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FOR FANS OF:
Airto Moreira, Gilberto Gil, Chick Corea, George Duke, Jorge Ben, Sabrina Malheiros, Hermeto Pascoal, Chico Buarque, Stanley Clarke, Jaco Pastorius, Carlos Santana, Jose Neto, Dizzy Gillespie, Stan Getz, Milton Nascimento

First new studio album in over 15 years by the “Queen Of Brazilian Jazz” Musician line-up includes Airto Moreira, Jose Neto, Diana Purim and Celso Alberti.

One of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, ‘If You Will’, released on Strut on 29th April.
Conceived as a celebration of her music and collaborations, the album explores new compositions alongside fresh versions of Flora’s favourite personal songs and positive lyrics from across her varied career. Title track ‘If You Will’ reprises a song from her inspired collaborations with George Duke: “You will find... good love, real joy, so much peace of mind, if you will…”; the resilient ‘This Is Me’ updates an Airto jam band tune ‘I Don’t Wanna Be Myself Again’; ‘500 Miles High’ marks the heyday of the late Chick Corea’s Return To Forever band and ‘Zahuroo’ interprets a song by Claudia Villela about “a shapeshifting animal creature, a messenger who acts as a bridge between our thoughts and the universe.” A family affair recorded primarily in Curitiba and Sao Paulo, ‘If You Will’ brings together many of Flora’s closest circle of musicians including Airto Moreira, guitarist José Neto, her daughter Diana Purim on vocals and percussionist Celso Alberti.
The album is the latest chapter in Flora’s long, illustrious and varied career. As well as her celebrated partnership with Airto and her early days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie’s United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain true jazz fusion classics.
‘If You Will’ is released on CD, LP and digital, supported by a full international PR and marketing campaign worldwide. The album was co-produced by Flora Purim and Roberta Cutolo with package photos by Mel Gabardo in Brazil and cover illustration by Gabriela Barbalho.

Elders is the debut release from Ensemble Nist-Nah, a nine-piece percussion group led by Nantes-based Australian drummer and percussionist Will Guthrie. The diverse group of French musicians that make up Ensemble Nist-Nah – whose collective experience encompasses traditional Gamelan performance, contemporary composition, noise, jazz, and everything in between – perform on drum kits, traditional and junk percussion, and a complete set of Javanese Gamelan instruments. Though building on the foundations of Guthrie’s solo work with Gamelan instruments (Nist-Nah, BT057) and primarily performing his compositions, Ensemble Nist-Nah is a collective endeavour, propelled by a breathtaking enthusiasm that has seen the ensemble manage to rehearse, perform, and even tour Europe during the Covid-19 pandemic.

From the first seconds of opening track ‘Geni / Tirta’, it becomes immediately obvious that this is no dry academic exercise or exotic indulgence. Rapid arpeggiated figures are propelled by manically busy kit drumming while slow-motion melodic lines float above. After a series of abrupt tempo changes and fragmented unison passages that crossbreed the rhythmic intensity of the Balinese Kecak with the joyride of an Ornette Coleman head, the music slows to a monumental groove, equal parts Javanese court music and Dark Magus. Another sequence of thrilling divagations leads us to the unexpected guest appearance of acclaimed vocalist Jessica Kenney, who elaborates a haunting Javanese Bedhaya across a spacious backdrop of massive gong hits, shimmering cymbals, rustling bells, and gritty textures.

The remaining pieces that make up Elders explore a dizzying variety of approaches, from the shifting rapid-fire muted textures of ‘Overtime’ to the ghostly bowed tones and ominous swells of the title piece (developed from a track on Guthrie’s solo Nist-Nah release), which gradually builds into waves of shuddering low resonance and asynchronous percussive clicks like a haunted clock mechanism. On the aptly titled ‘Rollin’, virtuosic twin drum kits criss-cross errant metallophone patterns in propulsive polyrhythms, while ‘Planeker’ manages to achieve a bizarrely effective fusion of Harry Partch and Autechre. Arriving bedecked in beautiful monochrome images of gongs drawn by ensemble member Charles Dubois, Elders is a feast for the ears: music that burrows deep into timbral and rhythmic possibility while possessing an intoxicating physicality and revelling in the joy of collective performance.

Few would dispute that the title of Trower's latest album – No More
Worlds To Conquer – is a fair summary of the thumbprint he has left on the musical universe


But as he reminds us, it should not be misinterpreted as his mission being accomplished. "I definitely feel like I'm still reaching," he considers, "with the guitar, and the songs, and everything else."
Turning once again to his trusty toolkit of Fender Stratocaster and Marshall amp, Trower's guitar work is ageless, whether that's the tough chop of Ball Of Fire, Losing You and Cloud Across The Sun, or the slower-burn wah squalls of the title track and Deadly Kiss.
On Waiting For The Rain To Fall, Trower's playing is crystalline as a dew drop, while the aching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue.

Melbourne based record label Tanny Records is dropping its debut release in style showcasing a whopping lineup featuring Perlon's Wareika, FUSE label boss Archie Hamilton, vinyl don Charles Eddy and renowned Australian selector Lucca Tan.
The A-side showcases Wareika's tough but melodic minimal dance floor churner "Grapefruit all over me" (Original Mix) as well as his tripped-out experimental minimal groover "Jaguar" (Original Remix).
On the flip side Archie Hamilton delivers his take on "Jaguar" featuring his signature sound, and Label owner Lucca Tan and collaborator Charles Eddy give their twist on the already summer classic "Grapefruit All Over Me".

