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'Gulliver', the latest Condor Gruppe album, is a nod to yet another spiritual journey in the band's ever-evolving saga. Released 23rd September via the groove-obsessed Sdban Ultra, the Antwerp-based nine-piece ensemble take you on a hypnotic trip, paying tribute to obscure Italian 70s film soundtracks, krautrock and psychedelic grooves. Fuse the melancholy of Pink Floyd, the heroism of Ennio Morricone and the world grooves of GOAT and you get an idea of what Condor Gruppe is.

Always looking to push musical boundaries, Condor Gruppe rely on the adventurous use of their instruments and their intriguing musical patter. Melancholic, exotic, surreal, the band's sound is enriched by instruments including the handpan, Jew's harp, darbouka and tanpura. Diverse sounds, rhythms and melodies build, exciting the listener whilst always remaining familiar. From the thunderous, spacious prog rock sounds of 'What Could Have Been', to the loose, laidback grooves of the mystical 'Farid' and groovy 'Rhymes On Our Mind', 'Gulliver' is a soundtrack for visits to far-flung places and a mesmerizing trip through the band's own record shelves.

Condor Gruppe released their debut album 'Latituds del Cavall' in 2014 with nine exotica fuelled songs that echo the sound of an intoxicated ride through the desert. This was followed up in 2016 with 'FROG BOG - A Tribute to Moondog' - an adaptation of the work of the legendary composer and outsider. Containing six Moondog interpertations, trumpet player Dirk Timmermans, saxophonist Matti Willems and baritone saxophonist Hanne De Backer joined the five original members of Condor Gruppe, with the results a spectacular mix between Moondog's jazzy compositions and Condor Gruppe's dreamy instrumental sound.

Second album proper 'Interplanetary Travels' (2018) - a nostalgic, melancholic soundtrack - saw the introduction of the Anoushka Shankar-trained Nicolas Mortelmans on sitar. The title hinting at Sun Ra is no coincidence. Condor Gruppe recorded 8 songs that give you the creepy feel of a horror scene, the heroism of the best film scores and the hypnotizing grooves of jungle tribes.

At this year's Ghent Film Festival, Condor Gruppe performed a live version of the score for the dark, hypnotic, surreal, erotic vampire film 'Daughters of Darkness' (1971), directed by Belgian cult director Harry Kümel. The score was originally recorded by François de Roubaix, a self-taught musician and jazz enthusiast, and he composed almost a hundred soundtracks, mostly for French films. In 1976, he won a César for best soundtrack with his work on 'Le Vieux Fusil' - awarded posthumously as de Roubaix had passed away just the year before. De Roubaix has always been a great source of inspiration for Condor Gruppe, so they were only too happy to sink their teeth into his scintillating score.

One Day I'm Going to Soar is the 2012 album by Dexys, formerly known as Dexys Midnight Runners.

It was the band's fourth studio album, but its first in 27 years. The album features, alongside Dexys' lead singer (and leader) Kevin Rowland, 1980s Dexys members Big "Jim" Paterson, Pete Williams and Mick Talbot, as well as new recruits Neil Hubbard, Tim Cansfield and Lucy Morgan, and guest vocalist Madeleine Hyland, who duets with Rowland on several songs.

The album struts from different themes and genre’s, including '70s string-soaked disco ("I'm Always Going to Love You"), lounge bar jazz-soul ("Me"), and seductive Al Green-esque funk ("She Got a Wiggle").

Previously described as an ‘idiosyncratic & brave record’ this fan favourite is being reissued on vinyl for the first time since its initial release in 2012.

Neuauflage des gesuchten Disharmonic Orchestra Albums "Not to be Undimensional Conscious" aus dem Jahre 1992.

Wenn man über Progressive / Death Metal geht, dann dürfen DISHARMONIC ORCHESTRA aus Österreich nicht unerwähnt bleiben. Mit "Not to be Undimensional Conscious" beschritt die Band 1992 neue, avantgardistischere Wege, ohne dabei ihre Death Metal Wurzeln in Vergessenheit geraten zu lassen. Die einzelnen Songs des Albums zeichnen sich durch eine selten in dieser Form erlebte Verrücktheit aus jedoch ohne den Blick auf das Gesamtkonzept zu vernachlässigen. Disharmonic Orchestra gelang es mit diesem Meisterwerk avantgardistische, progressive Elemente mit Death Metal aus der Frühphase der Band zu verbinden. Nun erscheint dieser längst vergriffene und in der Szene hoch gehandelte Meilenstein erstmalig im hochwertigen Ltd, Edition Vinyl in Mint bei Metalville Records.

Finnegan's Hell has spawned a new subgenre within Celtic punk and folk rock by adding influences from hard rock, hillbilly country and Swedish folk. What the press has labeled "The New Wave Of Swedish Celtic Punk", takes no prisoners. With the focus on great melodies and sing-alongs, "One Finger Salute" is an album which will stand the test of time.

