Search "hello+cruel+world" 12779 Items

LP+Book | 2022 | UK | Original (Shelter Press)

Release: 2022 / EU – Original

Genre: Reggae & Dancehall

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Joan Reggae Drummer, based in the region of Catalonia in Spain, is a great lover of Jamaican music, at a very young age he began to be so passionate about drums that he created his first musical projects, among them, the band that was a turning point was The Pepper Pots. With 6 albums already released and several tours in Europe, UK, Japan, USA & Czech Republic , Joan has opened for internationally artists such as Jimmy Cliff, Kymani Marley, Laurel Aitken, Derrick Morgan, Ticken Jahfakoli or The Pioneers among others. He performed at major festivals such as Summerjam Reggae Festival (Germany), Rototom Sunsplash (Italy), Primavera Sound (bcn), Rock For People (Czech Republic) or Sxsw (Austin, Usa).

Joan as a drummer has also worked with a lot of top international soul artists such as Curtis Mayfield's legendary band The Impressions, Eli "Paperboy" Reed, Maxine Brown, Binky Griptite from Daptone Records that has been in bands such as Antibalas, Sharon Jones & The Dap-Kings, The Dap-Kings or The Mellomatics.

In 2020, after a time of musical hiatus due to the Covid, he began his more personal adventure, creating his own channel dedicated solely and exclusively to the world of drums in Reggae and Dub. Currently his Instagram channel has more than 34.000 followers and the content published has so much repercussion. First this major collaboration last year with Aston Barrett Jr for a special tribute to his uncle , Carlton Barrett (Bob Marley), one of Joan's favorite drummer. And at last all this work led him to record his first debut EP "dub Explosion" on the label Two Flames Records, a real explosion of DUB, where the common thread of the songs are drums.

JRD "dub Explosion" is a performance in the form of an EP, consisting of 4 instrumental Dub tracks with a totally different concept than what we are used to, since the songs were created from the drum beats.

Great musicians from different countries have participated in this EP: Guitar - Arturo Landaeta (Venezuela), Bass - Elie El Ossais (Australia), Keyboards - Ireneu Grosset (Spain), Nyahbinghi Drums - Maurici Bongo (Brazil), Trombone and Trumpet - Pablo Martín (Catalonia), Tenor sax - Tomy Muñoz (Catalonia), Bass - Miliu Llorach (Catalonia), Flute - Lluís Doménech (England), Bass - Joshua Jones (Jamaica), Keteh & Triangle - Aurel Cade (France), Trumpet - Glenn Holdaway (United States).

Finally, the production, mixing and dub was done by the musician and producer Ireneu Grosset, in the analogue studio of Dr. Dubwiser. It was quite an experience as the studio has a team very similar to what Jamaican producers had in the golden age of Reggae in the 70's.

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Joshua Bonnetta

Innse Gall

39,99 €*

The Girl Next Door / Stop Let Your Heart Be Your Guide

Release: 2022 / UK – Original

Genre: Electronic & Dance, Soundtracks

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Shelter Press extend a quietly cine-poetic invitation to visit the Outer Hebrides via immersive sounds - field recordings of psalm singing and local dialect - collected and arranged by interdisciplinary artist Joshua Bonnetta, going hand-in-hand with Shelter Press’ core interests in the fading light of its 10th year in operation. A beautiful artefact - complete with 60 page photobook - Riyl Francisco López, Chris Watson, Salm.

Accompanied by an evocative photo study and access to an accompanying film and essay, Bonetta’s second release for Shelter Press following 2016’s ‘Lago’ imparts a real feel for the archipelago, off the north west coast of Scotland, where he was stationed during an artist’s residency during 2017-2019. Stitched together from observant field recordings and interviews with residents on the islands of Barra, Berneray, Harris, Lewis & North Uist, the work elicits a sense of timelessness in its slow drift between shores, hills, standing stones and the intimacy of its voices, including Gaelic spoken word, folk song and whistling. Save for the appearance of a plane overhead, the sounds of car and boat motors, plus a little bit of electronic disturbance that pull you into the modern era; the results practically imagine what it would have been like to visit the islands with a recording device at any point since the last ice age.

For Bonetta, who hails from rural Canada, the similarities between his formative landscapes and those of Scotland must have appeared familiar, perhaps a subconscious recall/reminder that the two places shared a landmass, albeit 425 million years ago. His sound sensitive subtlety and cinematic ear in arranging his collected sounds serves to highlight the way the modern world only just infringes on Innse Gall’s ancient landscapes and only relatively modern tongues (if we’re thinking in geologic terms of scale). We hear the sounds of its avian population seamlessly eliding its humans in the whistling of Alick Macauley, and the natural cadence of of its mild oceanic climate mirrored in lilting Gaelic folksong, here performed by Calum McDonald, Joey Morrison, and Maggie Smith, and more generally practiced by only a tiny percentage of Scotland’s population (some 1%) but still surely alive in its meridian isles where time moves much more slowly.

With the nuance and poetry expected of a Shelter Press title, ‘Innes Gall’ reflects on the area’s anglicised name, meaning “islands of the strangers”, with calming, soberly documentarian results as heartwarming and fascinating as a visit to the area, just without the effort of travel, and from the comfort of your own living space. Bonnetta is incapable of ignoring the cinematic frame, and intersperses each shot with enough poetry to keep you entranced.

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The Mansion

7" | 1974 | UK | Reissue (Soul Junction)

Tape | 2023 | US | Original (Sub Pop)

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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Two fine examples of Sweet/Group Soul Harmony that was originally released as vanity project on the local Gibbs label by this former ex Prison group with original copies being excruciatingly hard to find in any condition.

Artist Bio:

The Mansion were initially a prison group formed by Charles Lorenzo Blakely in 1970 while serving time in the Green Bay Reformatory at Allouez, Wisconsin. The Mansion’s line up included at different times Michael Locke, Stanley Newburn, Carl Anderson, John Crawford, Michael Smith, Larry Moses, Ronald Hardin, Jerome Wagner, Larry Lister, Maurice Payne and Charles himself. One day while rehearsing in the prison chapel, the Mansion attracted the attention of the warden’s wife who happened to be showing some local dignitaries around. Impressed by what she heard the warden’s wife was instrumental in the Mansion being invited to perform for the city’s television station Wbay, where they recording two holiday programs. The warden later gave them permission to perform outside the prison which brought them to the attention of a Milwaukee neighbourhood program adviser by the name of Al Dunlap of the Commando Project One. It was through Dunlap that the Mansion recorded their solitary 45 release in 1974 “The Girl Next Door /Stop! Let Your Heart Be Your Guide” for a local Milwaukee label Gibbs (406). The label’s owner Bill Gibbs held the release back until some of the members of the Mansion were granted their release papers as at that time prisoners were unable to sign any contract agreements while still incarcerated. Although Charles Blakely remained incarcerated, he was later moved to a medium security prison in Fox Lake County, Wisconsin. While there he formed a gospel group, called the ‘Bell Tones’ who’s line up included Charles, Mayweather Lee, Joe Hayes, and Levell Rudd. The formation of this group was seen as major factor in Charles’s rehabilitation which led to his eventual parole in 1976. Once on the outside Charles with former ‘Bell Tone” member Mayweather Lee were joined by Charles (Sonny) Bryant and Jimmy Taylor to form a new ensemble by the name of The “Final Chapter”. As the final Chapter they recorded a solitary release for Marvel Love’s New World Label “Now I Know/Get Down For Your Action” (nw800) during 1980, a brief association that for several reasons was to eventually brake down. Although Jimmy Taylor left to pursue a career as a blues musician the remaining three members of the ‘Final Chapter’ continued to perform until they finally disbanded in 1987. Three previously unissued Final Chapter songs can be found on Soul Junction Various Artists CD compilation “We Got A Sweet Thing going On” Volume II. The Mansion’s Gibbs 45 is now is a highly prized and sort after item amongst Sweet and Group Soul collectors.

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King Tuff

Smalltown Stardust

Smalltown Stardust Loser Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means.

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King Tuff

LP | 2023 | US | Original (Sub Pop)

Smalltown Stardust Black Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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King Tuff

LP | 2023 | US | Original (Sub Pop)

Breaking The Balls Of History

Release: 2023 / US – Original

Genre: Rock & Indie

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Quasi

LP | 2023 | US | Original (Sub Pop)

Gianluca Petrella / Cosmic Renaissance

Release: 2023 / US – Original

Genre: Rock & Indie

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Breaking the Balls of History is Quasi's tenth record, landing ten years after their last record, on February tenth. Three tens, which aligns with the thirty years they've played together. Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi has always felt so steadfast- their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. But we were wrong to ever take Quasi for granted. For a while, they thought 2013's intricate Mole City might be their last record. They'd go out on a great one and move on. Then in August 2019 a car smashed into Janet's and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it-the touring, the communal crowds, the sonic church of the dark club-would ever happen again. And with the obliterated normal came an unexpected gift: uninterrupted time, hours every day, to make art. Quasi couldn't go on the road, so they got an idea: they would act as if they were on tour and play together every single day. Each afternoon, Sam and Janet bunkered down in their tiny practice space and channeled the bewilderment and absurdity of this alien new world into songs. Janet's strength returned and rose to athlete-level stamina. The incredible result of those sessions is Breaking the Balls of History, recorded in five days and produced by John Goodmanson at the legendary Robert Lang Studios in Shoreline, WA. Here are two artists at their prime, each a human library of musical knowledge and experience, entirely distinctive in their songcraft and sound. In Quasi-form, the band becomes alchemically even greater than the sum of its parts: Janet's galloping drums and Sam's punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. In the thick of a cataclysmic social and political moment, they've crafted exquisitely melodic songs that glitter with rage and wild humor and intelligence, driven by a big bruised pounding heart. While it reflects the darkness of our time, Breaking the Balls of History surges with energy and pleasure and joy. "It felt so life-affirming. I can hear in the music how happy I am to be there and to be playing at that level again," Janet said. "I get to exist." Sam and Janet have lived through enough to understand that nothing is permanent, and that when your faith in humanity sinks, you turn to the life force of what you can rely on: the people you trust, the community that claims you, and what you can create. You can't control the time. But you can make a record of a time. And luckily for us, Quasi has again.

