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Back in 2017, Moderat announced that they’d be taking an extended break following a final concert in front of 17.000 people in their hometown of Berlin. And now they return. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III). Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. The ten songs on MORE D4TA are rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities.
But no matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.
What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow. After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.

Deluxe Edition / LP+Poster

Back in 2017, Moderat announced that they’d be taking an extended break following a final concert in front of 17.000 people in their hometown of Berlin. And now they return. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III). Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. The ten songs on MORE D4TA are rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities.
But no matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.
What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow. After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.

Sean Johnston has put together some righteous compadres to form a new project - The Summerisle Six. Featuring Jo Bartlett (Yellow Moon Band) on vocals, Andy Bell (Oasis and Ride amongst others) & Duncan Gray on guitars, Kev Sharkey (That Petrol Emotion, The Undertones, Elvis Costello to name a few) on percussion, Mick Somerset Ward on Sax (Clock DVA, Was Not Was, Crooked Man). This Is Something is a driving pop groover reminiscent of a late 80's early 90's Indie Dance anthem. The Dub mix invites the OG mix to ALFOS, turns the lights off and presses the smoke button for a chuggy heartwarming trip across the dance floor. There are no words to describe Rico Connings mix other than to say this 10 min journey has to be heard to be believed. A genuine Balearic gem.

Heist welcomes, late 80’s DMC World DJ Championship contender, Techno veteran, and house royalty Orlando Voorn to the label
with his ‘Heist Mastercuts’ EP.

Orlando Voorn is a man who needs little introduction. He’s played a pivotal role in the development of the electronic music scene in the Netherlands, as well as in the USA where he now lives. With countless aliases, he has released everything from old school hiphop to sample heavy breaks, to banging Detroit techno to soulful house music. His recent outings as ‘Frequency’ on Clone, as well as his latest EP on our sublabel Transient Nature, are proof that even after 30+ years, the man is still very much on top of his game.

The Heist Mastercuts EP sees Orlando dig deep in his archive for some of his undercover hits from the nineties that have been remastered for
this EP. On top of that, he delivers a new track in the form of soulful house bomb “Be with you.”

“Be with you” starts off with a hazy groove and distant pads. The steady beat and funky electronic chops set a steady foundation for a rush-inducing string sample that works together with looping diva vocals for maximum dancefloor excitement. No heavy drumrolls, FX or other tools necessary here: It’s clever sampling and Orlando’s soulful touch that make this track tick.

Next up is the vinyl only track “Love Feelings” – originally released in ’96 on Urban Sounds of Amsterdam-. Think 130+ BPM vintage house grooves with hazy pads and you’ll get an idea of what’s coming. Love Feelings is an up-tempo dreamhouse track that, even though it’s almost 25 years old, still ticks all the boxes of a contemporary festival groover.

On the B-side you’ll find 2 versions of “Tenderness”: The original mix and the Late nite dub, both originally released on Clubstitute records back in ’95. The original has a 90’s garage groove with male vocal chops, old school house keys and strings. The late night dub is exactly that: a dreamy ethereal deephouse groove with warm synth hits, introverted percussion some very on point sax loops.

The Heist Mastercuts EP is the first EP of Orlando Voorn on Heist Recordings but considering the connection we’ve built with him over the last year and having heard the music he’s shared with us, we’re sure you’ll see much more of him on Heist in the future.


Yours sincerely,

Maarten & Lars

Double Gatefold Anniversary release with Booklet... Featuring: Vapor, Needless, Lauri Leino, Fossa.

South London based producer and multi-instrumentalist Neue Grafik announces his new EP 'Foulden Road Part II' from his Neue Grafik Ensemble band, released 25th March on Total Refreshment Centre. The sequel to their impressive 2019 release 'Foulden Road', Neue Grafik continues to incorporate 100% live takes with the ensemble, as well as solo productions that reflect Neue Grafik's past work with both the Rhythm Section and 22a labels.

Neue Grafik explains, "This EP is a reflection of the social context which surrounds me" – created in a year of much social isolation as well as political unrest, 'Foulden Road II' explores the complex feelings that he found himself battling. He adds "In 2019, we released 'Foulden Road Part I', which was a transitional album, exploring a new culture and navigating between two worlds: Paris and London. 'Part II' is a bit darker, closer to realness with a sprinkle of hope. I couldn't have predicted that I'd finish it encased in my flat, between four walls, in December 2020 after a year of lockdown, Brexit, George Floyd protests, and without London's brilliant culture mesmerising my mind. Everything was sad and closed. Hills were difficult to climb. But it also gave me the time to work hard and deliver this second part of Foulden Road, pushing it forward".

Combining an array of influences — from London, to Paris via New York, Nigeria and Cameroon — with well-measured confidence, ' Foulden Road II' allows you to reflect on the complexities of the last year, whilst braced with energy and hope to move forward positively. Heavy horns and hypnotic poetry form the backbone record, which will ignite any room. 'Foulden Road II' begins with the grounding poetry of MA.MOYO on 'Black Bodies'. The EP is dedicated to Adama Traoré, a black man who died in police custody in Paris. Neue Grafik explains "His name is not well known outside of France. I was shocked, devastated even, to learn that his story didn't cross the Channel". 'Queen Assa' is a heavily percussive dancefloor-hitter which honours French activist Assa Traoré, (Adama's sister) her family, and her struggle to support all families hurt by police brutality. Broken beat elements flow through the horn accompanied 'Officer, Let Me Go To School', while West London rapper Lord Apex offers an unapologetic and poignantly personal perspective on 'Step To It'.

Released on the Total Refreshment Centre label, based out of Stoke Newington's Foulden Road, the EP is a testament to his versatility as an ever-shifting figurehead. Engineered by Capitol K, recorded at Total Refreshment Centre, mixed by Marcus Linon at Greasy Records and mastered by Guy Davie at Electric Mastering – a significant pillar in Neue Grafik's musical career. Having played a DJ set there in 2017, he was convinced by TRC founder Lex Blondin to start a band after he was heard playing some compositions on the communal piano. After spending a couple of sleepless nights on the living room couch, his first gig was booked in the venue space downstairs a week later. The ensemble was established and he has remained in London ever since.

Neue Grafik Ensemble's musicians include; Matt Gedrych, Benjamin 'The Chief' Appiah, Jack Banjo Courtney, Chelsea Carmichael, Dougal Taylor, Yahael Camara-Onono, Xvngo, Rebekah Reid, Dan-Iulian Drutac, Jamie-lee Glinsman and Zara Hudson-Kozdój.

Neue Grafik hosts The Orii Jam Sessions, an energising weekly jam night at Hackney Wick's Colour Factory, which has become a pivotal weekly gathering, inspired by the likes of Unit 31 and Steam Down.

The Second installment of legendary UK House producer Neil (Nail) Tollidays, Smoke - 'Kemuri No Demo' lands with it's dubbed out yet melodic soundscapes for the dancefloor (or not) as the case may be.... Tolliday sees his Smoke guise as electronic exprements first and formost, but we can't think of anything better than a dark room and the sounds of Kemuri No Demo melting the speakers and filling the air with expansive, warm atmospheric dance music.

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

Having embraced the wide wired world of modular synthesis, Prince of Queens aka Felipe Quiroz has already proved fit and formidable in dialing in the necessary sonic component of his current stargazing outfit Combo Chimbita. His first two solo records on NYCT have only added to an already wide-ranging electronic fluency, yet have also brought a flare and understanding of dance music foundation that in combination is rarely matched.

For his next release, Prince of Queens teams up with the voice of El Julius, his Colombian countryman and New York neighbor. As a seasoned member of Names You Can Trust alumni, Bulla En El Barrio, El Julius helps to bridge the classic with the contemporary. "Rompe Cadenas" is a traditional arrangement with poignant lyrics, but it's still funneled through the unpredictability of POQ's machinery. It's a modern day reinterpretation of sound system cumbia at its heart, and just a further example of the breadth of POQ's production possibilities. Much of that potential is realized on the second track of this double-sided release, "Acidosa." Like his earlier releases, POQ's quintessential future leanings are on display here with all of his remarkable synthesis. It's worth the trip alone. Just imagine a wild and hypnotic meeting of cumbia and pitched-down acid and off we go.

Brazilian talent Classmatic is next up on Hot Creations with the two-track Toma Dale. Having already set dancefloors alight at the hands of label heads Jamie Jones and Lee Foss, the eagerly anticipated release drops this April.

Toma Dale achieves exactly what Classmatic set out to do. The track opens proceedings with enticing congas that instantly transport you to Latin America. Punchy drum pads pounce in and combine with the percussion to create a highly energetic base, as finely cut Spanish vocals are embedded to fuse everything together. Bape pays homage to the Hot Creations sound. Warm, soft, bouncy kick drums lead the track, joined by subtle acid sounds that tantalise the ears. The breakdown is perfectly placed with the addition of mesmerising vocals that fade in and out before the punchy, bass-heavy drums are hauled back in.

Classmatic has built up a lot of traction over recent years, catching the eyes and ears of major heavyweights in the field, releasing under such labels as Solid Grooves and Hottrax and in 2021 he remixed Cloonees’ major hit, When The Sun Goes Down. Receiving support from artists such as Seth Troxler, Michael Bibi, Pete Tong and Loco Dice to name a few, it comes as no surprise when we say there is a bright future ahead for the talented artist.

Comprising Marco Simioni, Mattero Mazreku, and Francesco Pio Nitti, Qualia are a group of Italian producers who have never met in person. Due to the covid pandemic, they had to colaborate in the cloud, yet the results are impressively coherent.

Having previously released records on Detroit Underground and fellow Utrecht label 030303 between them, they arrive on U-Trax in April 2022 with their eponymous EP of four deep tracks taking influence from a range of genres, including acid-techno, ambient, noise, and beyond.

Leading the release, 'Perception' brings beautiful strings, funky 808 drums and acid tones for a deep and moving opener. The track clearly reveals the inspiration Qualia got for this release from the early Gescom releases. Stretched across the A2 is the ambient bliss of 'VV Cephei A', which brings Boards of Canada-esque drones and tones.
On the flip, the title track 'Qualia' brings a headsy dose of braindance to the mix, recalling the early experiments of Aphex Twin with merciless 303 squelches and distant reverberations. Closing track 'Until I Break Apart' leads with dark, moody strings before a pounding kick introduces a stark tempo shift before deep ambient atmospheres engulf the final minutes.