PRESS QUOTES ABOUT THE BAND:

"This is so good that I'd say it is superior to the latest offerings by the flagship bands of the sub-genre (looking at you Flogging Molly and Dropkick Murphys)" - The Mighty Decibel

"These Swedes have a solid grasp of the Celtic punk idiom and are able to use stomping folk melodies and traditional instrumentation to reveal, and revel in, the gnarlier side of life." - Vive Le Rock

"They may not be as well-known as the Dropkick Murphys, Flogging Molly, Blood Or Whiskey, or The Mahones, but they are gaining quite a reputation on the European scene. Listening to the band's last album, "Work Is The Curse Of The Drinking Class", it's easy to see why."
- IPA Music

"They're hard to describe, but just imagine a blend of Metallica and The Kilfenora Ceilí Band and you'd be about right." - The Irish Times

»Hallway Waverider« is Mikko Singh’s second album for Morr Music under his Haleiwa moniker. Blending the washed-out aesthetics of dream pop with a lo-fi take on modern psychedelia, it is a fuzzy record in more than one sense. The ten songs see the multi-instrumentalist explore the sonic idiosyncrasies of analogue recording equipment while also expressing a self-assured statement by a musician who has carved out a niche for himself and feels perfectly at home in it. “This record is like me telling my teenage self that I am OK,” says Singh. “Back then, I was recording my song ideas on cassette players but held the belief that music should be recorded in an expensive studio with expensive gear in order to be real.” As it turns out however, Singh had been right from the start, having come full circle as an established artist some twenty years later.

After exploring the affordances of vintage equipment for 2019’s »Cloud Formations« LP, Singh worked with a Tascam 244 4-track cassette recorder and Tascam 388 8-track reel-to-reel recorder to transform the sounds of his vintage synthesizers, bass, the occasional guitar part, and drums supplied by Svante Karlsson for »Hallway Waverider«. By experimenting extensively with the machines’ unique sonic qualities and constantly reworking the pieces in regards to their sound signature over the course of two years, Singh has found the perfect equilibrium of electronic music and lo-fi aesthetics while navigating with ease through styles like driving surf rock, gritty garage punk and ethereal dream pop. On his new record, he seamlessly integrates these influences into anthemic yet soothing songs.

The title of the album refers to Singh’s halcyon days as a teenager spent listening to punk music and—in wintertime—skateboarding in his own bedroom. The lyrics refer to surfing as a nod to both his own experiences with riding the waves and the music genre that has provided him with inspiration throughout his career as a prolific recording artist with three solo albums under his belt. However, surfing primarily serves as a metaphor for something bigger. “It’s about things in life that are important to me; things that make me feel good and soothe the mind,” he explains. It comes as no surprise then that »Hallway Waverider« is also dedicated to a key figure in his life. “The album is an ode to my mother who passed away in 2015,” says the artist. “She made it possible for me to have a good childhood and to be able to do what I love.”

This sense of closure and being at peace with himself is also expressed in lyrics like "A sea stroll. Going slower. Feeling featherlight,” expressing a calm that perfectly mirrors the music’s steady grooves and welcoming overall feeling. Starting with the upbeat »River Park/ Sleeping Pill«; to the almost ambient, synthesizer-heavy »A Bottomless Pit«; or short, punk-inspired and bassline-driven outbursts like »Watered Down« or »Halulu Lake«; to the blissful title track that closes the album, Singh opens up a whole panorama of different moods across a broad variety of musical styles. They are connected by that rare thing: a unique musical vision expressed by an instantly recognisable sonic signature.

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

This Boxset focuses on Waziri"s Illustrious Mid-Career Output - The Music he created during the years leading up to and after he performed his first Hajj (You Might Recognize some of the Hits from The Muslim Highlife) - And includes a copy of The Journey so far, a Limited-Edition Book written and designed by his children, To celebrate Waziri"s remarkable life And career.

Welcome to the enchanting Universe of Buddha-Bar This 4-CD box set offers a great selection of hypnotizing sounds, mostly unreleased captivating and exotic tracks. Crafted by the coolest Chill-Out & Organic House artists around the universe, this new selection will take you through the four galaxies of Mr. ID (Morocco), Milo Häfliger (Swiss), The Soul Brothers (Mexico) and Ravin (Buddha-Bar Paris resident DJ). Get ready for an interstellar odyssey, an escape through time and space, where reality fades into dreams, where music is the journey. Welcome to a new dimension, welcome to the Universe of Buddha-Bar

Part 5 of the various artists series is at it again with 5 tracks by 5 different producers and a mixture of feel good party time music and contemplative music. You will hear familiar Running Back names like Storken (this time together with JStaaf) refining their comic tropes (or imagine Foreigner doing house music) next to newcomers like Archie Ward. His Pizza Girl puts musical toppings on a pounding underbelly that wouldn't be out of place in any warehouse, while Moritz and Amount dial it back a bit. Their respective tracks are gleaming with a special kind of elegant end-of-night euphoria that is hard to come by - and all the nicer if it happens. Remember: trance is a state of mind! Last but not least, Australia's Jonus Eric delivers an IDM-leaning piece of outsider dance. Hot soup, hot swallow!

Almost an anti-Christmas song, the Soul Duo’s “Just A Sad Xmas” doesn’t exactly evoke the festive spirit of the season. Comprised of ‘Tidewater’s queen of soul Ida Sands and former Anglos tenor Joe Webster, the duo issued just two singles on Noah Bigg’s Shiptown label. Just in time for the holidays, Numero has repressed this maudlin yuletide burner and packaged the red, white, and green splattered 45s in a rigid cardboard sleeve for easy wrapping.

Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.

Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.

