”, Logic1000’s debut album. “I felt so much love and inspiration entering into motherhood that I just needed to create something really powerful,” explains Samantha Poulter, the Berlin-based DJ and producer , who grewed up in the Sydney suburbs of Yarrawarrah and Botany Bay and better known to fans as Logic1000. “And with a lot less free time, you really make sure you make the most of any moment you get.” That vitality and renewed sense of purpose is captured on Mother.Preceded by the single ‘Grown On Me’, the 12-track set is a laser-focused “love letter to house music”, written in collaboration with her husband and long-time creative partner Thom McAlister (Cop Envy, Big Ever). Finding Poulter further fine-tuning her inventive, multi-genre approach, it’s a crucial contribution not just to the world of dance but to the canon of art inspired by parenthood. As Poulter herself puts it, a little awed, “I never thought I would be capable of something so powerful.”

More about the world has changed than not in the decade since dance production dyad Frank & Tony released their last full-length record, 2014’s You Go Girl. Despite, or perhaps in spite of, this shifting landscape, house music has managed to stay fundamentally reliable (either a bug or its greatest feature, depending on who you ask). Where previously, Frank & Tony have been celebrated for their contemplative, studious approach to the genre, with 2024’s Ethos, the Brooklyn/Biarritz-based duo return amidst metastatic cultural upheaval to prove out those scholarly credentials — with an album that serves to remind listeners why dancefloors and liberatory politics consistently share the language of movements and revolutions.
Undoubtedly, Ethos is tremendously influenced by the multitude of projects originating from, and supported by, the duo and their label in the decade since You Go Girl– releasing records from a vast diversity of artists (including Nadia Khan, Gry, Villete, Darand Land, Alex Albrecht, DJ Sprinkles and CCL), and Harris becoming curatorial voice of Brooklyn’s premiere venue for audiophiles, Public Records, where he continues to amplify work across a global diaspora (and where the duo maintain a residency of wide praise).

It is this bright energy and focus on the necessity of community and relationships that animates the aptly-titled Ethos. If past Frank & Tony releases have been lauded as ‘a coloring book in which someone has exclusively drawn inside the lines… with extreme precision,’ Ethos deviates by inviting friends in for a game of exquisite corpse. From singer and pianist Eliana Glass, whose androgynous, double-reeded voice freestyles across album opener Olympia, to distinct track features from fellow house masterminds DaRand Land, DJ Aakmael and Lawrence over half of the album’s nine tracks highlight artists in the larger Scissor & Thread circle.

M. Ward returns with a stunning new album, More Rain, for release on Merge Records on March 4, 2016. Ward has released a string of acclaimed solo albums over the past several years, along with five LPs with Zooey Deschanel as She & Him and a 2009 collaborative album with My Morning Jacket's Jim James and Bright Eyes' Conor Oberst and Mike Mogis under the moniker Monsters of Folk. In addition to his celebrated work as a musician, Ward is an accomplished producer, handling those duties for such luminaries as Mavis Staples, Jenny Lewis, and Carlos Forster as well as his own musical projects.This album, Ward's eighth solo affair, finds the artist picking up the tempo and volume a bit from his previous release, 2012's A Wasteland Companion. Where that record introspectively looked in from the outside, More Rain finds Ward on the inside, gazing out. Begun four years ago and imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice, it soon branched out in different directions, a move that he credits largely to his collaborators here who include R.E.M.'s Peter Buck, Neko Case, k.d. lang, The Secret Sisters, and Joey Spampinato of NRBQ. The result is a collection of upbeat, sonically ambitious yet canonically familiar songs that both propel Ward's reach and satisfy longtime fans.



a [MORE RAIN]

[a] [MORE RAIN]

