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Als BBC Radio 1's Breakthrough Artist Of The Year 2021 tragen TSHA's DJ-Sets eine strahlende, zukunftsorientierte Energie in sich, während sie gleichzeitig Vintage-Dancefloor-Sounds und den klassischen Raver-Spirit atmen. Die Idee von Acid House (siehe Smiley-Artwork) und der Old-Skool-Rave-Kultur sowie das Ethos von Frieden und Liebe haben die junge DJ/Produzentin zu ihrer 'fabric presents' Arbeit inspiriert, die Rave, 90er Dance, House, Techno, UK Garage, Soul, Grime, Disco und Bassmusik sowie ihr eigenes Exklusive 'BOYZ' umfasst. Dabei spiegeln viele aufstrebende Künstler in ihrem Mix den unverkennbar britischen Clubkultur-Sound wider, dem sie mit diesem Werk Tribut zollt.2LP auf smiley-gelbem Doppelvinyl mit DL-Code.

ltd. dubplate / full colour sleeve / hand-stamped

Out-ER is delighted to celebrate ten years with a peculiar compilation featuring a group of artists who contributed to create the label crew and sound. For the last years, we have been a recurring platform for the music of the founders and few label adepts, welcoming old school overseas artists as well as talented ones. This will be the last release of the OUT-ER label.

We will continue our sound research, releasing electro- acoustic music and ambient albums with our sister label Pregnant Void. An heartfelt thanks to every artist, friend, supporter and promoter for supporting and believing in our vision and love for music during last 10 years. The compilation will be released in digital format with a single tracklist while on vinyl it will be split on two records.

Liam Gallagher is not the kind of artist who was going to be stopped by the sizeable problem of not being able to play to an audience during lockdown. So when the idea of playing a playing and filming a live stream show came up, he looked at the precedent set by the Sex Pistols and The Clash and decided to hit the River Thames, armed with a boatload of attitude, a phenomenal live band (including Bonehead) and an arsenal of classic songs.



The show has been captured in full on the new live album ‘Down By The River Thames’, which will be released on May 27th via Warner Records.



Originally streamed on December 5th 2020, the show became one of the most memorable performances of the lockdown era. From iconic Oasis favourites (‘Supersonic’, ‘Cigarettes & Alcohol’) to big hitters from his two all-conquering #1 solo albums (‘Wall of Glass’, ‘Once’), Liam’s inimitable snarl boomed across the Thames and dominated London’s gloomy winter skyline. There were plenty of welcome surprises too: debut solo performances of the Oasis songs ‘Hello’, ‘Fade Away’ and ‘Headshrinker’, and the first live version of ‘All You’re Dreaming Of’. Liam’s voice is absolutely on point throughout, with a full-throttle snarl of anger and attitude that doesn’t compromise any of the finesse of the studio recordings.



Liam commented, “So here it is, the gig they said we could never pull off! As we were in lockdown, bored and depressed, rock ‘n’ roll came to save the day once again. It was a top night and a top gig and it’s captured here on record for you to all enjoy.”



‘Down By The River Thames’ is now available to pre-order now. It will be released on orange double-vinyl, CD and digital formats. The CD and download formats will be available at a special price of £5.



‘Down By The River Thomas’ provides a timely reminder of Liam’s live experience, which returns this month when he headlines a Royal Albert Hall show for the Teenage Cancer Trust. It will be followed by his summer UK headline tour, which includes two nights at Knebworth Park – all 160,000 tickets sold-out in a matter of moments – as well as other mammoth outdoor shows in Manchester, Belfast, Glasgow and Dublin. Please see his website for a full list of his international tour dates.



Liam will also release his eagerly anticipated third studio album ‘C’MON YOU KNOW’ on May 27th. Previewed by ‘Everything’s Electric’, the biggest solo hit of his career so far after hitting the Top 20, the album is available to pre-order now.

With a signature sound signified by lockstep rhythms & a deep grasp of soul and funk, Orgone has built a reputation over the past 2 decades as being one of the tightest, fieriest live bands in the country & a top notch crew in the studio. On their new album Lost Knights, Orgone offer up a collection of heavy-duty psychedelic funk-rock anthems created to be played loud and raucously. The release features lead vocal contributions from Orgone's ever expanding extended family of some the finest soulful singers on the West Coast - Terin Ector, Jamie Allensworth, Phil Diamond, with special appearances from Jesse Wagner (The Aggrolites) and Kelly Finnigan (Monophonics). A first of sorts, for the band, in featuring an all male fronted lineup on an album.The tough, punchy, & hard hitting production highlights a body of work both "head banging"-ly satisfying and eminently groovy. Opener "Working for Love" rolls out the gate with a crunchy drum break and slams into a heavy guitar and bass riff behind Ector's call to loving arms & irresistible singalong chorus. The rest of the album thunders on with Funkadelic-style guitar and gloriously gritty hammond organ percolating through timely songs of protest, brotherhood, unity, reverence & loss. Instrumentals "Samson" and "Crusader" round out the record, highlighting the trademark Orgone sound; instantly classic & dusty, at times chunky, at times sprawling; always on point. Lost Knights is ultimately a fun record- an expansion of a profound part of the band's DNA, their exploration of the cosmic haze between early Westbound catalog, 70s garage rock, skateboards, & the muscular power of a metallic crimson `68 Chevy Camaro. With racing stripes...

With a signature sound signified by lockstep rhythms & a deep grasp of soul and funk, Orgone has built a reputation over the past 2 decades as being one of the tightest, fieriest live bands in the country & a top notch crew in the studio. On their new album Lost Knights, Orgone offer up a collection of heavy-duty psychedelic funk-rock anthems created to be played loud and raucously. The release features lead vocal contributions from Orgone's ever expanding extended family of some the finest soulful singers on the West Coast - Terin Ector, Jamie Allensworth, Phil Diamond, with special appearances from Jesse Wagner (The Aggrolites) and Kelly Finnigan (Monophonics). A first of sorts, for the band, in featuring an all male fronted lineup on an album.The tough, punchy, & hard hitting production highlights a body of work both "head banging"-ly satisfying and eminently groovy. Opener "Working for Love" rolls out the gate with a crunchy drum break and slams into a heavy guitar and bass riff behind Ector's call to loving arms & irresistible singalong chorus. The rest of the album thunders on with Funkadelic-style guitar and gloriously gritty hammond organ percolating through timely songs of protest, brotherhood, unity, reverence & loss. Instrumentals "Samson" and "Crusader" round out the record, highlighting the trademark Orgone sound; instantly classic & dusty, at times chunky, at times sprawling; always on point. Lost Knights is ultimately a fun record- an expansion of a profound part of the band's DNA, their exploration of the cosmic haze between early Westbound catalog, 70s garage rock, skateboards, & the muscular power of a metallic crimson `68 Chevy Camaro. With racing stripes...

Joona Toivanen Trio makes their We Jazz Records debut with their new album "Both Only", out 25 Feb 2022. A landmark work for the long standing group, the album showcases a new sound for the band, trekking deep into new ideas for an acoustic jazz piano trio. Since their formation as teenagers in mid-1990's, the trio of pianist Joona Toivanen, bassist Tapani Toivanen and drummer Olavi Louhivuori (of Superposition, Ilmiliekki Quartet and Linda Fredriksson "Juniper") has developed their remarkably coherent band sound step by step, touring the world over. Nowadays, the trio is geographically split between Gothenburg, Sweden (Joona), Copenhagen, Denmark (Tapani), and Helsinki, Finland (Olavi), but the unit has never sounded so together as one, and as adventurous as on "Both Only".

"Both Only" by Joona Toivanen Trio is a cocoon, a welcoming shelter of sound that opens up naturally for the listener to inhabit. The album is moody and introspective, even dark at times, but by the time you get to the closing track, "This and This", you'll likely notice something hopeful brewing up. This is not music dealing with nostalgia or a world lost. Instead, it's a body of work with delicate dynamics, taking a minute just to listen and to look inwards to learn something, to move forward.

The first single "Enlightened" is perhaps the most traditional piece on the album, yet it flows like a vessel beyond genre, conveying a mood, a feeling and an idea. Listen to how the piano, bass and drums discuss, how the groove moves with the instruments having their clear roles but also supporting each other and documenting a musical aging process exactly as that of a quality bottle of red wine. As a song like "Direction" proves, the melody is there all the way, yet there is nothing obvious about how it's carried by the trio. Things remain surprising, fresh and moving at all times. "Except For" keeps its intensity, while nearly erupting into a full on 4-to-the-floor banger. Nearly! The key here is how the energy sustains itself, building the intensity within the music.

"Both Only" is a powerful statement from a band ready to renew itself time and again, and one willing to do it slowly, outside of the hype. This process makes the impact enduring, nuanced and lovely.

WJLP37 Joona Toivanen Trio "Both Only" is available on vinyl as a black vinyl edition and as a LP+7" bundle also including WJ0716 "Except For (7" Edit)" / "Keyboard Study No. 2".