This wildly acclaimed Istanbul-based artist, delivers an unforgettable 4th album Anadolu Ejderi (Anatolian Dragon). Building upon her mélange of Turkish psychedelia, empowered commentary and retro-futurist sonics, her vision is more personal and uncompromising than ever before. Courage. Bravery. Daring. Those are the watch words that guided Turkey"s Gaye Su Akyol when she was making Anadolu Ejderi, her first full-length release in four years. Already lauded for her startling, innovative mix of Turkish psychedelia and folk song, surf music and ʼ90s Western rock, a global sweet spot where Anatolian music heroine Selda Bagcan rubbed shoulders with Kurt Cobain, Akyol was ready to expand her vision after a relentless period on the road. "I was tired of touring," she says. "I really needed a break, some fresh air." The Covid pandemic gave her that, even if it was for the wrong reasons. "With everything closed, we all had to sit at home. The isolation gave me time to write. I ended up with over 100 songs. I tried to broaden the palette: to start with Anatolian folk and pop, then see how to add African and Middle Eastern sounds, the soul revolution, disco, and rock from other cultures. The music is still quite psychedelic, but it connects to different areas, all the pop genres I love so much. The hard part was picking the right songs and the correct order." Everything on Anadolu Ejderi - the title translates as "Anatolian Dragon" - breathes fire. It takes chances, the lyrics offer an exploration of politics in today"s Turkey. The personal is very much part of that. "In a political climate where a woman"s commitment to her passion, to falling in love, to her sexual identity is revolutionary enough, she is deeply passionate and able to express her love freely," Akyol notes. "It would have been easy to sit in the comfort zone of the past."

Both LPs pressed 45RPM in gatefold jacket+ white paper sleeves + LP3 insert for full album download. Yellow vinyl is for Indies only. It might be too soon to declare In Prism the best Polvo record ever…but it might be okay by the time you’re done reading this. ...Only at this point in life would Polvo be so assured, so casually stormy and intensely calm, graceful and free with their power without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness; the writing, the singing, the words you can understand, the ones you can’t. Polvo spent 1990–98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. And while there was nothing wrong before, it’s now so much more right—perhaps because after ten years none of the peripheral stuff matters anymore. Now is for Polvo, and Polvo is for now. In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree? Mike Wolf, NYC (2009). Side A 1. Right the Relation 2. D.C. Trails Side B 3. Beggar’s Bowl 4. City Birds Side C 5. Lucía 6. Dream Residue/Work Side D 7. The Pedlar 8. A Link in the Chain

On his second release for ECM New York-based saxophonist Oded Tzur
introduces a heightened sense of urgency and a conceptually augmented
approach to his distinctive voice, weaving one underlying musical idea
through a series of elaborate and impassioned designs
The quartet's lineup is unchanged from 2020's Here Be Dragons and the group's
interplay has grown even more expressive in the meantime. Throughout Isabela
the saxophonist and his collaborators - pianist Nitai Hershkovits, Petros
Klampanis on bass and rhythm conjurer Johnathan Blake - apply their subtle
dialect in a more intense space, exploring the nuances and colors of Oded's selffashioned raga in a suite- like sequence of quiet meditations and powerful
exclamations.
The remarkable session was captured in Lugano's Auditorio Stelio Molo in
September 2021 and produced by Manfred Eicher.
Oded Tzur: tenor saxophone
Nitai Hershkovits: piano
Petros Klampanis: double bass
Johnathan Blake: drums

Songs that inspired Flicker by Yoko Ono, Pentangle, The Kinks and Arthur Russell. “The idea was that I would be covering songs which helped in some way to colour in the edges of the picture of the influences that make up Flicker,” explains Andy. "The song ‘Jenny Holzer B. Goode’ on the album refers to a few of the female artists from the music and art worlds who I find inspiring, including Yoko Ono, so it felt right to include a cover of ‘Listen, The Snow Is Falling’, my favourite Yoko Ono song. “Pentangle’s ‘Light Flight’ came out in 1970, the year I was born, and I’ve loved it ever since I heard it on the 1997 folk compilation Transatlantic Ticket. “Nat Cramp, the head honcho of Sonic Cathedral, requested that I cover ‘The Way Love Used To Be’. I’d never heard this song despite being a big fan of The Kinks, but it’s lovely and it felt very natural to do a version of. All hail Ray Davies! “Arthur Russell has been a big reference point for all my music away from ‘band world’. There is something impressionistic and open-ended about his records. I guess you could describe the production style I’m trying for on ‘Our Last Night Together’ as ‘World Of Echo meets This Mortal Coil doing Skip Spence’.” A1 Listen, The Snow Is Falling A2 Light Flight B1 The Way Love Used To Be B2 Our Last Night Together

. It's 2021 and Vancouver’s Bootlicker are back with their first full length. Experimenting with various lineups and sounds since 2017, these 14 original tracks flesh out their most realized expression. Following four EP’s and two demos, their self-titled debut stays true to the noise cultivated in the previous offerings. That raw, blown-out production countered with clean guitar sound and Internationally-informed take on a UK82 delivery remains. Everything that made the band what they were on their previous output is polished into a ball of fire that will not be contained. Their mid-tempo, menacing posture of tracks like "Herd The Sheep" and "State Of Fever" give way to the D-beat totality of "Master" or "Two Faced" proving there are still ideas in the tank. There won’t be much left but scorched earth by the time it comes to rest. FFO: Mau Maus, Discharge, SSD. Every copy of this LP comes with 16 page zine-style lyric insert full of illustrations by band member and visual artist Athena.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular. Her new album Miss Colombia takes her ecstatic hybridity to a new level, building on the “nu” intersection of electronica and cumbia established by her 2016 Polaris Prize-winning La Papessa as Canadian album of the year. Produced with Matt Smith, a/k/a Prince Nifty, Miss Colombia overflows with the kind of understated genius that promises yet another breakthrough. TOURING EUROPE IN 2020. Already confirmed: May 22 - London Calling (Paradiso), Amsterdam (NL).

DEL Records returns to the spotlight with a pretty impressive debut album by German artist Woyke. Touching all corners of IDM and experimental electronica this LP is deep and twisted while doing an exercise on science-fiction nostalgia. Deep listening recommended!