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Universal Language

CD | 2022 | EU | Original (Schema)

Gianluca Petrella / Cosmic Renaissance

Release: 2022 / EU – Original

Genre: Organic Grooves

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Mermaids really do exist, and I discovered this a few days ago. I came across the fantastic story of the Ama, literally the women of the sea. They live in Toba Bay, Japan, and have a long-established custom that has been passed on from one generation to another for more than two thousand years. Not so few. What do they do? They jump into the sea half-naked to fish for seaweed, octopus and, above all, for pearls. They are the real pearl fisherwomen. They reach a depth of just under 30m, with only the strength of their lungs. They are as beautiful as the sun. When they ascend, due to a strange play of sounds and noises coming from their hyperventilating lungs, they emit a kind of whistle that sounds like the cry of dolphins. Or more precisely, the song of mermaids. They go down into the deep sea and search for pearls. When out of the water, they train all their lives and help each other passing on practices and secrets, confiding in one another to stay united. And they are cohesive, never envious of one another, just a great sense of belonging. With his new work Gianluca seems to have drawn from this ancient hunt, made up of memories and traces. He submerged and searched in the remotest memories and ancestral sounds of skins, streets, eras and styles. With his appreciation he has connected black ghettos, slums, townships, ‘the bronx’ of all over the world and explored them with the curious sounds of contemporaneity. Gianluca also has a very cohesive community of musicians around him, he is proud of this, and with them he finds his element, his peace. ‘Anyone who doesn’t get along with musicians has an unresolved problem,’ he tells me. And that’s why he makes a point of letting it be known that each of the five well-known members of his Cosmic Band and the many valuable guests who populate this new record, contributed decisively to the creation of these crazy tracks. In what way? By using the words of their instruments, generating a language that serves precisely to connect past and present, useful for finding the thread of dialogue. A continuous back-and-forth between generations. To speak of the best in the field is an idle exercise: all have striven in the realisation of the composition, all deserve full praise, none excluded. Ovations for all. If you think you are only listening to jazz, you are sadly mistaken. There are exotic ghosts, promises of evasion. There is a celebration of the human condition. There is a life in here. A plunge into the heart of music and its many languages. A record about confrontation on words, about memory, about being true to oneself. But it is also a work on how complicated it is to come to terms with what we call identity, and Gianluca rewrites this identity in his own way. A work made of whispers, murmurs, in which music and language try to invent a new encounter. That takes us down into the abyss of the sea and up to the sky. Federico Scoppio

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Universal Language

LP | 2022 | EU | Original (Schema)

27,99 €*

2LP | 2022 | EU | Original (Smallville)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Move D & Dman

All You Can Tweak

12" | 2022 | UK | Original (Evar)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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The lost tracks- unreleased material from Move D & Dman

Around the year 1990, a group of producers gathered regaularly at a space called „Blaues Zimmer“ (Blue Room), located at Bergheimer Strasse, Heidelberg. The Blue Room was the studio of Dirk Mantei aka Dman and David Moufang (Move D) calls it the one of the 'Keimzellen' (seeds) for what would happen in regards to the electronic music movement within the Rhein-Main-Area during the following 10 years. The 90s were roaring, with a lot of mid-sized cities located relatively close to each other- Heidelberg, Mannheim, Ludwigshafen, Darmstadt- and Frankfurt was easily reached. Various highly influential clubs and parties happened around that time and Dirk and David had their parts.

Dirk Mantei & David Moufang, Eric D Clark, Robert Gordon, Nils „Puppetmaster“ Hess, DJ Cle- to name a few- all happen to live in Heidelberg and gather around at Dirks place during this time. Discogs calls Dirk Mantei 'a katalyst figure in the 1990s techno scene of Southern Germany' and this is for a reason. He was running a record store (Dubtools) and threw legendary parties - Planet Bass (Sunday party at Normal, Heidelberg around 1988), Hot Lemonade (Sunday party in Mannheim around 1990). When he moved to Mannheim, Dirk opened the legendary club Milk! (from 1990) out of nothing and later ran another club called Hd800 (located in MS Connexion). Both were suited with the same famous - and massive - soundsystem, acquired and tuned by himself. David calls Milk! the birth place of his name Move D as well as Source Records as a label.

Both Davids and Dirks first vinyl release ever was a 12“ they released on Davids Source– called Homeworks 1 – four tracks that were released as one of the first CDs on Source Records a year before. Also "Wired To The Mothership" can be found on this CD compilation, a 32-seconds-long track - and although far too short, it's special. Timeless components weaven together in the most wonderful way - Sheffield-inspired bleeps, timeless pads and detroitish strings, a Jxp-3 organ solo, analog drums and a driving analogue bassline- and then it's gone.. When asked, why there wasn't a longer version of the track, David and Dirk said they were not happy with the mixdown back then- so it took them almost 30 years to finally finish a 2021 full version together. Between 2011 and 2021, they both found themselves in Davids Studio from time to time, Dirk was living in Mannheim and some sessions resulted in a bunch of yet unreleased tracks that slept on harddrives ever since then. We are amazingly happy to share these with the world, to let them tell some more yet hidden stories.

Cover artwork by Stefan Marx.

All Tracks are written, produced and mixed by David Moufang and Dirk Mantei between 1992 and 2021.

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Force Placement

Aerobicide

12,99 €*

LP | 2021 | UK | Original (Chinabot)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Force Placement's Aerobicide EP is a killer workout of afterhours acid and galaxian breakbeat Four hypnotic bangers from Los Angeles with remix support from DJ Manny, D.I.E., and Martyn Bootyspoon

Los Angeles – Following releases on 100% Silk, Clave House, Bank NYC and Lost Soul Enterprises, Force Placement arrives on Evar Records with four tracks of naughty squelching acid and breakbeat techno hypnotically calling you to the afterhours, backed by a trio of remixes from Martyn Bootyspoon, Detroit In Effect, and DJ Manny, representing North American excellence in techno, electro, and footwork, respectively.

A longtime friend of the Evar crew from renegade breakcore parties in Santa Barbara to underground experimental electronics happenings in Los Angeles, Into the Woods and The Black Lodge resident Jason "Force Placement" James taps into his love of weird trippy atmospherics, rhythmic complexity and DIY punk/noise aesthetics to create this quartet of mystic, mysterious bangers, crafted with the Mpc1000, Elektron's Octatrack sampler, the Korg minilogue, and Ableton.

The Aerobicide EP begins its killer workout with "Yeeks," a cabalistic ass-mover driven by a haunted female vocal sample floating atop locomotive bass and shakers – a factory's worth of industrial sounds and eerie accents move in and out of the mix, adding intrigue and interest.

Moving to the main room of the rave, "Balloon Animal" shoots you through an inflatable tube of squelchy acid techno as knives cut the air around you, while "Upsetter" adds a shuffling breakbeat rave bounce into the acid mix. "Quartered" chops it up with Clone-style dark analog electro that gets increasingly deconstructed by dirty, stretched percussion and rivulets of synth reverb raining down the walls.

Rounding out this occult aerobics class, some of North America's most compelling forces in dance music are called in for remix duty. Unsung electro hero Detroit In Effect aka D.I.E. – the man behind such classics as "RU Married" and "Get Up" – leans deep into the classic Motor City palette, pairing lush, spacey pads with that hard-swung Detroit bounce to create a mellow groover that will keep you going all night. Montreal's world-class party starter M. Bootyspoon recalls Substance Abuse-era Hawtin and mid-'90s Midwest techno on his "Balloon Animals" remix, with nasty claps and concentric loops of hard acid bleeps and squelches. And who better to tackle "Upsetter" than Southside Chicago's footwork futurist DJ Manny? The Teklife king eschews the romantic R&B tones of his recent Planet Mu album for a tough-as-nails rework that ups the tension and the tempo to create an otherworldly saga for the dance circle.

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Tafaa

Random Activity (...)

LP | 2022 | EU | Original (Wax Nine)

Release: 2021 / UK – Original

Genre: Electronic & Dance

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Tafaa - Random activity of the work of art, escalates an extension of accepted (unproductive) concepts of art, nature and society' is a sound editing project led by Chloé Delarue, a visual artist based in Geneva (ch) in collaboration with Adeena Mey, a curator, art critic, managing editor of the magazine Afterall (Central St Martins, London, UK) and researcher/teacher at Ecal (Lausanne, ch).

Together, they gathered sound artists Jaeho Hwang, Lafidki of the Chinabot label and the performer-composer Seth Ayyaz in a desire to bring together horizons of thoughts with a singular tonality in resonance with the Tafaa* cycle. The release is a continuation of the deployment of Chloé Delarue's solo show - Tafaa - THE Century OF THE Snitch, which took place at the Villa du Parc - Contemporary art center in Annemasse (fr).