“More excellent poetic soundscapes from We Jazz! Love the flow through the tracks here – textural pieces moving into more rhythmic jazz abstractions. Beautifully recorded too.”
Quinton Scott — Worldwide FM

“Following on from the excellent Linda Fredriksson album We Jazz extend the journey with this innovative Joona Toivanen Trio set.”
Paul Bradshaw — Straight No Chaser

“You’ll look in vain here for extravagant splashes of color or bright swathes of sound, but what you will discover are a finely-chiselled set of compositions that make the most of the trio’s limited palette: flint-sharp melodies hewn from the ice, crisp and crackling rhythms.”
Cal Gibson — Ban Ban Ton Ton

“Incredible album from Joona Toivanen Trio and a strong start to the new year from We Jazz.”
Kerem Gokmen — Dubmission

“Encapsulating a new movement in jazz.”
Jay Scarlett — Sounds Supreme

“Interesting listen on the shortest day of the year. They have a very definite and saturated style.”
John Chacona — All About Jazz

“Airplayed the track”
Tom Ravenscroft — BBC6 Music

“Jazz album of the year released already in February?”
Ralf Sandell — Hufvudstadsbladet

“★★★★★”
Iida Simes — Voima Magazine

Modest techno for mindful people, second edition. Luise is glad to present Arutani‘s newest album, a true evolvement of its prodecessor. Still true to the artist‘s handwriting, with a minimal and subtle character, hinting details and bold elements. However even more a unique listening experience and a sta- tement on its own.

Imperial Tiger Orchestra's Mercato 12th years Anniversary Edition includes the best of both albums Mercato & Addis Abeba remastered with bonuses live recordings in London, Paris, Addis, Tokyo & Cape Town.

Imperial Tiger Orchestra, the finest connoisseurs and grooviest performers of Ethiopian music from the Golden Age.

Back in 2007 in underground Geneva, band leader Raphaël Anker decides to gather musicians for a one off live performance revisiting the golden age of Ethiopian music.
A memorable event that forced all the musicians to carry on.
As Imperial Tiger Orchestra.

Consisting of members with very diverse backgrounds (free jazz, noise experimentations, contemporary music, twisted pop…) the Orchestra soon travels to Addis-Abeba where they perform with local luminaries and deep learn about the large diversity of Ethiopian music.
A life-changing experience which brings them back to the studio and to a plethora of successful gigs around Europe, Eastern Europe, Japan and Africa.

The Tiger's unique sound is a mesmerizing re-interpretation of Ethiopian music's golden age mixed with the digitalized themes that appeared in the 80s and filtered through their eclectic influences, a sort of retro-futuristic and progressive Ethiopian rock. This Anniversary edition brings back thunderous rhythms and feverish hooks, down tempo moments and fast paced epiphanies, electronic sounds and ambient nirvanas.

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wAFF takes charge of the second release on his new Nature label with four stylish new cuts.

First up is Mesmerized feat. Shyam P, a slinky seven minute deep rolling tune with subtle synth craft and airy hi hats. A vocal adds an extra hypnotic layer and then SummerZ is another seductive sound with warm chords smeared over a killer groove. It's got a summery vibe but will also pump the party. To The Floor then cuts loose on nice boom bap drums, with vocal and chord stabs adding detail and its easy to see this one making its mark in the club. Slut Drop closes out with an infectious and rubbery bassline and rich chord work. It's heartfelt and full of soul.

This is a fresh sound as ever from wAFF.

A1. DA SHAKE
A synthesizer-based production machine that turns inspiration into sound at maximum speed
recorded or extract (a small piece of music or sound) digitally for reuse as part of a composition or song like this one.

A2. GARDEN OF EDEN
In Abrahamic religions, the Garden of Eden (Hebrew: גַּן־עֵדֶן, gan-ʿĒḏen) or Garden of God (גַּן־יְהֹוָה, gan-YHWH), also called the Terrestrial Paradise, is the biblical paradise described in Genesis 2-3 and Ezekiel 28 and 31.12
The location of Eden is described in the Book of Genesis as the source of four tributaries. Among scholars who consider it to have been real, there have been various suggestions for its location:3 at the head of the Persian Gulf, in southern Mesopotamia (now Iraq) where the Tigris and Euphrates rivers run into the sea;4 and in Amnesia Ibiza

B1. HOLLOW
The foulest stench is in the air
The funk of forty thousand years
And grizzly ghouls from every tomb
Are closing in to seal your doom
And though you fight to stay alive
Your body starts to shiver
For no mere mortal can resist
The evil of the Hollow

B2. REC 4
If the recording is going on, the capture button turns red. In addition, a timer will be displayed, showing how long the recording is done.

Following his trio debut ‘Triptych’ last year, trumpeter Matthias Lindermayr presents his duo record ‘Sequence’ with long-time companion and ECM Recording Artist Matthieu Bordenave on tenor saxophone.

In contrast to its technical title, ‘Sequence’ is a very lyrical record, sacral at times. Like two figure skaters, the voices gracefully glide along and whirl around in perfect synch, always sensing where the other one is going. A fitting comparison also, as the recording session was equally exhausting, due to the level of concentration required to perform this music.

The minimalist line-up and the hyper-focused playing gives the album both a breath-like purity and solemn depth.

Iconic female fronted metal band from The Netherlands. Formed in the late 90s by the later Epica founder Mark Jansen. The band split up shortly after their eponymous self-titled album “After Forever” in 2008. Keyboard player Joost Van Den Broek became a famous producer for Epica, Blind Guardian and many more, while singer Floor Jansen joined Nightwish and recently also the German TV show Sing Meinen Song (Sing My Song). Fans never forgot After Forever and even if their last album came out in the pre-streaming days, it gained over 15 million streams.
The re-issue of their swansong “After Forever” (2007) is remastered by Joost Van Den Broeck and includes liner notes by all bandmembers, as well as the two rare Japanese bonus tracks: the beautiful piano ballad "Lonely" and "Sweet Enclosure" which keeps their high standard of progressive symphonic metal with an oriental flavor and catchy melodies.

In the constant state of flux that house and techno are in since their inception, Berlin’s Sascha Funke is at once a fixture and an emblem of the city’s transformations. Probably best-known for his work on BPitch, Kompakt or the evergreen MZ, Funke’s EP for Running Back is an amalgamation of sounds, influences and atmospheres. Subdued rave euphoria, robotic disco-influenced techno-pop and hints of Berlin’s long gone „Dubmission“ party ethics get re-arranged, extracted and reconfigured with „German engineering“ values.
Take the ritual QAM for instance. Using a sample and the legendary morse melody of the weather forecast at the end of each „Tagesschau“ and putting it in a completely different context, is a prime example of a free-form approach to making music and making nostalgia future-proof.
That also holds true for the rest of the EP. While titles like FEZ (Freizeit- und Erholungszentrum) or SEZ (Sport- und Erholungszentrum) refer to lost places in East Berlin, the tracks are anything but. Yearning, precisely programmed and full of joie de vivre at the same time, they all lock into and complement each other. So much, that you will find a new favorite with every listen.

In the years since their formation, WhoMadeWho have established themselves as one of the most important underground bands of their generation. The Danish group, consisting of Tomas Høffding, Tomas Barfod and Jeppe Kjellberg, has an exceptional sense of emotional depth, heartbreaking melodies and brilliant songwriting, boasting an expansive discography currently spanning a total of six albums and a plethora of EPs, singles and remixes released on labels such as Kompakt, Innervisions and Life & Death. On the road, they are internationally renowned for their professionalism and outstanding live performances and have become regular fixtures at some of the world’s most notable musical festivals, including Roskilde, Sonar, Melt! and Burning Man to name just a few.
The in-demand Scandinavian outfit now confirm details of their upcoming long player, UUUU. Set for worldwide release on Friday, May 27, via long standing German record label Embassy One, UUUU is the seventh full-length studio album from WhoMadeWho. A beautifully crafted record featuring thirteen original productions.

Lesley Gore's hit 'Maybe I Know' is here covered by Peruvian singer Monik in 1973, resulting a superb -and probably superior to the original- take on the song, somewhere between pop and northern soul. The EP is completed with the remaining recordings released by the artist, echoing the classic pop sounds of the 60s. Discos MAG was one of the most important Peruvian labels of the 60s. It was owned and directed by Manuel Antonio Guerrero who would also put together bands and get involved in the recording sessions. His son Carlos Guerrero also followed the music path and so did his daughter Mónica "Monik" Guerrero. Members of the bands We All Together and Traffic Sound would take part in the recording sessions at MAG studios in 1972, when Monik managed to record a few songs that would eventually release as a 7" single on his father's label. She would return into the studio one year later and record two more songs: 'Maybe I Know' -first brought to fame by Lesley Gore in 1964- and 'Forgiveness' an original song composed by Ernesto and Félix of We All Together. This EP comprises Monik's complete discography and get s a vinyl reissue for the first time.