Williams was one of the greatest jazz pianists of all time, but she was also a victim of geography. Her technical brilliance, complete control of the piano, creative imagination, wit, and constant desire to stretch herself put her at the top of her field although relatively few (beyond her fellow pianists) seemed to realize it during her lifetime. Born and raised in Baltimore, she recorded her first three albums in her hometown. But other than a few lesser-known sets in Europe, a handful of albums for Jazz Focus in Canada and her Red & Blue label in Detroit, and just two projects in New York for the Max Jazz label, all of her recordings were made on the West Coast where she lived starting in 1976. Jessica was reluctant to travel much, particularly in her later years, and her visits to New York were rare so she was largely overlooked by East Coast critics. Listeners who are only familiar with Jessica Williams’ later work where she is generally heard with a trio or as a soloist stretching out mostly on standards (although focusing more on originals on her own small label’s releases) will be surprised by Orgonomic Music. The pianist heads a septet, the largest group on any of her many recordings. While Jessica plays some stunning lines on the piano, the emphasis is as much on her writing as on her playing, and each of the other musicians get opportunities to have their say. Orgonomic Music, which was released by the small Clean Cuts label in 1981, has been out of print for decades. The original eight selections (six of the pianist’s originals, one piece by Stone, and John Coltrane’s “Dear Lord”) are joined by two previously unreleased performances.

Buvette, also known as Cédric Streuli, is a constantly evolving artist, whose music captures the nuances of the distance he’s covered so fat.

Originally from Leysin, Switzerland, Buvette has traveled across ten years and four studio albums, from India to Mexico.

His last album, Tales of the Countryside is a musical adventure that subtly hints at his previous songs. By going back to the basics of an autodidact who only packed what he’d need for the journey, Buvette offers a delicacy that blends modern country music with Latin overtones and rhythmic ballads shaped like waves, in a format that’s simple, straight, and versatile.

Ivy Falls, the alias of singer-songwriter Fien Deman, will release her first full album in the spring of 2024. 'Sense & Nonsense' sounds mature, with a clear vision and direction. Fien wrote the album after a breakup and leaving her home; she witnessed cracks appearing in her life and found herself in a whirlpool of insecurities. Writing turned out to be the way to reorient herself and discover what she could fill her empty 'house' with. Everything changed: a new life, a new place, new people, and a new view of herself as a musician and writer. Bram Vanparys, aka The Bony King of Nowhere, makes his debutas a producer on Ivy Falls' first release. This unreleased duo impresses with 'the best coda for the confusing time that your twenties can be.'

Sometimes hitting a wall is inevitable. This occurred, partly even literally, in 2020: a broken nose, a painful breakup, and a series of chaotic events shook Fien's foundations. Losing her job, ending her relationship, leaving her home, and returning to her parental home, she hit rock bottom and started her quest to rebuild everything from scratch. After the tumult, Fien decided to shed the oppressive norms and ideas learned as a child and wholeheartedly pursue her own choices and projects.

In the years that followed, each aspect of her life gradually fell into its right place. This extended to her musical identity, themes, and sound. Acquiring some guitars and an upright piano, she endeavored to master them as a self-taught artist. Devoting ample time to her self-made home studio, she returned to the essence, distancing herself from the polished pop sound of her initial work and reconnecting with her first musical love - the singer-songwriters who had colored her teenage years. This rediscovered inspiration marked the first time in her musical career that everything felt perfectly aligned.

The album's artistic approach aligns with a fresh, expansive outlook on life and the future. Fien aims to challenge rigid societal concepts, including the notion of 'golden years.' She questions what and when exactly should be considered the most significant, joyful, and vibrant moments of life. The album delves into topics like the perceived superiority of extroverts, narcotic materialism, and toxic positivity. It's not a lament but rather an ode to what truly matters-the essence, love, and beauty. Fien's perspective encourages finding your inner child and immersing yourself in timeless and profound feelings.

Musically, Fien discovered her perfect match in Bram Vanparys (The Bony King of Nowhere), her newfound love. She wrote the songs, and he took on the role of album producer and co-arranger. Together, they crafted a metaphorical space where every small musical idea has room to flourish, and each insight and effort carries significance. Influenced by indie folk luminaries such as Julia Jacklin, Amen Dunes, Feist, Sharon Van Etten, Sufjan Stevens, and Nick Drake, Ivy Falls has set a high standard for her sound.

The main constant? Fien's distinctive voice commands every song, now revealing greater depth and nuance than ever. In live performances, Ivy Falls is joined by a talented ensemble: Trui Amerlinck (Tsar B, Mayorga), Jasper Morel (Black Box Revelation), Simon Raman (Steiger), and Anton De Boes (Philemon).

In the past, Ivy Falls has launched two EPs, received airplay on Studio Brussels and Radio 1, and shared the stage as supportfor artists like Balthazar, Jessie Ware, Sigrid, and Mabel.