The four compositions resulting from this meeting are materialized in a hybrid compilation. Each of the tracks, affected by the aesthetic spectrum of Tafaa - THE Century OF THE Snitch, results from unique paths that each sound artist builds in their own works. This compilation released in the exhibition space and in its vinyl form, was infused under this particular atmosphere with the aura of sodium, as an echo of the previous opus Tafaa - Acid Rave. The title evokes territories in wasteland and multitude of theaters of an urbanity that has become tropical for one night.

For Chloé Delarue, the environment produced under Tafaa - THE Century OF THE Snitch and its aesthetic feeling is linked with the dissemination of these four tracks. As she says, it becomes “like the deep trance of a noise invisible to oneself but that we perceive thanks to the questioning of its own imperception, the work no longer looks at itself, it injects itself.”

Moult and Dystopia by Jaeho Hwang, Pandæmonium Cctv by Lafidki in collaboration with Ayankoko and Pisitakun (from Chinabot) and Apophenic studies | stochastic iqaat by Seth Ayyaz thus bring out, through their sound characteristics, a powerful emotional expanse driven by their glimpse of the conceptual reconfigurations of a world increasingly accessible through its ersatz.

The vinyl title Tafaa - Random Activity (...) is borrowed from Gustav Metzger taken from an extract from his Manifesto On random activity in material / transforming works of art in July 30, 1964.

Chloé Delarue constitutes what she calls environments under the influence of the Tafaa perception system, an acronym for Toward A Fully Automated Appearance. Tafaa is a conceptual organ that she builds as a cognitive outgrowth allowing her access to the reasoning that feeds her work. It is under this name, indexed by a number or a subtitle, that each occurrence of her work has been presented since 2015. Thus, she probes the ambiguous relations that our society maintains with its multitudes of transfigurations, real or simulated, at the time of permanent interconnections and raises questions relating to changes in perceptions and cognitive transformations of our beings under the visible and invisible authority of cosmotechnics.

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Johanna Warren

Lessons For Mutants

LP | 2022 | CA | Original (Telephone Explosion)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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“I think it’s a mistake to equate ‘perfection’ with flawlessness. To be human is to be perfectly flawed,” Johanna Warren observes while describing the joys of analog recording. Her new LP Lessons for Mutants was tracked live with a band to two inch tape—a revelatory new way of working for Warren. “Tape forces you to commit to a performance, eccentricities and all. The little glitches and anomalies that we’re tempted to ‘correct’ are often what make a thing magical.”

Lessons for Mutants is the prolific songwriter’s sixth solo LP and her second for Wax Nine/Carpark Records. The album’s running theme of metamorphosis (the title of the closing track, “Involvulus,” is Latin for “caterpillar”) reflects major changes in Warren’s personal life: after a decade of relentless touring, as the world was closing its borders, the American multi-instrumentalist unexpectedly found herself quarantining in rural Wales, where she’s now permanently homesteading.

Though tracking for the new album began in New York in 2018 in tandem with the sessions for 2020’s Chaotic Good, the majority of Lessons for Mutants was recorded in the UK surrounded by sheep, cows and a forager’s paradise of wild edible plants—a far cry from the urban jungle of LA that Warren had most recently called home. The body of work that emerged from this dramatic about-face is Warren’s most dynamic to date, shapeshifting seamlessly from searing punk screams to sparkly psych-folk soundscapes, from the bootleg ambivalence of Dylan’s Basement Tapes to cosmic stoner grooves reminiscent of Black Sabbath’s acoustic moments.

“Sometimes I can relate to myself/ I disassociate more than I’d like to, but what can you do?” Warren croons in “Tooth for a Tooth,” a wistful piano ballad that conjures the grainy romance of some smoke-filled 1940s jazz club. This kind of to-the-bone lyrical honesty has always been one of Warren’s strong suits, but these latest reflections are especially unflinching. Being forced to stop touring brought no shortage of self-examination for Warren, who quickly came to view her history on the road as an addiction from which she’s been detoxing. This sentiment dances through opening track “I’d Be Orange,” a drum-driven indie rock number replete with Beatles-esque male backing vocals: “Thirst for power, hunger for fame/ Always was a junkie for pain,” Warren confesses. This exploration of masochistic ambition and artistic martyrdom overflows into grunge anthem “Piscean Lover”: “It’s alright, we’re not ok/ We burn out not to fade away.”

“There’s this unspoken rule in modern music—modern life, really—that everything needs to be Auto-Tuned and ‘on the grid,’” Warren concludes. “This record is an act of resistance against that. There’s beauty and power in our aberrations, if we can embrace them.”

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Lee Paradise

Lee Paradise & Co

Release: 2022 / CA – Original

Genre: Pop

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Toronto’s Dan Lee steps out of the spotlight and into the producer’s chair on the new collaborative Lee Paradise LP, Lee Paradise & Co., due October 28 2022 on Telephone Explosion. Lee Paradise & Co. follows 2020’s critically acclaimed The Fink LP, and finds Lee flipping the shadowy nihilism of the project’s previous releases upward into a sort of cybernetic universality. This is Dan Lee in producer mode, veering away from the pursuit of a singular musical direction rooted in personal vision, towards of a process rich in collaboration, emotional expansion and tonal exploration.

Starting off as a set of mood-focusedinstrumental sketches drafted by Dan on his own, the compositions began coloringthemselves in after he started sending the tracks out to collaborators, asking them to contribute without much in the way of direction or intention. With help from an ensemble cast of artists including Carlyn Bezic (Jane Inc.), Jonathan Pappo (Scott Hardware, No Frills, Ducks Ltd), Scott Hardware, Isla Craig, Victoria Cheong (New Chance), Jay Anderson, Charise Aragoza & Lukas Cheung (Mother Tongues) and Daniel Woodhead (Moon King), nearly every aspect of this album’s creation eventually became open to collaboration, from musical performances, lyric writing, and vocals all the way through to mixing and mastering.

Sonically, the record is still unmistakably Lee Paradise: a widescreen polyrhythmic psychedelia that melts, bubbles, whirrs and klanks; the sound of the human and the machine grooving in accordance towards new futures. The album’s sonic palette is at once synthetic, warm and extraterrestrial. Arpeggiated square wave melodies dance in lockstep with crunching hi-hats, digital bells and chimes fall like crystal rain in stereo above plush pads and gurgling bass figures. Used to finishing the records on his own, Lee mixed this album with Montreal’s Asher Gould-Murtagh and the results are spacious, dusty and dubbed out. “Carnival” sets the scene with it’s stuttering, busted funk groove and ribbons of aqueous vocal harmony from New Chance’s Victoria Cheong. “Raffles”(featuring one of Daniel’s two vocal performances on the record) radiates a mellow optimism in its solar-warped balearic bliss. The album’s final track, “Youngish” is a gliding, melancholic downtempo instrumental thumper saturated in a kaleidoscopic array of lysergic tones. As always, the record anchors itself to the dancefloor with the screwed-down electro of “Cement”, the swinging midnight afterglow of “Leaving” and “CS2X”’s fluttering rave arpeggios.

Lee Paradise & Co. is the sound of an expert producer and sound sculptor conceding to the elusive flows of inspiration, knocking genre conventions askew and hopscotching between a variety of styles, musical identities and sound worlds with absolute panache.

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30 Years - We Couldn't Save The Entire Planet, But We Still Like To Save Your Soul

2LP | 2022 | EU | Original (INFRACom!)

30,99 €*

12" | 2022 | EU | Original (Definition:Music)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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INFRACom!, one of the longest operating Independent labels in Germany, celebrate its 30yrs anniversary with a vinyl compilation consisting of tracks that have never been released on vinyl before. Label co-founder Jan Hagenkötter handpicked these from various artist in the catalog, true to the spirit of the label and its operator – We couldn´t save the entire planet but we still like to save your soul. Most of the tracks included on the compilation were released only on CD and then digitally in the so-called 2000s or noughties, as it was very difficult to release any album on vinyl during that time due to the situation in the music market. The artwork was once again designed by Rafael Jimenez Heckmann, a well-known graphic designer from Offenbach. The inlay was designed by the long time friend & well known artist Jim Avignon. INFRACom!, once started locally in Frankfurt with artist like Shantel who released his first recordings on the label. He is featured by a collaboration with the Brazilian duo Rosanna & Zélia. Soon INFRACom! expanded to an international platform for artist from all over the world like Jhelisa (usa), Mop Mop & Gabriele Poso…both from Italy, Metropolitan Jazz Affair the brainchild of French producer and musician Patchworks, Taxi from the UK, Rime from Finland or Aromabar from Austria…all with different styles of music. The vision of the two founders Jan Hagenkötter & Namé Vaughn was and still is artistically oriented and has never favored just only one style of music. The roots of INFRACom as a label are based in the various form of black music culture - conditiopned to the influences and personal history of the two founders - but also deeply rooted in the club and DJ culture and various forms of electronic music. The compilation can only show a small glimpse into the universe with tunes that stand the test of time. One of the best examples is Matthias Vogt with whom the label has a long standing collaboration and who just this year released the album Pianissimo on INFRACom!. He can be heard with his Matthias Vogt (Jazz) Trio in a cinematic remix from Joash and two pieces by the highly successful [re:jazz] band which he leads. With Valique we are happy to feature a Belarus/Russian artist on the release these days….one who already showed ten years ago on his album artworks what he thinks about the politics of his government. As an open minded label and ethnical diverse ppl. we think “Fuck Putin and his disciples and like-minded people, but let's not condemn all Russian-born people. Some prefer to worship Herbie Hancock...like Valique and we want to support that.” With Nekta, Dublex Inc. feat Stee Downes and Kosma this release features three more artists from various regions in Germany, each with their great moments.….and last but not least the mysterious Woodland Conclave (UK)…a waltz and a story yet to be told and hopefully will be…on INFRACom!…in the near future!