“Nice EP. Need a proper listen in a dark room with only the speakers and me ;)”
Minus Magnus — Mhost Likely

“Beautiful Ambient soundscapes!”
IDA — Ectotherm, Boiler Room Glasgow

“Excellent release from U-Trax. Perception and Until I break apart are my fav's.”
Drox — Nightimedrama, Crobot Muzik, Analog Cabin, Southern Outpost

“Interview & Premiere”
— Parkett Channel

“The best part is “VV Cephei A”, where a floral intro leads to colliding drone pulses.”
— Terminal 313

Magma has been one of France’s most influential bands since their founding in 1969. They released their fifth studio album Köhntarkösz in 1974, which set them off in a completely new musical direction. The band used a more restrained approach, which resulted in every hit seeming to weight twenty tons by contrast. The result is a mysterious atmosphere which holds the listener in awe. For this recording, and in particular the track “Coltrane Sundia”, the band used John Coltrane as the main inspiration, creating a vibrant tribute.

Köhntarkösz is housed in a gatefold sleeve and is available as a limited edition of 2000 individually numbered copies on yellow & red marbled vinyl.

There is never any doubt that soul is in the house, when you hear the poetic guitar and organ licks from Cold Diamond & Mink starting to twirl together, and out of nowhere Carlton Jumel Smith steps effortlessly inside the groove. "Heaven In My Arms" is the second in line of Carlton's new trio of singles on Timmion, and what a treat it is: deep as Mississippi mud, light as a feather.

This time our trans-Atlantic tag team delivers a melodic beat ballad of the highest order, which should sweep fans of lowrider soul off their wheels. Spanish Harlem-bred Carlton has been steadily churning out gems since meeting the Timmion folks some years back and shows no signs of stopping yet. This is a love song with plenty of heart to give everybody. Just take it all in, and enjoy the instrumental on the flipside while you're at it.

Carlton Jumel Smith is back on Timmion Records, doing what he does best: grooving, testifying and romancing his way into your heart. His last album for the label 1634 Lexington Ave. left many contemporary soul fans in awe – some in tears of joy – and they will be pleased to know that he has something new cooking in 2022.

The first release from an upcoming trilogy of singles, "Devoted To You" packs everything you could want from a mid-tempo jam. A steady tambourine beat rides the mellow Cold Diamond & Mink groove, leaving Carlton all the pockets he needs to fill with his ever-funky but delicate delivery.

Keep tuned this year for a bunch of new soulful tracks from Carlton and Cold Diamond & Mink. They will keep you warm and cozy through any kind of weather!

Carlton Jumel Smith is back on Timmion Records, doing what he does best: grooving, testifying and romancing his way into your heart. His last album for the label 1634 Lexington Ave. left many contemporary soul fans in awe – some in tears of joy – and they will be pleased to know that he has something new cooking in 2022.

The first release from an upcoming trilogy of singles, "Devoted To You" packs everything you could want from a mid-tempo jam. A steady tambourine beat rides the mellow Cold Diamond & Mink groove, leaving Carlton all the pockets he needs to fill with his ever-funky but delicate delivery.

Keep tuned this year for a bunch of new soulful tracks from Carlton and Cold Diamond & Mink. They will keep you warm and cozy through any kind of weather!

A 303 release is like an anniversary release :)
Yellow coloured vinyls, printed gategold sleeves, evolutive constructions from sweet Techno to hard Acidcore... This is a superb production... Shadowing the things even more.

ENJOY !

Based in Bamako for sixteen years, Philippe Sanmiguel has been the producer of albums by the famous Malian bluesman Samba Touré since his international debut. Over the years, Philippe has expanded his work with other artists such as the legendary Tuareg band Tartit, Anansy Cissé, Mariam Koné or Djimé Sissoko among others.

While working on the albums of these artists, he often had the inspiration to add influences from his original rock culture but in small measures. That's how Black Mango was born, to gather his favorite musical collaborators around his own compositions and expand the vision. It started with an EP released on Glitterbeat Records in 2014 from which the idea for a full-length album was born.

Black Mango's Quicksand album was recorded in Bamako over a period of several years, in various recording sessions, giving each musician free range to play on a rhythmic and melodic basis prepared in advance. The alchemy was immediate in all cases, often from the first takes.

Philippe originally met producer and musician Hugo Race with Chris Eckman during their stay in Bamako for the recording sessions of Dirtmusic's Troubles & Lion City albums. Hugo loved the raw feeling of the tracks and offered to remix the album in his Melbourne studio, bringing his own unique touch.

The fruit is ripe!

Recorded at Akan Studio & Funhouse Studio in Bamako, Mali by Konan Kouassi & Philippe Sanmiguel
Produced, mixed and mastered by Hugo Race at Helixed Studio

A few words about the main " stars " :

- Samba Touré is Samba Touré.
- Anansy Cissé is a young songhoy artist for whom Sanmiguel has produced two albums, including the recent and acclaimed "Anoura".
- Mariam Koné is one of the most beautiful voices of Mali, who has a self-produced album and teaches music at the conservatory of Bamako.
- Singer Bocar Sana Coulibaly & Ali Traoré are singer and guitarist from Niafunké, nephews of the great Ali Farka Touré and have a band called Espoirs de Niafunké

Repress !

(November Collective Title) Meditative but heaving with energy, Son Lux's third full-length weaves disparate elements into songs both strange and welcoming. On the heals of being named NPR's 'Best New Artist of the Year', Son Lux has created an album that sits as comfortably next to the compositions of Stravinsky, John Adams, David Lang and Ben Frost, as it does to those of Jamie Lidell, Björk, Flying Lotus, and Radiohead. Equal parts producer and composer, Son Lux (aka Ryan Lott) bridges an unusual gap between old-world music theory and next-level experimentation. Meditative but heaving with energy, 'Lanterns' finds a peculiar congruency between futuristic soul and ancient sentiment. Driving orchestral electronica (Lost It To Trying, No Crimes) is placed alongside creepy minimalism (Pyre), often starkly juxtaposing densely layered arrangements with Lott's fragile voice. In recent past Son Lux has gained notoriety both for his s/s/s project (with Sufjan Stevens and Serengeti), and from being named NPR's 'Best New Artist of the Year'. His third full-length album, and his first for Joyful Noise (Kishi Bashi, Sebadoh, etc.), positions Son Lux at the helm of an impressive ensemble of instrumentalists and singers, including Chris Thile (The Punch Brothers), Peter Silberman (The Antlers), DM Stith, Lily & Madeleine, Darren King (Mutemath), Ieva Berberian (Gem Club) and yMusic (Dirty Projectors, Bon Iver).

‘Wax Limousine’ is the third solo album from London’s Wesley Gonzalez. Set for release on 18th March via Moshi Moshi Records, the record is the follow up to last year’s critically acclaimed ‘Appalling Human’ and finds the indie stalwart delivering his most personal album to date, via a collection of 12 irresistible pop songs. The announcement arrives alongside the title track, which received its first play from Marc Riley on 6Music and its accompanying video, the second to be revealed from the record following ‘Greater Expectations’, released earlier this year. In support of the release, Gonzalez heads out on tour this November, headlining Electrowerkz on 25th and supporting Young Knives across the country (full dates below).

With its truly eclectic range of musical influences drawing on Gonzalez’s ever developing sonic palette, the album’s uplifting sound juxtaposes its themes, documenting the end of a long-term relationship and the overwhelming experience of dealing with a family member’s cancer diagnosis and subsequent treatment. ‘Wax Limousine’ navigates these hurdles with a razor-sharp wit and often brutally perceptive self-awareness, nowhere more so than on the new single. Inspired by both 'Faithless' by Scritti Politti and Aretha Franklin, it is Gonzalez’s version of an 80’s gospel song and, as he explains, written at a crucial point over the last 12 months

“This was written right after the breakup and cancer diagnosis. It was that early stage of a breakup where you can't really understand what went wrong for you or for your ex. There was resentment for the extreme change I had suddenly found myself in, and I was asking what it really was I did wrong. The title Wax Limousine came from old phrases like "as useless as an ashtray on a motorbike". I was trying to express how useless I felt within every situation that had just arrived at my doorstep.”

Wesley Gonzalez first made a name for himself as the leader of Let's Wrestle, whose tuneful and eccentric punk earned critical accolades and a devoted audience with three albums, including 2011’s Steve Albini produced ‘Nursing Home’. Gonzalez wasted little time forging his own path and quickly assembled a live band for his solo work, expanding upon the guitar-driven music of his former band, with an interesting concoction of classic 70’s pop, soul, and indie rock. Gonzalez released his debut solo record ‘Excellent Musician’ in 2017, then the follow up ‘Appalling Human’ in June 2020 through Moshi Moshi Records.

In the past few years, Clarice Jensen has forged her own path. Recently, her focus has shifted to film scoring, successfully recording work for three feature films between 2020 and 2021. At the same time, Clarice continues to serve as artistic director of the American Contemporary Music Ensemble, while continually collaborating with an impressive array of musicians, such as Max Richter, Björk and Stars of the Lid, to name a few.

That being said, it was her 2019 tape release on Geographic North, »Drone Studies«, that initially caught the attention of a wider audience, with the work showcasing a compelling assembly of deeply immersive drones, and elegantly orchestrated compositions, in which neoclassical elements collide with electric density.

Three years later, the work has lost none of its innovative character and appeal. It also documents a turning point in Clarice's career, one where her classically trained background started to converged and overlap with her interests in improvisational electronics and drone music. As a result, the aptly titled »Drone Studies« shows Clarice at her most exploratory, introspective, and daring, channeling her areas of interest into a collage of richly textured timbers and cello movements of sublime tension.

Now for the first time, the original album can be experienced through an expanded vinyl reissue, mastered by Rafael Anton Irisarri, and carefully adjusted for vinyl by Ian Hawgood. The new reissue also features an additional track by Clarice called »Platonic Solids 2«, which was originally conceived around the same time as »Drone Studies«, and which has now been made available exclusively for the vinyl edition.

We hope that this new reissue will aid in introducing Clarice's groundbreaking »Drone Studies« to a new crowd of listeners through this expanded edition.

150 copies

Wow, I thank you all from the bottom of my heart for the support with Dynamite Cuts since 2017 when I opened a Pandora’s box of 7” gems. When I thought about starting DC, I had a list of around 100 album tracks I wished I had as a 7” 45. Now 5 years (2022) later my list of 7” delights have become true. In the late 80s, I picked up the Frank Strazzeri “After the Rain” LP, which totally blew me away. Now, all these years later, these three magical choons have the honour of being my 100th release.