While Bobby Oroza puts the finishing touches on his next album, he treats us to this killer two-sider to end out 2021 and hold us over until the new record is finished. Bobby's debut album "This Love" made big waves around the world and amassed him a cult following from the US to Japan and everywhere in between. He found big love in the sweet soul scene early, but has since made fans in a myriad of circles and subcultures globally. It has by now become clear that his music is not just one thing, analog soul textured for sure, but also with an array of influences that span far beyond the soul ballad world. It is that inability to really nail down his sound that has become the biggest charm, an esoteric and profound passion permeate the lyrics and vibe of everything about Mr. Oroza. This new 7" shows off two sides of Bobby's song writing, an upbeat number on the "plug" side and a heavy duty ballad on the flip. The A side "The Otherside" is an optimistic tune that Bobby humbly shares his story about the troubles we can create for ourselves and the possibility of having a change of mind that frees us from them. The track is equally encouraging with its sunny energy that carries an important message from Bobby to anyone who is struggling and can't see a way out. The B side "Make Me Believe" is another instant classic for the slowie enthusiasts. A moody, soul bearing, cry for help that comes off with a sweet- ness.

Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde - Akira Sakata on saxophone and Takeo Moriyama on drums.

Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician.

Recorded at Kashiwa Church Chiba Pref. In Japan on 24 May 1986 by Yukio Tezuka on Sony stereo cassette recorder.

Mixed by Jim O’Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug.
Liner notes by Kazue Yokoi.

The soundtrack to ‘Pig’ is now available on LP, pressed on pink vinyl and housed in a spined sleeve with double sided printed insert and
download card included.

 The score reflects the mood of the lead character, played by Nicolas Cage, with the simple ‘folk’-like colours of the solo violin and acoustic guitars creating a richly mournful tone.

 More modern, aggressive electric guitars, distorted colours and drums provide a strikingly ominous, propulsive backdrop to the character’s more intense moments.

 Alexis Grapsas says this about the film’s score: “The score was born after lots of trial and error and experimentation under the guidance and vision of the filmmakers, where we tried very original acoustic and electric sounds. In the process of creating an environment that would capture the lead character’s emotional world, we landed on a very unique raw and gritty sound that remains true
to the story while being self-aware.”

 The NEON film, written and directed by Michael Sarnoski, was released in theatres on July 16th.

20 years ago, US heavy and hard rock titans Mos
Generator took the heavy (stoner) rock music scene by
storm with the release of their first self-titled album. To
celebrate this special anniversary in style, the band’s
charismatic frontman Tony Reed himself has revised and
remastered this vinyl reissue of their pathbreaking debut
album.
 Mos Generator - who formed in 2000 in Port Orchard,
Washington from the ashes of a ten year off and on
collaboration between its three members, all of which
are long time veterans of road and studio - have inspired
the heavy music scene since decades. The band have
released nine full length studio albums, two live albums
as well as several singles and split albums over their
impressive career by labels as Stickman, Ripple, Heavy
Psych Sounds, Roadburn, Small Stone and Listenable.
 Touring has been just as important to the profile of the
band as making records has. Over the years Mos
Generator has shared the stage with many big heavy
rock names across Europe and North America including
extensive tours with Saint Vitus, Fu Manchu, Melvins,
Pentagram, Elder, Spirit Caravan and Atomic Bitchwax.
They have also played prestigious festivals throughout
the world, fusing soul with doom metal into a great loud,
funky and psychedelic concoction of heavy rock.
 Their 2002 debut album was the starting point, and this
hand-numbered clear vinyl 20th Anniversary edition of
‘The Mos Generator’ release is a must have for fans old
and new.
 For fans of Orange Goblin, Fu Manchu, Sheavy, Mind
Funk, Kyuss, Mountain, Nebula, Black Sabbath and
Monster Magnet.

Bristol techno, noise and hardcore supremos SCALPING are
releasing their highly anticipated debut album ‘Void’.
‘Void’ comes on the heels of an extremely exciting 2021 for the
band, which saw them play to sold-out crowds at the Roundhouse
twice in two weeks - both on tour with Squarepusher and at
Pitchfork Festival London - as well as releasing two widely
acclaimed EPs titled ‘FLOOD’ and ‘FLOOD Remixed’, the latter of
which featured treatments from producers Hodge, Azu Tiwaline,
object blue, AQXDM and Laurel Halo and Scottish instrumental
rock legends Mogwai.

SCALPING are heavy metal in 4D; the sound is moody, distorted
and rhythmic, but the use of electronic techniques gives the finer
details room to breathe, making more space for experimentation.
Tracks such as ‘Tether’, featuring Oakland rapper DÆMON, puts
a modern, metal twist on Bristolian trip-hop, whereas album closer
‘Remain in Statis’ features fast-rising artist Grove, a Bristol-based
rapper and self-professed metalhead whose commanding
presence sets the track alight.

In the heat and darkness, it’s a swarm of low-end frequencies and
ripping guitars, somewhere between Black Sabbath-esque
psychedelica and The Bug’s sub-bass headfuckery. Live, the
effect is immense. SCALPING play continuously for the duration of
their sets, generating a storm of metal-and-techno through a rising
beats-per-minute count.

‘Void’ will be put to the test, as the band kicks off an eight-date UK
headline tour, culminating in a live performance at fabric on May
5th. As live shows return in 2022, SCALPING will continue to
prove themselves as one of the UK’s most impressive, ambitious,
and original new live bands.