'É O Que Ela Quer' is a groovy Brazilian version of The Zombies' classic 'She's Not There' recorded by the obscure Mini Trio in 1970 and released as a 7" only that should be in every DJ record box. First time reissue. Although the appeal of the post-Hair/Beatlesque hippie hook of 'Hare Krishna' on the A side of this rare single, the real gold lies on the flipside. 'É O Que Ela Quer' is a groovy Brazilian version of The Zombies' classic 'She's Not There' recorded by the obscure Mini Trio in 1970 and released as a 7" only. The band was most likely a studio group recording international hits for the local Brazilian market and their take on the 1964 classic adds a terrific dancefloor potential to the Zombies song. Very hard to find, especially in good condition, this record now gets a proper reissue for the first time.

Camille Bertault and David Helbock are two of the most jawdroppingly talented members of the cohort of European jazz
musicians currently in their mid-Thirties. Their journeys in improvised
music are always adventurous, playful and exciting.
 She is the rising star of French vocal jazz. He, Austrian-born, is one
of the most fascinating pianists on the scene. Their personalities
appear to be polar opposites, yet Bertault’s livewire humour and
Helbock’s calm self-assuredness only appear different on the surface.
When it comes to the musical choices they make, they are
emphatically on the same page. Each is astonishingly versatile, with
an innate sense of dramaturgy. This voice / piano duo reaches
unbelievable levels of inventiveness here on ‘Playground’.
 “We both love Egberto Gismonti and Hermeto Pascoal, Björk and
Monk,” Helbock explains. “We also wanted a classical piece.” The
duo found the initial repertoire to explore and to spread their musical
wings with relative ease. Bertault’s vocal artistry is hers and hers
alone. Her voice is a magnificent instrument to carry a melody,
whether at breakneck speed and with devastating precision or at
pindrop volume. Helbock’s creativity, as he exploits all the sound
possibilities of the grand piano, is completely ‘sui generis’ as well. He
dampens the piano strings, he plays directly on them, he uses the
piano case as a percussion instrument, he makes use of electronics.
And ‘Playground’ is the first time he has worked with loops.
 His accompaniment therefore has an almost orchestral scale and
depth, a jewel case for this scintillating and very special voice. The
pair have written seven new numbers for the album: we hear the
whimsical blues of ‘Lonely Supamen’, the mysterious ‘Fabelwesen’,
the chanson-esque ‘Aide-moi’ and the ethereal-melancholic ‘Bizarre’.
 ‘Playground’ is a kaleidoscope of sounds and emotions which
invigorates, excites - and will always surprise. The craft and
technique may be breath taking, but neither musician ever forgets the
essential: “It’s not about showing strength or virtuosity, but about
expressing the truth of the moment,” says Camille Bertault. And that
is what she and David Helbock have delivered with each and every
track.

As boundless as their music, WHORSES debut
with a double album, like it’s the most natural thing
do to. But is it?
 For sure for these four noise cowboys: their
nameless first brainchild pulls together a fat
number of eighteen tracks, and although there
might be some signs of schizophrenia showing,
this true pièce de resistance breaths honesty and
pure expression through every pore.
 Hitting hard and moving deep in one and the same
creation: yeah, you’re in for a ride.
 WHORSES are a band of extremes, bringing out
the roughest and softest in themselves and in
everyone who dares to dive into that pool of blunt,
deep cutting, ever evolving and limitless sounds.

"Queen Of Nowhere" is the result of the photographic works by Kourtney Roy and the musician Dayve Samek (Trance Farmers) initiated by IIKKI, between November 2021 and March 2022.

The man behind the name Trance Farmers is Dayve Samek, a wanderer from Los Angeles to Louisiana, and his music has picked up just about every influence it can along the way. He has recorded his first album in 2014 on Leaving Records (Stones Throw Records). Not sure how to classify his music ranges, but something between sweaty, garage-born ballads brush shoulders with drifter anthems and gasoline drenched doo wop with at some points some beats close from the past Anticon works should make the point.

The Canadian photographer Kourtney Roy was born in Northern Ontario in 1981. Intrigued by the possibility of creating a tragic mythology of the self, she conjures an intimate universe pervaded by both wonder and mystery. Her photographer’s eye is drawn to places and settings whose lyrical qualities underscore the sublime banality of everyday life.

Roy’s studies in photography, at Emily Carr University of Art and Design in Vancouver and later at the Ecole Nationale Supérieure des Beaux-Arts in Paris, inspired her to develop her finicky aesthetic, which lends itself particularly well to both glossy paper and film. Roy works extensively as an independent photographer/filmmaker in the art world. Instilled with a dark sense of humor, taking their clues as much from the grotesque nature of seemingly placid settings as from the tensions simmering just under the surface, her photographs have garnered many prizes, including the Prix Picto in 2007, The Emily Award in Canada in 2012 and the Prix Carte Blanche PMU/Le Bal in 2013 and the Pernod Ricard Carte Blanche in 2018.

Mondo, in partnership with Walt Disney Records and Lucasfilm, are proud to present an all new 4XLP expanded edition soundtrack to 2016's ROGUE ONE: A STAR WARS STORY.

In anticipation of its 5th anniversary, Michael Giacchino unearthed nearly over an hour of previously unreleased music and recording sessions from the film.

Featuring all-new original artwork by John Powell, new liner notes by Michael Giacchino, mastered for vinyl, and pressed on 180 gram black vinyl, this collector's set is essential for Star Wars fans.

Composed by Michael Giacchino and John Williams

Artwork by John Powel

Am 27. Mai werden mit dem Album „The Original Recordings“ zum ersten Mal seit über 20 Jahren 20 Aufnahmen der Sex Pistols aus den Jahren 1976 bis 1978 gesammelt veröffentlicht, um die Geschichte
einer der einflussreichsten und außergewöhnlichsten Bands der Welt zu erzählen.

„The Original Recordings“ dokumentiert eine historische Periode, in der die Band kaum aus den Nachrichten oder den Charts wegzudenken war. Die Sammlung enthält die entscheidenden Singles ”Anarchy In The UK”, ”God Save The Queen”, ”Pretty Vacant” und ”Holidays In The Sun”, wichtige Titel von ”Never Mind The Bollocks”, weitere Originale und Covers vom Soundtrack-Album ”The Great Rock & Roll Swindle” sowie einige bedeutende B-Seiten wie ”I Wanna Be Me”, “Satellite” und ’Did You No Wrong’.

Bald erscheint auf Disney+, die Serie „Pistol“ über den legendären Sex Pistols Gitarristen Steve Jones unter der Regie von Academy Award Preisträger Danny Boyle. „The Original Recordings“ erscheint als 1CD und 2LP.

To say that Aretha Franklin was one of the greatest American artists of all time is an understatement. Her multi-octave voice moved millions around the world during an unrivalled career that spanned six decades and garnered the singer-songwriter every achievement and honour imaginable. Franklin has sold more than 75 million records worldwide making her one of the biggest selling music artists of all time.
Amazing Grace, a live album originally released in 1972 is Franklin’s best-selling album of all time. To celebrate the 50th anniversary of the album, Rhino will be releasing a limited edition 2LP white vinyl. Featuring the title track ‘Amazing Grace’ as well as ‘Climbing Higher Mountains’.

Michelle Lynn Johnson, better known as Meshell Ndegeocello (born August 29, 1968), is an American singer-songwriter, rapper, and bassist. Her music incorporates a wide variety of influences, including funk, soul, jazz, hip hop, reggae and rock. She has received significant critical acclaim throughout her career, being nominated for eleven Grammy Awards, and winning one. She also has been credited for helping to "spark the neo-soul movement”.

Meshell is releasing her 1999 third studio album on vinyl for worldwide release in 2022. The album peaked at #105 on the Billboard Top 200 in 1999. The album also peaked at #13 on Billboard's Top Internet Albums chart and #40 on Billboard's R&B Albums chart.

Simon comes from Belfast in Northern Ireland, a place that resonates of the best music traditions like Gary Moore, and Stiff Little Fingers. His biography tells the story of his band touring with no sound engineer, driver, roadie, playing 30 shows in 35 days and catching the attention of the record label. By the way, Ian Gillan from Deep Purple thinks he is one of the best guitar players in the world! And he also was the main guitarist on Don Airey’s solo tour. Recorded at the legendary Chameleon Studios in Hamburg, this album has everything a good rock album needs. The songs on “The Fighter” boast big riffs, they’re catchy, multifaceted AND are full of energy where needed. This album is in a class of its own – serious.