Fresh off the back of his highly acclaimed debut album on Astral Black, Footshooter returns to the WOLF Music pack following his ethereal remix of Velour last year, with an exquisite six track journey through his signature sound.

An amalgamation of genres, ideas and vibes blend seamlessly together throughout the record, showing a wealth of knowledge, alongside a production prowess to match. From the cinematic opener 'Welcome In' to the soulful, synth-laden broken beat of ‘Turning’ and 'Archetype 7' on the A side. Samples dance next to magical playing and programming, with hats tipped to legends of yester year whilst keeping things completely fresh at the same time.

Flip it for the B, where UK Funky feels mix with bumping house for the fresh to death, dress to impress 'Dojo'. Footshooter then dips the lights down low and and slows the tempo with the beatsy, piano shimmering brilliance of 'Angel(s)' and the eyes closed, soul healing sounds of 'Hold On'.

Six shots, no misses, Footshooter gets deep into the heart of what’s bubbling in London town right now.

Hell Yeah is proud to present the return of Jazz N Palms with a superb new project following the success of his Ses Rodes album. 'Milano' as a 7" with radio and instrumental versions alongside an original video and expressive artwork by Parisian studio Nokko.

Jazz N Palms is a jazz-inspired project from Italian DJ and producer Riccio. He started this project after moving to Ibiza and falling under the spell of its ancestral side, its sweet and slow pace of life and the natural rhythms of the beauty in the north of the island. In summer, he served up his fantastic Ses Rodes double album which was dedicated to the original way of life that had remained almost unchanged till the early 80s party explosion.

This new track came about after Riccio heard Piera Martell's 1978 soul-jazz track 'Exotica' in a mix by Phil Mison. The idea was reimagine the song with new lyrics and set in Milan, in the early days when the town was invaded by unusual and exotic palm trees in Piazza Duomo. The song tells the story of a country teenager who is unsure about heading to a big new city after receiving an invitation. The story will retrieve familiar emotions for many of us who have faced similarly important decisions in our life, but this time married to an escapist groove.

For this release, the original 'Exotica' has been fully replayed by contemporary musicians from the multi-genre Italian ensemble 291out, with whom Riccio has worked in the past. It has new lyrics sung in Italian by fellow 291out collaborator Giovanna Lubjan after permission was given by original composer Salvo Ingrassia.

'Milano' is a luxurious soul-jazz fusion. It has exotic guitar lines and gently persuasive rhythms topped by the soaring vocal from Lubjan. A steamy sax helps the temperature rise as the track unfolds and traps you under its gorgeous spell.

This is a timeless package of blissed-out brilliance from Jazz N Palms.

Wah Wah 45s are proud to present a new set of remixes, as well as originals released on vinyl for the very first time, from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

Featured vocalist on both original tracks, and remixes, is the aforementioned Dele Sosimi - keyboard player and musical director for Fela's Egypt 80 as well as Wah Wah 45s recording artist on both his solo material and the recent collaboration with house music producer, Medlar.

The rest of the group comprises of bandleader ofAfrik Bawantuand percussionist for Ibibio Sound Machine and Keleketla,Afla Sackey; highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Obsorn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

From London To Lagoswas inspired by a talk given by writerRoberto Savianoat the Hay Book Festival in 2016, just before the Brexit referendum. In it he described the UK as the "most corrupt country in the world". This was a reminder of how the leaders of so-called developed countries, conveniently suffering from colonial amnesia, still point disparagingly at the rest of the world and talk of "endemic corruption" and "Banana Republics". All the while the ill-gotten gains of organised crime syndicates, corrupt multinationals and military juntas across the globe are funnelled through financial centres such as London. Same trouble, different methods, greater scale. Of course the best way to divert the population from all this is to find distractions such as populist leaders who declare their countries "world beating" and scapegoats such as refugees, immigrants and other members of the underclasses. It has always been thus but it doesn't always have to be so.

This track was once more recorded remotely during lockdown and features an all star lineup of world class musicians from the UK Afrobeat and jazz scenes. Members of the Dele Sosimi Afrobeat Orchestra, Keleketla, Sons of Kemet and beyond have come together to create this powerhouse of a band. They encapsulate the meaning of "eparapo" and "join forces'' to fight a common enemy in the shape of corrupt and divisive ideologies.

Its remix comes fromWheelUP- the moniker of West London broken beat revivalist Danny Wheeler, who here delivers something of a smoother straight up Afro flavoured house workout that's sure to be heard across dance floors and festivals this summer. The Tru Thoughts signed artist adds gliding synths and tight drums that ride the original's hypnotic melody perfectly and make for a future club classic.

Black Lives Matterwas obviously inspired by the movement of the same name and was the first track to be released by Eparapo in late 2020. Dele's voice tell the story slave ships leaving West Africa in the fifteenth century, the brutal conditions that were experienced on board, and the continued suffering of the African diaspora today. As always, half of the artist's income for this song will be donated to the NAACP - a civil rights organisation in the United States, created for the advancement of black people by means of following judicial policies.


The remix here comes from Birmingham based producer signed to Jalapeno Records,Sam Redmore. Sam's love for breaks and beats comes into play well here, subtly chopping up the original to create a bass worrying version that still sends that very important message of justice and equality - Black Lives Matter!

a 01: From London to Lagos (WheelUP Remix) feat. Dele Sosimi

[c] 03: Black Lives Matter (Sam Redmore Remix) [feat. Dele Sosimi]

Bad Colours is back with his sophomore album, "Always With U," out on Bastard Jazz Recordings in November, 2022. The London-born, Maryland-raised, Brooklyn-based DJ, songwriter, producer, and multi-instrumentalist - aka Ibe Soliman - continues to build on the well-deserved acclaim from his 2021 debut LP, "PINK," as well as a slew of standalone singles and collaborations with the likes of Shabazz Palaces, Jarv Dee, and Stas THEE Boss.