Toro y Moi’s seventh studio album, ‘MAHAL’, is the boldest and most fascinating journey yet
from musical mastermind Chaz Bear. The record spans genre and sound - encompassing the
shaggy psychedelic rock of the 1960s and ‘70s, and the airy sounds of 1990s mod-post-rock -
taking listeners on an auditory expedition, as if they’re riding in the back of Bear’s Filipino
jeepney that adorns the album’s cover. But ‘MAHAL’ is also an unmistakably Toro y Moi
experience, calling back to previous works while charting a new path forward in a way that only
Bear can do.
 ‘MAHAL’ is the latest in an accomplished career for Bear, who’s undoubtedly one of the
decade’s most influential musicians. Since the release of the electronic pop landmark ‘Causers
of This’ in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his
sound can be. But there’s little in Bear’s catalogue that will prepare you for the deep-groove
excursions on ‘MAHAL’, his most eclectic record to date.
 The second the album begins we’re immediately transported into the passenger seat, jeep
sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of
‘MAHAL’s 13 songs date back to the more explicitly rock-oriented ‘What For?’ from 2015.
 ‘MAHAL’ was mostly completed last year in Bear’s Oakland studio with the involvement of a
host of collaborators, Sofie Royer and Unknown Mortal Orchestra’s Ruban Neilson to Neon
Indian’s Alan Palomo and the Mattson 2.
 “I wanted to make a record that featured more musicians on it than any other record of mine,”
he explains. “To have them live on that record feels grounded, bringing a communal
perspective to the table.” As a result, ‘MAHAL’ is lush and surprising at every turn, from the
cool-handed ‘The Loop’, which recalls Sly and the Family Stone, to the elastic psych rock of
‘Foreplay’ and the dizzying Mulatu Astatke-recalling of ‘Last Year’.
 Lyrically, the album zooms in on generational concerns, picking up where the ‘Outer Peace’
standout ‘Freelance’ effectively left off. Bear seems to be surveying the ways in which we
connect with technology, media, each other, and what disappears as a result. Cuts like the
squishy ‘Postman’ and ‘Magazine’ take a deep dive into our relationship with media in a
changing digital world. “It’s interesting to see how we adapt to this new age. We’re so
connected, but we’re still missing out on things,” Bear ruminates while discussing the album’s
themes.
 It’s not all introspection. Bear cools things down near the album’s end with the Mattson 2-
featuring ‘Millennium’, a laid-back jam with tricky guitar licks about ringing in new times even
when everything else seems upside down. “It’s about enjoying the new year, even when it’s
been shitty,” Bear explains. “There’s nothing else to do.”
 Finding a sense of joy in the face of adversity is embedded in ‘MAHAL’s DNA, right down to the
jeepney that literally and figuratively brings the music out into the community. “We know that
touring is messed up for now, and large gatherings are a fluke,” he explains. “It’s about the
notion of us going out to the people and bringing the record to them.” And with the wide-open
atmosphere of ‘MAHAL’, Toro y Moi stands to connect with more listeners than ever before.

25TH DELUXE ANNIVERSARY EDITION OF AMERICAN BABYLON FEATURING LIVE TRACKS WITH BRUCE SPRINGSTEEN Grushecky and his band had been a club fixture in the Northeast for nearly 25 years when they released American Babylon in 1995. The Pittsburgh band had proven themselves to be the consummate bar band with occasional flirtations with national success. American Babylon found them teaming up with Bruce Springsteen, who handles production, plays on several tracks, and wrote two songs for the album. The title track is an uptempo rocker detailing the disintegration of societal mores. There are plenty of songs outlining love gone wrong and the struggles of common folk, all delivered in Grushecky’s warm, well-worn voice over a barroom mixture of blues-based traditional rock. However, delivered with such earnestness and spirit makes American Babylon a worthy contender and an enjoyable listen for fans of Mellencamp, Seger, and, especially, Springsteen. The 25th anniversary deluxe reissue edition will include LIVE tracks from the Houserockers’ legendary October Assault Tour recorded at an enthusiastic hometown show that same year. “American Babylon is an impassioned, sharply-etched portrait of working-stiff triumphs and travails.” -Rick Reger, Chicago Tribune “As the leader of the Pittsburgh-based Iron City Houserockers, Joe Grushecky hammered out four heartland rock albums in the late 70s and early 1980s. These won over more critics than fans, so he became a special education teacher to support his family. Still, he maintained a close relationship with Bruce Springsteen, and in 1995, they teamed up for American Babylon. The two remain tight and play together at least once a year, but this album remains their greatest joint accomplishment.” -Rolling Stone “At a time when rock had splintered into grunge, industrial, alternative, and more, Joe Grushecky planted a defiant flag in the soul of rock and roll with American Babylon--one of the very best and undeservedly overlooked albums of the 1990s, and one that sounds just as fresh, vibrant, and relevant 25 years later. Bruce Springsteen may have helped bring the album to life, but his contributions only elevate a collection of songs that in another time would have been radio classics on their own.” -Ken Rosen, E Street Shuffle

Weymouth punk band Weatherstate are back with a bang in 2021. Since releasing their debut album ‘Born A Cynic’ via Failure By Design Records in 2019, the band have been busy playing gigs (both IRL when that was allowed and on the internet when it was necessary) and continually working on new music. Their hooky, melodic riffs, 90s throwback feel with a modern twist and hard-working DIY ethic caught the attention of awesome independent label Rude Records, who are set to release the band’s second album in 2021. Led by vocalist and guitarist Harry Hoskins, Weatherstate’s line-up is completed by guitarist Callan Milward, Joe Hogan on bass and drummer Toby Wrobel. They’ve risen to the challenges that COVID has posed and, whilst the pandemic threw a bit of a spanner in the works, the band have been working with Four Year Strong’s Alan Day to produce new songs with them, albeit remotely. “I feel Alan really taught us a lot about how to approach a song and see the potential in having an open mind on songwriting,” enthuses Callan about the process and connection. “We really wanted to level up and evolve as a band. I feel the first single we’re releasing - ‘Hangar’ - is evidence of that. He's a super talented dude and has great vision in the potential of new music.” “It goes without saying but doing everything remotely has been a massive challenge and an interesting obstacle to overcome,” continues Callan. “Especially for us, as we have been pretty traditionalist when it comes to writing. I feel we handled it in the best way we could, considering the international side of things too. With pre-production, we had to have some late nights because of the time-zone differences. Neil Kennedy at The Ranch really nailed the engineering and Alan smashed the mix over in the States. All I can say is that you can work miracles over Zoom these days.”