Harrison Whitford, LA-based multi-instrumentalist, producer and songwriter, announces his new album Afraid Of Nothing, released via Screwdriver Records, building on his previous work, his delicate vocals and signature guitar tones being joined by lush layers of instrumentation. It's both emotionally devastating and sonically impressive, an immersive record that warmly embraces the listener. He has spent the last several years lending his warm, expressive guitar skills to Phoebe Bridgers (who lends backing vocals to select tracks on the album) and even when her music started being noticed, Harrison still felt the urge to flex that creative muscle. A departure from his previous method of writing and recording quickly, Afraid of Nothing is an album that has benefitted from the time afforded to Harrison from being able to truly focus. “Recording Afraid of Nothing taught me an important lesson: don't stop until you're happy with it,” Harrison says. Recording was seen as a constantly evolving process, every single kink ironed out until he was sure every track was how he envisaged it.

Hits package from the original 'Pop Idol', celebrating 20 years since he won the competition. Includes that massive initial #1 "Evergreen", plus "Light My Fire", "Leave Right Now", "The Long And Winding Road", "You And I", "Your Game", "Fridays Child", "Daniel" and many more... A 20 track single CD and double LP set pressed on black vinyl, both of which include 2 new songs, plus a deluxe 2CD set containing 13 bonus songs of session tracks/remixes/demo's. Upcoming nationwide UK tour dates to promote this release. TV promo includes The One Show, Sunday Brunch, BBC Breakfast, Lorraine, ITV Jubillee Street Party, Britain's Got Talent and more TBC. Radio promo includes Zoe Ball interview, Jo Wiley session, R2 playlist, Magic FM and ILR support. Extensive coverage across all press.

"Sound Space Variations" is a delicate and restrained sound bath. A mix of atmospheric, suspenseful drone sounds and meditative aspects. It is an album made for those moments when we just are.

zake has managed to capture the moments that lie between sounds; the unagitated murmurs and atmospheric hisses. The artist connects this in-between-world and our earthly one with calm and sonorous scores, making us think about everything and nothing.

The six pieces on the record do not seem heavy-headed or overloaded but much more airy, wide and open for interpretations. They stimulate the imagination - in a wonderfully unbiased way. In the last track. James Bernhard mixed and mastered the album, written and produced by drone artist zake, at Ambient Mountain House Studio. zake himself provided the artwork and photos himself."

'The City Needs A Hero' is the highly-anticipated sophomore album from Murkage Dave, following on from the critically acclaimed debut 'Murkage Dave Changed My Life' which cemented him as one of the UK's most exciting new singer-songwriters. Includes the singles 'Please Don't Move To London It's A Trap, 'Awful Things (feat. Caroline Polachek)', 'Us Lot', 'World I Want To Live In' and more.

'The City Needs A Hero' is the highly-anticipated sophomore album from Murkage Dave, following on from the critically acclaimed debut 'Murkage Dave Changed My Life' which cemented him as one of the UK's most exciting new singer-songwriters. Includes the singles 'Please Don't Move To London It's A Trap, 'Awful Things (feat. Caroline Polachek)', 'Us Lot', 'World I Want To Live In' and more.

Fuck our bodies - or are our bodies fucked? -
Like the 32 steps it took (actually it felt like chunga Godlike3000)
before this complex and corrupt Third World Bomb came to this grotesque release.

No lady cadaver or cryptic messiah was spared when going straight to hell, accompanied by their flying body parts and tortured genitalia.

No comments are wasted on AMFRS & my fav Hollywood whore
when they die in a murder of GT flames

Oh and quick recoup to *corrupt* :

ALL PROFITS MADE WILL BE USED
TO BUILD A WALL AROUND GUATEMALA - now we know he isn’t quarantined in the White House anymore - - -
assuring that the orange-wigged-mad-man can’t go putting
his greasy fingers on GUA's fabulous nature & people.

Building materials will consist out of fruit and vegetables for the best repellent result :-D

Have a nice day and as always PLAY IT LOUD!


! ! ! RUIDO HECHO EN GUA ! ! !

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

To say that Aretha Franklin was one of the greatest American artists of all time is an understatement. Her multi-octave voice moved millions around the world during an unrivalled career that spanned six decades and garnered the singer-songwriter every achievement and honour imaginable. Franklin has sold more than 75 million records worldwide making her one of the biggest selling music artists of all time.
Amazing Grace, a live album originally released in 1972 is Franklin’s best-selling album of all time. To celebrate the 50th anniversary of the album, Rhino will be releasing a limited edition 2LP white vinyl. Featuring the title track ‘Amazing Grace’ as well as ‘Climbing Higher Mountains’.

Paradise Garage pilgrims, Loveface, are back and it sounds like there’s something for everyone on this 4 track EP!

The A side continues their De-Mix series with another 80’s boogie refit of an early 90’s house classic vocal and an Italo House mix using a classic disco vocal getting strong support from Horse Meat Disco.

The B side has another 80’s inspired italo disco/proto house heater that has summertime written all over it and a deeper 80s fused house affair with a disco tinged vocal as the centrepiece.

4 tracks designed for every club, festival, boat and beach near you this summer...


DJ Feedback:

Louise Chen (NTS Radio / Rinse FM) – That Italo House mix is just TOO GOOD!

Severino Panzetta (Horse Meat Disco) – LOVE FANTASY for me

Jim Stanton (Horse Meat Disco) – I like these will be great in NYC sets

Damian Harris (Skint Records) Great…again. Consistently good and interesting series. Pablo’s Theme and Give It To You my favourites.

Gino Grasso – Topppp

Bill Brewster – Yeah like it

Alinka – Nice one

Patrick Vidal – Uplifting and happy, great dancefloor release

Carly Foxx – Loveface that you are is the one for me…

Joshua James – Dreamy

Ben Davis – FAB EP x

La Mano – Class

Nu Azeite - Lovely

Julian Jeweil returns to Drumcode for his first EP in two years with the inspired six-tracker ‘Boreal’ split across two records.

The Frenchman has been a vital member of the extended Drumcode family since 2017 when he debuted with the fantastic ‘Rolling’ EP. Since then, highlights have included playing main stage at Drumcode Festival and dropping the critically acclaimed ‘Transmissions’ album in 2019.

His ‘Boreal’ EP marks his fifth outing on the imprint. Part I kicks off with the title track, a truly special record, striking the sweet spot between euphoria and melancholy, as airy pads and stirring waves of melody stamp it with a timeless feel.

On the flip, ‘Time’ is a propulsive weapon built around a steely industrial backbone and is a necessary tool for every set. ‘Reverse’ closes out part one in style - a low-slung beast that builds up intergalactic energy throughout.

Here comes one you've been waiting for - the vinyl release of Vince Staples' triumphant self-titled 2021 album. As one of the leading lights of modern rap and RnB, Staples offers a subtly off-kilter take on the style without losing sight of immediacy and relatability. From 'Are You With That?' to 'Law Of Averages' you can hear an artist growing ever more confident in himself and his message, whether he's rolling with that sung-spoken swerve or dropping bars. The oddball hooks get under your skin while the lyrics clamp onto your brain with one listen - it's a true landmark release for Staples which his career will be measured against from here on out.

For Richard Dorfmeister and Rupert Huber, the idea of rebirth is a creative driving force - an artistic device which not only informs their work, but anchors it. As the avant-garde electronic group Tosca, the two artists have lived many musical lives, from their early electronic experiments with tape decks to the blissed-out dub compositions with which they have made their name. Their latest project, OSAM, takes this idea of renewal even further. A meditative journey through rhythm and texture, the album represents a new chapter for the Austrian duo. It's as much an instrument for change as it is a source of inspiration. 'Osam' is a direct translation of the number eight in Serbian, but it also acts as the mediaeval symbol for a fresh start - a renaissance. This is their ninth studio album but in true Tosca style when they started working on the concept for the record, they thought it was their eighth.

Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we've had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We've also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists. Our fifteenth anniversary as a label will be honored with several events and an exciting vinyl repress collection but the crown jewel of this year's celebration is the compilation Todo Muere that features beloved artists from our roster covering their favorite songs that we have released over the years. The compilation features innovative pairings, like punk stalwarts Institute covering art pop sensation SPELLLING, and matches made in heaven like Marissa Nadler's gorgeously eerie cover of David Lynch's already eerie song "Cold Wind Blowin." Some songs are sister renditions with their own imaginative touch like Constant Smiles' cover of Jenny Hval while others, like the Zola Jesus song performed by Thou, Mizmor and Emma Ruth Rundle take on entirely different genres. And while each song on the comp stands on its own as a testament to the many song writing and song performance talents housed on the Sacred Bones roster, the compilation as a whole was sequenced as a cohesive whole deserving prime placement on any record shelf.