These titles are first time on 7” vinyl and all cut @ 45 rpm. An unmissable, perfect Jazz funk release

TANGERINE DREAM'S 'MALA KUNIA' IS BACK AVAILABLE ON VINYL -
'Mala Kunia', the mini-album & roughly Tangerine Dream's 140th release
was originally released in tangent with the bands' 2014 Australian
concerts - The album features seven new compositions including two of
which were co-composed by new band member Ulrich Schnauss together
with Edgar Froese
With this release, a new Tangerine Dream era began, "The Quantum Years", which
focused on a more back to basics approach to composition influenced by
quantum physics. The album itself is named after two Aboriginal tribes, which,
according to Aboriginal mythology, living a long time ago around Uluru, also
known as Ayers Rock. The Mala tribe lived on the sunny side & the Kunia on the
shady side of the rock.
Tangerine Dream have been a fundamental influence on electronic music since
Edgar Froese founded the band in West Berlin, 1967. Providing the groundwork
for multiple electronic music genres including ambient & electronica, inspiring
musicians & other art forms.
The group have also received seven Grammy nominations, written over 100
studio albums & were led by Froese, who developed an instantly recognisable
synth-based instrumental music based on a meditative musical experience that
came to prominence in the 70's & 80's.
Although Edgar Froese passed away in 2015 with a new phase in the bands
history only just beginning, he left direct orders to remaining members: "Carry on
& make my vision for the Quantum Years phase of the band happen!"
'MALA KUNIA' WILL BE ISSUED VIA KSCOPE ON GATEFOLD DOUBLE LP

EXTENSIVE COLLECTION OF SIGH'S EARLY DEMOS, EP's & RARITIES,
PRESENTED ON DOUBLE CD FORMAT - INCLUDES INTERVIEW & LINER
NOTES COURTESY OF MAINMAN MIRAI KAWASHIMA ON THE
FORMATIVE YEARS OF THE JAPANESE LEGENDS.Cult Japanese black
metal legends Sigh formed in 1989/90, featuring mainman Mirai
Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought into the band, & Kazuki
removed from the line- up. It was following this shift that the band set about
recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence
Productions, going on to become one of the country's greatest & most revered
metal exports. With a journey through the strange & the psychedelic,
incorporating a whole eclectic mix of genre styles & experimentation throughout
their career, Sigh has remained a vital creative force in the avantgarde field.
However, at its core, Sigh has always remained true to its roots of old school
metal. 'Eastern Darkness' contains a comprehensive collection of Sigh's early rare
works showing their swift musical evolution as well as the strong utilisation of
keyboards in their compositional process throughout. The collection includes the
band's legendary demo tapes, 'Desolation', & 'Tragedies', plus their EP's & rarities,
as well as contributions to various compilation releases in the mid 1990's.
Considering Sigh's well- known regard for UK legends Venom throughout their
career, 'Eastern Darkness' also contains the band's own tribute to the 1980's black
metal pioneers, in the form of tribute 'To Hell & Back', originally released on tape
in 1995.
This edition of 'Eastern Darkness' is presented on double disc CD format &
includes a 12- page booklet featuring an interview with Mirai Kawashima about
the early years of the band, along with his recollections of the origins of each title
contained within the release, three decades on from Sigh's formation.

Two hip-hop legends that are both part of historic groups themselves, are
forming a new group - Havoc, from the Queensbridge bred Mobb Deep
(rest in power Prodigy) and Styles P of The Lox, straight out of Yonkers,
are forming Wreckage Manner
Both Havoc and Styles P have collaborated with a number of artists in recent
years. Havoc released joint albums with Alchemist, Flee Lord and Dark Lo. His
last solo album was in 2014, the same year as the last Mobb Deep album. Styles
has teamed up to release projects with Talib Kweli, Berner and Dave East in
recent years. In addition to new music from The Lox, Styles P has released at
least one new album every year since 2018.
On the album, Styles P raps over Havoc's gritty, piano- laced production. Havoc
also gets busy on the mic and lets his opponents know that for all his success,
he's still the same kid from 41st Side.

L'Aventura arose from the Brazilian heat and the French romanticism. This is the history of Sebastien Tellier's fantasy childhood in Brazil, arranged by the local cult figure Arthur Verocai. A wild mixture of love, dreams, sun and landscapes.

"For this album I wanted to rewrite my childhood. I chose to place this adventure in Brazil, land of splendour and joy, with an eternal childish soul." Sebastien Tellier

The recording produced by the artist took place between Paris and Rio de Janeiro during the year 2013. These adventures brought him into Jean-Michel Jarre's, Bernard Estardy's, and Philippe Zdar's (Cassius/Phoenix) studios. Zdar who knows so well how to make the French music sound internationally sublimates the ten tracks of this album, in halfway between the elegancy and the required level of a maestro and the immediacy of a popular song.

This sixth opus was composed and writed by Sebastien Tellier. For the first time of his career, all the lyrics are written in French. Gainsbourg is not far, like a tutelary figure, Christophe as a springboard, who lets him more space to express himself, and Lucio Battisti, the Italian made him understand that singing in his native language was possible.

L'Aventura is a record of shores stretching in an everlasting restart. Naive art carried by an openheart and childish vision of the creation, close to his classic Sexuality (2008).

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a particularly productive time for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums both digitally and on double vinyl, with extra tracks.

This reissue mini-series starts with »Papa’s Ear«. The second album from this expanded line-up of Tenniscoats, you can hear the musicians are immediately comfortable in each other’s presence, and they’ve almost intuitively understood what they can offer to one another. Saya and Ueno of Tenniscoats bring their magical, gentle folk-pop sensibility, and their winning way with straightforward, yet lush melodies. Johan Berthling, along with fellow Tape member Tomas Hallonsten, plus guests Fredrik Ljungkvist, Lars Skoglund, Andreas Söderstrom and Andreas Werlin, all generous and creative presences in the Swedish jazz underground, shades in the songs with endlessly inventive arrangements, highlighting the warmth and curiosity at the core of the Tenniscoats’ aesthetic – sometimes taking the songs in unexpected directions, other times pillowing the melodies with the softest of brushstrokes and the kindest of tones.

»Papa’s Ear« includes some of Tenniscoats’ most memorable songs. »Papaya« is a lustrous dreamland of a song, with the Swedish musicians singing ‘pa-pa-ya’ as an enchanted tattoo, while Saya’s piano and melodica clank and huff out, further expanding the song’s horizon. It’s followed by the spindly and mysterious »Sappolondon«, where drums and double-bass shuffle and pulse under weeping accordion and bittersweet clarinet. Saya’s voice sighs into the frame while the musicians breathe lungfuls of sweet drones and flick glittering countermelodies across the song’s surface. It reminds a little of the wild kindness of Movietone, or the regal charm of Carla Bley’s compositions.

Elsewhere, you can hear Tape and their friends embracing the freedom offered by the songs of Tenniscoats: see, for example, the glistening electronics in »På floden«, like a keyboard conducting a music box on a distant planet; or the descending phrase for winds on »Sabaku«, dovetailing beautifully into a creek of moon-lit texturology. The double-LP ends with two extra tracks, drawn from the 2008 Tenniscoats/Tape split single, also released by Häpna., »Lutie Lutie« is a sweet delight, driven by a clacking drum machine, the Tenniscoats duo joined by Hallonsten on glockenspiel and synthesizer, and special guest, Japanese indie-pop legend Kazumi Nikaido, as choir. »Come Maddalena« rounds off the set, a brooding cover of an Ennio Morricone tune, the music by Tape, the vocals by Tenniscoats and Nikaido. Open-hearted and full of puckish spirit, »Papa’s Ear« is an album of great tenderness and warm friendship.

Three years have passed since the world first learned of Ursula Bogner's work. Since then, her identity has been surrounded by rumours, her graphic work have been exhibited (CEACC, Strasbourg, France, 2011 and elsewhere) and her compositional instructions have been performed (by Mo Loschelder, Andrew Pekler, Kassian Troyer, Jan Jelinek among others). The release of Sonne = Blackbox brings together all of these aspects in one CD and book: compiled by Andrew Pekler, the CD presents Bogner's early experiments with voice and tape music – a previously unknown emotional side of her music is revealed here through her singing. The 126 page book contains, along with drawings, photos and other curiosities from Bogner’s life, an introduction by Jan Jelinek, texts by Momus, Andrew Pekler, Tim Tetzner, and Bettina Klein as well as interviews with the orgone researcher Jürgen Fischer and the ethnographer Kiwi Menrath. Sonne = Blackbox attempts to locate Ursula Bogner, the sound experimentalist within broader cultural history. A central theme is the phenomenon of fake: how did the erroneous suspicion of fakery come about in the case of Ursula Bogner and what is a post-fake? Answers in this book.

Black vinyl with download. Bio Ritmo is recognized around the world as one of the most intriguing and influential indie “salsa dura” orchestras of the last three decades. Their music is rooted in Afro-Caribbean rhythms mixed with retro big-band jazz, a little funk, and all things 1970s. The 10-piece powerhouse began in 1991 as an experimental percussion ensemble that grew out of the diverse local music scene of Richmond, VA, which also gave birth to GWAR, Honor Role, Sparklehorse, and Lamb of God, among many others. Bio Ritmo has received global acclaim, with critics heralding them as “Latin music visionaries” and “one of the most innovative salsa bands of the 21st century.” To commemorate the group’s 30-year anniversary, Merge and Electric Cowbell Records are reissuing Bio Ritmo’s 7-inch single “Piragüero” b/w “Asia Minor,” originally released on Merge in 1996. A-side “Piragüero” is an original track that features the soaring, soulful vocals of Rei Alvarez. The flipside is a mambo classic from the ’50s popularized by the great Cuban bandleader Machito, whom Bio Ritmo regarded as a major influence in its conception. This record is a snapshot of the raw essence of Bio Ritmo in its early years that laid the foundation for the band’s evolution and endurance.

Cologne-based, multi-instrumentalist and creative jazz powerhouse
Gianni Brezzo presents his full-length LP “Tutto Passa,” arriving via
Berlin’s Jakarta Records May 5th.
Gianni Brezzo is the jazz affiliated band / studio project headed by
Cologne-based producer & creative maestro Marvin Horsch, whose diverse musical profile is reflected both in his scene-hopping as well as his creative output. Besides producing cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, culminating most recently with “The Awakening” EP in 2021 on Jakarta Records. While Gianni’s works are usually instrumental only, “The Awakening” featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” and “Café / Croissant”, and most recently was synced in an episode of Gossip Girl for HBO US.

Gianni’s new LP, “Tutto Passa” is a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani, Piero Piccioni and Armando Trovajoli to more recent work by Sven Wunder. Sonically rich, the album rides a sonic wave similar to some Matthew Halsall, Surprise Chef, El Michels Affair and BadBadNotGood all rolled into one beautifully luscious work. Jakarta is ecstatic to share such a career-defining work, arriving May 6th, 2022.

The albums 1st single, “Il Sole” will be released Wednesday, March 2nd with the LP pre-order announcement that Friday, March 4th to capitalize on Bandcamp Friday. The track is a perfect sonic voyage that encapsulates the growth of Gianni’s sound and gives a sonic peak into the LP. Subtle, yet lush layers of synths, horns, keys and strong, beat-driven percussion all ebb and flow together, bringing to mind the finest Library Themes of Umiliani, Sven Wunder, Janko Nilovic and others. Visualizer accompaniments for all singles provided by Robert Winter and his DIE OTTOS crew that perfectly captures the sonic mood.