Limited to 250 copies worldwide.

Croatia's Fiume delivers a full length eight track lp for L.I.E.S., following his cult 2019 Bunker Records release.

Jasmin Mahmić, (who is also known for his Le Chocolat Noir project) returns with his absolute blackened industrial onslaught straight from the depths of the Balkans. Fiume takes us into a netherworld of short circuited electronics, scrap yard soundscapes and foreboding, stark ,straight from your worst nightmare vocals. Barren wastelands, tropical depression, vast nothingness of the modern age, pillaged republics and metropolis' that have gone wrong, this is world downfall music. Let your own irrelevance stare you down in the mirror, minutes crawl like days, horror of life goes on. These are the sounds in your head, try to claw your way out. Recommended!

The Source - nearly 30 years in the tradition of the infinite peculiar. The Source is a quartet with a long history. Actually started in 1993, with the founding members Ingebrigt Håker Flaten (bass), Per Oddvar Johansen, Trygve Seim og Oyvind Brække, who all by then studied at the Jazz Course at the Trondheim Music Conservatory. The new quartet album; " ... but swinging doesn`t bend them down" will be published in October on the legendary record label Odin. The title is an excerpt from the poem "Birches" by the American poet Robert Frost, a title that encompass a child's dream of climbing the treetops and swinging birch branches. It could be read as a reflection over the conflict between the free play in nature and the boundaries of adult life awaiting on the ground_ But maybe the ground can wait? Just join the sheer joy of climbing the trees and the careful balance that is needed not to fall and be at one with the flexibility of nature. After several season-related albums, like "The Source: of Christmas" and "The Source: of Summer", it is now a pure quartet display out in the tube, only based on original music. The pieces are all signed by the quartet members and covers a vast register; raga, shuffle, swing, lyrical spots, improv and even a rough trombone/drum outing, and more.The Source: Oyvind Brække, trombone Trygve Seim, saksofon Per Oddvar Johansen, trommer Mats Eilertsen, bass.

"Blossoms fourth studio album Ribbon Around The Bomb, is released on the 29th April. The band have also shared the title track from the album and its accompanying video, directed by Edwin Burdis, Arctic Monkeys’ Creative Director, who worked on the band’s Tranquility Base Hotel & Casino and AM albums.

Ribbon Around The Bomb is the first new music from Blossoms since their ‘vibrant single’ (NME) Care For, which was released in 2021. Care For gained great support from radio, with the track being playlisted and made the ‘Hottest Record’ by Radio 1, as well as getting on the B-List with Radio 2. The track was also added to key streaming playlists, including Spotify’s ‘New Music Friday’, ‘All New All Now’ and ‘The Indie List’. Standard CD, Limited Edition Deluxe CD - 2CD including Live From Sefton 2nd CD. Spined outersleeve, 24-page booklet, sticker. 2CD Live At Sefton Park, Limited Edition Standard vinyl"

Marta Sanchez's creative voice is strikingly original - circling rhythms,
elaborate forms and criss-crossing counterpoint distinguishes her sonic signature on the crowded New York contemporary music scene

Following three critically acclaimed quintet releases, the Madrid- born pianistcomposer presents 'SAAM (Spanish American Art Museum)' on Whirlwind Recordings, an album driven by emotional candour and boundary- pushing compositions. A talented cast realises her knotty, technical writing - frontline partners Alex Lore and Roman Filiu meet Sanchez, Rashaan Carter and Allan Mednard on backline duties.'SAAM' riffs on the Smithsonian American Art Museum, on an album that's an exhibition of Sanchez's life in musical form: "It's made up of all the elements of society from both countries Spain and America that impact my life and make me who I am." Matters internal and external are realised in musical expositions of complex feelings. The pieces took shape in lockdown, as Sanchez exchanged fortnightly composition tasks with a pen- pal.

"Those compositions express all the phases I was going through at that time. I was reflecting super deeply on what's important, and how we might give some sense to life."

Presented here both in its Stereo and Mono versions, this album was Duke Ellington and John Coltrane's only ever recorded encounter. For the occasion, Trane and Duke were accompanied by the bassist and drummer of their respective groups (who alternated from track to track), Aaron Bell and Sam Woodyard (from Duke's rhythm section), and Jimmy Garrison and Elvin Jones (from Trane's rhythm section).

"For this classic encounter, Duke Ellington 'sat in' with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius." - Scott Yanow,
AllMusic









i 9. Big Nick [john Coltrane Quartet Version]




[n] 14. I Got It Bad And That Ain’t Good [john Coltrane Quartet Version] *



[r] 18. The Feeling Of Jazz [duke Ellington Orchestra Version]









[i] 9. Big Nick [john Coltrane Quartet Version]




[n] 14. I Got It Bad And That Ain’t Good [john Coltrane Quartet Version] *



[r] 18. The Feeling Of Jazz [duke Ellington Orchestra Version]

Working closely with two time Grammy winner Victor Rice (Easy Star All- Stars, Bixiga 70, Ticklah), JonQuan fashions brand new tunes that evoke the majesty of the golden age of reggae.

The digital version is 20 tracks with instrumentals and vocal versions while the vinyl version features all 10 of the vocal versions on black vinyl.

The singles released from this album have caught the ear of the tastemakers of the reggae world, including David Rodigan, who has spun multiple songs on his weekly BBC show

Recorded at a show in February 1992, Ann Pebbles and the Hi Rhythm Section on a bill with Otis Clay called an Evening of Classic Soul. The show was spectacular as the Hi Rhythm Section locked in as they did when they recorded her albums. joining her that night was a crack horn section and her background singers including the equally soulful David J. Hudson. They cruise through hit after hit with Ann showing why she was one of the all time great female vocalist.