One of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she"s never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers"s Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen. And after years of being sober and stable in Kansas City-after years of sacrificing herself to her work and the road-Crutchfield has arrived at her most potent songwriting yet. On her new album, Tigers Blood, Crutchfield emerges as a powerhouse-an ethnologist of the self-forever dedicated to revisiting her wins and losses But now she"s arriving at revelations and she ain"t holding them back.

One of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she"s never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers"s Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen. And after years of being sober and stable in Kansas City-after years of sacrificing herself to her work and the road-Crutchfield has arrived at her most potent songwriting yet. On her new album, Tigers Blood, Crutchfield emerges as a powerhouse-an ethnologist of the self-forever dedicated to revisiting her wins and losses But now she"s arriving at revelations and she ain"t holding them back.

Since 2011, For All We Know has been the side project of Ruud Jolie, known from Within Temptation. The debut album was released in the same year, followed by the second album called 'Take Me Home' in 2017. In 2023, both albums were released on vinyl via prog rock/metal label Construction Records.

The brand new third album, entitled 'By Design Or By Disaster', will also be released on CD and colored vinyl via Construction Records.

During the writing process, Jolie again worked closely with singer Wudstik, and the band consists of the same musicians who were featured on the first two albums: Léo Margarit (Pain of Salvation), Kristoffer Gildenlöw (ex Pain of Salvation), and Marco Kuypers (ex Cloud Machine). The 11 songs on the album were produced by Jolie herself and range from heavy, thrashy metal to calm melodies.

Compared to the previous two albums, 'By Design Or By Disaster' takes the listener to even more extreme corners, ranging from beautiful atmospheric strings to powerful rhythms and heavy guitars. Despite this diversity, Jolie continues to search for unexpected melodies and harmonies, where he is not afraid to go off the beaten path. There are also some 'Easter eggs' hidden for the attentive listener; melodies from the previous albums that return in an innovative way on this new album, making the first two albums together with this album a kind of trinity, which also applies to the artwork.

Since 2011, For All We Know has been the side project of Ruud Jolie, known from Within Temptation. The debut album was released in the same year, followed by the second album called 'Take Me Home' in 2017. In 2023, both albums were released on vinyl via prog rock/metal label Construction Records.

The brand new third album, entitled 'By Design Or By Disaster', will also be released on CD and colored vinyl via Construction Records.

During the writing process, Jolie again worked closely with singer Wudstik, and the band consists of the same musicians who were featured on the first two albums: Léo Margarit (Pain of Salvation), Kristoffer Gildenlöw (ex Pain of Salvation), and Marco Kuypers (ex Cloud Machine). The 11 songs on the album were produced by Jolie herself and range from heavy, thrashy metal to calm melodies.

Compared to the previous two albums, 'By Design Or By Disaster' takes the listener to even more extreme corners, ranging from beautiful atmospheric strings to powerful rhythms and heavy guitars. Despite this diversity, Jolie continues to search for unexpected melodies and harmonies, where he is not afraid to go off the beaten path. There are also some 'Easter eggs' hidden for the attentive listener; melodies from the previous albums that return in an innovative way on this new album, making the first two albums together with this album a kind of trinity, which also applies to the artwork.