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Allan Shotter

Temples Definition Remix

Kibitzer Dinked Vinyl Edition

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.

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Vintage Crop

LP | 2022 | EU | Original (Upset The Rhythm)

Jake Muir & Evan Caminiti

Release: 2022 / EU – Original

Genre: Rock & Indie

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Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

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Talisman Clear Vinyl Edition

LP | 2022 | UK | Original (Dust Editions)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Taking cues from doom metal, smoky ECM avant-jazz plates, dreampop and disorienting GRM classics, Muir and Caminiti split the labor cleanly: seasoned improviser Caminiti handles electric guitar, and Muir works as a sonic alchemist, grinding Caminiti’s takes into dust and subliming each note into a thick, vaporous haze. Anyone who’s heard either artist’s work before will have an idea of where to start, and there are traces of Caminiti’s blasted earth recordings as part of Barn Owl, as well as his cinematic solo productions; Muir meanwhile picks up where last year’s Ilian Tape-released “Mana” left off, orchestrating a mood that’s bleak but not suffocating, and dark but not without cracks of light. The most obvious stylistic comparisons are to Seattle doom metal originators Earth - particularly 2005’s country-fried “Hex” - and Norwegian maestro Terje Rydpal, who drove prog, jazz and psychedelic music into new territory in the 1970s and 1980s. Caminiti takes these touchstones and exposes them to the harsh Los Angeles sunlight, further drying out Earth’s Pacific Northwestern blues and adding some neon flicker to Rydpal’s icy, mountainous naturalism. He also admits he was soaking up pedal steel music at the time, and you can hear the trace of artists like Chas Smith, Daniel Lanois and BJ Cole in his recumbent riffs. A trained sound engineer who’s spent the last few years refining his skills in Berlin, Muir looks to the GRM school for his direction, and employs subtle electronic processes, occasionally augmenting them with his own field recordings. This isn’t just arbitrary birdsong to blithely suggest the natural world over billowing major chords, but evocative audio snapshots of the burning Californian landscape. It’s these small touches that ground “Talisman” and provide it with a brawny narrative backdrop - the duo have created a record that’s devotional and melodic, but one that never resorts to cheap tricks or well-worn manipulation. They’ve instead landed on a sound that’s antagonistic but not annoyingly confrontational (we see you power ambient) or exhaustingly conceptual. Diving into one track or another is almost pointless, Muir and Caminiti assembled “Talisman” to be played in a single sitting - it’s a mood piece that’s unwrenchable from its essential whole. Listening is a chance to escape into another universe for a while, one that takes rough and rugged elements (Muir and Caminiti bonded over their love of contemporary death metal bands like Spectral Voice and Blood Incantation) and refines them into lavish sigils that suggest the confusing unpredictability of our era.

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2LP | 2022 | EU | Original (Morr Music)

Minna Miteru 2

33,99 €*

LP | 2022 | EU | Original (Corps Double)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Following the »Minna Miteru« compilation, released in 2020, Morr Music announces a sequel, dedicated to Japanese indie music, overflowing with surprises and welcome discoveries. Like its predecessor, »Minna Miteru 2« is compiled by Saya of Tenniscoats, with the support of Markus Acher (The Notwist). It’s also another part of the Minna Miteru universe, alongside retrospective albums by The Andersens (»There Is A Sound«, 2020) and yumbo (»The Fruit Of Errata«, 2021). Taken together, these albums suggest a scene in rude health, sharing a unique vibration. If its predecessor circled around Tenniscoats and their close friends, the second volume, though featuring a collaboration between Tenniscoats and Deerhoof as oneone, reaches far further afield, drawing from music old and new, far and wide. Consistent across »Minna Miteru 2« is a sense of wonder and a cheerful unpredictability: you never quite know what you’ll hear next. There are some gorgeous indie pop songs here, like Yuko Kono’s »Ginger« or HOSE’s »Baseball«, but there are other sounds too, like Kariu Kenji’s blue-hued electro-pop, or the wheezing pipe-organ ambient of Fuji||||||||||ta: »Minna Miteru 2« hints at new kinds of beauty. Some of the more widely known names here contribute typically gorgeous melodies – Kama Aina’s »Wedding Song«, from 2005’s »Hawaii Hawaii« CD, is a reflective tune that combines a country-ish lilt with hints of slack-key guitar. Shugo Tokumaru’s »5 A.M.« is a delirious psychedelic pop mantra, drawn from his excellent 2005 album, »L.S.T.«. Many of the revelations, though, come from artists and groups relatively unknown outside Japan. The lovely, disorienting glitch-folk of Wasurerogusa features Aki Tsuyuko, perhaps best known for her albums on Thrill Jockey and Jim O’Rourke’s Moikai label, collaborating with psych-folk legends Eddie Marcon. There’s also the delightful synth-pop of Jonathan Conditioner; the electronic dreamscape of Chaplin, whose opening »Out Cont« runs along several parallel paths at once; the twinkling, acoustic jangle at the heart of mmm’s luscious »Blue«; and a curious collection of miniatures, from acts like tenshinkun, Daisuke Tanabe and Nnmie, that embrace a childlike curiosity, essaying a kind of toytown pop-tronica. The twenty-six songs on »Minna Miteru 2« repeatedly catch you unawares, upending your expectations and signaling both the breadth and depth of the Japanese indie underground. It’s a compilation of play and pleasure, but also of bold experiment smuggled into the everyday through pop music’s welcoming moods, magically creating a new world for the listener, spun out of the air and woven in between your ears.

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Julien Gasc

Re Eff

Ever Crashing White Vinyl Edition

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Originally Re Eff (pronounced Ri Èf) was a bunch of texts. One hundred and fifty pages that Julien Gasc wrote by trying his hand at the art of cut-up: a literary and political act of counter-fiction based on William Burroughs's method. It was also Julien Gasc's response to the isolation of 2020, while he was seeking refuge in the Southwest of France, with time as far as the eye could see, and a piano.
For a long while, it hadn't been about songs, but about expressing the indescribable by cutting randomly from books and his own notes, attempting to fleetingly strike a balance, find a beauty, a happy accident. Incidentally, it was almost by accident, while recycling a piece that he'd composed for steel guitar pedal, that Julien Gasc sketched the first draft of "Ce soir les bouteilles dansent" ("Tonight the Bottles Are Dancing"). This was combined with a version of "Rosario Bléfari", recorded on an inexpensive Casio synthesizer. These were Re Eff's baby steps.
While everything was at a standstill, in stasis, Julien Gasc wanted to send a group message to some friends, to his family, a message from a confinee to those who weren't answering, friend or foe, imaginary or otherwise. It was this collective recipient that he nicknamed Re Eff. The name comes from "re" (re-) and "effacer" (erase), words found during a cut-up and transformed into ri èf for added euphony, like a facetious grief (grievance, reproach in French) without the "g".
Like its title, a kind of serious joke, the album is one long interplay between humour and gravitas, sense and nonsense, shadow and light, aiming to fully describe feelings in terms of their ambiguous and contradictory elements.
Through a return to regular piano practice, calm recovered at a holiday resort town, and literary experimentations, to which he added transcribed dreams, as in "La scie de la vision modern" ("The Saw of Modern Vision"), Julien Gasc composed ten demos on his computer. These demos were then rerecorded at Syd Kemp's Haha Sound studio in London, in December 2021. The mix was completed there again, in February 2022, by Syd and Julian.
Play to play and write to write, those are the keywords of Re Eff, in which memories are freely combined ("À travers le regard de l'indienne" / "Through the Amazon's Eyes"), the theme of enclosure and passion ("Amour velours" / "Velvet Love"), melodrama ("Délivrance"), and romantic novella ("Tout ne peut pas nécessairement donner quelque chose" / "Not Everything Leads to Something"). Music resolutely oriented towards the piano, towards bold and filmic harmonic movements that make a successful form of lyrical poetry possible. Because all in all, by singing about current events - his own and those of the world - in an elegiac tone, like bards, Julien Gasc was gradually transformed from pop singer into poet.