The Hi Rhythm Section is Leroy Hodge (bass), Charles Hodges (keyboards), Howard Grimes (drums), Thomas Bingham (guitar).
As you listen to Ann and the amazing supporting cast it's clear that this was An Evening Of Classic Soul.

"Every now and then, a singer comes along with a heart of gold who seems to contain the entire world's sorrow and can express it in just a couple of lines of a song."- Far Out Magazine

A cold wind blows while a disembodied drum marches in distance, diving slowly into an orchestra warm-up that ends with a bang: Marmo Music welcomes back Massimo Pegoraro, aka Modus, this time with a special tape release that carries genuinely shaped musical fantasies by the enigmatic electronic music composer and DJ from Genova. Each tune brings a new shade of his polychrome musical universe. He wrote a library music leaning ode to Moondog, recalls forgotten WW1 battles with longing choirs’ chanting along a minimal droning dream house Cello tone, and drops a melancholic fairytale that pits footage of kids laughing at a street market against Fellini-Score spinet melodies. Three of 14 mesmerizing, profoundly written pieces of music, that tell multi-layered contes with Synth reverberations, jazz ambiances, experimental Brit pop sonics, and a sundry range of field recordings. Together they build an enthralling story arc, that displays the open-minded spheres of the broad musical cosmos of Modus. To open the doors to his universe extensive, he additionally wrote some author’s notes for each single composition, that evoke vibrant images on his inspirations and their sounding outcome. Check the spell below while listening to intensely produced explorer music, that brings you obscure ideas from afar who express all the many subtle spirits of Modus.

Often when music is constructed with synths and other electronically generated sound makers, their level of exactitude and control is such that the vocalist will either wittingly or otherwise seek to emulate the relative artifice of the soundscape. This is often done to great effect, think Kraftwerk. But what if there was a unit whose music was synth-generated but the vocals were coming from a hot-blooded, singing-for-the-cheap-seats approach? If done well, it’s a case of two great tastes that taste great together, which brings me to System Exclusive.

Their multi genre / time period collision is like a car accident where all parties walk away not only unscathed but sure they had a great time, like two different recording sessions sharing the same space and making it work. Vocalist Ari Blaisdell (previously of Lower Self, The Beat Offs) co-exists excellently amidst the driving beats and synth waves and her guitar further helps to jailbreak the tunes from the often sterile entrapments that synths provide. Matt Jones (previously of Male Gaze, Blasted Canyons, and continuing Castle Face behind-the-scenesman)’s smart use of live drums bring great juxtaposition against the machines. Ari’s irony-free sincere delivery is the perfect closer on this very cool record, recorded ably by Enrique Tena Padilla (Osees, Wand, Beach House) in their backyard studio mid-pandemic and adorned with original artwork by Miles Wintner (L.A. Takedown, Mr. Elevator, Devon Williams). If you don’t get this slab of goodness, well, that act of non-compliance will confirm you as the pain-in-the-ass that many have described you to be in great detail during Zoom chats. How dare they! Prove them wrong! Reduce their snark to mere pseudo-intellectual piffle! Your lifeline arrives in March. Grab it. — Henry Rollins

Caroline No’s 3rd album was built around a set of songs I was writing in the summer of 2019. I built the songs around real events, but looped these narratives into stories from song histories. The result is like an intersection of Brill building characters such as Carole King and Neil Sedaka with the bedroom fanaticism of historical music projects like Virgin Insanity.

After a year of playing the songs live in various formations, we aimed to record in the Australian summer. We knew Jim was going to be in Melbourne, and soon after he arrived in Australia, we met at Mick’s studio. Nick and Mick engineered, with Ian on bass, Jim on drums, Mick, Dee and me on guitars, and Dee and me singing. The sense of intuitive knowledge and performance was exhilarating as we played. We spent two days in the studio, and when we listened back later, it seemed a compelling representation of what had happened, captured live.

The band on this album are artists I grew up with. We were friends first, and engaging with the material, there was no formal structure to follow. Our interpretive approach meant the songs grew from simple structural frames and narrative poetics into full sonic landscapes, engaging across pop, folk, psychedelia and improvisation. Caroline No became - for this iteration - a shifting sonic space tied to intimacy, musical conversation and relationship, expressed in an open improvisatory way. The sound of the record is the result of trust, responsiveness and mutual knowledge.

The name Caroline No was an imaginary character through much of the work, arising from the Beach Boys’ melancholic paen to encountering a past lover who has cut her hair off. My idea was for Caroline No to become the locus for an ongoing composition project where I would write back into songs' history the perspective of patriarchal song’s subjects.

This is a recuperative project of easeful making; attempting reclamations of lost narratives, exploring love, loss and the psychedelic of the everyday.

Caroline Kennedy, January 2022, London

The Line Is A Curve is about letting go. The core of the record is that the pressures we face do not always have to be heavy burdens, but can be reframed; the more pressure a person is under, the greater the possibility for release.

The album plays like a chronicle of pressures - the mind-numbing pursuit of a comfortable life, the eternal striving for more, the pressures of the city, the country, the times. The pressures of maintaining relationships, of battling illness, addiction, poor mental health, the vacuous life of our online selves. As we move through these chronicles though, the mood brightens. The musicality becomes more expansive as the lyrical horizon broadens and we glimpse coastlines, high streets, scrap yards, train stations in the rain; the entire album begins to let go. We encounter the contributions of artists who I love and admire, guest vocalists and instrumentalists, and so we defeat the sense of isolation felt in the opening track with a sense of deeply connected community. More Pressure, the penultimate song, is the essence of the whole album and the epiphany that leads to Grace, which is a prayer, a surrendering; ‘Please move me, please move through me, please unscrew me, please loosen me up.’ But once we get to the end of Grace, and the album, we loop back to the start – to ‘Kiss off the day with a mute mouth. Pass the commute like I can die faster than you.’ Because no matter how much a person grapples with, realises, deeply understands, about life and their place in it, we still wake up in the morning back to square one. Life isn’t solved the minute you figure something out about it. It’s a daily operation to increase your resilience, cultivate a deeper acceptance, let go of what’s chasing you and lean in to the pressures. It’s cyclical, as I believe all things are. And instead of trying to fight the cycles, this album asks us to surrender to them. To let go.