The LP’s 2nd single, “Capture This,” will be released March 30th and is a splash of pure, groovy, jazz-funk. Instantly catchy, the track will have you imagining yourself in a movie that perfectly captures the musical themes: playful flutes, crisp, fluid guitar riffs, heart-pulling strings, all held together by a strong, swingin’ drum groove.

The third single is the stunning, swirling, thematic track “Rising Of My
Mind.” Careful layers of harmonized brass, flutes, percussion ebb & flow, bubbling up to the acoustic surface like sonic ripples effortlessly bursting from Gianni’s auditory palette. Only reaching the tracks full crescendo more than 2 minutes in, “Rising Of My Mind” is on that finest jazz tip, raising Gianni’s musical caliber into the skies.

Focus track is the effortlessly smooth, soulful jazz-funk piece, “Torino.” Certified fresh, the progression gives you that euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find.

“Tutto Passa” is a project with a variety of moods ranging from Arthur
Verocai and David Axelrod inspired arrangements to lush, thematic jazz progressions with a swingin’ percussive edge. It’s a timeless release, one that would sit just as well in 1972 as it does in 2022, and one that, as Gianni says:
“…reflects exactly the feeling I had last year when I was in Italy with my own family. As a musician, I was looking for the challenge of a more orchestral approach on this album, which I hoped to achieve with my arsenal from the Cologne jazz scene and the support of musicians from around the world.”
Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US, UK & Italy

Remember Rainbow Bridge', the new album by Croatian Amor, is a homage to youth and the delicate metamorphosis that occurs as childhood trips into maturity. Focused on this tender flux, the songs on 'Remember Rainbow Bridge' are infused with the restless energy of adolescence and a dawning sense of mortality. From the sun-kissed title track, to the night burn and wet pavement of 'Paper Birds', monumental highs are shuffled with great lows that we perhaps feel most clearly and earnestly in those formative years. Since the earliest collages committed to tape under the name of Croatian Amor, Loke Rahbek's alias has at every step gravitated towards constant discovery and experimentation. The sound collages are still present while the unity of each song's construction now often conceals the juxtapositions and overlapping edges. Employing a medley of diffuse electronic music traditions, fantastical synthetic worlds are evoked and while 'Remember Rainbow Bridge' heavily relies on rhythmic structures to propel the compositions, Croatian Amor continues to tend a highly textured field in his own inimitable way. 'Remember Rainbow Bridge' is a celebration of the liminal space between phases of life, the chrysalis of youth. It is a record about coming to terms with our ever-changing place in the world, its title urging us to see the world with a child's eye, to never forget the miraculous at play only an arm's-length away. "This world as we see it is passing away"

High Roller Records, yellow/ black mixed vinyl, ltd 300, 3 bonus tracks, 425gsm heavy cardboard cover, 4 page insert, double sided poster, 2 x A5 photo card, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, yellow/ black mixed vinyl, ltd 300, 3 bonus tracks, 425gsm heavy cardboard cover, 4 page insert, double sided poster, 2 x A5 photo card, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

Proprietary rhythm: Vector Rituals sees techno polymath Stefan Goldmann constructing polymetric rites of percussion. Synthesized from the ground up, timbral characteristics, metric properties, dynamic expression and microrhythmic phrasing are shaped by the interactions of layered control voltage functions. The result is an assembly of abstract dances ranging from the intricate to the powerful.
Near-humanoid behaviour emerges from liquid patterns, laid out and brought to life by the freewheeling encounter of modular waveforms and snappy envelopes. Sounds evoke metallic textures
– ringing, scraping – and group into virtual shapes from tiny spikes to vast surfaces.
Some of the parametric relationships employed are as loose as to imply chance drifts. Others lock in with strict regularity as found in the 13 vs. 17 polymeter pattern of opening track 'Nayba'. By contrast,
in the strictly repetitive yet highly asymmetrical sequence of 'Yukagir' each metric step has its own uniquely irregular duration. The center piece of this collection is 'Ayon' with multiple autonomous and
highly agile timelines. Its constituent layers break away in radial fashion and fall back together at widely spaced points of congregation.
All compositions herein present powerful proof of the unlimited capacity of electronic music to yield new principles of organisation and to solidify their expression into clear-cut gestalt.

Melodies International are glad to be back, starting off 2022 with their new reissue 12” comprising two big big club soul/disco classic versions of “I’ve Got My Second Wind”. Out late March/early April, vinyl only!

Lead singer Al Johnson and Tom Fauntleroy, two US soul & R&B greats who founded their first band at University in Washington D.C. originally wrote and released the song on Johnson’s first solo independent album “Peaceful” in 1978. They’d later go on to rerecord the track for Johnson’s follow up album on major label CBS “Back For More” which introduced the song to a wider audience and is the version featured here on this 12”

Tata Vega, American singer from New York would go on to cover the track that same year. Starting her career in the 60s featuring in musicals and performing with various groups, she got signed to Motown by Berry Gordy on the spot who was in the audience at a concert one of Vega’s groups was performing at. Tata Vega’s version of “I’ve Got My Second Wind”, in duet with soul singer George Curtis Cameron was originally released on her fourth solo album on Motown, “Givin’ All My Love”. Reissued and now available on loud 12” for the first time!

Remastered from the tapes by the great Matt Colton, pressed in Italy at Mother Tongue, comes in printed inner and outer sleeves, out late March / early April, play loud!

Best known for his work with CL Smooth, and his remixes for Public Enemy, House of Pain, Mary J Blige and Mick Jagger to mention a few. Hailing from the little town of Mt. Vernon, NY, right next to the Bronx, Pete Rock & CL Smooth pretty much got together in their local high school when Pete noticed CLs dope and unique voice. After high school, Pete hooked up a weekend hip-hop show on WBLS-FM and was considered one of NYs premier DJs during his four year stint on the show. All Souled Out was Pete & CLs debut EP, it was the phenomenal production by Pete Rock which really drew people to this EP. If the legendary DJ Mark The 45 King was the first producer to incorporate horns, Pete Rock was the first to really perfect this new style of production with his trademark echoing horns laced throughout his music. This was done very nicely on two of the cuts off the EP, Creator and Mecca & The Soul Brother, and people were taking notice in a big way.
After the solid Mecca/Creator 12 inch, the duo unleashed one of those all-time classic LPs every MC dreams of having, Mecca & The Soul Brother featuring the monumental: They Reminisce Over You, Straighten It Out, Ghettos Of The Mind, and Lots Of Lovin. Songs to make you cry - damn, they were playing TROY at funerals everywhere. One of the greatest hip hop records ever made ...it never leads my box man...- (Tim Westwood)

Pete Rock on hip hop: Hip hop to me today is still important but we are going through a phase right now. Hip Hop as been injected by a virus, and right now weve got to find a cure to this. Which brings along myself. (Frank 151)

The Press ...from downtempo, funkdified sounds to hypnotic hip-hop beats, this is a wonderfully crafted album - (BPM July 2001)
This hypnotic ... album represents hip hops incredible ability to morph and manipulate a hodgepodge of sounds to create something unique...although the sound is now industrial, electronic and everything but natural Pete's version of hip hop will remain a classy affair that merges the elements of an orchestra, the roots of black music and the cacophony of the streets. - (Mass Appeal July 2001)

Part two of Arthur Robert’s most recent EP package showcases his atmospheric style of dubby, strong rhythms and rich, detailed sound design.

On this EP Robert explores his mastery of mesmerizing machines, looping bleepy signals into trance-inducing patterns on Abundance, Watchful and Homecoming. A welcome brief respite from the madness, delicate ambient interlude You Cannot Hurt Me twinkles soothingly, as does the warmth offered by subdued hazy chords on the almost housy Tunnelvision.

Such versatility not only further establishes Arthur Robert as one of current Techno’s most promising producers but also makes this EP package a strong contender for one of the year’s defining releases.

Protean producer Jaymie Silk returns to Shall Not Fade with an intensely club-driven LP. On "The Rise & Fall Of Jaymie Silk & Rave Culture" a range of vocal samples tell a story over assertive rhythms that switch rapidly so that hard-hitting acid becomes breaks before melting into sleazy, low-end bass techno. Strap in!

It"s not easy to anticipate how any release from the Paris-based Jaymie Silk will sound. A self-proclaimed musical nomad and a real jack-of-all-trades, his artistic identity is defined by its undefinability. With this release - a follow-up from "The Legend of Jack Johnson" EP released on Shall Not Fade last year - Jaymie references the kaleidoscope of sounds which inspired him to make music in the first place.

Sampling an iconic Malcolm X speech, the force of which is bolstered by giant synth swells and clattering percussion, "Freedom For Everybody" places the album in the context of diaspora and resistance - themes that run ever-present through Jaymie's music. With "The Heat", he pays tribute to late '80s dance music, with a classic Lyn Collins drum break sample and diva-esque vocals. The hard-hitting acid-tinged techno of "Start Swinging" sees the album at its most assertive before "Bad B" takes things camper with deep bass pulses and
pitched-shifted vocals which affirm "I'm a bad bitch, yeah you heard about me". "Cats Love Drums" offers another direction completely with polyrhythmic percussion and real meow's before the two closing tracks leave a taste of sentimentality, with a major-key vocal melody and a giddy 150BPM pulse ("Waiting For The Day") and an intimate slow burner ("Take Time To Breathe").

The Rise & Fall Of Jaymie Silk & Rave Culture LP drops 6th May via Shall Not Fade.

After the successful start with the release of “Follow The Master” by Substantial, Origu teams up with Misfit Music for a 7” by the trio of Kayohes, V3RB and Rusher, two MCs from the US and a producer
and filmmaker from Germany. “Some Way, Some How” gives you powerful raps from V3RB over a deep rhodes-filled instrumental, as “March On” enters your ears with a mellow horn-sample and a stomping drumbreak. Both MCs shine with lyrical skills and clever wordplay, and DJ S.R. delivers some on point cuts.
File alongside your Lord Finesse and Black Moon records.

V3RB, Kayohes & Rusher:
In the late 2000s German producer and filmmaker Rusher and MC and producer Kayohes from Albuquerque, USA, met over Myspace and shortly thereafter united with V3RB to start working on musical projects. Ironically, V3RB, originally from California, and Kayohes met in Germany, while V3RB was on Army duties and Kayohes lived there for a few years. They have maintained their skill trades eversince. With Rusher in the mix, and travelling back and forth between his homecountry and the States for his film projects, it was easy for the three to keep up their artistic operations, recording tracks and making videos.

Repressed on red vinyl!

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

Ritual was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

Until recently, it was thought that we had heard all there was to hear from Saâda Bonaire. The German studio project's 1980s recordings had been compiled on the now cult-classic double LP Saâda Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph "von" Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the band's long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the group's attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories. It's no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Saâda Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebert's soulful voice -the result of a church choir background and an early love of American soul and jazz music- offset Stephanie Lange's laid-back, more German-sounding vocals. This unique interplay bolstered the band's new direction - evident in their inspired takes on James Brown's "Woman" and Syreeta Wright and Stevie Wonder's "To Know You Is To Love You". The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapper Jimmy Lee Patterson, both of whom lent some stardust to the tracks at François Kevorkian's Axis Studios in NYC. Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Saâda Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. It's been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Saâda Bonaire's flair for creating pop music for past, present, and future outsiders.