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SRSQ

LP | 2022 | US | Original (Dais)

This One Simple Trick Black Vinyl Edition

Release: 2022 / US – Original

Genre: Rock & Indie

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Ever Crashing, the second LP by Kennedy Ashlyn aka Srsq [pronounced `seer-skew'], is the summation of a nearly three-year journey of soul searching, songwriting, and self-discovery: "I became myself in the process of making this record." From the first choral swells of opener "It Always Rains," it's clear this collection exists on an ascendant plane, capturing an artist in super bloom. Every song hits like a single, heaving with guitar, synth, strings, live drums, and oceans of Ashlyn's astounding voice, balletic and illuminated. The tracks gleam with detail, often assembled from as many as 100 separate tracks, all of which were written and played solely by Ashlyn - a feat of world-building as daunting as it is devastating. For her, however, the process is intrinsic and intuitive - even a matter of survival. Her 2018 solo debut emerged in response to the tragic Ghost Ship fire in Oakland, which took the life of her bandmate and best friend Cash Askew. Similarly, Ever Crashing began materializing in the wake of an Adhd and bipolar disorder diagnosis, prompting a profound personal overhaul. Ashlyn cites such periods of turmoil as a muse of sorts, when "songs begin to echo within me," gradually reverberating clearer and more vividly. As melodies and arrangements come into focus, the songs act like containers, vessels in which to externalize and exorcise tumultuous emotions, a transformation she memorializes in the climax of "Élan Vital:" "Reeling in and out of deep despair / I am saved by song." From swooning end credits balladry ("Dead Loss") to orchestral slowburn torch songs ("Abyss") to dizzying shoegaze heavens ("Someday I Will Bask In The Sun"), the album exudes a sense of aching grandeur and bewildered joy, rich with triumphs hard won and lost loves never forgotten. Melodies pirouette and crescendo in dazzling, elevated acrobatics, somewhere between Kate Bush and The Sundays, threaded with ethereal undercurrents of shimmering shadow. Riffs brood and sparkle over crystalline synths, buoyant bass, and patient percussion, steadily building to holy moments of tidal power, finessed to perfection by producer Chris Coady (Beach House, Slowdive, Zola Jesus). Ashlyn's is a dream-pop of questing catharsis, vulnerable but orchestral, as dense with hooks as heartbreak. The album's title refers to Ashlyn's recurring sensation of being trapped in the crest of a wave, turned and churned in the surf, mirroring the cycles of self-flagellation and surrender that she battles being bipolar. But as the poetic raptures of these songs attest, her creative process thrives at transmuting trauma into potent music of arresting beauty and hidden divinity. Ever Crashing is an aching, rare work, shaded with gradients of reverie and regret, loss and letting go, "mourning the person I thought I should be, mourning the person I never was." But even in its pain, Ashlyn's voice exerts a redemptive gravity, yearning to transform and transcend: "Even on the inside / I'm bracing for impact / I'm waiting to destroy my life / To become sunlight."

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Kaleidobolt

LP | 2022 | EU | Original (Svart)

LP | 2022 | US | Original (Company)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Out on May 6th 2022 via Svart Records, Finland’s own masters of frenzied Proto-metal, Kaleidobolt, bring the past up to date with a new album that perfectly elevates all the promise and flair their reputation has been boiling over since their 2015 debut album. “This One Simple Trick” packs more punch than most bands with far larger lineups, the deadly trio of Sampo Kääriäinen on guitars, lead vocals and keyboards and Marco Menestrina on bass, vocals, keyboards, percussions are reinvigorated by recent new recruit, drummer Mårten Gustafsson.

Gustafsson, according to Menestrina, brought his own “very creative musical mind, drumming chops for days and a great sense of humour” to “This One Simple Trick”. Kaleidobolt have never sounded this ferocious and exhilarated, that their joy makes the songs on “This One Simple Trick” as infectiously contagious as the pandemic they were created under. Gustafsson’s relentless drumming matching every beat of Menestrina and Kääriäinen’s genius instinct for bad-ass rebellious Hard Rock, it feels like “This One Simple Trick” is Kaleidobolt hitting the bullseye in every enthralling moment.

Kaleidobolt’s incendiary humour and sense of fun that the band had in the studio with the injection of new blood, transfuses straight through the jugular into a powerhouse collection of explosive songs, and relentless energy that’s impossible to deny. Kaleidobolt’s ascension to the zenith of “This One Simple Trick” has been mounting like wildfire, where Finnish bands of this caliber haven’t been seen since the 1970s. “This One Simple Trick” was mostly recorded at E-Studio (a very fancy and large studio in southern Finland) in August 2021 and a bunch of overdubs and vocals sessions at Wastement in September/October (a well worn rehearsal place in Tampere that has been birthplace of some of last decade’s best Finnish Psychedelic Rock music).

All the sessions were supervised by Niko Lehdontie (best known for Oranssi Pazuzu & Kairon:IRSE!) who produced and mixed this blistering album of stone-age Blues and crushing riffery. Rabble rousing tracks like “Weekend Warrior” give Scandinavian Blues-Rock titans Hellacopters, Graveyard and Witchcraft a serious run for their money with psychedelic riff-mountains like “Ultraviolent Chimpanzee” bringing to mind the purple–hazed deserts of Josh Homme on acid suddenly gone all Tame Impala. References hard to come by when a band this inspired hits full throttle but must be witnessed and experienced to believe. Not just our favourite underrated live band of timeless song-smiths, plenty of Psych-Rock afficionados and Prog Rock freaks the world over are starting to wax lyrical about how stupendously potent Kaleidobolt’s hard rock magic–brew really is.

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Uffie

Sunshine Factory

Tearful Ki : Tearful Face Of My Cute Love (Is Begging To Me)

Release: 2022 / US – Original

Genre: Pop

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Welcome to Uffie’s new album Sunshine Factory – an alternate reality that is only accessible to those yearning for escape. A nod to the ballroom scene, it is a place where you can be your most authentic self. Inside this trippy wonderland, you’ll meet Uffie, dancing amongst the lights of your hallucinations. Sunshine Factory is a wonderfully restless record. It’s a joyride through the club, hurtling into the forest, and crowd surfing into the arms of a lover… and yet it’s also the sound of waking up to a heap of champagne soaked jeans, the bass of your heart still throbbing along to last night’s melodies. A decade after her first record, which included–debatably–the internet’s first viral hit, the electro smash “Pop The Glock,” Uffie “the French-American singer/rapper/DJ/fashion designer who took the internet by storm” (Brooklyn Vegan) is most definitely back. Raised between Florida and Hong Kong before moving to Paris with her British father, the now Los Angeles-based Uffie is undeniably a “child of the world;” unsurprisingly, the making of this record clocked up a few air miles as well. Birthing what would become the Sunshine Factory in Fonte da Telha, Portugal collaborating with Norwegian savant Lasse Lokøy, Uffie soon found a home for these songs back in California with Chaz Bear of Toro y Moi–who co-produced several of the tracks–and his Oakland-based label, Company Records. The resulting album is one of intricate production, sonic experimentation, and subtle poetic brilliance amongst a few Fleabag glances to the camera. Amidst double entendres galore, her record exists in a curious space between punk and pop, which can be heard in the ska-meets-fashion week “dominoes.” Contrarily, “sophia” – which marked the advent of Uffie and Chaz’s creative partnership several years ago – poises Sunshine Factory as an otherworldly dance record one would hear in Berlin’s famous Berghain nightclub. She is the party girl who is at her most vulnerable in the chaotic “where does the party go?” where she reckons with facing who she truly is when she’s all alone. It’s in these dualities and juxtapositions that the joy of Uffie writhes. The album also has a cameo or three, including the one and only Peaches. And after finding kinship and admiration in the genre-defying Nnamdï, she tapped him for the record’s sole feature on “month of mondays.” It is at this point in the record that the beloved je ne sais quoi that Uffie has always possessed really emerges. When the comedown begins and the insatiable few remain on the dancefloor, “a month of mondays” is the knowing nod to a stranger signaling the night’s shift in course. With Sunshine Factory, it’s a pop-up party wherever you can find some speakers.

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LP | 2022 | UK | Original (An'archive)

30,99 €*

Kibitzer Sky Blue Vinyl Edition

Release: 2022 / UK – Original

Genre: Electronic & Dance

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The latest entry in An’archives’ ‘Free Wind Mood’ series, Ki is a trio that pits long-time collaborators Tamio Shiraishi (saxophone, voice) and Takahashi Michiko aka Mico (drums, voice, vocoder, melodica, piano, percussion) against drummer, percussionist and vocalist Fritz Welch. They each bring a wealth of experience, from Shiraishi’s early moves in the Japanese underground of the late ‘70s and early ‘80s – he was a founding member of Fushitsusha, and played with Taco and Machinegun Tango – to his legendary, late-night solo New York subway performances; he and Mico also spent some time playing with No Neck Blues Band, while Welch, currently based in Glasgow, has a long history taking in stints with Peeesseye, Lambs Gamble and FvRTvR.

Tearful Face Of My Cute Love (Is Begging To Me), named after a yakuza song, is Ki’s first LP, after CD-Rs on Chocolate Monk (Ki No Sei, 2009) and Unverified (Stops Dropping, 2010). Documenting two live performances from 2008, it’s a startling, wild freedom chase, each piece stretching languorously across one side of the vinyl, giving the trio maximum space to thunder their way through space and time. Their West Nile 2008 show, on side one, opens with a battery of drums, fierce and livid, before Shiraishi’s unmistakable and remarkable whinnying, high-zone tone slithers into earshot. The stage is set, the battle moves forward, yet there’s remarkable simpatico between the three players, with Mico and Welch volleying guttural vocal exhortations at each other. When it does offer respite – see the sudden swoop into near- silence at around 12:30– everything’s still tense; who knows what’s around the corner?

For all its fury, though, Tearful Face Of My Cute Love... is full of oddly lyrical moments, too – see the sweet melody that winds out, with gentle melancholy, near the very end of the West Nile performance. This lyricism also haunts the second side of the album, a performance from Glassland, Brooklyn, which seems more focused on the intersection of incidents, from clattering cymbals to ghostly swarms of sax scream, to dive-bombing spirals of vocoder. There’s an appealing sense of audio verité here, as though you’re in the room with the performers, shaken and stirred by every movement, lost in the interlocking maze they’re weaving in real time. It’s a bracing, thrilling document of very immediate, human music – of three bodies moving through the world, sounding their environment. With liner notes by Jon Dale.

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Vintage Crop

LP | 2022 | EU | Original (Upset The Rhythm)

LP | 2022 | EU | Original (Mental Groove)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Chris Korda

Passion For Numbers

Jolly In The Bush Green Vinyl Edition

Release: 2022 / EU – Original

Genre: Classical Music

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Chris Korda is an internationally renowned multimedia artist, whose work spans thirty years and includes electronic music, digital and video art, performance and conceptual art, and culture jamming. Chris pioneered the use of complex polymeter in electronic dance music, and invented a unique Midi sequencer in order to explore polymeter composition techniques. Chris composes and performs music in a variety of genres, and has released many albums on labels such as Perlon, Mental Groove, and Gigolo Records. Chris also worked as a computer programmer for thirty-five years.