These general themes, of acceptance, resilience, surrender are also about where I’m at in my personal life, in my journey towards a greater acceptance of myself as an artist and as a human being. Being more honest with the world and my community about who I am and letting go of some heavy heavy shame, which is a glorious thing.

This album has a beautiful heart, there is so much love running through it and I can’t wait for people to experience it.

Yet another all killer no filler album from Omar S!

Acid Jazz has a long history with Chris Bangs (who coined 'acid jazz')
and Mick Talbot (founding member of the Style Council) who appeared on one of our earliest and rarest singles as 'King Truman' back in 1988.

We're thrilled to welcome them back with a 7" slice of mod jazz
brilliance, taking its rhythmic and naming queues from Willis Jackson as it cooks up a storm.


We've already been inundated with requests for this single after its
solitary play on Ed Piller's Eclectic Soul Show, and the limited vinyl
release will not hang around for long!

Keep an eye out for a forthcoming album from the pair later this year.'

‘Oh, Inverted World’, the earth-shattering, indie rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer’s watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve and the package is rounded off with a big old booklet with vintage photos, handwritten lyrics and more.

The music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit ‘New Slang’, as heard in the hit movie ‘Garden State’, the remastering job truly makes this the album James Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th Anniversary of the album as his opportunity to finally set the (literal) record straight. And the results sound stellar: great for new fans and well worth the attention of those already on board.

For old times’ sake, here’s what the label had to say about this record back when it came out: “Hailing from Albuquerque, NM, The Shins sprung from the ashes of Flake/Flake Music in 1997 (though those previous incarnations date back nearly a decade) - same members, different instruments, different approach. Counterpoint guitars have given way to a single guitar pitted against calculated keyboard passages; swarming indie rock machinations led to pop-based melodic endeavours (who knew?).”

Includes the hit single ‘New Slang’ which, along with ‘Caring is Creepy’, was featured on the Grammy-winning, platinum-selling ‘Garden State’ soundtrack.

Remastered by Bob Ludwig with personal supervision from band-leader James Mercer.

“A definitive indie rock album of the 2000s” - AllMusic

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

Linda Fredriksson (they/them) shares their debut solo album "Juniper" on We Jazz Records, 29 Oct 2021. Linda (of Mopo and Superposition) has been working on the compositions heard on the album for several years, composing them mostly on guitar, keys and by singing. Only later have they been arranged for the band heard on the album, including Fredriksson on saxes and various instruments, Tuomo Prättälä (of ilmiliekki Quartet) on rhodes, moog and piano, Minna Koivisto on modular synth, moog and OP, Olavi Louhivuori (of Superposition) on drums, and Mikael Saastamoinen (of OK:KO and Superposition) on bass, plus featuring the Swedish artist Matti Bye on piano.

At heart, "Juniper" is a "singer-songwriter album", performed by an instrumental jazz band. The end result is unique, personal, and as Linda themself puts it "quiet and introspective". The first single from the album is "Neon Light and the sky was trans", "a song from the shining streets – the beginning of something new", featuring field recordings of rain falling down behind the window of Linda's Helsinki working space.

It's a fitting introduction to an album full on wonders and carefully crafted secrets ready to be discovered. "Juniper" is a world unto itself, and Fredriksson describes the process as one of isolation and of learning slowly to do new things. After the demo stage, the songs were taken to the full band, but what's on the record often stays true to the minimal nature of the early demos. Linda credits their co-producer Minna Koivisto as a key ally in the process of maintaining the demo sessions' fragile beauty on the actual finished record.

With regards to instrumentation, those who have heard Linda Fredriksson in Mopo and Superposition are likely to be surprised by their credit listing including not only alto and baritone saxophones, plus bass clarinet, but also guitar, Rhythmic8 synths, ambience recordings and drum programming. Linda describes the way of finding new sounds through their beloved old guitar as follows: "It's an old acoustic guitar that has been hit by a car and is literally full of holes, but that makes the sound just perfect for this album and you can hear the instrument on 'Pinetree song' and 'Lempilauluni' (Finnish for 'My Loved Song')."

In fact, Linda began their music-making with guitar and vocals, and the debut of the hole-filled vintage acoustic guitar makes perfect sense here, while also describing the album's immediate sound perhaps better than any other individual instrument used. The influence list for the album name checks the likes of Feist, Neil Young, Susanne Sundfør, Alice Coltrane, Pharoah Sanders, Eric Dolphy and Fever Ray, yet the number one inspiration for Fredriksson prior to making the album was "Carrie and Lowell", the 2017 album by Sufjan Stevens. Different as the albums are in terms of instrumentation and general scope, it's fascinating to draw parallels between them by listening to the quietness and immediacy of the music. "Nana – Tepalle" also relates to the world of "Carrie and Lowell" in being a dedication to a lost family member, Linda's grandmother (she is featured in the digital single artwork).

Throughout the album, Linda plays their saxophones in a way that is serving music first and foremost. The musician's ego, so often at the forefront in jazz, takes a backseat, and the songs themselves remain. Linda thinks as a composer, utilising their instrument where and how necessary, not presenting "chops". "It's sometimes hard to play simple," they say, "but I tried to follow my instinct about what the songs need. The mood rules here, any solos or improvisations happen around that at all times."

"Juniper" can still be heard as a jazz album, but perhaps one reminding that the word doesn't need to mean any one thing in particular. At its best, jazz music is highly personal and "of the moment", both true on "Juniper". The album has been made in two different studios, three homes, two summer cottages and four working spaces. It was recorded with professional studio equipment but also with an iPhone and on a basic built-in laptop speaker. With that, "Juniper" stands as a remarkable musical diary of a creative musician and composer during the early 2020's.