400 copies purple wax! Fold Out Poster, remastered & remixed by Eroc Welcome to the definitive Vortex. The LP you're holding has been on a journey, and no, not just shipping. Mouth's second after 2009's Rhizome, Vortex was mostly recorded in 2011 and 2012 over five sessions in a small space where the band rehearsed. Material was pieced together intermittently over a period of 11 months with Chris Koller handling guitar, keys and bass and Nick Mavridis on drums. That's where it started. Two construction projects: the studio and a recording that would help define the course of the band in classic and melodic progressive rock, happening almost simultaneously in a creative meta-narrative that could easily stand as analog for the depth of pieces like "Into the Light" or the sprawling "Vortex" itself, which opens the record (new and old editions) in an encompassing display of impulse and fluidity Through experiments in atmosphere like "March of the Cyclopes" and toward the finish of "Epilogue," Mouth married sounds that in other contexts would come up disparate, like finding a hidden magnetism between two north poles. Most of the Vortex songs were created on the spot in the studio.There would be no way to know it at the time, but this process would result in a collection of songs with a broad range, within as well as between the component tracks. "Parade" taps Sly Stone on the shoulder and asks if he wants to party (he does), while the penultimate "Soon After_" resonates with its smoky, mellow-jazz vibe. "Vortex" itself happens over six movements and was put together across different sessions, while "Epilogue" happened in a day. Dissatisfaction with the original mix - and when an album has as much put into its arrangements as Vortex, that balance matters - would lead Mouth to offer Out of the Vortex in 2020 as a collection of alternate versions of pieces like "Mountain" and "Parade," as well as the unreleased "Ready" and "Homagotago's Paddle Boat Trip," the latter an apparent successor to a cut from Floating. But sometimes a thing nestles itself into the back of your head and just won't leave, and Mouth's pursuit of a finished Vortex would lead them into the studio again. Koller handled the remix himself in Oct. 2023, and in addition to helming the new master, krautrock legend Eroc (who drummed in Grobschnitt) brought a gong to mark the beginning of "March of the Cyclopes." Like a lot of the finer touches on this Vortex, be it a hashed-out stretch in the title-track built on a drum/bass jam or just pulling the vocals and Hammond down a bit in "Epilogue," the result is a stylistic flourishing that was there all along throughout the journey and now can finally shine as the band intended. - JJ Koczan / Dec. 2023

Forest Green Vinyl. Als uneheliches Kind von Elvis und Lux Interior hat der israelische Gitarrist Charlie Megira während seiner viel zu kurzen 44 Reisen um die Sonne ein berauschendes Amalgam aus 50er-Jahre-Trash-Rock, Surf-Tremolo und hallgetränktem Goth gebraut. In 15 Jahren nahm er sieben Alben auf, die hauptsächlich auf CD-R veröffentlicht wurden, die meisten davon sind heute unlesbar oder liegen auf einer Mülldeponie. Nur mit einer Eko-Gitarre, einem schwarzen Smoking und seiner charakteristischen Sonnenbrille bewaffnet, war Charlie Megira ein Künstler, der sich in Luft auflöste, während wir alle auf unsere Telefone starrten. Auf seinem Debütalbum "Da Abtomatic Meisterzinger Mambo Chic" aus dem Jahr 2000 kanalisiert Megira den Optimismus der amerikanischen Nachkriegszeit, narkoleptischen Surf und den Soundtrack von Twin Peaks zu einem ganz eigenen Lo-Fi-Meisterwerk. "Mambo Chic", das sowohl auf Hebräisch als auch auf Englisch gesungen wird, bewegt sich in einem bedächtigen Tempo, unbekümmert um den Verkehr der modernen Welt und eingehüllt in eine Decke aus Tascam-4-Spur-Rauschen. Auf "Tomorrow's Gone" gelingt Megira das Kunststück, so weit in der Vergangenheit zu sein, dass er irgendwie in der Zukunft lebt und darauf wartet, dass der Rest von uns ankommt.

Based on David Nicholls’ globally best-selling book, the TV serialisation of One Day has already proved hugely popular with audiences and critics alike.

Multi award-winning screenwriter Nicole Taylor (Wild Rose, 3 Girls, The Nest) adapted the novel for Drama Republic and Netflix.

The story follows Emma (Ambika Mod - This is Going To Hurt) and Dexter (Leo Woodall - The White Lotus) who speak for the first time on their graduation day in 1988.

They go their separate ways but meet once a year on the anniversary as their relationship and lives evolve.



“We wanted to create a score that celebrates the love story between Dex and Em and also reflects the nostalgia for lost time and lost love that they feel, and viewers can relate to.

The music had to follow their journey as their relationship evolves over the years, but still feel like it was rooted in one place.

In other words, we needed to mirror the very different lives and emotions they experience over twenty years ranging from excitement, humour, anger and heartbreak.”

Composers Anne Nikitin, Jessica Jones, Tim Morrish



The score also features tracks from Jessica and Tim under their artist moniker Vanbur, widely acclaimed in their own right, including ‘Last Look’ and ‘Falling Colour’.