"Always With U" sees Ibe further develop his talents as a songwriter and producer, while maintaining the signature balance of banging dance music and dense bars that he's quickly becoming known for. The album expands Ibe's role to a collaborator, band leader, and all-around star-of-the-show; it's certainly still a dance record, but there's also so much more. Live instrumentation accompanies every track, with the notable contributions of Nigerian bassist Akin-Alade Ogo heard across the album, as well as the NY-based saxophonist Carras Paton on the jazzy, upbeat house number, "Heartache + U."

The lead single, "Maybe I Should Move to LA," sees the proudly Brooklyn-based Bad Colours contemplate a move out West – an idea that came about following a trip to LA for the 20 Years of Bastard Jazz anniversary party (which he DJed) in November last year. Bright pads, a thumping four-on-the-floor beat, and a catchy vocal line make it the perfect accompaniment to a top-down joy-ride up PCH. The album's second single, "You Don't Know," features frequent collaborator and PNW darling Jarv Dee, as well as KAS and JVDE who have both been making waves in the Brooklyn scene (KAS for his work with Grammy- nominated producer Harmony Samuels featured on BET, and JVDE as the lead-singer of alternative band Blind Benny). "You Don't Know" turns up the heat with Jarv and KAS trading dense, rapid-fire verses over a high-tempo beat and detuned vocal; the kick cuts out for the bridge, replaced by syncopated keyboard stabs and JVDE's stacked vocals. "You Don't Know" is high-energy hip house at its finest: Super catchy and irresistibly dancey.

The two singles are emblematic of the rest of the album, which largely alternates between vocal and hip house, sometimes jazzy, other times touching on R&B or dancefloor influenced pop. Dave Giles II and Cor.Ece (who recently both contributed to Beyoncé's chart-topping "Renaissance" LP and Honey Dijon's "Work" single) feature on "Flow," while Toribio (of the acclaimed Brooklyn band Conclaves) provides vocals for "Do Better;" both tracks are on the mellower side, reminiscent of late-90s New York mid-tempo garage. Rising artist N.O.V. features on the second track, "Ready," rapping over a bass-heavy beat; MarcusHarmon makes a return after appearing on "PINK," with smooth vocals on the romantic "Come Closer." Aforementioned JVDE can be heard throughout the album, contributing to "You Don't Know," "Flirtation Avenue," and "Easy Come, Easy Go."

While Ibe's career has spanned nearly two decades - as both a DJ (alongside the likes of James Murphy, Mark Ronson, and Q-Tip) and producer (for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others) - the Bad Colours name only came into being in early 2020, with the debut LP, "PINK," being released in February, 2021 on the Brooklyn tastemaker label Bastard Jazz. By tapping into his deep network of artist friends, Ibe compiled a treasure-trove of vocal samples, snippets, sketches, and fresh instrumental loops into a beautiful debut record that touches on hip-hop, house, and left-field electronic, while remaining danceable.

A slew of singles throughout 2020 and 2021 included "Feelin' Like," featuring the Seattle rapper Jarv Dee, has become an underground hit, popping up everywhere from Best Buy ads, Hulu's "Woke," celebrity Peloton instructor Emma Lovewell's playlist, and even as a soundtrack to the Mayor of Madrid's TikTok video. Most recently, "Feelin' Like" had a prominent placement in the #1 Netflix film "Spiderhead," directed by Joseph Kosinski ("Tron: Legacy;" "Top Gun: Maverick") and starring Chris Hemsworth, Miles Teller, and Jurnee Smollett. The breakout success of "Feelin' Like" further led to a collaborative EP with Jarv Dee, titled "BLAKHOUSE," which saw additional features from fellow PNW natives Shabazz Palaces ("Clouds," featured in Hulu's "Shoresy") and Stas THEE Boss ("Black Skin"). This year, Bad Colours dropped the early Summer banger "Hit The Breaks," and served as the musical director for the influential MADE New York festival, a two-day fashion, music, and arts event presented by Public School NYC and Paypal, that saw performances by Nas, Heron Preston, and Bearcat among others.

"Always With U" is a testament to Bad Colours' versatility as a producer and artist, which has allowed him to bring together such a diverse group of friends and collaborators. Yes, the house and hip-hop roots remain, but "Always With U" shows an evolution of the Bad Colours sound into masterfully crafted dancefloor sounds. It's a truly stunning follow-up from an artist undoubtedly on the rise. The album is out on all platforms, via Bastard Jazz Recordings, November 11th, 2022.

The second volume of El Búho's "Tributaries" remix compilation series brings together 14 more remixes from UK born producer and remix extraordinaire Robin Perkins aka El Búho. Building on 2018's first volume, the evolution of the producer's sound and influences becomes clear. The album is threaded together by reinterpretations of traditional music in a new electronic-organic context. Be it Galician, Estonian, Colombian, Irish, Garifuna, Reunionnaise or Frenchfolkmusic, El Búho makes his own unique tribute to the originals, bringing them into his owlish universe.

The album mixes club-ready bangers with beautiful and moving interpretations, easily making sense both in your living room or behind the decks. We are treated to a wide delta of influences, styles and sounds, moving between the slow, psychedelic electronic cumbia take on Chadian group Pulo NDJ's Dabadji Am Alcorama across the Atlantic to the upbeat, dancefloor fire remix of Garifuna Collective Ideruni, from an anthemic version of No Más Velorio by Colombia's Plu Con Pla to a refreshing, driving remix of up and coming Reunionnaise producer Eat My Butterfly.