Her new album "Passion For Numbers" is one of the very few album in the world entirely composed in complex polymeter, meaning that each pieces of music uses several prime meters simultaneously. A unique way to compose music with a new generation of musical algorithmic, inside which Korda injects the DNA of neo classical, ambient and jazz music.

This refreshing album will please you whether you are into complex musical composition, experimental music or just seeking for a beautiful, emotional and accessible musical moment. This is a "In your hearts not the charts" album, as Irdial Discs once said.

Pleases read an extract of Chris Korda's letter about Passion For Numbers, included as insert in its entirety in this vinyl release:

This is an album of piano music, but I wrote it without a piano. Not having a piano turned out to be constructive, because I had to rely on my brain instead of my fingers, and particularly on my imagination and inner hearing. The album belongs to a category called phase music, and it’s also algorithmic, or more precisely rules-based generative music.

I don’t write music in the usual sense of the word “write.” I build kinetic sculptures, and the sculptures generate my music. My sculptures are virtual, meaning they’re invisible machines that exist only as data within my home-grown software. My process is related to the work of a relatively obscure early 20th century artist named Thomas Wilfred. Like me, Wilfred was an engineer-artist, and built machines that generated art from phase shift.

My music is in complex polymeter, meaning it’s not just in odd time, but in multiple odd time signatures, and not one odd time signature after another sequentially, but all of them running concurrently. Most music isn’t constructed this way, which is why I needed to develop custom software in order to compose my music. My software is called The Polymeter Midi Sequencer, and you can easily find it on the Internet. I also use music set theory, change-ringing and gray code, explanations of which can be found in Wikipedia.

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David West

LP | 2022 | EU | Original (Tough Love)

29,99 €*

Release: 2022 / EU – Original

Genre: Rock & Indie

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Riyl: Felt, The Wake, The Servants, Sarah Records, Rat Columns, The Reds, Pinks and Purples. Jolly In The Bush is David West's fourth eponymous record, following Drop Out Of Collage (2014), Peace Or Love(2016) and Cherry On Willow (2017). David is an underground pop musician from Perth, Western Australia and has been in numerous interesting and more-or-less obscure acts over the decades - some include Rat Columns, Rank/Xerox, Total Control, Lace Curtain, Liberation, Burning Sensation and Scythe. His solo works allow him free reign to follow various classic and sideways pop rainbows to their illogical conclusions. On Jolly In The Bush, he is graced by the angelic presence of stellar musicians, such as Louis Hooper from Rat Columns, Bob Jones from Eaters/P.E, Mikey Young from Total Control/Green Child/Eddy Current Suppression Ring, and Richard Ingham from Taco Leg/Mink Mussel Creek. Jolly In The Bush is a homage to shaggy indie dorks, sub-tropical singer-songwriters, robotic melancholia and the pre-Cold War 'grown and sexy' aisle at the Marina Safeway. The first side of the record sees DW straddle the indie rock horse, indulging in lyrical detours into historical fiction ('1816'), naughty words ('The Poet Of My Dreams') and mumbling ('Sleeping Head'). 'Sleeping Head' features a startlingly egotistical self-sampling of David and compatriot Bob Jones' atmospheric electronics project, Scythe, and their tune of the same name. Idea glut, or deficit? DW and his team challenge the seemingly pervasive professional competence rife in today's indie rock world. 'Keep indie rock shambolic' seems to be a theme close to his heart. However, a disturbingly serious side emerges in the middle of the record with two minimal, acoustically-minded numbers, 'Not That Lonely Yet' and 'Letters From Home'; light in feel, depressing in subject matter. A pleasing but perhaps formulaic shift in atmosphere guides us into Side B. Keyboards are deployed, synthesizers twinkle, beats hit us at a steady, head-nodding pace. 'Prove Your Love' sentimentally shimmies in the light bouncing off the marina's placid waters, 'You Must Be My Friend' is a downtempo electronic paean to illusions lost. 'You Saved My Life' sees our weary traveler finding fleeting succor in jazzy changes and a stranger's touch. Lest it all get too much, 'So We Ran Away' dusts off the glam boots worn on the Cherry On Willow LP but takes them down to a sub-basement chintz floor for a prancing romp through romantic insanity. Please, join us and become Jolly In The Bush!

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Gangster Music Volume 1 Colored Vinyl Edition

2LP | 2022 | EU | Original (All City Dublin)

24,69 €* 25,99 € -5%

Unlimited Love Indie Exclusive Clear Vinyl Edition

Release: 2022 / EU – Original

Genre: Hip Hop

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2022 repress - Colored Vinyl

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world? That’s what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge’s "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade. Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation. He says himself: “Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record”

“When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.”

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Red Hot Chili Peppers

2LP | 2022 | EU | Original (Warner)

41,99 €*

Unlimited Love Softpack CD Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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Red Hot Chili Peppers will unveil their new album and twelfth full-length offering, Unlimited Love [Warner Records], on April 1, 2022. It notably marks their first recording with guitarist John Frusciante since 2006 and first with producer and longtime collaborator Rick Rubin since 2011. To herald Unlimited Love, the Los Angeles band just shared the first single and music video “Black Summer.”

“Our only goal is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt.

We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

ROCK OUT MOTHERFUCKERS!” - Anthony Kiedis, Flea, Chad Smith, John Frusciante

On lead track “Black Summer,” ethereal guitar underlines introspective lyrics as the rhythm unlocks a hypnotic drum groove highlighted by evocative bass. It quietly inhales only to exhale with a massive refrain, “It’s been a long time since I made a new friend, waiting on another black summer to end,” before a guitar solo echoes to the heavens and back.

Unlimited Love resumes a three-decade partnership with Rick Rubin [Johnny Cash, Adele]. Their creative collaboration spans legendary albums, including the diamond-selling Blood Sugar Sex Magik [1991], Californication [1999], By The Way [2002], and Stadium Arcadium [2006].

The interplay between the band borders on intergalactic once again—yet elevated to another stratosphere altogether. Unlimited Love represents the united spirit of four individual souls still fearlessly exploring the future of their eternal friendship and musical congregation.

This summer, Red Hot Chili Peppers will launch their first tour in support of Unlimited Love. They’ve invited a dynamic cohort of guests along for the ride at select dates, including Anderson.Paak & The Free Nationals and Thundercat and will be playing stadium dates in the UK in June 2022.

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Red Hot Chili Peppers

CD | 2022 | EU | Original (Warner)

20,99 €*

Gears Of The Giant Machine

Release: 2022 / EU – Original

Genre: Rock & Indie

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Dragonfruit

LP | 2022 | EU | Original (Super-Sonic Jazz)

25,99 €*

CD | 2022 | EU | Original (Stroboscopic Artefacts)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Let the clicking of the gears transport you to another world. A land filled with organic synthesizers, deep bass lines, moving drums and lo-fi textures, topped off with warm vocals and soaring strings, Dragonfruit takes you on a genre blending trip through their music. The first glimpse of their unique sound has been captured on their debut-album "Gears Of The Giant Machine”.

Dragonfruit are another prime example of an outfit who are looking to push the boundaries of genres. The Rotterdam-based group’s unique blend of sampled hip-hop crossed with influential neo-soul has certainly given them the scope to broaden their ever rising horizons. Full of confidence and a personality that shines through, their music certainly has many people wondering what’s going to happen next, with an individual unpredictability that has seen them featured in the likes of Earmilk and Kaltblut to date.

They now arrive, after a string of single releases, with their highly anticipated debut album ‘Gears of the Giant Machine’ arriving on October 8th through Super Sonic Records. The album is full of rich lo-fi textures and electronica that transcends beyond the norm, with the lead single being the relentlessly colourful ‘Digital Princess’. Modern R&B is more than prevalent here, with an upbeat slice of laden beats that match the wonderful lyricism of both Danique van der Vlugt and featured artist Amazumi. It’s catchy and juicy from the off, with the songs meaning centring around female empowerment which elevates the track even further once you realise its celebratory undertone of accepting who you are and loving it.

The album as a whole is an escape to a completely different place, and Dragonfruit have created this sonically diverse and unique listening experience. This ideology is more than well placed, as they encompass a whole range of sounds; synthesizers, deep bass lines, moving drums, topped off with warm vocals and soaring strings. ‘Gears of the Giant Machine’ will remove you from the mundane, with ‘Digital Princess’ being the catalyst. It’s clear that Dragonfruit capture the essence of what it takes to be a modernised power-pop outfit, and ‘Digital Princess’ is set to take a lot of people by surprise and wonder.

Speaking more on ‘Digital Princess’ Dragonfruit explains: “Digital Princess is a song about female empowerment, or empowerment of any kind if you will. It’s about coming to terms with who you are and celebrating that. In the words of Rupaul: “‘If you can’t love yourself, how in the hell are you gonna love somebody else”.

But not only that: if you don’t love and accept yourself, how can you expect anyone else to do so? So again: celebrate yourself. Reflect and recognise what you like and don’t like. Come to terms with what you can’t change, and change what you can if you want.”

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Alessandro Adriani

Morphic Dreams

12,99 €*

Call Me When You're Outside...