Following persistent requests, Mr Bongo has finally relented and dedicated an edition of their popular Brazil 45s series to Orlandivo Honorio de Souza, a composer, singer and percussionist whose 1977 album Oelandivo remains high on my collectors' wants-lists. Wisely, their A-side pick is 'Onde Anda O Meu Amore', a cosmic and spacey fusion of samba-soul and jazz-funk rich in ethereal flute lines and intergalactic keys. This time round it comes backed by the equally as impressive 'Gueri Gueri', an insatiable samba-rock number wrapped in heady accordion, jangly acoustic guitar and punchy horn sounds.

January 20, 2020 saw the surprise release of David Lynch's short What Did Jack Do? on Netflix. If you watched the grainy, police procedural over the last few days, you most likely found yourself saying aloud `who is Jack Cruz and how can I get more of his music?' Sacred Bones is announcing the release of the short's featured original song "True Love's Flame" by the primate star crooner of yesteryear; Jack Cruz. Not much is known about Cruz's career prior to his involvement with Lynch, but fortunately, we have not just one song, but two: 'Dancin' in the World of Love' is the B-side to the short's single_uncovered recently and an excellent example of Cruz's emotional prowess and magical, gold-dipped vocal cords. Both songs were written by Lynch and Dean Hurley with artwork carefully crafted by Lynch himself.

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

Repress

Founded in October 2017 and known in first place as a party series in Essen, The Third Room expands its spectrum with their debut as a label and mastering studio as well. Those three disciplines going hand in hand and forming our vision as a creative collective. Creating, crafting and sharing the passion that drives us.

After a bitter series of event cancellations caused by the corona pandemic we had to find a way to overcome this financial crisis which has put lot of people in a difficult situation who are driven by love and dedication for what they do. In first place we wanted to give all ticket buyers who waived their refunds for the cancelled The Third Room x Bassiani event at UNESCO World Heritage's Mischanlage a "thank you" gift in form as a Fundraiser Compilation. We wanted to preserve what we have built up over the years at our home base. Because we do believe that the Mischanlage is maybe the most aesthetically-techno place we've ever seen.

We, the founders Ahmet Sisman & VNNN., reached out for artists we have invited on our events, build up a strong relationship and sharing the same ambition for what we stand for. Not only regular guests such as Dax J, Ellen Allien or SHWD & Obscure Shape who have accompanied us over the years, but also new friendships have risen up with artists like Henning Baer, Hector Oaks or Markus Suckut. Or collectives such as Lebendig, R-Imprint, Brutalism, Purify and Acid Wave Records. It is safe to say that we have our own special story with each artist on this compilation and it shows once more that music unites us in these hard times. If you like what you hear, buy the music, support the artists and the local scene. Everyone who has held their T3R x Bassiani Tickets will get a download link of the compilation.

Somewhere between a fever dream and dancefloor. Between the sinister rhythms of the depths and gasping for breath barely above the surface. Stilness, covered with waves of dub and slowly emerging, yet full-fledged harmonies. Mazewski's sophomore record on Warsaw's Brutaż is about something profoundly human and oh how that feature mutates! This EP is dedicated to all the people struggling with addictions and those who help them to see their inner light.

Mastered and cut by Tim Xavier at Manmade Mastering

Design and cover by Aleksandra Grünholz (Studio Chaotyczne)

There is a tendency within modern electronica to pigeonhole and categorise, to package music into easily digestible formulae. In direct revolt comes Dutch artist Satori and his new album Dreamin’ Colours, released globally April 22nd, 2022, on renowned imprint Crosstown Rebels. Recorded at the esteemed Sonic Vista Studios in Ibiza, the nine-track LP has been greatly anticipated off the back of its proceeding’s singles: Yellow Blue Bus ft. Laska, Lalai ft. Ariana Vafadari and most recently Gin Song.

An ethereal, swirling body of work, Dreamin’ Colours is rich in texture, colour and imagination. Satori stretches himself out through languorous, mystical explorations of both the digital and the analogue elements of music, the result a beautifully conspired collection of world music, steeped in electronic and Balkan roots, and straddling a multitude of genres from blues and indie electronic to opera, folk and beyond.

Colourful Dream begins proceedings, taking the form of a gently-building opener. From the pluck of a guitar string to hypnotic flute-like elements, we soon arrive at the enchanting world of Lalai ft. Ariana Vafadari. Recorded in a four-hundred-year-old water well, it showcases the transcendent sound with which Satori has become best known, meandering through rustling hats and tribal-like drum patterns whilst the dulcet tones of Ariana shimmer softly throughout.

Tuti ft. Kalima takes on a harder edge, with gritty drum patterns opening into melancholic chords early on. Kalima’s vocals add an emotive touch to the piece, paving the way for Moj Dilbere: a euphoric cut that feels tribal and reflective in one.

We land at a similarly ethereal soundscape on The Gin Song ft. Mybaby, as star-like synths pulse alongside punchy percussion before Yellow Blue Bus ft. Laska takes its place. It begins with real-life ambience, made up of sounds recorded live in Ibiza as a bus passes and birds chirp merrily in the background. This swiftly gives way to a guitar-flecked bassline, opening neatly into the vocal offerings of both Satori and Laska.

Troublemaker ft. El Mundo retains an inherent melodic quality, progressing through poignant strings and whispering kick-hat combos. Powerful and poignant, the mesmeric sounds of Ora Dea and Moshe meander subtly into Lonely Boy (Redux) ft. Hugo Oak. The closing saga brings things to a wonderfully subdued finish, rounding off the album on a wholeheartedly calming note.