"His music filled me with the urge to connect with the world," Kaitlyn Aurelia Smith says of Emile Mosseri. She first heard his work while watching the 2019 film The Last Black Man In San Francisco; just minutes in, she paused it to look up who did the score and wrote to him immediately. "I love Emile's ability to create melodies that feel magically scenic and familiar like they are reminding you of the innocence of loving life." Those talents saw recognition in 2020 with an Oscar nomination for Mosseri's original score to the film Minari. He was already a fan of Smith's and became increasingly intrigued by her impressionistic process as they started to talk. "The music feels so spiritual and alive and made from the earth," Mosseri says. "I think of her as the great conductor, summoning musical poetry from her orchestra of machines." I Could Be Your Dog / I Could Be Your Moon, their two-part collaborative album, introduces an uncanny fusion of their sonics. Constructed using synthesizer, piano, electronics, and voice, this soft-focus dream world is lush, evocative, and fleeting. It finds two composers tuning their respective styles inward as an ode to mutual inspiration, a celebration of the human spirit and its will to surrender to the currents of life. As a full album set, I Could Be Your Dog / I Could Be Your Moon moves fluidly from track to track, panning through textural vignettes. Two roughly 17-minute halves, the set evokes the bittersweet sense of something too bright or rare to last, a short-lived glimpse into a golden hour. There is a dreamy, elemental intention to this music, which Smith and Mosseri say came naturally, as they both embraced intuitive interplay throughout their creative back-and-forth. The stylistic threads of each composer are recognizable yet become more ambiguous as the album progresses, sewn into a singular vision.

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 2 is the new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that takes off in exactly the same vein as the much-acclaimed Vol. 1 – exploring the many styles that came out of Cuba in the 1970s as Latin and Salsa mixed with heavy doses of Jazz, Funk, and Disco to create some of the most dancefloor-friendly music ever made!

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known
throughout the world.

Much of the music on this album is featured in the deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, released by Soul Jazz Books and also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records),
featuring the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this new album features a host of rarities from legendary Cuban artists such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside, most of whose names remain largely unknown outside of Cuba but have long been favourite club tracks and secret-weapons in Gilles Peterson’s record boxes!
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – all searching for a new Cuban identity and new musical forms reflecting both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records

Behold! The latest 45 from Queens, NY stalwarts - The Frightnrs. With this platter the group pushes past the rocksteady rhythms that have come to define their Daptone releases and deliver a genre-defying, soulful triumph of sound. "Always" the a-side and title track of their forthcoming album drops with a beat that hits like a seven-ton bomb. Heavy, heavy drums...raw guitar and ethereal keys fortify the soulful bedrock for Dan Klein's other-worldly vocal performance. Plucked from stems tracked years prior, the seamless joining of Klein's old vocal track to the Frightnrs new recordings exemplifies how masters of their craft can make something so complex sound effortless. It also serves as a document of musical brothers injecting the undying love and respect they have for each other into the DNA of every note.

Gilmer’s first release came out in 2015, called ‘Brain Poacher’ on Lobster Theremin. Showcasing a production style taht lands between Ancient Methods, Sandwell district and a more rugged version of the live-orientated Karen Sound. Keeping the Rhythms and grooves undulating under booted foot. The next year after the nuclear arms test that was the ‘Brain Poacher’, Gilmer returns to the lobster family via Lucid, Murky sub-label Mörk with his second record called ‘Lost Tapes’. Taking a much more languid and contemplative approach to his follow up. ‘Lost Tapes’ finds itself washed ashore on waves of warm, translucent, salt-infused techno and house giving his next release the opportunity to make his debut in Turbo Recordings with a foour track EP called ‘Baker Shit Ton’. After releasing on Lobster Theremin and Turbo, Gilmer Galibard launches his own imprint ‘Gilmer Galibard Records’. This project is a pure expression of his personal experiences and stories through music and visual art using each release as a timeline of his life. The concept of the label is also to explore boundaries of introspective musical experiences, taking sound design as a way to connect with his body and soul. These tracks were written in a period of uncertainty and a s big change in Gilmer, seeking powerful change in his life and his music. Inspired by Austin Osman Spare and his book ‘Book of Pleasure’ Gilmer gave birth to Novaturient, to honour that important moment of his life. Novaturient (Rainforest Spiritual DUB) is the first track of GIL01 and delivers almost over 7 minutes worth of deep harmonics and metallic textures, manifesting Gilmer’s own sound design. Even though the core ideology remains correlative. B-Sides Komorebi (Getwaway To The Sun Mix) creates its own identity by venturing into a deep industrial techno with drops of light and hope accompanied by an organic percussion through the track. All tracks produced written and Mixed by Gilmer Galibard

Kicks & Hugs, a multi-disciplinary platform established in 2017 to hold space for like-minded creators, now launches its own label showcasing emerging sonic spheres that reach beyond momentary hype and trends alike. Based in Berlin, the foundation of Kicks & Hugs lies at intersectional crossroads of music and art, with their first record establishing a definite attitude towards contemporary artistry. Kicks & Hugs celebrates an immersive spectrum of talent across different mediums and promotes ideas composed of color to challenge a steady current of long exhausted black & white patterns within the realm of electronic music. The debut EP available on black & limited edition colored marble vinyl assorts a kinetic flow of ideas produced by a seemingly divergent roster. Completely ecstatic & exhilarating maze of rhythm by The Lone Flanger, additionally reworked with Varg2TM versus contrasting yet innovative dancefloor mechanics by Bertrand., ending with a hypnotic mix by Dasha Rush, the record is an absorbing material of dynamics that subtly surprise and leave nothing but an ambitious statement for what’s yet to come. KH01 is dedicated to a musical shape-shifter, a paramount figure, ephemeral talent & a dear friend – Andrew Smith. To end in his own words, Keep It Fungki. The Lone Flanger was an audio-visual project from the artist Jasen Loveland also known as Andrew Smith (1980-2021). Dedicated to exploring the intersection of music and visual arts in the expanded dimension, the work of TLF picked up where Loveland’s eponymous acid-based project left off, aspiring for a kind of transcendence that takes the listener beyond the previously known concepts to experiments with the possibility of creating a resonant bridge between frequencies, worlds and dimensions. The work of TLF questions, obfuscates and complexifies notions of rhythm, melody and musical genre… even our ability to rely on our senses for accurate information about the work in question Varg2TM also known as Jonas Rönnberg casts a cryptic shadow from the North over contemporary aesthetics, continuing to create in his largely collaborative and always thrilling approach. Tempering a caustic rhythmic sensibility with a pneumatic palette for high definition synthesis, his unique embrace of risk tests the reliability of the forms he works in as well as the genre borders he surveys. Bertrand.’s work as a producer incorporates a wide spectrum of influences and aims to create beyond the common means of electronic dance music. Bertrand.’s restless nature and desire for technical perfection bleed into his productions of bass-heavy futuristic soundscapes often juxtaposed with playfully intense dancefloor fundamentals. Dasha Rush constructs a rather wide assortment of electronic music and arts projects. She sees the genre as a starting place, not a destination. Rush brings up a mixture of rather rare electronic experimentation more akin to the brief movement of underground music. Credits: Mastering and mastercut by Andreas LUPO Lubich at Loop-O Cover artwork by Fredrik Altinell Graphic Design by Marta Braga Inner label artwork by Tommy Dwane Vocals by Kawala Bravo

It's been a while since Local Talk presented a 12" with two artists doing one side each but it's time again.

Italian powerhouse Nico Lahs glides smoothly between labels like Delusions Of Grandeur, Adeen and Rawax, working with house royalty Chez Damier and keeps delivering top quality music.
His contribution to this split 12" is the track 'Everything Is Good', one of those moments when everything (!) works just perfectly.
A straight forward track that embraces loops and repetition with hints of HNNY's golden days.

On the flip Local Talk's very own Tooli moves through a series of moods and grooves with the 'That Cowbell Track', a cut which eases you deeper and deeper into the dance, with clever rhythmic programming.
A dub that focuses on the cowbell is also added for your pleasure, because you can't have enough cowbell, can you ?

Some lucky folk managed to bag a copy of this when it was released as part of the Screamadelica 30th Anniversary 12" Singles Box. Suffice to say, many didn't. It's also probably a given to point out the British and global music scenes are still reeling from the untimely and sudden passing of Andrew Weatherall, a studio mastermind and club DJ icon who managed to influence everyone from ambient and techno heads to indie kids, classical fans and heads in just about any other sonic avenue you care to mention. Arguably, though, his most beloved work was around the Screamadelica era, carving out a landmark crossover album from Primal Scream's original material, making stars out of everyone involved and timeless, decade-spanning tracks from singles like 'Come Together' and 'Loaded'. 'Shine Like the Stars' brought that album to a close in spectacular, trippy, emotive style, and has never left our hearts since.

It started, as it so often does, with two old friends hanging out.

John Shima and C P Smith were joking around one evening in their home city of Sheffield. At some point, Smith challenged Shima that, if the latter could produce a record using nothing more than a small modular synth setup, then Smith would release it on his Central Processing Unit label. As heads will know, while Shima has drops on imprints like FireScope and Subwax Excursions to his name, he had never previously released anything via CPU. Shima accepted, and thus we now have his CPU debut, the four-track EP CPU Modular 1.