JOYFULTALK returns with its third album for Constellation; another vibrantly divergent stylistic take on the analog materiality and sensibility of electronic composer-producer Jay Crocker, whose previous two records forged trance-inducing polyrhythmic intricacy, each from a distinct angle and sound palette, each enlisting a single instrumental collaborator. Familiar Science rallies contributions from a larger cast of musicians into a looser, cosmic recombinant combo_still shot through with JOYFULTALK's singular mixing desk kinetics, but this time deep-diving into gnarled and twisted, spliced and diced out-jazz. Crocker draws inspiration from 1980s M-Base music and Ornette Coleman's harmolodic funk period, while his own prior history as an improv guitarist also resurfaces for the first time in many years_an element in this polyvalent artist's chemistry set that hasn't appeared prominently in his own music for over a decade. Familiar Science finds Crocker folding time (as lockdown will do), immersed in his present-day kaleidoscope of solitary art and music practices in rural Nova Scotia, while channeling his former life as a bustling jazz collaborator in Calgary, Alberta. Building outwards from roiling resampled acoustic drums, Crocker extracted additional sonic and rhythmic textures, then formed the head of each song using dusted-off archival recordings and his own bass, keys and midi sequencing. Albertan percussionists Eric Hamelin (Ghostkeeper, Chad Vangaalen) and Chris Dadge (Lab Coast, Alvvays) provided improvised drum tracks to be chopped and harvested; Nova Scotia-based Nicola Miller (Ryan Driver, Doug Tielli) laid down resplendent excursions on saxophone and flute; Crocker's own dexterous guitar appears on several cuts. Familiar Science also poignantly features samples from live recordings by the late Calgary saxophonisticonoclast Dan Meichel, catalysing some of the album's heaviest contortions. Crocker weaves all these raw materials into exuberant compositions that blur the line between sizzling corporeal combo and sampledelic futurist jamz, variously conjuring (leftfield) Flying Lotus, (later) Tortoise, BADBADNOTGOOD and Squarepusher's Music Is Rotted One Note. The rubbery hyper-compression of boom-bap opener "Body Stone" initiates the séance, and the album offers a panoply of skittering grooves and soaring melodic pathways thereafter, through quags of heady jazz alternately streaked with dayglo delirium and other more vaporous states of revelry. Crocker's own wordless stacked vocals are the giddy secret sauce on several cuts, and his lead guitar work (in kinship with the lean progressions of Mary Halvorson or Jeff Parker) features on "Take It To The Grave", "Stop Freaking Out!" and the album's title track. More honeyed passages on songs like "Blissed For A Minute" and "Ballad In 9" center around Miller's bouyant alto sax and flute. Familiar Science is a rousing feast of noise-tinged polychrome electronic avant-jazz: richly harmolodic compositions teeming with intersecting textures and turbulences; exploratory, exhilarated and indeed joyful.

The first release on the brand new DigBig Records comes from prolific Swedish composer, producer and DJ Joey FDH. In Level 7, Joey steps away from the harder electro beats she's known for and goes inward to explore the depths and corners of her own shadow through four slow burners. The EP rides a soft yet sinister groove with two acidic workouts on the A side - the beautifully atmospheric Acid Girl and the cosmic-dreamy eponymous Level 7. B side morphs effortlessly onto heavier but just as funky vibes with Shadow Play that slaps in the face with infectious breaks and the hypnotically thumping Shift Shaper. Spending over a decade in Berlin honing her signature dark sound, Joey FDH has recently returned to her homeland to find new inspiration in the forests and mo

Back for Good is the seventh studio album and first comeback album by German duo Modern Talking, originally released in 1998, following the reunion of the duo after a hiatus of over 10 years.

Back for Good consists of eighteen tracks including new versions of 11 previous singles, four new songs, two remixes and a medley. The album stayed at # one on the German charts for five consecutive weeks and managed to reach the top of the charts in fifteen countries. It became the fifth best sold album of that year worldwide and is one of the best-selling Modern Talking albums ever.

Back For Good is available on black vinyl and includes an insert.

At Now-Again, we avoid hyperbole, yet we believe that this album is one of record collecting’s ultimate
finds: the missing entry in jazz pianist/composer/psychiatrist Denny Zeitlin’s discography, a wonderful
and weird fusion of avant-classical, jazz, funk, rock and electronic music.
The Name Of This Terrain was recorded and pressed in a scant, custom run as a demo in 1969 –and it
so defied its own existence that, even after its producer died and his copies were discovered, Zeitlin
steadfastly resisted its release for almost 20 years, destroying his remaining demos so no...

Before Madvillain, before Yesterday’s New Quintet and before Quasimoto or any other of his several alter egos, Madlib perfected his craft as an MC/producer in the Lootpack. Along with DJ Romes, and fellow rhymer Wildchild, they released the dusty full-length, Soundpieces: Da Antidote back in 1999, that laid down the foundation for the unique and dusty sound now associated with Madlib. The loose, freeform recordings on this collection are circa 1996 when the group was managed by Madlib’s father, and they show the now-renowned maverick producer in comparatively restrained form. Madlib’s scope and imagination was clearly fixated on East coast jazzy hip-hop production from the early ’90s, laying down soundscapes for his hungry crew including the likes of Kazi, Declaime and Medaphoar, who have all become well known underground rap vets. Madlib’s own strong mic presence is noticeable given his now only-on-rare-occasion rhyming, but it’s his production that is the most fascinating element here. While a resolutely hip-hop project, the burgeoning jazzy flourishes and Madlib’s heavily accomplished ear for sound makes the record an important starting point for adherents of his more recent exploratory work.

Internationally-renowned British singer-songwriter Emeli Sandé with her forthcoming album Let’s Say For Instance, and her first release on an independent label, and it marks a new era of Emeli’s expansive artistry after a decade on stage and on the airwaves. Exploring new sonic territory through shades of classical, disco, nostalgic R&B and more, it sees Emeli freeing herself from the expectations of others, flexing her holistic skills as a songwriter, producer and vocalist in new, versatile ways. In her words: “‘an ode to resilience, rebirth, and renewal”.

Edizioni Ishtar and Schema Records proudly celebrate the 15th anniversary of one of their most successful releases and artists (more than 30 million streams and 300 thousand monthly listeners on Spotify) with the first ever vinyl edition of Toco’s Outro Lugar. Produced by S-Tone Inc., this record includes fan-favourite tracks “Outro Lugar”, “Samba Noir

” and most of all “Guarapiranga”, which was chosen for the soundtrack of “Silver Linings Playbook”, a film that awarded Jennifer Lawrence an Academy Award prize as best actress in a leading role in 2013. The strings at the beginning of the title-track have also been sampled by PinkPantheress for her song “Nineteen”, out of her latest album “To Hell With It”.

Outro Lugar hasn’t aged a bit during all these years, for various reasons; first of all it benefits from the outstanding contribution of bossa nova pioneer and inspiration source Roberto Menescal, who played guitar in every track. Most of the album was recorded in Rio De Janeiro at Menescal’s studio, with the participation of some of the best ‘carioca’ musicians, especially double-bass player Adriano Giffoni and pianist Adriano Souza. All these elements gave the album exactly the taste requested by the artist and the producer: inspired from the past yet, through thorough attention, aimed at a sound at the same time fresh and modern, slightly electronic, filled with grooves perfectly blending into acoustic instruments. The second part of the recording was carried out in Milan, with some of the best musicians in the Milanese jazz scene.

The album also sees the contribution of Rosalia De Souza, singing in several tracks and standing out in “Bom Motivo” especially. French chanteuse Coralie Clément appears in “Contradição”, her own piece here re-interpreted by Toco.

Outro Lugar is an album for any kinds of Brazilian music lovers that showed the world what Toco was capable of: a refined and cultured musician, a gifted performer of a warm and smooth voice able to awaken the emotions of the most sensitive listeners.

Fresh off the back of a debut album with sidekick Charlotte Adigéry Belgium-Chinese musician Bolis Pupul explores themes of heritage and identity on his new solo two-track 12-inch ‘Neon Buddha’ - out 6th May via Soulwax’s DEEWEE.

Mixing widescreen electronica – think early Mr Fingers-like techno and Yellow Magic Orchestra’s exuberant man-machine minimalism – with the warm-hearted and wonky naivete of Belgian New Beat Bolis’ singular sonics are at once playful emotive unrelenting and tender.

The title track is inspired by a dream Bolis had of a pagoda in Hong Kong featuring a contemplative Buddha made of neon lights. The music is similarly bright and exciting – an insistent acid squiggle giving the track the requisite Weatherall-friendly A Love from Outer Space chug.

Housed in a UV Gloss sleeve with a printed inner.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Sixties Collected features Love “Alone Again Or”, Cher “Bang Bang (My Baby Shot Me Down)”, The Who “Pinball Wizard”, Diana Ross & The Supremes “Love Child”, Steppenwolf “Magic Carpet Ride”, The Animals “House Of The Rising Sun”, The Beach Boys “Good Vibrations”, David Bowie “Love You Till Tuesday”, Bob Dylan “Subterranean Homesick Blues”, Tom Jones “It’s Not Unusual”, Nina Simone “I Put A Spell On You”, Rod Stewart “Handbags & Gladrags” a.o.

Various Artists - Sixties Collected is available on black vinyl and includes an insert.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Seventies Collected features classic tracks and forgotten gems: Queen “Somebody To Love”, Billie Joel “Movin’ Out (Anthony’s Song)”, Lou Reed “Vicious”, Blondie “Atomic”, Paul McCartney & Wings “Mrs. Vandebilt”, Rodriguez “Sugarman”, Patti Smith Group “Dancing Barefoot”, Roxy Music “Dance Away”, Big Star “Thirteen”, Leon Russell “A Song For You”, 10CC “Dreadlock Holiday”, Grace Jones “La Vie En Rose”, Rush “Closer To The Heart”, Gerry Rafferty “Right Down The Line”, Minnie Riperton “Les Fleurs”, The Brothers Johnson “Strawberry Letter 23” a.o.

Various Artists - Seventies Collected is available on black vinyl and includes an insert.

Over 25 years trash metal band Annihilator has brought us nothing but fast, technical and energetic trash music. Led by axeman Jeff Waters, these Canadian musicians have acquired the status of trash metal legends and are the highest-selling Canadian trash metal group in history, having sold more than three million albums worldwide.

Since their formation in 1984, Annihilator has released 17 studio albums and several live albums. Their sophomore album Never, Neverland was released in 1990 by label Roadrunner. It is the only album of Annihilator where Coburn Pharr recorded the vocals and features their hit “The Fun Palace”.