Electric Feel Good a band from Hälsingland that has been around since 2015 are now releasing their
third Album "Jane's Inn" on the 23 of Feb! With their roots in the English seventies rock landscape they
started off with Faces as one their leading stars. Later on they've moved on to blend their seventies rock
sound with the Swedish pop-rock of the nineties. Electric Feel Good's third album is a must have for
anyone who's into Faces, The Rolling Stones, Atomic Swing and Ennio Morricone!

Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration.

On 1985's Pokkeherrie (Dutch for "terrible noise"), The Ex return to the more stripped-down instrumentation on their early LPs. A key lineup change would also see the arrival of drummer Kat Bornefeld (whose supple rhythms propel the group to this day).

Recorded at the new location of Koeienverhuur Studio in the basement of storied squat/venue Emma, Pokkeherrie is a testament to the angular momentum of a group in full creative flux. Right from the opening track, bassist Luc Klaasen generates a relentless pulse. Terrie Ex's sparse/acidic guitar and G.W. Sok's impassioned vocals combine in a vein similar to The Minutemen, Flipper or Rudimentary Peni, except The Ex have the patience and wherewithal to sustain their approach beyond just brief explosions.

Perhaps only The Fall from this period can match The Ex's ability to hold a melody together while utilizing otherwise harsh sonic elements over an extended piece, most effectively on "Soviet Threat," "1,000,000 Ashtrays" and "White Liberals."

New solo album from Seth Avett of the Avett Brothers (his first in 5 years), featuring songs written by lauded folk singer Greg Brown, whose songs have also been performed and recorded by Joan Baez, Willie Nelson, Lucinda Williams, Carlos Santana, Ani DiFranco, Gillian Welch, Mary Chapin Carpenter, and more. For those who may need reminding, Greg Brown is the ultimate songwriter's songwriter. Over a forty-plus-year career, he's occupied the same rarefied air as Loudon Wainwright III and John Prine - a keen-eyed poet and diarist of the human condition. And he's done it mostly on his own. “This is a man who put forty records out because he had to,” Avett says. “He made his own record label. He played the coffee shops, the bars, the little theaters. He built it. He's a world-class artist who did it all under the radar, which is just mind-blowing to me.” As Avett's new solo record makes clear, this collection is an expression of admiration and gratitude for one of his heroes. But it's also a reflection of his own artistry and ability as an interpreter. Though Brown's songs have been a part of his listening diet for decades, Avett gained a more profound appreciation once he put his own voice behind them. And though on the surface it's a covers record, it dovetails seamlessly with the most recent Avett Brothers album The Third Gleam and Seth's solo outing IV, which find him in equally stripped-down settings exploring the light and shadows of his own personal stories.

With this 12" reissue made for Giancarlo Meo, legendary producer of Easy Going, Vivien Vee, Capricorn, Amin-Peck, Steel Mind, Claudio Simonetti (aka Kasso) and many other artists, Best Record once again offers a great dance music service for those who perhaps don't know to need it. Claudio Casalini, who 40 years ago was not only a record producer, but above all one of the most important club-DJs in Italy, remembers well the cheering crowd of the jet-set in the elegant Roman lounges, with the dance floor full of people vibrating for that fusion of disco, soul and funk sounds that many Italo-Disco songs featured in those early Eighties. The three versions of "Out to Get You" contain all those sounds, but is mainly the version re-edited by the imaginative and passionate Massimo Berardi DJ that brings a portion of musical restoration making it current, and so exciting and modern, absolutely suitable for dancing again in every part of the world.

Further is the brand new label from DJ Bone, who has started it in place of Subject Detroit which after 25 years he recently decided to put to sleep. This second EP lands on the same day as the first but is a new four-track solo outing from the now Amsterdam-based techno innovator himself. 'My Replicant Self' has synths slashing across the face of a sleek techno rhythm with sombre chords draped over the top. 'The Divine Call' ups the ante with spoken word menace and 'My Tribe' then layers up percussion and surging synth warmth. 'Remembering The Future' is a brilliantly quick and urgent track with slapping hits and bouncing drum funk.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr., The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), well, to paraphrase Lou Reed, "J's week beats your year." What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. "When I'm writing for the band," he says, "I'm always trying to think of doing things Lou and Murph would fit into. For myself, I'm thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it's just what happened." Two guest musicians are playing this time out; Western Mass local Ken Mauri (of the B52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, "Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I'm really only comfortable playing the white notes, so it's kind of limiting. laughs Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it's harder to figure out how to stretch your fingers around the other ones." Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on "I Can't Find You," where he is Jack Nitzsche to J's Neil Young, creating one of the album's loveliest tunes. The other guest musician, Matthew "Doc" Dunn, is also prominent on this track. Dunn's steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc's great 2022 Sub Pop single, "Your Feel," he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads. What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they're presented is just about perfect. Asked if he would be touring to support the album, J says he'll be doing some weekend dates, but he probably won't be putting a band together. And I'm sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis' instantly Recognizable approach to making music. So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him. - Byron Coley

My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."