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Hot on the heels of his preliminary EP on Stroboscopic Artefacts, Embryo, which paved the way to the present album, and two years after the landing of his 2016-released inaugural LP, Montagne Trasparenti, Mannequin helmsman Alessandro Adriani returns with his highly anticipated full-length debut for SA, Morphic Dreams. Throughout eleven cuts painstakingly executed but lacking not an iota of the fresh, spontaneous oomph that made his sound stand out of the crowd of techno producers to have emerged over the past decade, Adriani lays the foundations to a suspended sound imaginarium, governed by its own rules and principles of gravity. Revolving around the notions of sublimation and quest for inner balance, Morphic Dreams is comprised of four distinct sequences, conceived and designed as reflections of four mental states, each of them linked to the four alchemical elements i.e. Water, Earth, Air and Fire here represented by the A, B, C and D-sides. Fluid and enveloping, the A-side bathes the listener in some zero-G uterine vortex, pitching and rolling from the slo-burning exotic sensuality and tribal spell of The Tropical Year to the trunk-bending, arpeggiated fast-track pulse of Storm Trees, through Raindances feverish electro swing. Entering a further abrasive, minerally rich phase, the B-side unleashes Adrianis dark side with optimum conviction. Deeply anchored in earthly materiality, this new evolution stage starts off to the frantic Italo bass of Dissolving Images, rushing headlong into a kaleidoscopic maelstrom of fractured reflections and nasty Giallo-like ambience. The delirious body stretch sequence then rather abruptly swerves onto a calmer flux with Dust/Mist, a much enticingly hip-swaying collaboration with Simon Crab, ex-member of the seminal 80s UK industrial-experimental band Bourbonese Qualk, before Casting The Runes engulfs us into a tormented world of swollen eeriness and disquieting esoterism. Back to a widescreen showcase of droney distortions, nasty acid swashes and other quirky drum programming, Hors De Combat opens a new chapter, shortly followed by the playful bass intricacies and modular jeu-de-piste of Invisible Seekers, featuring Avian affiliate and longtime friend Shawn OSullivan. A further mind-expanding piece, C-side closer Crow deploys its blackened wings wide and high as a chaos of martial percussions and liquefying synths slivers crash past the red-hot skyline. A fluttering melodic interlude, Things About To Disappear blazes a clean trail for Make Words Split And Crack to flourish, slowly but surely blooming into a nonstop grandiose twelve minute-shy finale geared up with the stirring cacophonic force of a Ligetian symphony and something of an epic-scale Kubrickian soundtrack.

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Steel Tipped Dove

LP | 2021 | US | Original (Backwoodz)

30,39 €* 31,99 € -5%

Release: 2021 / US – Original

Genre: Hip Hop

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In every arts community, there are people who, despite being little known even to fans of the scene, are deeply embedded in its past and present. When it comes to NYC independent hip-hop, Joseph Fusaro aka Steel Tipped Dove is one of those people. Not only has he quietly made beats for everybody and their cousin but for more than fifteen years Dove has run a recording studio out of the same 2nd floor walk-up in Brooklyn, weathering gentrification and the proliferation of home studios alike. In that time, a wealth of artists have crossed his threshold; some famous, some forgotten, and many in between. Dove’s was always a place where you could schedule a last-minute session or have an out-of-town artist meet you at 1am after their show, no need to worry, Dove would be there. It’s a place that you drop by because you’re around the corner and end up leaving with a jump drive full of wild beats.

Call Me When You’re Outside is a testament to that energy: inspired collaborations with disparate artists from across the country and the indie music spectrum. The album features Elucid, billy woods, KeiyaA, The Koreatown Oddity, Pink Siifu, Shirt, Fat Tony, Fielded, Fatboi Sharif, and Skech185, and is entirely produced by Steel Tipped Dove. Mixed and mastered by Willie Green and executive produced by billy woods, Cmwyo not only speaks to Dove’s history in the scene but the vitality of his current work. He may have been in the game for a long time, but his beats have never sounded better and his vision as a producer has never been clearer. With that in mind, if you buy it directly from us the project comes with the full instrumentals, which are also included in the vinyl and CD versions. The vinyl artwork is masterfully handled by multidisciplinary artist Myra Musgrove, while the CD is designed by the enigmatic Harvey Cliff.

In some ways it’s surprising that for all the artists Dove has worked with—NOSAJ from New Kingdom, R.A.P. Ferreira, Tone Tank, Das Racist, ShrapKnel, Mr. Muthafuckin eXquire, Kemba fka YC The Cynic—he has never put out a project like this. But if you know Joe, it’s really not. He has always been comfortable playing the background and contributing in whatever way he could. For him, it’s always been about the music. We hope you enjoy this rare peek into Dove’s world: his sound, his friends and collaborators. The studio is open to everyone but the buzzer hasn’t worked for fifteen years, so call when you’re outside.

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12" | 2021 | EU | Original (Tropical Disco)

Tropical Disco Volume 22

Santiago Cordoba & The Bauls Of Bengal

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Tropical Disco Records have once again delivered four scintillating feel good summer disco jams courtesy of the latest edition of their well loved vinyl series. Perfect for those gloriously sunny outdoor events, BBQ’s and beach parties alike their latest EP is another must have slice of black gold. Scouring the globe for the freshest cuts Volume 22 is another multinational affair combining the skills of Colombian duo Vagabundo Club Social, Mexico’s Monsieur Van Pratt, Italy’s Infradisco and New York’s Roland & Brother Rich. Opening affairs are the hugely exciting duo Vagabundo Club Social with their track ‘Costero’. They are producers who nimbly fuse dusty Latin grooves with cutting edge production techniques and dancefloor know-how and here have delivered yet another feel good dancefloor smash. ‘Costero’ is quite simply a DJ’s dream track which will do the business at any end of the set whether you need to get the crowd on the floor or tear the proverbial roof off. Mexico is currently at the leading tip of the disco charge and Monsieur Van Pratt is one of the stand-out producers from a country bursting with talent. ‘Jazz Player’ pulls absolutely no punches combining jazz cool with disco know-how for a track which wins on all counts. Sublime brass solos sit atop a huge funky gem of a bassline. ‘Jazz Player’ will tear dance-floors up worldwide as the world starts to rediscover its long since packed away dancing shoes. Italy’s Infradisco is up next with ‘Aungasana’ and it’s the perfect track to follow on combining many of the traits that both Vagabundo Social Club and Monsieur Van Pratt utilised on their tracks. Expect huge jazzy horns, funky bass and tribal vocals building up to a monstrous organ groove which raises proceedings to fever pitch. Infectious and energetic, it’s another seriously classy dancefloor moment. Closing out the EP are New Yorkers Roland & Brother Rich with the exquisitely titled ‘Roger Moore’s Living Room’. Paying homage to the James Bond legend it’s the ideal track to sip brandy and toast the characters of yesteryear in that velvet smoking jacket you have always wanted. Deep and Jazzy with the essence of the 70s flowing through it’s DNA ‘Roger Moore’s Living Room’ is a track so effortlessly cool that even Blofeld would be throwing some shapes. Tropical Disco’s Volume 22 is a sublime selection of timeless and wonderfully cool tracks which will be the perfect accompaniment to sun soaked events this summer and well beyond. Support across Mi Soul & House FM.

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Doroja

LP | 2021 | EU | Original (Earthly Measures)

Tülay German & Francois Rabbath

Release: 2021 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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Earthly Measures are very excited to bring to you 'Doroja', an album by Santiago Córdoba & The Bauls of Bengal. Different to past releases, EM explores another part of the world, introducing you to the traditional sounds of Bengal & its talented musicians. Doroja, is the third album by Argentinian musician Santiago Córdoba, this time in collaboration with The Bauls of Bengal. Recorded at the Hansadhwani Studio in Calcutta, India, where Santiago arrived with only a synthesiser, some effects, and a Legüero Bass Drum (an Argentine percussive instrument used mostly in local folklore) - this album was first conceived in December 2017 during a residency in this mythical city, together with The Bauls of Bengal. The Bauls believe the body and mind are the sources of all truths and that the expression of freedom cannot be restrained by the labelling of genres or religions, something which is evidently expressed in their music. This provides the perfect foundations for this album to develop without limitations and too effortlessly flow to whichever realms both Santiago and the Bauls of Bengal wish to take us too. The album combines traditional songs of the Bauls, rhythmic Jhumar instrumental improvisations with the Argentinian legüero bass drum, and other compositions created together in the studio. The result is a melodic mixture/dialogue of cultures, folklore and ancestral sounds with modern influences that help create an experimental and addictive sound full of electronic textures. Participating in these first recordings: Arpita Chakraborty (vocals), Chandan Ray (dotara), Pijush Baul (Vocals, Dubki) and Tanmoy Pan (percussion), who later, are joined by other artists from different latitudes to achieve a captivating fusion: Matías Romero on strings (Formosa, Argentina), Guilherme Peluci from Mineiro on winds and Daniel Guedes on percussion (Belo Horizonte, Brazil), Porteños Walter Broide on tabla and Cobra Rod on bass (both members of Poseidotica), and the Spanish Ángel Calvo on trumpet.

The album was mixed by Rodrigo Cursach at Delta Uno Estudio, mastered by Daniel Ovie, and the fascinating cover art is by Alejandro Sordi. It will be released on vinyl by the UK based label Earthly Measures, in addition to being available on all digital platforms. ‘Doroja’ means portal, and this album is indeed a magical portal to music, song and dance. Santiago's only means of communication with Bengali colleagues functioned as an astral portal to build the sounds of this journey through strange and unfathomable landscapes that captivate and surprise by building bridges between different cultures of our planet. Santiago Córdoba is a multi-instrumentalist musician born in the city of Buenos Aires who has been developing his unique sound both with his solo project and with prominent bands from the Argentinian independent music scene. He has been developing his solo career through deep musical and spiritual searching, with the infinite journey as a primary objective. In recent years, he has lived in places such as Madrid, Beirut and Berlin and has released two albums: ‘Corso’ (2015) and ‘En Other Places’ (2019).