“Friends For Now” the debut album from San Francisco’s Young Prismsis getting repressed with completely new artwork
for the first time since the original 2011 release.

Formed in the late 2000s by life-long friends Matt Allen and Giovanni Betteo alongside Stefanie Hodapp and Brooklyn based drummer Jordan Silbert, Young Prisms is not only back with new music, but reissues of their debut LP and sophomore LP In Between.

Young Prisms plays a fiercely loud and sneakily melodic brand of shoegaze that also traces along the edges of noise pop scrappiness and neo-psych dreaminess.

Fans of dream-pop, shoegaze, noise-pop, psychedelia, and love songs look no further than San Francisco’s Young Prisms.

Formed in the late 2000s by life-long friends Matt Allen and Giovanni Betteo alongside Stefanie Hodapp and Brooklyn based drummer Jordan Silbert, Young Prisms is not only back with new music, but reissues of their debut LP, Friends For Now, and sophomore LP In Between, which was originally released in 2012.

Young Prisms plays a fiercely loud and sneakily melodic brand of shoegaze that also traces along the edges of noise pop scrappiness and neo-psych dreaminess.

“Radiate Like This” - Warpaint’s much anticipated new record, not to mention their first in almost 6 years - arrives with its own very modern mythology intact, continuing the strange, brilliant, beautiful story of the band and quite neatly picking up where “Heads Up” left off. It’s an album that pulsates with ideas, energy and- most crucially – gorgeous melodies. Listen on in wonder. Pres includes Total Guitar - 3 page feature - April 2022 issue , Dork - 4 star album review. The band will have a UK tour in May. Available formats include releases on Black LP.

, Ivor Novello award-winning band The Feeling have announced a new chapter in their career with their sixth studio album, Loss. Hope. Love - out May 6th on Island Records - back where it all started in 2006 for their Top 3 debut album Twelve Stops and Home. Self-produced, predominantly at their East London studio during lockdown, Loss. Hope. Love is the sound of a band who have reconsidered their identity, taken control of their sound and embraced the Queen-esque theatrical elements of their DNA, recently realised by the success of Everybody’s Talking About Jamie. The Feeling return a whole new perspective. 15 years since their multi-million selling debut record Twelve Stops and Home - the new album is bursting with joy, but with the thread of melancholy that’s always been synonymous with their flawless songwriting.

Deutsche Grammophon honour the supreme artistry of Daniel Barenboim throughout the coming year as he approaches his 80th birthday next November. The anniversary celebrations of the great pianist and conductor’s remarkable legacy began on 31 December 2021 with the release of Debussy’s Clair de lune, one of the highlights of Maestro Barenboim’s first DG album of 2022. For this new record, specially recorded in Barenboim’s Pierre Boulez Saal in Berlin, the great multi-faceted musician lavishes his artistry on such gems as Debussy’s “Clair de lune”, Schumann’s “Träumerei” and an array of other masterpieces by Chopin, Schubert, Liszt and Albéniz and many more.

Spirituality, love, healing and the power of the spirit are themes that have been running through the music of Welsh artist Bryde for years. On "Still", she devotes herself to them again on a deeper level. So here she takes on the different ways of loving. The way we see love or fall in love is changing rapidly. On "Still" Bryde illuminates online vs. real life dating, as well as self-love and rom-com inspired swoons. An album that will keep us busy.

4 Of A Kind is the fourth studio album by the American crossover thrash metal band D.R.I. (Dirty Rotten Imbeciles), which consisted of Spike Cassidy, Josh Pappe, Felix Friffin and Kurt Brech. The album was produced by Bill Metoyer, who has recorded with Slayer, Morbid Angel and Hirax amongst others. D.R.I is fast as a Porsche and brutal as Thrash should be when it meets the roughness of Punk. 4 Of A Kind originally came out in 1988, only six years after the formation of D.R.I., and includes the track “Suit And Tie Guy”, which was the first track to get a music video.

4 OfAKind is available as a limited edition of 1500 individually numbered
copies on red & black marbled vinyl and includes an insert.

After John Squire left The Stone Roses, he formed The Seahorses in
1996 together with Stuart Fletcher, Chris Helme and Andy Watts. The year after they released their debut album Do It Yourself, which was produced by Tony Visconti. Visconti had his first hit with T. Rex’ “Ride A White Swan” and was involved in many David Bowie productions.

The album was well received and entered the UK Album Charts at
#2 and received a Platinum status. It featured three popular singles: “Love Is The Law”, “Blinded By The Sun” and “Love Me And Leave Me”. The latter was Liam Gallagher’s first song writing credit. Their success resulted in support slots with The Rolling Stones, U2 and Oasis. Unfortunately, The Seahorses aborded the recordings of their follow-up album to split up due to musical differences.

Do It Yourself is celebrating its 25th anniversary in 2022 and includes an insert.

Provogue / Mascot Label Group have three special vinyl reissues of
blues-titan Joe Bonamassa's back catalogue
'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
His fifth studio album, originally released in 2006, 'You & Me' has been
remastered from single to 180g heavyweight 2-LP transparent orange vinyl - on
coloured vinyl for the first time. When released it hit the #1 spot on the Billboard
Blues chart and featured a crack band of Carmine Rojas (Bass), Jason Bonham
(Drums), Rick Melick (Piano/Organ) and Jeff Bova (Orchestration). At the time it
was declared his best work to date by Allmusic and features his takes on
Led Zeppelin's "Tea for One," Sonny Boy Williamson's "Your Funeral and My Trial"
and Charley Patton's "High Water Everywhere" as well as Bonamassa originals
including "Bridge to Better Days" and "Asking Around for You."
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
The 2009 fan favourite and iconic 'The Ballad of John Henry' will be also available
on coloured vinyl for the first time, has been remastered on 180g heavyweight
2LP brown vinyl and includes a bonus track – B.B. King's "Chains and Things."
Bonamassa's seventh studio album saw him steamroll into another US Billboard
Blues #1 as well as it making waves across the charts around Europe. Well on his
way to becoming a superstar, several Bonamassa originals adorn the album as
well as covers of Tom Waits, Sam Brown and Ike & Tina Turner, highlighting the
sheer scope of his palette.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
It is in a live setting where Joe Bonamassa the performer really thrives and in May
2009, he played the historic Royal Albert Hall in London. It was an incredible
memory for everyone present and one of his greatest live performances has been
remastered on high- quality 180g heavyweight triple vinyl for the first time. The
majestic evening saw him glide through his back catalogue of original hits as well
as inspired covers and featured guest performances from Eric Clapton and Paul
Jones – truly a special night to savour.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Re-pressed: standard wallet, seafoam green vinyl, printed inner-sleeve

Residing now in Brighton, Bess grew up in the English countryside in a creative
family of songwriters and artists. Whilst her crystalline vocals draw favourable
comparisons to the likes of Marika Hackman and Julia Jacklin, her lyrics evoke
an imagery that often spins from the pastoral to the abstract. Handpicked by Lucy
Rose for signing to her own label Real Kind Records, tracks from the album are
already on high rotation at BBC 6 music.
Selected quotes:
'It's a stunner' - Chris Hawkins, 6Music
'Brilliant… does sound great' - Huw Stephens, 6Music
'One lovely thing this is… she has such a deft touch' - Steve Lamacq, 6Music
"Spectacular… One of the most unassuming yet remarkable young artists in the
UK, she has made a record so intimate that by the closing song she seems like an
old friend" - The Independent
"Brighton's Bess Atwell is a rare talent, a singer-songwriter whose languorous
voice sits midway between Lana del Rey's hazy delivery and Emmy the Great at
her most broken-hearted. ...she's that rare thing in the post-Ed Sheeran age, a
singer-songwriter worth keeping an eye on." - The Arts Desk
"What a cool, assured and lovely thing the second album from the Brighton
singer-songwrier is. What marks her out is her ear for a phrase and music that
can pierce the heart." - Metro
"Her vocals resemble Lana Del Rey with a greater twist of passion, marking her as
one of the most exciting young talents in English indie folk." - Clash

Re-pressed: standard wallet, seafoam green vinyl, printed inner-sleeve

Residing now in Brighton, Bess grew up in the English countryside in a creative
family of songwriters and artists. Whilst her crystalline vocals draw favourable
comparisons to the likes of Marika Hackman and Julia Jacklin, her lyrics evoke
an imagery that often spins from the pastoral to the abstract. Handpicked by Lucy
Rose for signing to her own label Real Kind Records, tracks from the album are
already on high rotation at BBC 6 music.
Selected quotes:
'It's a stunner' - Chris Hawkins, 6Music
'Brilliant… does sound great' - Huw Stephens, 6Music
'One lovely thing this is… she has such a deft touch' - Steve Lamacq, 6Music
"Spectacular… One of the most unassuming yet remarkable young artists in the
UK, she has made a record so intimate that by the closing song she seems like an
old friend" - The Independent
"Brighton's Bess Atwell is a rare talent, a singer-songwriter whose languorous
voice sits midway between Lana del Rey's hazy delivery and Emmy the Great at
her most broken-hearted. ...she's that rare thing in the post-Ed Sheeran age, a
singer-songwriter worth keeping an eye on." - The Arts Desk
"What a cool, assured and lovely thing the second album from the Brighton
singer-songwrier is. What marks her out is her ear for a phrase and music that
can pierce the heart." - Metro
"Her vocals resemble Lana Del Rey with a greater twist of passion, marking her as
one of the most exciting young talents in English indie folk." - Clash

Northlane are a chart topping, award-winning metal band from Sydney,
Australia
Their new offering, Obsidian, is their most expansive and dynamic album yet. Selfrecorded and self- produced, the sound Northlane have been working towards
over the span of their career has been fully realised on Obsidian.
Sonically spanning the gamut of their entire discography, Northlane's trademark
heavy comfortably coexists with techno, drum and bass, intriguing synths,
perplexing time signatures and widescreen choruses. It's this fearless evolution
that keeps them light years ahead of everyone else in heavy music.

Shadow Kingdom Records is proud to present Tyrant 'Too Late To Pray on
Bloody Grave colored vinyl
In the 80's they were on the classic Metal Blade Records!
Released two years after "Legions of the Dead", this album is Tyrant's second full
length. Bursting of brilliant, heavy/ power metal riffs, mixed with some slower
cuts; it has a totally unique sound that will draw you back again and again.
Highlights of the record are the fist- pumping heavy metal anthems such as
""Valley of Death"" and the crushing ""Eve of Destruction"". With Glen May's cryptic
screams and Rocky Rockwell's heavy Sabbath influences, you too will be drawn in
this epic heavy metal gem!"