This is a repress of Tycho's second release with Ghostly International to celebrate the 10 year anniversary of this masterpiece, while Ghostly International celebrates its 25th year anniversary. For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake - his second LP for Ghostly International - the solo project evolved into a three-piece band. Relating closer to post-rock than ambient soundscapes, the record is situated in the present, sounding more like Hansen than drawing from his influences. This is, in many ways, the first true Tycho record. Following 2011's Dive LP, the San Francisco-based designer toured extensively, and with a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) rejoined Scott on the road for this tour, but it was the particular addition of Rory O'Connor's live drumming that ultimately sent Hansen back to the studio with a more precise vision. "After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album," Hansen recalls. Bringing musicians into Tycho's creative process was a step towards expanding his own songwriting and advancing the project beyond its current sound. In a cabin near Tahoe last winter, Zac and Scott began fleshing out the structure of the new record, but it wasn't until they set up shop in the hills of Santa Cruz with Rory that it all fell into place. "It crystallized the vision of how the drums would come to the forefront on this record," says Hansen. The sound was much more stripped-down and concise with more organic instruments in the fold. Songs like "Montana" and "Awake" are a departure from Tycho's previous material - unique to the group effort poured into the songs on the new record - while "See" and "Dye" echo ideas from previous works, bridging a middle ground between the old and new. Working with Count Eldridge, who also engineered Dive, the team could fixate on the pulses that Tycho might previously layer under synthesizers and exhume them with distinct bass and guitar patterns. Also known for his design work as ISO50, Hansen's visual and sonic efforts have dovetailed throughout the course of his career. "This is the first time in my life I've dropped everything to focus on one artistic pursuit," notes Hansen. Previous Tycho releases came to fruition when an amalgam of songs were nearing completion, but Awake is where music becomes the focus and true expression becomes the result.

This top-notch spiritual jazz album from Argentina will leave fans of Pharoah Sanders and John Coltrane astonished. Recorded in 1975 and still surprisingly off the radar, this is one of the deepest jazz albums from South America.

Inspiración is the meeting of two generations united by music: Ara Tokatlian and Guillermo Bordarampé, members of the influential 70s rock band Arco Iris (which Tokatlian cofounded with the now Oscar award-winning composer Gustavo Santaolalla), join forces with Enrique "Mono" Villegas, an admired jazz pianist who had been active since the 1930s.

Meditative, soothing and serene, Inspiración is music your soul yearns for.

Official reissue with sound off the master tapes, including a reproduction of the original 16-page booklet. With the blessing and support from Ara Tokatlian and Guillermo Bordarampe.

DJ ROSS and ERIKA present “Who I Wanna Be”, an uptempo song inspired by Eurodance 2000, with both techno trance influences and sounds and an ethereal piano, all crowned by Erika's sweet voice.
This is not a tribute to the past, but a novelty that will make their fans dance again.

DJ Ross and Erika have collaborated on several musical tracks in the past, they have reached the top of the charts not only in Italy, but in many countries around the world and which has led them to perform from Brazil to the United States, in several European countries, from 'Egypt to Russia.

The first was "Relations", then "Save My Heart", "Ditto" and "I Don't Know", among the most representative of the 2000s. Subsequently, in 2015 they also collaborated on the song "I Think About You", published with Warner Music and which reached the official Italian top 50 airplay.

In general, the collaboration between DJ Ross and Erika has always been very positive and gave birth to some of the greatest hits in dance music which are still among the most danced to today together with the HITs of that time.