Although raised in the Netherlands, where commercial electronic music is of course king, on Dreamin’ Colours it is undeniably Satori’s Balkan heritage that layers his production with dreamy, ethereal, Eastern European influences. The album’s overriding voice lies in his exultant celebration of Eastern European music, weaving vibrant threads of its earthy, melodic, rhythmic sounds into his thick musical tapestry. Written during the pandemic and driven by the ache of separated love, the album is, Satori says, his most personal yet.

From holding down an eighteen-month residency at Heart, Ibiza to having nearly four-hundred-thousand listeners on Spotify each month, Satori is a truly worldwide artist in today’s electronic music scene. Having been championed by Damian Lazarus early on in his career, he has emerged as a must-see live act for fans from all corners of the globe. November 2021 marked the start of his USA tour, where his Maktub concept adorned some of the country’s most iconic clubbing institutions, whilst his discography speaks for itself, with a plethora of acclaimed releases on labels including Crosstown Rebels, Sol Selectas and DGTL Records to name a few. As Dreamin’ Colours introduces him to an ever-growing audience, Satori remains one of the most exhilarating, untamed and truly authentic forces in music.

Our final William Stuckey release unfortunately did not make it on time for the man himself who sadly passed last year, with support of his family we are very happy to do this 45 justice.

The previously unreleased 'Everything That's Good In Life' A Very suitable unreleased track up there with his finest moments, it's got everything that would have made this a classic over the years and no doubt will make it a future classic for years to come, flipped with an alternate 7" Mix of 'Hold Me Close' this is a rock solid 45. You know what to do.

Pink Vinyl

On vinyl for the first time in the UK as a RSD exclusive on pink vinyl. Uncle Dysfunktional is a fifth and most recent studio album from Happy Mondays. Released in 2007, it was their first album since Yes Please! in 1992. Despite Factory Records having closed 15 years before, Tony Wilson personally assigned Uncle Dysfunktional a FAC number, FAC-500. The artwork has been re-worked by Central Station Design. Limited to 2000 copies world-wide.

Perhaps one of the most enigmatic of artists on the Rare Soul scene must be Flame N' King aka Oscar Wayne Richardson Jr, who ran his various labels independently since the mid ‘60s. It was a surprise when the group surfaced again with a fantastic uptempo New York dance track in 1976 on the tiny N.Y.C.S. records. "Ho Happy Day" found immediate favour with the Modern Soul crowd, but it took the next 30 years for it to eventually become a Modern Soul anthem and cross over to a wider audience.

These days "Ho Happy Day" can be heard at numerous venues across the world and is a bigger floor-filler now than it was back in the 1970s. We're delighted to finally re-issue this classic on the original N.Y.C.S. imprint and watch it find even more audiences in 2022. An original copy will cost circa £250 these days, so there's already a heavy demand for this long-awaited re-issue

* Limited edition 10” Vinyl release.

* Beat Merchants team up with Jungle Soundclash champion and all-round Jungle / D&B legend Kenny Ken again for an extended four track release of their project 'Riddim Up'.

* Three brand new mixes of last years dancefloor destroyer, a Reggae mix, a Jungle mix, and a Dub version. Ezy Star's features on all tracks, with his cover of Cornell Campbell’s ‘Boxing Around'.

* Beat Merchants have been making real waves over the past 18 months, with their authentic mix of dub, reggae, soul & R&B infused with Drum & Bass flavours. Made up of Jubbz (Supply & Demand) and legendary MC Juiceman, who’s been a main stay and D&B and UKG events for the past 20 years. Beat Merchants are on a mission to bring the jungle vibes back to D&B.

* Kenny Ken is a man who needs no introduction to those who know their Drum & Bass. Legendary DJ who has been flying the Jungle flag since the early 90s. For years Kenny repped for the Kiss 100 D&B show and has been touring the world bringing his unique Mix’N’Blen to crowds the world over ever since.

VARIOUS - TERRITORIO DEL ECO:EXPERIMENTALISMOS...PER· ( HIGHLIGHTS
First compilation brings together the Peruvian experimental scene from 1975 to 1988, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music. Collect unpublished and loss pieces from artists such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones and Corina Bartra. Rescued from private archives and limited editions on cassette. DESCRIPTION First compilation brings together the Peruvian experimental scene from 1975 to 1988, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music, sought to integrate the sounds of Andean, Afro-Peruvian and Amazonian cultures in search of a new musical universe. Native instruments and folk melodies were used in compositions that demanded modern recording techniques and electronic sounds. This generation was articulated in Lima and was made up of musicians such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones and Corina Bartra. But more than a movement, it was a set of individuals from dissimilar origins, who came from rock, jazz, contemporary classical and popular music, but also from the visual arts and poetry, and who had in common the cultural climate of the late seventies and early eighties in a country marked by a series of social and economic transformations, as well as the emergence of new visions and insertions of Andean culture and folklore in the city. The appearance of a mythical substrate connected the work of these musicians and defined an aesthetic, based on the deconstruction of folklore and the exploration of the possibilities that indigenous instruments offered. From there, these musicians immersed themselves in abstract, but also symbolic and conceptual forms. In many cases, they were strongly influenced by jazz and were keen to explore the possibilities of the recording studio. Territorio del eco: experimentalismos y visiones de lo ancestral en el Perú (1975-1989) - The Land of Echo: Experimentalisms and Visions of the Ancestral in Peru (1975-1989) - is a compilation that offers an overview of what was one of the moments of greatest creative intensity for experimental music in Peru in its encounter with indigenous sounds. Collect unpublished and loss pieces, rescued from private archives and limited editions on cassette, these pieces are reissued for the first time in vinyl LP format. The album includes 8 pages booklet with extensive notes written by Luis Alvarado, author of the compilation, as well as much visual documentation. Cover art by Paloma Pizarro. Limited to 300 copies. Beneficiary project of the Economic Stimuli for Culture of the Ministry of Culture of Peru.