Tributaries offers both a nod to the past, paying tribute to traditions andfolkmusic around the world, and a vision of the future, carving out new channels and directions, transporting the flows of the past into the future.




d 04: Biomigrant - La Muerte (El Búho Remix) feat. Toño García & Fredys Arrieta
[e] 05: Eat My Butterfly - Dann Ton Zié (El Búho Remix) [feat. Sibu Manaï]

[g] 07: The Garifuna Collective - Ideruni (Help) [El Búho Remix]

The French psycho-indie-rock band La Femme announces the release of Teatro Lucido, their new studio album sung entirely in Spanish, released on November 4, 2022. During their time touring in Latin America and Spain, La Femme wrote a Spanish song called "Le Jardin" for their previous album Paradigmes. This track led them down the path toward creating Teatro Lucido, their first full album sung entirely in Spanish. Similar to their previous albums, La Femme wrote, composed, and produced Teatro Lucido themselves, inviting numerous female singers to participate in the process. The album found birth through their adventures in Seville, Grenade, Madrid, Mexico City, Cuautepec, Padul_ where they had so many moments of laughs and joys, tears and disappointment. Teatro Lucido draws from many of La Femme's inspirations including the famous Semana Santa in Spain; pasodoble, reggaeton, Brasilian, and Andalusian rythms; classical guitars, and Movida of the 80's. Teatro Lucido is the name of a mythic theatre where La Femme has played many times in Mexico. It is the first album from a thematic series they have planned called "Collection Odyssée."

Miles Away Records are proud to present our latest release Keep Holding On / You're The Best by Savoir-Flair.

Dallas, Texas in 1982, during the hot summer months Roger Boykin, John Miller and Cassandra Wright were working as session musicians at Precision Audio studios. They were put together to create soundtracks, jingles and idents for US TV commercials and, in what spare studio time the three of them had, would experiment with the studio equipment at their disposal - writing and developing what would become the Savoir-Flair sound.

In these secret, after-hours sessions the three would create a staggeringly good private press 80s modern soul album. A flawless collection of tracks with every one of them hitting hard. It would be released on Roger's own label SoulTex Records with the group touring locally. Alas though, this was to be their only album as Savoir-Flair disbanded a year later. The impact this album had however can still be felt today with the 45 and LP becoming highly sought after amongst modern soul collectors around the world.

San Diego born and raised DJ/Producer, Dillon Marinez, today releases his latest EP ‘Wormhole’, out now on Dirtybird.

Curated by Claude VonStroke, the compelling two-track project presents a dynamic soundscape showcasing the sonic duality of one of Dirtybird’s newest rising stars. The chaotic, high-energy sound of its titular track ‘Wormhole’ is instantly mesmerizing, while its companion ‘Facelift’ is a deep, rolling burner.

Regarding the EP, Dillon Marinez said, “My first Dirtybird Campout inspired both tracks. Claude’s set especially was full of some thick stabby bass which was right up my alley. This sound gave me an idea for each lead and the rest flowed naturally.”

Continuing to grow as a consistent member of the Dirtybird flock, Marinez’s latest EP, ‘Wormhole’ marks his fifth release on the esteemed label following last year’s ‘No Pressure’ EP and earlier singles like ‘Dance For Me.’

Taking inspiration from funk, hip hop, and reggae, Marinez credits his father and brother for exposing him as a kid to the multi-genre sounds that shape his music style today. A bassist since childhood, it was only natural for Dillon to be drawn to the ebbs and flows of house music. Learning Ableton in college, Marinez was able to incorporate a blend of rhythmic elements to create his unique bass lines and incredibly catchy beats known to captivate crowds.

Releasing music on Dirtybird marks a full circle moment for Dillon, as he has previously named Dirtybird’s artists Justin Martin and Shiba San as major sources of inspiration for his music.

Marinez invites fans to join him on his rhythmic journey and stream ‘Wormhole’ today.

Special 10th Anniversary Edition In Brown Card Artboard Sleeve With Additional Lyric Print Insert