The vinyl containing the original version and the new remix by Rudeejay & Da Brozz who gave a more club/festival twist to the song, both in an extended version. Writers: Rossano Prini, Erika de Bonis, Andrea Mitidieri Published by: Briscolas Publishing Sas

2024 Repress

From an avid record collector in his home of Brazil to an artist now championing an undisputable position in the upper echelon of D&B's global hierarchy, DJ Marky's 'The Time Is Right' LP sees one of underground music's biggest success stories serve up an incredibly significant album that represents his unwavering passion for both drum and bass culture and his own growth as an artist.

19 years on from the release of his debut album ‘In Rotation’ with XRS, the internationally revered DJ, producer, and label head has found a home for this greatly-awaited album on Shogun Audio, traversing an extensive and beguiling selection of sonic soundscapes across fifteen of the most refined tracks that you'll hear this year.

Capturing both his signature sound and pristine personality in an energetic, bubbly, and vibrant amalgamation of soon-to-be drum and bass anthems, 'The Time Is Right' is an immaculate 175BPM fuelled offering that celebrates one of the scene's most passionate, charismatic, and loved mainstays of the past two decades.

Teaming up with a selection of hugely talented collaborators, including the likes of Pola & Bryson, MC GQ, Makoto, Charli Brix, SOLAH, and many more, 'The Time Is Right' sees DJ Marky serve up a heartfelt, vigorous, and personal sonic journey that undoubtedly presents his most meaningful and complete body of work to date.

As a love letter to his peers, fans, collaborators, and the D&B scene as a whole, this latest album from one of D&B's biggest icons captures the brilliance of his innate ability to intertwine different cultures and music in a mesmerisingly effortless manner.

Through the deeply-personal and emotive feels of 'Colours Of My Mind ft. Pola & Bryson', future anthems such as 'Natural Feeling ft. Charli Brix & Alibi' and 'Back & Forth ft. Melinki, D'Cypher, Harry Shotta & GQ', certified club hits like 'Wrong Hands ft. L-Side, and many other gems embedded throughout the album, DJ Marky further cements his reputation as one of the most unique, talented, and iconic artists to ever grace the drum and bass scene.

2024 Repress

Queeste emerges with the nocturnal sounds of Haron's Wandelaar, an album exploring his long-term interest in music's talent for inducing and affecting dreams, successfully turning listening into an act of transport, leaving you in the midst of falling asleep, at a junction of dislocation, hazily arriving in a liminal world. In Wandelaar we hear Haron's playful reaction against the confines of dance music, gathering energy from his estrangement from the scene and using it as a means to reorder and interrogate sound. The modest piano takes centre stage, allowing each solo note to becoming fertile and full, suspended and considered, guided by the principles of minimal composers such as John Cage and Ryuichi Sakamoto. Haron delicately translates sparse chords into a cinematic narrative of ascension, conjuring up a 'moony landscape,' grey and desolate from afar, intricately detailed on approach. Haron's Wandelaar is available 6 July 2018 on LP. The vinyl release includes an art print by Fallon Does, who is also responsible for the graphic design of Wandelaar. All tracks written and produced by Haron Aumaj, mastered by Wouter for Brandenburg Mastering. Words by Jo Kali.

Early support by Ben UFO, Call Super, Beatrice Dillon, Kara-Lis Coverdale, Matt Werth (RVNG), Blowing Up The Workshop, Oceanic, Khotin.

Mr Lee Perry who in no uncertain terms defines the words musical genius, recorded some of the most inspiring, soulful, funny and weird / wild reggae music ever put down on tape. Working through all the manifestations of reggae from Ska to Roots and Dub, where his ground breaking 1973 ‘Blackboard Jungle’ LP, set the standards, he was an innovator. If this was not enough his recordings of THE WAILERS, many believe to be their finest work. Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxone’ Dodd’s sound system, rising quickly to the position of record scout and organising recording sessions during his 3 year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the later of which would help him set up his ‘Upsetter’ label in 1968,which would see his first of many recordings telling the injustices done to him by previous employees. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected back to Perry when he inherited it as a nick name along side many others during the coarse of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perry’s work in 1968 with producer Joe Gibbs was fruitful and resulted in many successfulreleases, but again lack of credit and itchy feet, it was time to move on. But not without leaving his trademark recording summing up his feelings at the time ‘People Funny Boy’ this time aimed at Mr Gibbs. Still not having a studio of his own, Perry recorded at the various Kingston establishments of the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. During this time and the years that followed Perry has built up a vast catalogue of backing tracks / instrumentals, he had cut over a 100 releases on his ‘Upsetter’ label alone. A library of music that he has an uncanny knack of reutilising to work into something new when put against a new song / singer. This collection of rare and unreleased dubs stems from his 1971-1974 period. We can here on tracks like ‘Perry’s Jump Up’ Ska-ish up tempo chopping guitar cuts leading through to organ laden tracks like ‘Roots Rock Dub’. The sound moving to a slowed down rhythm on ‘Perry in Dub’ which would predominate his sound, when in mid 1974 he’d open his own studio at his home in the Washington Gardens district of Kingston. We hope this selection of lost treasures will add to the jigsaw that makes Mr Perry’s output now spanning over 5 decades so remarkable.
RESPECT.... JAH FLOYD.