The specific setup that Shima worked with for these tracks was Smith's Doepfer A-100P6 Suitcase, a small but mighty combination of modules and programmers. It's no surprise that Shima was able to familiarise himself with the equipment in double-quick time - after all, Shima was an early adopter of the Eurorack modular format back in the day. What emerged from the CPU Modular 1 sessions was a quartet of devastatingly effective DJ tools, mid-set rollers which will get the dance moving something crazy.

Opener '003' kicks the EP off as it means to go on. There's something at once stiff-necked and buoyant about the rhythms here, all thwacking Roland tones and snares which crack like someone whipping a length of sheet metal. While the beat barrels unyieldingly onwards, the programming in the tuned modulars is more exploratory and even trippy, full of delay-laced bleeps and flighty rhythmic motifs. It comes together for a cracking mix in the vein of artists like Jerome Hill and London Modular Alliance. Second A-side cut '010' is no different, the street-beat groove and grumbling low-ends underpinning all manner of modular wizardry.

CPU Modular 1 is really timeless stuff, a set of percussion-heavy, future-focussed beats which recalls Smith's own CPU drop 'DJ Tools Vol.1 - 808 Tracks'. '011' kicks of CPU Modular 1's second-half with a dose of Drexciyan dystopia, playing an atonal loop off of an insistent bass wiggle and neurotic hi-hats. Even when Shima tightens or slackens the modulars here, '011' remains unyielding, a dose of pure 'Wip3out' energy that you could happily groove to all day long. The EP closes out with '005', a gnarled, gurgling production which still retains the dancefloor punch of the rest of the record.

For his Central Processing Unit debut, John Shima was tasked to produce four tracks using a single small modular setup. Unsurprisingly given the pedigree of this seasoned machine-funk pro, Shima aced the assignment.

The Urban Dance Squad was a Dutch noise-rap group led by rap phenomenon Rudeboy. They got together in 1986 with the original intention of creating a one-time jam-session for a festival in Utrecht, The Netherlands. Eventually, after receiving lyrical reviews, the group decided to continue and became one of the most successful Dutch bands of the Nineties, releasing five studio albums in total.

This essential Urban Dance Squad compilation showcases all of the Urban Dance Squad’s hits and noteworthy tracks from their debut Mental Floss For The Globe right up until 1999’s Artantica. This career spanning 2LP includes “Deeper Shade Of Soul”, “Fast Lane”, “Good Grief”, “Demagogue”, “Temporarily Expendable” and “Happy Go Fucked Up” amongst others.

Singles Collection by the Urban Dance Squad is available as a limited edition of 750 individually numbered copies on translucent red coloured vinyl and contains printed innersleeves.

Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer Gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, it intricately combines analogue elements with digital grooves to stunning effect.

Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Dubadelic and more.

15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for.”

As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.

Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.

Ángel Rada is one of the most interesting music experimantalists of Venezuela. He started his career in the late 1960s as a member of The Gas Light, one of the big names on Venezuela's live circuit in the era, sharing the stages with other artists such as Apocalipsis, Un Dos Tres y Fuera, Vytas Brenner, Daniel Grau, Pablo Schneider, Miguel Ángel Fuster... Rada is one of the three basic artists who set an electronic music scene in Venezuela, along with Miguel Ángel Noya and Vinicio Adames.



Rada had attended the Escuela Superior de Música José Ángel Lamas and then continued his studies in Germany, where he was impressed by krautrock music, especially by its more electronic side. He met Kraftwerk when they were recording at Kling Klang Studio, and also knew Klaus Schulze–who would become an example for him to to follow. This contact with the Kraut scene would be the biggest influence on his works from the 1970s, which would end synthesizing in Rada's first record: 1983's Upadesa, originally released on his own independent label Uranium Records. Since then he has released more than 20 albums up to date, making him one of the most prolific experimental musicians not only in his country but also in the whole world.



Rada's aproach to electronic music is based in what he calls ethnosonic music. He is interested in the mixture of various styles which he filters through the use of technology, so in his electronic compositions one can hear echoes of ethnic sounds from all over the globe as well as some jazz influenced improvisation, ambient and synthesized sounds.



The Wah Wah edition is the first ever vinyl reissue of this landmark LP and has been remastered for vinyl by Roger Prades @ Prades Mastering. Includes an insert with liner notes by Salvatore Maldera.



It is a strictly limited edition of 500 copies only.

Recorded over the course of 4 years during late-night, afterhours sessions at RCA's Studio @ Calle Carlos Maurrás in Madrid (one of Spain's best and bigger studio around that time), it was the result of the duo's interest in unorthodox sound-sources which they manipulated in a sort proto-sampling collage technique based on random tape-loops and best heard in their original percussive studies; their dreamy, surrealist-like lyrical passages or the sort of deep primeval atmospheres first conjured by Cluster or Kraftwerk in the early 70's.The studio as an instrument: pure sound alchemy at work.



The Wah Wah edition is the first ever vinyl reissue of this legendary LP reproducing the original gimmick cover, with sound mastered from the original tapes by Eugenio Muñoz, and featuring an insert with photos and info. It is a strictly limited edition of 500 copies only.

Released on Karl Kronfeld's Synoptik Records, it was the label's only release, thus becoming a rare, sought after, private pressing.
Weird, intriguing atmospheres and a plethora of synthesized sounds, sequencers, cold sounding keyboards and even mellotron parts make this a darker offering than Aphorisms Insane.
Venturing into stark, spooky post-industrial territories it manages to combine the primitive cosmicism of early Tangerine Dream with the dystopic sound-scapes of Asmus Tietchens, 80's Conrad Schnitzler or the synthetic gothicisms of Peter Frohmader.
An album that should appeal not only to fans of cosmic synthetic music, but also those interested in the more experimental strains of cold wave & minimal synth (Robert Rental, Dome, a.o.)

The Wah Wah edition is the first ever reissue of this rare sought after collector's item.
100% analogue lacquer cut direct from the original master tape by Moritz illner @ Duophonic Gmbh and reproducing the original Dalí-esque sleeve artwork in a strictly limited edition of 500 copies only.

This is a very serene, almost entracing record that seems to inhabit its very own space, between "classical" ambient music (Eno, Budd), "systems music" (Reich, Glass, Riley, Hassell), japanese kankyo ongaku (Hiroshi Yoshimura, Takashi Kokubo), even hinting at what would become 90's ambient electronica (B12, Nuron, SAWII-era Aphex Twin or the Fax +49-69/40464 label). Actually, Lech would be one of the few artists to perform at the first-ever Sonar Festival (Barcelona) back in 1994 (together with Suso Saiz, Esplendor Geometrico, Mixmaster Morris or Laurent Garnier).

A key early effort from this musician and A/V artist whose career spans well over thirty years and a miriad of works, performances and instalations: Art Futura, Sonar, ISEA, Ars Electrónica (Austria), Festival Videoformes (France), Festival de Nuevas Músicas (Madrid & Sevilla), Ciclo Experimental LEM (Barcelona), Knitting Factory (New York), The Korner (Taipei), Festival Pop Komm (Cologne-Germany), Festival Experimenta (Madrid), Festival DAFT @ Taipei (Taiwan), ART BEIJING, Festival EXIS @ Seúl (South Korea), JMAF (Tokio, Japan) or Artefact:Chernobil 33 (Kiev-Ukraine).

The Wah Wah edition has been mastered from the original tapes, reproduces the original sleeve artwork and and features an insert with photos and info.

It is a strictly limited edition of 500 copies only.

The Clash’s collaborations with the late Ranking Roger receive their first ever official release with this two track black vinyl 7” limited edition single.. It finds the legendary frontman of The Beat infusing ‘Red Angel Dragnet’ and ‘Rock The Casbah’ with his exuberant, high energy toasting.

CircoLoco Records is proud to present the Monday Dreamin’ Vinyl Box Set, a 5-LP collection releasing on May 20, 2022.

Featuring heavy-hitting releases from visionaries of every era of CircoLoco’s 20-year party history, including Carl Craig, tINI, Kerri Chandler, Rampa, Sama' Abdulhadi, and other icons, the acclaimed debut compilation album from CircoLoco Records is presented in matte full color sleeves with box artwork designed by TOILETPAPER.

With support from DJ’s worldwide and accolades including back-to-back Essential New Tune awards from BBC Radio 1’s Pete Tong for Seth Troxler’s “Lumartes,” and DJ Tennis’ “Atlanta,” Monday Dreamin’ has already carved out a unique place in the world of dance music having been featured in the digital world of Los Santos in Rockstar Games’ blockbuster Grand Theft Auto Online: Los Santos Tuners which also featured Monday Dreamin’ artist Moodymann as a new character in the world.

Monday Dreamin’ is the first project from the pioneering partnership between global club culture icons CircoLoco and the creators of some of the world’s most popular and critically acclaimed video games, Rockstar Games, a partnership aimed at elevating and supporting dance music through the collective power of the two entertainment brands.

Fresh off the back of her debut solo release 'Everything Is Possible' / 'Fly', Hospital Records' newest signing SOLAH is back with another two-track delight as she continues to deliver stunning, soulful sonics into the summer of 2022.