Slowdive singer and songwriter’s third solo album, which was originally released in November 2012. It is a stunning record and one which, upon its release, underlined the claims that Neil was one of the finest and most underrated British songwriters of recent times. It’s also a very special release in the Sonic Cathedral catalogue; the shoegaze label licensed the record from Jack Johnson’s Brushfire imprint for the UK and Europe and it was the start of a relationship that also gave us the Black Hearted Brother album in 2013 and, ultimately, brought about the reformation of Slowdive in 2014. But Palindrome Hunches is a very different beast. Both stately and understated, this moody and mesmerising collection of peculiarly British folk songs was made with the Band of Hope, a Wallingford, Oxfordshire based collective consisting of Ben Smith (violin), Drew Milloy (double bass), Paul Whitty (piano) and Tom Crook (guitar). Together with producer Nick Holton, banjo player Kevin Wells and backing singer Aimee Craddock, they recorded the album to tape over a few weekends in the music room of their local junior school. “At first we were going to record in a studio, but everything seemed too clean,” said Neil at the time. “We just went through the songs and recorded them live without very much rehearsal. We wanted to be spontaneous and simple and to keep the little mistakes that sneaked in.” This goes a long way to explaining the album’s humanity and intimacy, and also why it has had a quiet life of its own over the past decade, gradually growing in stature alongside Neil’s more high-profile activities with Slowdive; copies of the 2012 original and even the 2017 repress currently fetch up to triple figures on Discogs. The stunning opener ‘Digging Shelters’ was used to devastating effect in the posthumously released James Gandolfini movie Enough Said – a fitting home for a song that rubs shoulders here with ruminations about love and loss such as ‘Tied To You’ and ‘Spin The Bottle’ and, on ‘Wittgenstein’s Arm’, an Austrian pianist who had his right arm amputated in World War I and lost three of his brothers to suicide. The wordplay of the title track is almost light-hearted in comparison; “I wanted to write a song that was the same forwards and backwards, but it didn’t quite work out,” explained Neil, adding that he also chose ‘Palindrome Hunches’ for the album’s title because “I like the idea of things being reversible”. A couple years later, by reforming his old band, he proved that. And now, ten years on, it’s the perfect time to rewind to this understated, underrated classic. Side A 1 Digging Shelters 2 Bad Drugs and Minor Chords 3 Wittgenstein’s Arm 4 Spin The Bottle 5 Tied to You Side B 1 Love Is a Beast 2 Palindrome Hunches 3 Full Moon Rising 4 Sandy 5 Hey Daydreamer 6 Loose Change. Praise for Palindrome Hunches on its original release: ““Nope, it ain’t shoegaze as it's been codified and re-codified. But why be disappointed in someone following his muse to a logical conclusion when that path was always the one he walked on?” – Pitchfork An exquisite set of dark folk music” – The Times “Draws from the same understated, reflective well as John Martyn” – MOJO “‘Tied To You’ doesn’t merely evoke Nick Drake but withstands the comparison – evidence of the songs’ quality” – Financial Times “Halstead’s songs breathe the sort of honesty and goodness that’s harder and harder to find in the iTunes age” – The Independent “Given the chance, they could be songs that continue to enchant for many years to come” – The Line Of Best Fit

During the last decade Pedro Alves Sousa has been establishing himself as one of the most inventive and creative musicians of his generation. He is a self-taught musician and continues to learn how to play his saxophone every day. His label Futuro Familiar is born out of the idea that he needed to mark some of his creative evolutions and create more specific paths for his career. “Rahu” and “Ketu” were recorded in 2016 and 2017 with a group of musicians: Alex Zhang Hungtai (Dirty Beaches), Gabriel Ferrandini, Júlia Reis, David Maranha and Pedro Alves Sousa. Both start with the idea of free jazz but soon develop into other stages, manifesting mostly an idea of sound instead of music.

Recorded at Galeria Zé dos Bois, Lisbon, 12-05-2016, by Cristiano Nunes.
Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.
Cover by Fátima Moreno

Alex Zhang Hungtai - Percussion ; Saxophone
Pedro Alves Sousa - Percussion ; Saxophone ; electronics
David Maranha - Percussion ; organ
Gabriel Ferrandini - Percussion
Júlia Reis - Percussion


[a] a1 | RAHU
[b] b1 | RAHU

During the last decade Pedro Alves Sousa has been establishing himself as one of the most inventive and creative musicians of his generation. He is a self-taught musician and continues to learn how to play his saxophone every day. His label Futuro Familiar is born out of the idea that he needed to mark some of his creative evolutions and create more specific paths for his career. “Rahu” and “Ketu” were recorded in 2016 and 2017 with a group of musicians: Alex Zhang Hungtai (Dirty Beaches), Gabriel Ferrandini, Júlia Reis, David Maranha and Pedro Alves Sousa. Both start with the idea of free jazz but soon develop into other stages, manifesting mostly an idea of sound instead of music.

Recorded at Galeria Zé dos Bois, Lisbon, 29-12-2017, by Cristiano Nunes.
Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.
Cover by Fátima Moreno

Alex Zhang Hungtai - Percussion ; Saxophone ; Drumpad
Pedro Alves Sousa - Percussion ; Saxophone ; Electronics ; Flute
David Maranha - Percussion ; Organ ; Flute
Gabriel Ferrandini - Percussion ; Electronics ; Flute


[a] a1 | KETU
[b] b1 | RAHU

Re-mastered from the original master tapes.
180 gr vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.

Facsimile reissue using the original photo by Jean-Pierre Leloir.
Double insert using an original color photo by JP Leloir.
Each record has been visually checked to prevent defects.

Recorded October 22, 1958, Olympia hall, Paris.
Original LP issue: Brunswick 87 903.

“They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well- served in Paris.” (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France… The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, Dear Old Stockholm, adapted from a Swedish traditional song; on Flute Blues, Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like The Blues Walk? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…
Text – Alain Tercinet

Genre : Pop / Cinema / French Chanson. "De l'amour mais quelle drôle d'idée" is definitely the music album of an actress. Result of her collaboration with the french composer & singer Léonard Lasry who composed and produced entirely this album, it features 10 songs specially created to be performed as cinéma scenes on pop melodies with luxury arrangements. The poetry of the lyrics written by Elisa Point talks about intimacy with tenderness, melancholy with at some points several sarcastic touches. The album ends by "Via Condotti" performed as a duet with Léonard Lasry, already released last spring, and been the starting point of this surprising and enchanting album. Tracklist : 1. Magnifique N'est-Ce Pas 2. Ne Fais Pas Attention À Mon Amour 3. Non Je Ne Vois Pas Qui Vous Êtes 4. Je Ne Suis Pas Celle Que Tu Crois 5. De L'amour Mais Quelle Drôle D'idée 6. C'est Écrit Là Dans Nos Yeux 7. Roulette Russe 8. Assez Voyagé 9. Qui Vous Envoie ? 10. Via Condotti