Within 11 seconds of clicking “play” on “Lava Lamp Pisco” it’s instantly
apparent why Night Gnomes, the latest album from Psychedelic Porn
Crumpets might be their greatest offering yet
The track is a riffy monster that delivers a much- welcome Black Sabbath- style
slap to the head. It’s big, shiny, sleek and irresistible. It’s Psychedelic Porn
Crumpets giving their best and Jack McEwan the band’s fearless leader has the
battle scars from the four-second harmonica solo to prove it. “I hadn’t blown the
harmonica in five years. It was just sitting on my desk,” he recalls. “The first thing I
did was suck in all this dust, and I couldn’t talk for like a day. Afterwards, the rest
of the band was like, ‘You have to scrap that. It’s so cheesy.’ Anyone under 30
hates it, but it has the dad-rock vibe, so I kept it in.”
That devil-may-care spirit is present on each and every song on Night Gnomes.
With guitarist Luke Parish, drummer Danny Caddy, bassist Wayon Billondana and
multi- instrumentalist Chris Young by his side, McEwan bunkered down in his
home studio, creating a sonic pastiche that almost sounds like turning the dial on
a temperamental old radio every few minutes.

The Yorkshire songwriter's stirring sophomore release 'if only it was
alright now' acted as an impressive bookend for the Beech era landing
him a feature on Atwood Magazine's 'Artists to Watch for 2021' citing him
as "uniquely visceral and vulnerable"
The track also received appraisal from the likes of BBC Introducing, landed a spot
on Spotify's 'Fresh Finds' editorial playlist and the wordsmith's latest single
'something', released February 2021, has quickly become his greatest success yet
with Radio X's John Kennedy declaring the track "absolutely fantastic".

With her latest work, the TOKUNBO delivers a warm-hearted blend of folk
and jazzy pop, with a cheeky hint of country
An album like a golden autumn day. She wrote the eleven tracks for “Golden
Days” during Lockdown 2020, when the musician had to cope with both the
unpredictable situation as an artist as well as a young mother – challenging, yet
also inspiring weeks and months.
Thrown back on herself, she conjured up the new songs from memories, thoughts
and wishes. Music for the soul, earthy, luminous and gentle, which wraps itself
around the listener like a soft blanket and lets him see the beauty in this
sometimes dark-looking world.
The album is also a stylistic salute to the classic songwriters of the 70s such as
The Carpenters and Carol King. TOKUNBO sounds grounded, and at peace with
herself and the world.

The impressive new LP from Cypress Hill, Back In Black, is the group's
10th studio album - They are arguably one of the most successful hiphop groups of all time, celebrating 30 years of non-stop touring
They are the biggest-selling Latin hip-hop group in the world and the first hip-hop
group to have sold multi- platinum albums, having sold over 30 million albums
worldwide.Cypress Hill are considered to be among the main progenitors of West
Coast and 1990s hip-hop, and the group has received critical acclaimed for their
first five albums. As well as this, all of the group members advocate for and are
very vocal about the medicinal and recreational use of cannabis in the United
States. In 2019, Cypress Hill became the first hip-hop group to have a star on the
Hollywood Walk of Fame.

Cypress Hill will join heavy metal giants Slipknot on the 2022 Knotfest Roadshow
(April 2022 tour).

Famed free jazz concert registration of an early New Direction for the Art performance. Recorded in 1971. Old-style Gatefold LP, with rare photographs & extensive liner notes by Alan Cummings.

The performance by Takayanagi Masayuki New Direction for the Art at the Gen’yasai festival on August 14, 1971 was an intense, bruising collision between the radical, anti-establishment politics of the period in Japan and the febrile avant-garde music that had begun to emerge a few years before. The ferocious performance that you can hear here was received with outright hostility by the audience, who responded first with catcalls and later with showers of debris that were hurled at the performers. Takayanagi though described the group’s performance to jazz magazine Swing Journal as a success, “an authentic and realistic depiction of the situation”.

In 1962, Takayanagi, bassist Kanai Hideto and painter Kageyama Isamu went on to form an AACM-style musicians’ collective called the New Century Music Research Institute. Every Friday, members gathered at Gin-Paris, a chanson bar in the fashionable Ginza district of Tokyo, to push the outer limits of jazz creativity.

But the pivotal moment for his music was the creation a new trio version of his New Directions group in August 1969, with the free bassist Yoshizawa Motoharu and a young drummer Toyozumi (Sabu) Yoshisaburō. Experiments eventually led to the creation of two basic frameworks for improvisation that Takayagi referred to as Mass Projection and Gradually Projection.

“La Grima” (tears), the piece that was played at the Gen’yasai festival, is a mass projection and listening to it, you can get a clear sense of what Takayanagi was aiming at. Mass projection involves a dense, speedy and chaotic colouring in of space that destroys the listener’s perception of time, and thus of musical development.

The ferocity of the performance of “La Grima” at the Gen’yasai Festival in Sanrizuka on August 14, 1971 was consciously grounded by Takayanagi in a particular historical moment, ripe with conflict and violence. A month after the festival, on September 16, three policemen would die during struggles at the site. This was the context that the three-day Gen’yasai Festival existed within. The line-up reflected the radical politics of the movement, with leading free jazz musicians like Takayanagi, Abe Kaoru, and Takagi Mototeru appearing alongside radical ur-punkers Zuno Keisatsu, heavy electric blues bands like Blues Creation, and Haino Keiji’s scream-jazz unit Lost Aaraaff.

New Direction for the Arts trio topped the bill on the opening day, playing an aggressive, uncompromising “mass projection” set of polyphonic improvisation. Alongside drummer Hiroshi Yamazaki and saxophonist Kenji Mori, Takayanagi soloed hard and continuously for forty minutes. This was performance as precisely calibrated metaphor: three musicians responding to the demands of the moment with instinctive force and fury, untethered by rules, leaderless yet not rudderless (the direction part of the group’s name was no accident). The piece was entitled La Grima – tears - and the fusion between the palpable anger of the performance and hopeless sadness of its title were also perfectly apt for the situation. This was a fight that the state was always going to win. Yet, by all accounts, the band’s set went down like a fart at a funeral. The band were showered with catcalls and debris throughout, and by chants of “go home” when the music finally came to an end.

However, looking back at the event in the year-end issue of Japan’s leading jazz magazine, Swing Journal, Takayanagi was surprisingly upbeat: New Directions brought a solid political consciousness to our performance and succeeded in an authentic and realistic depiction of the situation. But journalism revealed its superficiality in its inability to penetrate the core of the music. I don’t know much about anyone else, but we at least left behind a competent record.

It’s a fascinating statement in many ways. Perhaps on one-hand it can be read as stubborn, solipsistic and self-justifying, yet in conjunction with his statement in 1971 there are points that guide us towards an understanding of just what Takayanagi intended with his performance at the festival. As Kitazato Yoshiyuki has argued, it becomes an almost religious act, directed at the earth deities of the land. A union of anger, sorrow and malevolence that can be placed nowhere effective, all it can do is find expression and channeling. The forcible land seizures at Narita, the eviction of farmers from land that had been in families for generations, the destruction of communities: none of this can be prevented, not least by an artistic action. All that can be done is an attempt to mark the land itself, to soak it with the combined force of emotions and the volume of the performances, to bury something there that cannot be drowned out, even by the coming roar of jet engines.

Ferocious JP / US free jazz bomb. A rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs & liner notes by Alan Cummings.

Following hot on the heels of the first, mid-sixties generation of Japanese free jazz players like Kaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa, etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist Kazutoki Umezu and multi-instrumentalist Yoriyuki Harada. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. They first met as students in the clarinet department at the Kunitachi College of Music, a well-known conservatory in western Tokyo. Harada was already securing sideman gigs on bass with professional jazz groups and was active in student politics, making good use of his connections to set up jazz concerts on campus. It was around this time that the two began to play together in an improvised duo, with Umezu on clarinet and bass clarinet and Harada on piano. They also experimented with graphic scores and prepared piano.

These experiments eventually led to the creation of a trio, with a high-school student called Tetsuya Morimura on drums, that they decided to name Seikatsu Kōjyō Iinkai (Lifestyle Improvement Committee) in joking reference to the Marxist discourse of the student radicals of the time. Around 1973, Umezu and Harada decided to call it a day and go their separate ways. Umezu began playing with the Toshinori Kondo Unit and Harada with the Tadashi Yoshida Quintet. In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan.

Then, in September 1974 Umezu travelled alone to New York, where he set about building connections with the loft jazz scene in the city. It was a fortuitous moment to arrive in New York. Rents were cheap in the Lower East Side, possibilities for squatting existed, so many musicians and artists had moved to the area. Umezu soon became known on the scene as Kappo and he started to make connections with some of the young musicians like David Murray, Arthur Blythe, and Oliver Lake. He recalls making the rounds of the lofts every evening, checking out the performances, and getting the chance to sit in with many groups including Juma Sultan’s Aboriginal Music Society and trumpeter Ted Daniel’s orchestra.

Things were going so well that Umezu wrote to Harada and invited him to come to New York. He accepted and arrived in the city in July 1975. Harada and Umezu took the opportunity to resume their artistic collaboration. Their first concert together in over two years took place on July 20th at another loft, Sunrise Studios at 122 2nd Avenue. Umezu remembers Sunrise as an unusually sunny loft with the rarest of things, a grand piano. He invited along Ahmed Abdullah, a trumpeter he had got to know while playing with Ted Daniel. Abdullah led his own group and was a long-term Sun Ra sideman. William Parker, one of the key figures in the loft jazz scene of the period, was on bass. Abdullah also brought along Rashid Sinan on drums. Sinan drummed in Abdullah’s units throughout the seventies, but he had also played on Frank Lowe’s immortal Black Beings album and collaborated with Arthur Doyle, playing on Doyle’s Alabama Feeling album. By all accounts the evening was a huge success, with speed and dynamism of Harada’s piano playing gaining him lots of support.

Since they had managed to save some money from their day jobs, Umezu and Harada decided to set up a recording session with the same line-up on August 11 at Studio We, where there was a well-equipped studio on the third floor. Umezu recalls the session as follows, Of course, we recorded our performances in one take, with zero retakes as far as I remember. On all the tracks we recorded, we moved as one unit, sharp and fast. That was the nature of Lifestyle Improvement Committee, New York Branch.

Umezu and Harada would later become known for the elements of parody and entertainment that they brought to their music, a freewheeling blend of pastiche, humour and on-stage performativity that paralleled the approaches of the Art Ensemble, Sun Ra, and Holland’s ICP. But here, on their first recordings, the humour element is not yet present. Instead, there is a febrile sense of joy in creation and connection. On the Umezu-penned “Kim”, for example, Harada opens the piece with a speedy exploration of the full-range of the keyboard, hitting hard on the bass keys to create a rhythmic bed out of which patterns begin to emerge. Umezu enters at a much slower pace, longer held notes that at first float weightlessly over the urgency of the piano before they begin in splinter and accelerate. When Parker and Sinan kick in, it’s a rollicking tempo with Parker plucking deep and hard and the left-handed Sinan skittering hard across the topside of his kit. Abdullah kicks in a glorious solo twelve minutes in, bright and breathy at once. The piece slows and grows more spacious towards the end, giving Parker a chance to showcase some arco work that shades beautifully into the air against Abdullah’s trumpet.