Her journey as a solo vocalist on the south London D&B imprint unfolds with 'Constant' and 'Elevate', giving a further insight into the Brighton-based singer-songwriter's ever-expanding sound palette, with BCee and Unglued on production duties.

'Constant' and 'Elevate' will be SOLAH's first standalone drum & bass release pressed to vinyl, with her previous singles 'Everything Is Possible' and 'Fly' on the AA side... Collectors - don't sleep!

Woo-hoo! Two of the best Italian rare grooves ever are finally back on 7'' for the first time since their original French release on the format! Both are from that most iconic film soundtrack of the Italian 70s (the LP is now a holy grail for collectors), Armando Trovajoli's score to Dino Risi's anthology sex comedy Sessomatto (1973) starring Laura Antonelli and Giancarlo Giannini.

In the title track the influence of Manu Dibango's afro-funk hit "Soul Makossa" is filtered through, and enriched by, an exquisitely Italian approach, with a sweet 'n' groovy funk base (the terrific mid-song drum break has been a DJ favorite for decades) over which Edda Dell'Orso seductively laughs and repeats the words 'sesso' and 'matto' again and again. The wild and fun electronic samba "Kinky Peanuts" on side B is a wonderful example of 'strange incredible music', with infectiously quirky Moog themes and runs.

Pretty irresistible.

Welcome to another sonic treat from the Four Flies 45s series. This 7" combines for the first time ever the two grooviest and sexiest tracks from Gianni Ferrio's score to Steno's detective comedy La poliziotta (The Policewoman), only one of which ("Step by Step") was included in the original (and now very rare and sought-after) 7" released in 1974.

Starting the party is the blaxploitation-influenced funk-blues "Rhythm & Sex" on side A, a tune chock-full of killer drum breaks and driven by an impeccable brass ensemble (a recurring feature of Ferrio's style, due to his exquisite brass arranging skills). On side B, the supercool "Step by Step" takes funky jazz into sultry territory, with the saucy vocalizing of the Cantori Moderni di Alessandroni giving more than a nod to the film's comedy-with-crime atmosphere.

Both tracks demonstrate Ferrio's great mastery as a jazz-funk composer and arranger – a mastery that, back in the day, earned him the moniker of "the Italian Quincy Jones". Listening and DJing pleasure guaranteed!

After moving to California, he was introduced to the Serge Modular Synthesizer through Eliane Radigue and registered for classes in all the colleges of the Bay where there was an Electronic Music Department so that he could use their various electronic instruments. At first, he often plugged in his electric guitar into these monsters rather than use the rather rigid sequencers, but through tape recorders and the delay techniques used by Terry Riley, he was able to quickly combine these “sound producing devices” to create his own music.

He eventually released his first “official” album named simply Music by Xolotl in 1977. Originally issued only in cassette, Wah Wah offers the chance of listening to these works on vinyl format for the first time ever on an LP + bonus 7" edition to fit all the sounds from the cassette.

A strictly limited edition of only 500 and with new artwork featuring one of Xolotl's cosmic paintings and an insert with photos and liner notes.

Giacomo “Mino” di Martino started his musical career in several early 1960s Italian beat bands. By 1968 he had found enormous success with pop superstars I Giganti. After a brief split in 1970 –during which Mino formed Il Supergruppo with Ricky Gianco and other greats of the Italian scene– he came back to I Giganti in 1971. With them and with new advanced ideas that set the band pretty far away from the sophisticated pop and beat sounds they had been so successful with, they would record the amazing Terra in Bocca conceptual LP, an adventurous experimental album that explored the obscure connections between the Italian state and the mafia. A delicate topic full of political criticism which also found them having to fight censorship –it was played only once in the radio. This fact, along with the advanced new sound probably being too far ahead from the mainstream audience’s taste, turned the record into a commercial flop. Nowadays Terra in Bocca is a highly regarded album among critics, afficionados and collectors, and a pretty seminal one for the Italian scene of the seventies, since it can even be seen as a precursor to the works on the Cramps label. Gianni Sassi, producer and photographer who founded Cramps was involved in the release of Terra in Bocca –his is the amazing cover concept.

After the Terra in Bocca experience, Mino’s will was to keep exploring new musical paths and free his mind to experimentation. Along with his wife, actress and singer Edda “Terra” di Benedetto, they formed the Albergo Intergalattico Spaziale, just after the brief post-Giganti project Telaio Magnetico (with Franco Batiatto, among others) was over. The Albergo was a venue where artists from diverse disciplines, mainly musica and theatre, could meet and create works together.

On the musical side of the community, Mino and Terra explored the cosmic sonorities that were coming from Germany and mixed them with the Italian experimental scene of names like Franco Battiato, Luciano Berio or Roberto Cacciapaglia. It is from the sessions that took place in the Albergo from 1974 onwards that the Albergo Intergalattico Spaziale LP came out. Originally released in 1978 the compositions had been made during those years of exploration, the goal not being the release of an album but the aim to explore new sounds and experiment with music. Eventually it was decided to present a sample of all that work, and a few copies of the Albergo Intergalattico Spaziale LP were privately pressed.

The record sleeve and notes on the insert reivindicate the fight against nuclear power. The music is dominated by Mino’s keyboards, creating amazing space sounds reminiscent of those from 1950s and 1960s science fiction B movies brought to the most avantgardist experimentation of the moment, exploring new sounds with the newest keyboards available. This intriguing background sets the athmosphere for Terra’s voice to improvise all over.

Trees Speak are back!
Speak’s new album, “Vertigo of Flaws: Emancipation of the Dissonance and Temperaments in
Irrational Waveforms” comes as a double-vinyl edition, single CD and digital release. The limitededition first pressing only of the vinyl includes a bonus 45 enclosed in an 8-page 7”x7” booklet
insert housed within the gatefold sleeve with cover artwork created by Soviet Union propaganda
artist Lazar Markovich Lissitzky in 1911.
Trees Speak are back!
This new release is a vast leap into an ocean of space and sound, a quantum leap into cybernetics, biology, anti-gravity,
time travel, dream speech and transfiguration. A seriously next step release!
Showing no signs of slowing down their rapid creative pace – incredibly this is their fourth album in the space of just over
one year – ‘Vertigo of Flaws’ is a mighty 29 tracks, one and a half hours of music across one double album that is surely
going to be a defining point in their musical career, a giant leap into the sonic unknown, an epic exploration of intensity
and sound.
Alongside their now trademark German krautrock motoric-beat rhythms, angular New York post-punk attitude, tripped-out
60s spy soundtrack, psyche-rock, and 70s synthesizers and vocoders, here you will also hear a new cosmic spacial
awareness (both personal inner space and galactic outer space) and a truly wilful pushing of sonic boundaries - as police
sirens, static noise, alarms, radio signals, avant-garde voices, and orchestral string quartets, all collide to add beautiful
dissonance to uber-powerful, intense, addictive and propulsive rhythms - in the process creating a truly unique
soundscape that Trees Speak have made wholly their own.
If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid,
Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable
Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one
band - then this is it!
Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic nighttime magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing
information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively.
Special guests from the hyper-creative hub of the Tucson music scene on this release are Gabriel Sullivan, Ben Nisbet, Saul
Millan, Stephani Guilmette, and Davis Jones.
The album Vertigo of Flaws was recorded in Brooklyn, New York, and Tucson, Arizona during the plague of 2021.
Extract from Vertigo of Flaws sleevenotes:
‘As we travel through space and time, avoiding the discarded remains of the industrial period, the
deconstruction of social norms through the expression of art, music, and philosophy guide the human
experience towards the unknown.
All that remains are musical echoes scattered throughout the universe, like ancient vibrations that now
populate the cosmos. These waves now show signs of decay. Melody, beauty, tonality have all but fallen
away as dissonance blossoms. As John Cage wrote in 1937,
“Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be,
in the immediate future, between noise and so-called musical sounds. New methods will be discovered,
bearing a definite relation to Schoenberg’s twelve-tone system and present methods of writing percussion
music and any other methods which are
free from the concept of a fundamental tone”.
Similarly, George Van Tassel claimed the Integratron as capable of
rejuvenation, anti-gravity, and time travel. So, what remains of the
“people”? We have adopted from them our own Zeitgeber: their pulses
now guide our sun, our planets, our earths, and are the new circadian,
diurnal, and ultradian rhythms of the galaxy. Traumsprache, dream
speech, is now the internal language of trees.
Decaying metal and machines liberated the note unto nature’s table,
and we sip the delicious nectar of music once more irrational, elaborate,
violent, vast. The past is the future, musical disintegration its own rebirth.
We are nature, once more the computer of the Universe.’

Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.

Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.

The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explians Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.

“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”

A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.

Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.

The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.

Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.