JEFF COTTON OF CAPTAIN BEEFHEART & HIS MAGIC BAND FAME
RELEASES HIS FIRST EVER SOLO ALBUM -'THE FANTASY OF REALITY'
After playing guitar, lap steel & vocals with the legendary Captain Beefheart & his
Magic Band, appearing on the ground-breaking album 'Trout Mask Replica' (under
the pseudonym Antennae Jimmy Semens), as well as playing on 'Strictly
Personal' & 'Mirror Man', Cotton withdrew from the commercial music business
for nearly 50 years. Using the island state of Hawaii as a home base, he emerges
from his seclusion in 2022 with his first ever solo album; 'The Fantasy Of Reality'.
Whimsical, playful & tongue-in-cheek - Cotton delivers a psychedelic journey that
will delight Beefheart devotees while bringing plenty of new ideas to the table
across the sprawling 22 track, 66- minute runtime. 'Trout Mask Replica' cover
designer Cal Schenkel collaborates once again as he returns to contribute to the
internal artwork of the album to continue the Captain Beefheart canon into the
2020's.
Across the decades, the Magic Band's power & influence has only grown in might
& the cult following of 1969's 'Trout Mask Replica' still excites fans to this day, in
part due to the mystery & enigma of members such as Antennae Jimmy Semens
(aka Jeff Cotton). In 1967, Cotton was scoped by Don Van Vliet - Captain
Beefheart himself, replacing Ry Cooder on guitar. He then went one to help craft
some of Captain Beefheart & the Magic Band's most vibrant recordings & later
contributed to the cult band MU.
Now blending together musical strands such as jazz, delta blues, Hawaiian & the
avant- garde to create a melting pot of ideas, Cotton astonishes fans with his
comeback.
The magic will continue on 'The Fantasy Of Reality', available via Madfish.

“A Dream In A Dream” is the debut LP by DJ Piper, also known as Felix Wagner of techno superstar duo FJAAK.
One might be surprised about this all hip-hop instrumental album looking at Felix’ all dance music focussed musical resumé. Nevertheless, he has been crafting rap beats ever since he started producing as a teen, but had his childhood friends freestyle over the tracks solely. It took until 2020 when he teamed up with Lukas and
Jonathan Nixdorff of Kommerz Records to release his first solo track “Iluminay”, which was part of “Kommerz Season 1: Anti-Virus” compilation and shared by B-Real of Cypress Hill right away.

Now, 2022, marks the right moment to share his debut album, a waltzing ode to hip-hop’s golden era. The Berlin- Spandau original merges the legacies of both Pete Rock and Dr. Dre, while funky breakbeats meet laid back SoCal “Chronic” vibes. 12 instrumental tracks and 2 skits strong, his album tells the story of a young man, who lives up to his wildest teenage dreams. Most of the track ideas came up while being on tour with FJAAK. Between international transit areas, making inspirational new friends and bizarre encounters all over the world, beat making became DJ Piper’s safe space to process all the positive madness around him. As a result, “A Dream In A Dream” breathes that raw, untamable creative energy around Felix’ extraordinary day-to-day life, while being heavily influenced by the sound of his childhood, 90s and 2000s rap.

To visualize “A Dream In A Dream” DJ Piper and Kommerz Records joined forces with Raman Djafari, a childhood friend of the artist, who illustrated music videos for Dua Lipa and Elton John (no joke!) and worked for New Release Information Adult Swim. Raman’s supernaturalistic aesthetics bring life to DJ Piper’s somewhat psychedelic, somewhat nostalgic fantasy, locating the album in an otherworldly version of Spandau, hometown to both of the artists.
As one half of FJAAK Felix became an icon of Berlin techno conquering major festival stages and mainstream audiences while heavily representing underground D.I.Y. mentality up to this very day. As an initiator of Spandau20 label and collective, Felix pushes his creative family and day 1’s regardless of commercial potentials.
The same ethos and love for culture fuels the DJ Piper project. No matter if it’s FJAAK or DJ Piper, techno or hiphop… Integrity is key!

Green Vinyl

Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

The Rockers Hi-Fi Remix was never released before. Typical Rockers Style for that wonderful Classic.

"If Time Where A Beat" was previously on the Ladomat Compilation only, "Compact Disc Volume 2" and on the first time on Vinyl and was the idea of a follow up to "From Disco 2 Disco"!

LAVENDER Coloured Vinyl. Recommended If You Like: Cocteau Twins, Julee Cruise, Antena, Young Marble Giants, The Pastels, Mazzy Star, Norma Tanega. A cinematic ocean of sound. EERIE WANDA's Marina Tadic draws you into her inner worlds on these 11 new songs produced by Kramer (Galaxie 500, Unrest, Ween, Daniel Johnston.). On Internal Radio, the new album by Eerie Wanda, visual artist and musician Marina Tadic welcomes you to her inner world. Guided by intuition, Tadic's songs use haunting, ethereal space, growing whole universes from the seeds of ideas. Internal Radio documents Tadic becoming the artist she wants to be, working through some things, and even exorcizing a few demons. The result is the most realized Eerie Wanda album yet, building on the project's guitar pop past for a more experimental, other worldly, serious grown-up affair that ventures into sensitive, motional territory. "Pet Town is delightfully airy; a set of songs that have drifted in on a breeze from some strange and foreign landscape you won't find on any map.” Gold Flake Paint // “Tadic’s melody here is part of that Brian Wilson lineage … she sets those notes adrift with a casually graceful minimalism… It evokes a pleasant stroll through a city at the moment when night begins to fall on a daydream.” Stereogum // Tracks: 1 Sail To The Silver Sun 2 NOWx1000 3 Long Time 4 On Heaven 5 Confess 6 Nightwalk 7 Someone's In My House 8 Sister Take My Hand 9 Birds Aren't Real 10 Puzzled 11 Bon Voyage