Tibor Szemző's new LP features two composition, »The Other Shore« & »CUBA«. As the album title implies, »Snap #2« can be considered a sequel to his cult album »Snapshot from the Island« (released in 1987). Back then the island was a metaphor for isolation, while »Snap #2« offers Szemző’s reflections of his visits to real islands, Cuba (1988-1990) and Japan (1992-1994). As usual, Tibor Szemző processed the themes both visually and musically and has presented them many times live as cinematographic performances.

A previous version of »The Other Shore« was released in 1999 on CD. On this album, the original recording from 1997 is used; it has been recomposed, remixed and remastered and some additional recordings have been included. The core of Szemző’s Gordian Knot ensemble of the mid-nineties (Tibor Szemző on bass flute, Péter Magyar on drums and Tamás Tóth on bass guitar) has been enlarged by a string section and additional percussionists. The Other Shore composition has a multilayered texture; it starts with strings and is followed by prerecorded voices reciting the Sutra of the Lotus Flower of the Wonderful Law (Myôhô-Renge-Kyô in Japanese), the most important sutra of Mahayana Buddhism. Then percussion introduces the basic beat of the piece and the voice of the 102 year-old Buddhist priest Ônishi Ryôkei giving a lecture on Kannon sutra is heard. The following uneven entries of drums and bass guitar are like paint brush strokes in Zen calligraphy. The long tones of Szemző’s bass flute enters the piece as the last element suggesting itself as a connecting thread through all previous layers.

When Tibor Szemző first visited Cuba in 1988, he had just started shooting film on 8mm, something of a personal diary. When he met Jonas Mekas in Budapest a few years later, he realized that this footage could be screened publicly and also be an integral part of live performances. »CUBA« is the recording from 2000 of one such performance and was remixed by the author in 2021. It is as similar to and yet different from »The Other Shore«. The Gordian Knot band seemingly structures the piece in the same way, but the resulting sound is much heavier especially thanks to drummer Péter Magyar. Nevertheless, the contributions of Szemző on bass flute, Mihály Huszár on electric bass and T. Bali on prepared electric guitar also inject the proper rock sting. Incorporated Havanna street sounds and local radio broadcasts recorded by the author provide even more steamy roughness to the sound of Szemző’s »CUBA«.

The cover design of the »Snap #2« with photo reproductions from Szemző’s films reflects the aesthetics of the Snapshot from the Island album. This vinyl LP runs at 45 RPM for better sound quality.

Tony Rolando's debut »Breakin' Is A Memory« could be your soundtrack. This worldbuilding album of electronic music leaves room for the listener to make big personal connections through subtly complex music resembling a sonic mobile which, as it spins, reveals new forms and colors. This is a collection of very human music with a deceptive simplicity and relaxed intensity. RIYL early OPN, Alessandro Cortini, Caterina Barbieri, Tangerine Dream.

These is cleverly assembled music that you want to flip over and play again, like Rolando's recent cassette on Imprec's Cassauna label. As with all Imprec vinyl releases, great care has been taken to ensure that this is a high quality pressing with low noise floor and loads of sonic detail.

On "Breakin' is a Memory" Tony Rolando invites the listener on tiny adventures questing insignificant treasures. Minimal percussion only suggests rhythm, allowing your mind to wander the crystalline lattices Tony weaves from handfuls of simple arpeggios. Soft analog bass frequencies make your travels more comfortable and the Strega instrument, a recurring recognizable character, is there to lead when you are too lost. The pace of "Breakin' is a Memory" oscillates from restless roadway motion to meditative exploration. The record closes with a celebratory decimation of the graphic memories of these tiny adventures. Play it again to rekindle them.

For more than a decade, Tony Rolando has composed electricity into musical instruments at Make Noise. When he collaborated with Alessandro Cortini in 2019 to create the Strega instrument, the experience rekindled Tony's love of composing and recording music. In 2021 he released "Old Cool Echoes" with IMPORTANT Records/ Cassauna. A third release of music composed entirely for the Shared System instrument he designed will follow later this year.

"Every 4,044 years comet Calanhi enters the inner solar system, returning from its long and silent voyage through the Oort cloud. As it approaches perihelion, billions on Earth gaze into the night sky, transfixed by the celestial spectacle of their lifetime. While solar winds tear at the comet's surface, deep inside the glowing ball of ice, ancient machinery springs to life..." Over the past five years Daniel Lodig and Martin Sovinz aka /DL/MS/ have been continually commuting through the electro singularity, constructing their unique brand of fragile bass music from extradimensional sound salvage, and spreading their frequency patterns via the subspace channels of Frustrated Funk, Pomelo, and TRUST. 'Calanhi' is the Viennese duo's debut album - 12 tracks that combine the eternally fresh aesthetics of Detroit-style electro with a relentless curiosity for rhythmic and harmonic experimentation. Seismic club thumpers like 'Invisible Bits', 'Mountains', and 'Trusted Funk' alternate with moody ambient interludes, boldly constructed beat inventions, and blissfully melodic acid breaks. Two collaborations further switch up the flow: Nigerian artist G.Rizo (Hezekina Pollutina, Deejay Gigolo) drops her cryptic rhymes on 'Divide & Conquer', and Spanish singer Xx Isis xX provides vocals for 'Accelerated Frequency'. Mastered by Keith Tenniswood aka Radiocative Man. Sleeves designed by dextro_org. Vinyl version ships with postcard and Bandcamp download code.

New York-based duo Bottler, Pat Butler and Phil Shore, are the vanguard of their own distinctly eclectic sound. Raw, emotive, bold and highly creative, the duo has successfully carved out their own path with a series of EPs that represent the broad scope of their production prowess. Over the last five years Bottler have been working on their debut album, ‘Journey Work’, a milestone achievement that marks a pivotal moment in their music career. The LP is a distillation of the duo’s multifaceted upbringing, blending a variety of styles together bound together by an overarching attitude and approach that embraces creative freedom and self-acceptance.



Pat and Phil are childhood friends whose bond is akin to that of blood relatives. Their parents are best friends and they grew up side by side, developing their deep love for music together; sharing discoveries and inspirations, learning to play and perform, and nurturing their creativity together. Now formally ordained as Bottler, they channel their eclectic tastes into a sound that encapsulates the love and trust that forms the foundation of the friendship. The duo blends a myriad of styles to create songs that emanate warmth, joy, sorrow, pain and the full spectrum of human emotion.



The album title, like their music, is open to interpretation. The duo reveals themes related to chronicling life’s many ups and downs, the deep preparation that must be taken ahead of a spiritual ceremony or psychedelic experience, and, simply, the journey taken during the conception and creation of an album. A quote from Walt Whitman also partly inspired the title; “every leaf of grass is no less than the journey work of the stars”. However, the intention behind the title is to allow for ambiguity, giving the listener an opportunity to write their own narrative.



Across 11 cuts Bottler illustrate their distinct take on electronic music, weaving in elements of indie, pop, rock, house and techno with confidence and panache. ‘Journey Work’ starts at ‘Home’, a song that is fizzing with positive energy, Pat’s vocals welcoming the listener to the start of this meandering audio adventure.

‘Chrysalis’ opens with delicate piano keys that guide us into a bombastic bassline and energising drum beats. As it progresses, scintillating layers of synth and strings are added, creating a highly affecting, uplifting atmosphere.



‘Melatonin’ follows up next, merging heartfelt vocal delivery with a sombre instrumental, and a stirring guitar riff. A glorious demonstration of Bottler’s songwriting capabilities, which are also evident on ‘Vinyl’, an uptempo dance number with an unbelievably catchy chorus. Here we see the duo channel their experience of playing in multi-member bands, as the breaks and arrangement feel perfectly suited to a festival-sized crowd.



On ‘Tacoma’, Pat and Phil channel their appreciation of house and techno into a haunting cut that utilises reverse strings and extended vocal refrains to chilling effect. A heady club track for the twilight hours. ‘Meds’ incorporates muted singing, mystical pad work and a mesmerising riff to produce a captivating slice of uncomplicated dance music.



This is followed by ‘Hot Water’, which feels like a trip to a Californian beach, circa 1965. The vocals drift over a bouncing bassline with a complementary guitar riff. ‘Mako’ features Samurai Velvet singing about fireflies and afterlife in a wonderfully heartrending manner, Bottler’s instrumental keeping things simple, yet highly effective.



We head back underground with ‘Weed’, a dense, gloomy cut with inspired use of chopped up vocal clips, stuttered throughout, alongside a mean bassline. ‘You’re Old’ is the soundtrack to an explosion of festival euphoria, dancing shoulder to shoulder with your best friends, forgetting all your troubles and living in the moment. An anthemic song that transposes Bottler’s idiosyncratic style onto the pop blueprint. Finally, ‘Cicada Rhythm’ closes the LP with a pensive, yet joyful feeling. A chunky bassline is juxtaposed with Pat’s angelic vocals cascading over the top. A hint of tribalism comes through, as we approach the end of the Journey Work…



Five years in the making, fuelled by the desire to express their deep love for music of all varieties, Journey Work is symbolic of the long road it takes to accept oneself and be comfortable expressing one’s truth. Diverse, dynamic and daring with a rawness and honesty that is rare to find, the album marks a triumphant debut for Bottler and one that crystalises their unique identity.

It is widely accepted that the recorded musical output of Indian-born British guitarist Amancio D'Silva came to a premature closure with the landmark 1972 albums,Cosmic Eyeand the unreleased masterpieceKonkan Dance.The Roundtable are here to prove otherwise, announcing the discovery of an extraordinary lost recording. Forty years after it was recorded we proudly presentSapana, the forgotten piece of a remarkable musical legacy, the final recording from one the most singular artists to emerge from the British Jazz scene of the 1960s/70s. Recorded in 1983 and released here for the first time,Sapanais thematically akin toCosmic Eye,a further musical impressions of the subconscious (Dream Sequences), vividly imagined with traditional Hindustani and western improvisation. A spellbinding fusion of Indian raga and New-Age jazz.

Celebrated as a pioneer of the 'Indo-Jazz' movement of the 1960s, D'Silva's adventurous synthesis of modal jazz and Indian classical music defined the seminal 1969 Lansdowne jazz recordingsHum DonoandIntegration. Here we find D'Silva fifteen years later, removed from the jazz scene and musically in place of deep introspection and meditative tranquility. The recording features Sitarist Clem Alford, a collaborator from theKonkan Dancesessions plus renowned Tabla player, Jahlib Millar and Saxophonist/Flautist Lyn Dobson, a musician who had previously worked with Soft Machine, Third Ear Band, and Henry Lowther. Together the quartet construct a deeply evocative set transcending the realm of both jazz and Indian music. Pressed on 180g vinyl and packaged in a custom flip-back sleeve.