The latest from Burnski's Vivid label is a three way split, six track affair with Oldboy, Xander and Longeez each dispatching a pair of tunes in the label's trademark roughneck breakbeat style. - Oldboy kicks off proceedings with the speedy junglisms of 'Blackbird' before the chunkier, funkier and a little more traditionally paced breaks heft of 'Walrus Party'. Xander's 'If I Tell EM' and 'Get To The Point' both plays off two step rhythmic twists and menacing bass against dreamy synths and more breakbeaty flourishes, before Longeez closes proceedings with the slightly sparser 'Evermore' - super sharp hi hats and echoing rasta dialogue - and the appropriately spinback-peppered 'Wheel Up'.

Clear Vinyl

Bartosz Kruczynski - the sometimes-ambient producer also known by his more club-ready moniker, Earth Trax - returns to the Shall Not Fade catalogue with his third full-length album. The Sensual World LP draws from both the moody, industrial soundscape of the cold wave-inspired LP1; and the warmer, more ethereal undertones of its successor. Whilst lending stylistic aspects from both, his latest release maintains their mercuriality and textural complexity whilst at the same time resembling something distinctly new. This 13-tracker sees the Warsaw producer continue to prove himself as one of the most versatile and consistent producers in the game.

Composed and produced during the 2020 pandemic, The Sensual World contemplates eco/environmental aesthetics and recontextualizes the genres that Kruczynski took as a springboard for the inception of his musical career. The aptly-named "Dream Pop" and "Fireflies" use arpeggiated melodies, vocal chops and luscious pads to capture the transportive allure by which early Earth Trax releases have been recognised; whilst later in the record, "Pearl" and "Splash" pair these tropes with those of industrial techno to create two pulsating dancefloor heaters. Elsewhere, the focus is on sound design and rhythmic complexity, with sharp, crystalline acid melodies ("Metal") and "Dreams Made Flesh's" broken drill beats and epic synths. Whilst other tracks see Kruczynski tap into the "bittersweet dance floor moments" for which he has become renowned over the course of his illustrious career ("Nowhere"), The Sensual World also offers its listeners sonic respite with some stripped-back, down-tempo slow burners "Nowhere" and "Everlong".

A protean producer who nonetheless has succeeded in helming a truly inimitable and idiosyncratic sound, The Sensual World LP sees Kruczynski cater for everyone - from the emotional ravers to the more hard-faced warehouse dwellers.

Emotionaler US Doom/Gothic Metal für Fans von Katatonia, Woods of Ypres, Paradise Lost, Amorphis, Swallow the Sun

Emotionaler US Doom/Gothic Metal für Fans von Katatonia, Woods of Ypres, Paradise Lost, Amorphis, Swallow the Sun

Als eine der spannendsten, neuen Stimmen im Alternative-Bereich haben Porridge Radio sich innerhalb von nur einem Jahr mit ihrem Album Every Bad (2020) von den DIY-Lieblingen hin zur Mercury Prize nominierten Band gewandelt. Mit Waterslide, Diving Board, Ladder To The Sky kündigen Porridge Radio heute ihr drittes Studioalbum für den 20. Mai via Secretly Canadian an. Während Every Bad die scharfsinnige und offenherzige Ehrlichkeit von Frontfrau Dana Margolin offenbarte, befördert Waterslide, Diving Board, Ladder To The Sky dies auf ein neues hymnisches Level. Dies ist der Sound einer Person Ende Zwanzig, die sich den Enttäuschungen der Liebe und des Lebens stellt und herausfindet, wie man in dieser Welt existiert - ohne dabei so zu tun, als wüsste sie alle Antworten. Ganz nebenbei ist das Ganze höllisch eingängig. Das Album beginnt mit "Back To The Radio" als kraftvoller Aufruf, der einen Kontrast zu Margolins Lyriks um Panik und Abgeschiedenheit zeigt ("lock all the windows and march up the stairs"), bis sich ein stürmischer Chorus aufbauscht, der einen sofort all seine Freund*innen fest umklammern lassen möchte. Waterslide, Diving Board, Ladder To The Sky ist wie ein surreales Gemälde, das teilweise durch eine Collage der Künstlerin Eileen Agar inspiriert ist und an das Unter- und Eintauchen, heikle Lagen und existentielle Lebensängste der letzten Zeit erinnert und gleichzeitig aus der Erzählung der Jakobsleiter aus dem Alten Testament schöpft, die wiederum "symbolizes the ups and downs of human life, of virtue and transgression", erklärt Margolin. Die Vorstellung, dass ein emotionaler Zustand nicht ausschließlich binär ist, ist dabei wesentlich für das neue Album. "With this album, the feelings of joy, fear and endlessness coexist together", fügt Margolin hinzu.

Awe Kid explores ideas of trans-humanism, evolution and digital immortality on Body Logic, a fantastically lush new album for Atomnation. The immersive 10 track record plays with organic, breathing textures punctuated by moments of digital unrealness to result in an album permeated with a dream-like quality. This contrast is mirrored by the artwork from Portugal's acclaimed The Royal Studio.

Awe Kid is an alias of Sine Language Records co-founder Rick Parsons. It is the product of years spent exploring a multitude of different music. From early days in post-hardcore groups and on to a love of 90s Warp, electronic jazz and more experimental niches, the multi-instrumentalist has now settled on his own unique fusion of breaks, ambient and left-field dance music. This deft studio wizard mixes up melodic nostalgia with forward-thinking sound design using whatever he can get his hands on, from analog and modular hardware, to samplers, field recordings to digital techniques.

Says Parsons, “I love working with digital processes because you get these unexpected moments where you dial something in, that somehow takes on a tangible, organic form in the real world. Searching for these sweet spots was the motivation for the album, contrasting natural textures against synthetic elements, and finding ways to create something that feels like it exists outside of the computer.”

While the album pays homage to dance music traditions, such as the broken beat of title track 'Body Logic', and full-throttle breaks of 'Zenith', these are assimilated and repurposed to create something that defies genre categorization. The listener's journey is perfectly paced, with broody but uplifting cuts of electronica giving way to shimmering, celestial melodies, and dusty breakbeats emerging from dense layers of atmosphere, only for the mood to be reset with soothing, suspenseful synths and haunting vocal samples. Elsewhere, devastatingly emotional ambient is followed by punchy grooves and propulsive melodies to make for a real ride.

Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation ColombianJapanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface.

In May of 1957, Art Blakey and his Jazz Messengers went into the studio with Thelonious Monk to record a one-off album for Atlantic. The Jazz Messengers were a loose collective of young Jazz musicians, with a constantly rotating lineup to keep the music fresh, and help launch new careers (akin to today’s hip hop collectives.)

Blakey had recorded with Monk on various occasions, but this was the first time Monk sat in with the Jazz Messengers. The result is a true meeting of the minds, a beautiful union of Monk’s melodies with Blakey’s unshakable sense of swing, and Thelonious Monk’s only appearance on Atlantic. This 65thanniversary deluxe edition includes an extra disc of previously unreleased outtakes, celebrating the most sensational jazz collaboration of the 1950s.

PERSONNEL:
Art Blakey, drums; Thelonious Monk, piano; Johnny Griffin, tenor saxophone; Bill Hardman, trumpet; and Spanky Debrest, bass.

Released in 1961, My Favorite Things made John Coltrane a star with box-office pulling power previously preserved for the likes of Dave Brubeck, Stan Getz, the MJQ, and Miles Davis. The dazzling quartet treatment of the Richard Rodgers hit song, features Coltrane on soprano saxophone for the first time on record, exercised a hypnotic effect on all sorts of music lovers and trend-spotters. The title track was a hit single, and the album became a major commercial success. In 1998, the album received the Grammy Hall of Fame award. It attained gold record status in 2018, having sold 500,000 copies. The mono version of this album, believed lost, was recently found, and is included in this deluxe package, as well as the stereo version, both mastered from the original tapes.

The packaging includes liner notes by award-winning writer Ben Ratliff, as well as photos and Atlantic Records ephemera.

Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation Colombian?Japanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface. Arroyo borrows harmonic concepts from modal jazz to create a unique sense of ease and endlessness. Each of the four pieces on the album centers around a single suspended chord, a chord most commonly associated with devotional music which embodies a space between harmonic tension and resolution. Porras embellishes that liminality with arrangements that feel less like distinguishable layers of instruments and more like one undulating nebula of sound. In the past decade of Porras' solo work, his music has grown increasingly engaged with elaborate synth textures and detailed processing. With Arroyo, Porras consciously takes a step back from those more intricate compositions and focuses on more organic, unadorned textures and places each sound with the same precision. Stark piano and guitar patiently hover over modest currents of Hammond organ and Yamaha DX7 with the sustain of each chord and phrase acting as a natural guide to the album's subtle rhythm. The four pieces that comprise Arroyo each encompass their own idyllic channel, slowly weaving their way in and out of the album's elegant stir. Porras' reflections on simplified elements take shape in gorgeous arrangements that impart clarity amidst a tranquil mist. Arroyo is an album that unearths splendor in a unified feeling of space, serenity in perpetual renewal