$1 Bin Breaks: Sakura (Edit) by Odetta / On The Hill (Edit) by Oliver Sain / Enchanted Lady (Edit) by Milt Jackson With The Ray Brown Big Band b/w Survival (Edit) by Annette Peacock / Sunrise (Edit) by The Originals / A Few More Kisses To Go (Edit) by Issac Hayes / Go On & Cry (Edit) by Les McCann | Galaxy Sound Company — GSC45-041 | Very special hot-off-the-test-presses donut via the always on-point @galaxy_sound_company crew. This will be number 41 in their cop-on-site 45 series, set to be released in 2024. This time out we are treated to 7 “$1 Bin Breaks” &, as with many in the GSC45 series, these are the sources of some of your fav hip-hop jams.

Side A:
1) “Sakura” by Odetta; Sampled in “Tried By 12” by The East Flatbush Posse

2) “On The Hill” by Oliver Sain; Sampled in “Tell Me” by Pete Rock & C.L. Smooth, “Day One” by D.I.T.C., “Young G’s” by Puff Daddy, The Notorious B.I.G., Jay-Z & Kelly Price

3) “Enchanted Lady” by Milt Jackson With The Ray Brown Big Band;
Sampled in “Dinnit” by De La Soul, “Escape” & “Carmel City” by Pete Rock & C.L. Smooth, & “Ijuswannachill“ by Large Professor

Side B:
1) “Survival” by Annette Peacock; Sampled in “Braggin' Writes” by J-Live, “Rules We Live By” by Lord Finesse, “Scientists of Sound” by Brand Nubian, “Kunta Fly Shit “by Ghostface Killah, “Video Game” by J Dilla

2) “Sunrise” by The Originals; Sampled in “Accepte Mon Concept” by 2 Bal 2 Neg' & “Guess Who’s Back” by Scarface, Jay-Z & Beanie Sigel

3) “A Few More Kisses To Go” by Issac Hayes; Sampled in “Tonight's Da Night” by Redman, “Ain't No Fun (If the Homies Can't Have None)” by Snoop Dogg, “Rough Life” by Shabba Ranks, “Is There a Heaven 4 a Gangsta?” by Master P, “B-Cuz I Got a Girl” by Nate Dogg, “The Life” by Alicia Keys

4) “Go On & Cry” by Les McCann; Sampled in “Tha Next Episode” by Snoop Dogg & Dr. Dre, “Runnin' Wit No Breaks" by Warren G, “No Pain” by Lords of the Underground

Mr. Thelonious Edits
File under: HIp Hop breaks , Jazz Funk, Funk, Samples breaks

The music contained on "Blut, Milch und Thränen" was recorded somewhat unconventionally as two separate tracks, which were subdivided into several movements to correspond with the album's gripping narrative. With regard to this narrative, Kvelgeyst recounts the tale of an alchemist, beset by visions that leads him to search for an adept who in turn shall serve as the victim in a sinister ritual, hoping to achieve unio mystica. Initially, he is pleased, as he discovers an adept soon enough in the gutters. Regrettably for him, however, he is finally confronted with the realization that he has fatally misinterpreted his visions, and it is not he who sacrifices the adept in his pursuit of revelation, but rather he must serve as the sacrificial lamb in ritual slaughter, thus enabling the adept to achieve unio mystica. This, in turn, drives the adept into utter madness, rendering him free of all his senses and forcing him to the gutters from whence he emerged.