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LP | 1980 | EU | Reissue (Zehra)

20,89 €* 21,99 € -5%

Release: 1980 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Remastered vinyl reissues of the two essential albums by Turkish folk/ jazz singer Tülay German, starting with the self-titled release (1980) and followed by "Hommage to Nazım Hikmet" (1982) in early 2022. Referring heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) these two albums represent unique and modern interpretations of turkish folk songs unmatched
to this day. A matured artist with full conviction at the height of her powers! Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record Burçak Tarlası (1964) is now considered
the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice.
But due to increasing repression Tülay German and her lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later. In fact, an impending prison sentence for Erdem Buri for translating Hegel’s Dialectic and Science of Logic led the couple to emigrate to France.

In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn’t feel quite comfortable with this major deal. And thus, despite the success and recognition she had gained, she decides to quit the contract with Philips! Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths in her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly by Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and justice.

The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music. The self-titled debut, which was awarded with the prestigious Grand Prix du Disque of Académie Charles Cros in 1981, is now seeing a vinyl reissue after 40 years. Tülay German ended her musical career in 1987 and after the death of Erdem Buri in 1993 she retired from public life completely, leading a quiet life in Paris where she still lives to this day. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.

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CD | 2021 | EU | Original (Kompakt)

Total 21

14,99 €*

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Total turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If Total 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then Total 21 feels abuzz and alive with possibilities. Significantly, it’s the first Total in some time that’s streamlined down to a single disc; this makes Total 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of Total, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by Kollmorgen, remixed by Patrice Bäumel into an astral torch song; Amsterdam’s Nicky Elisabeth, offering up Roman FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and Captain Mustache swoops down into view, Play Paul in tow, with the dream-like electro lift-off that is “Everything”. Jonathan Kaspar also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to Michael Mayer’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. John Tejada reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers Voigt & Voigt, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, Jürgen Paape kicks Total 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, Sascha Funke seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE Bionaut returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. Robag Wruhme gets a little delirious on the ticking, twisting “No”, and then GUI Boratto mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from Michael Mayer, and Marc Romboy & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now Total’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favo

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2LP | 2021 | EU | Original (Kompakt)

Total 21

LP | 1976 | EU | Reissue (Wewantsounds)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Warda

Khalik Hena

34,99 €*

LP | 2021 | EU | Original (Mushroom Hour Half Hour)

Release: 1976 / EU – Reissue

Genre: Rock & Indie

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Cult Classic BY Often-sampled Arabic Diva Warda Recorded IN 1973 With Full Egyptian Orchestra ON THE Label Soutelphan. Reissued ON Vinyl FOR THE First Time, With Remastered Audio, Original Artwork AND TWO Page Insert With NEW Introduction

Wewantsounds is delighted to reissue 'Khalik Hena' recorded 1973 by legendary Arabic Diva Warda who has been sampled by Jay Z and J Dilla. The album recorded in public mixes traditional Arabic music with a tinge of 70s grooves. Here Warda delivers a hypnotic performance backed by her full-size orchestra featuring those unparalleled Arabic strings that made recordings by Oum Khalthoum, Farid El Atrache and Abdel Halim Hafez so famous. 'Khalik Hena' is one of her all-time classics, written by legendary composer Baligh Hamdi and the audio has been newly remastered. This release features the LP original artwork with a 2 page insert featuring a new introduction by Mario Choueiry from Institut du Monde Arabe who curates Wewantsounds' Arabic series of reissues.

Warda is one of the undisputed divas of the Arab world. Born in the Paris suburb from an Algerian Father and a Lebanese mother, she was discovered at 11 by Ahmed Hachlaf, Pathe Marconi's heads of A&R specialising in Arabic music. having honed her singing skills at her father's cabaret in the Latin Quarter, the Tam-Tam (for Tunisia - Algeria - Morocco) she quickly found recognition in the Arabic music circles.

The family relocated to Beirut in the late 50s after the police found arms in her father's cabaret destined to the political group fighting for Algeria's independence and was swiftly discovered there by an Egyptian film producer who brought her to Cairo to record and play in his films. From there, her career took a meteoric rise and she became a star working with Egyptian such stars as Abdel Halim Hafez and composer Mohammed Abdel Wahab.

However, in the early 60s a traditional marriage in Algeria stopped her career for a decade to be a housewife until Algerian President Boumediene asked her to perform for the 10th anniversary of the Nation's independence in 1972. This was an epiphany and after a divorce she was back to Egypt for a triumphant comeback.

'Khalik Hena' recorded in public in 1973 dates back to these glory days. Teaming up with her new husband, legendary composer Baligh Hamdi, she recorded a string of classic albums - hypnotic tour-de-forces stretching over two sides in an almost trance-like mode, enhancing Warda's powerful vocal and ability to mesmerise audiences. Blending traditional and modern instrumentations (electric guitar, organ), the music is both complex and groovy, 'Khalik Hena' is one of her best LPs, sought after by Arabic diggers and collectors alike. An undisputed classic of Arabic Music, which Wewantsounds is glad to reissue on vinyl for the first time since the 70s.

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On Our Own Clock

12" | 2021 | EU | Original (Samosa)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Pre-pandemic, there was a plan. The plan was for musicians from South Africa and Senegal to travel to London’s influential Total Refreshment Centre to make an album with musical kindred spirits in the UK. Like so many plans, it had to be adapted.

In the first heatwave summer of Covid, groups of heavy-hitting musicians met for a day of intense recording in their home cities then sent the music to their compadres across the oceans. They returned to the studio a month later to respond to the music they’d been sent. The result is ‘On Our Own Clock’, a sonic testament to trenchant and collaborative creativity which digs into layers of South African jazz, traditional Senegalese instrumental music and London’s rich diaspora-informed musicality. Individually these are powerful strands of music. Collectively, they are super-sized.

‘On Our Own Clock’ contains interludes titled ‘How To Make Art In A Pandemic’. The phrase became a byword and a prayer to keep the process going across the multiple hurdles that presented themselves: people getting Covid; the fear and fury that proliferates in the twin pandemics of Covid and racism; the practicalities of making music across two continents. It builds on another phrase, in the spirit of evolution and improvisation: two words used in the foreword to Toni Morrison’s novel Jazz in which she describes the ‘unreasonable optimism’ of musicians. Making this album was unreasonably optimistic even before the pandemic. To have created a deeply-rooted and warm-hearted gem like this is extraordinary.

Album highlights among the phenomenal 11 tracks include singles ‘Dune Dance’, which steps and hustles around a gorgeous groove that was written in Joburg and reflected back by the London players. ‘Ngikhetile’ (an isiZulu word which translates as ‘I Have Chosen’) fuses playing from across continents in an incrementally intense salutation to powerful optimism. ‘Be The Light’ draws deep from the endless well of feeling that the Senegalese kora provides, and builds up and outwards from a sweet-yet-solid bedrock and Grandmaster Cap’s vocals. Like he says:

If you are the light, you are the path. To all the bright motherfuckers out there, keep shining.

The release is a collaboration between South African label Mushroom Hour Half Hour and Total Refreshment Centre recordings. It comprises the single album with artwork by Senegalese designer Djib Anton; a fanzine which documents the process and will be included with the vinyl; and an experimental film made by South African filmmakers Nhlanhla Masondo and Tseliso Monaheng. It imagines a far-future post-pandemic world and also includes artist interviews, session footage and the inevitable Zoom recordings.

One day, the musicians will play together in person. But for now, On Our Own Clock is inspiration, dispersed positivity and eleven incredible pieces of musical togetherness.

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Lex & Locke

Pacifica EP

LP | 2021 | UK | Original (Hive Mind)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Samosa Records releases are coming thick and fast in what could be their finest year yet. Lex & Locke are the latest talent to make their Samosa debut with their ‘Pacifica’ EP – a sublime three tracker which is mouth watering from the off. First up is Balandra. From the moment you hear the raw four to the floor drumbeat, you’re under its spell. The infectious bass riff moves the scenery around a little, whilst the subtle bongo attack teases what’s to come. And what’s coming is a funky, rolling cosmic lead synth that has no right to sound that damn sexy, no right at all. The vibe quickly grows into an interstellar journey, aided by an outrageously funky clav jam that gets inside your head. Balandra feels like the soundtrack to an ‘after dark’ undercover stakeout in a 1970s cop thriller. Detectives Lex & Locke are on the case and the evidence is compelling. A unique, 122bpm funk bomb which has the Samosa fingerprints all over it. A2 is Cabo Pulmo – continuing the vibe of Balandra, Lex & Locke lay down some serious grooves in what initially sounds like a live funk band jamming away in the studio without a care in the world. No soon as we get into the beat and the bass, there’s an immediate switch to a swirling, bold cocktail of funk infused with a touch of jazz that belies the 124bpm tempo. The production is expertly tight; layers of synth, electric organ and punchy guitar riffs make this ideal for both the sun terrace and the dance floor. You’re under arrest, and Lex & Locke are reading you your rights! The final track, Nine Palms has a real quirky, almost broken beat feel to it with its high-hat ride pattern and punchy bass drum. A wickedly twisted analogue organ riff is quickly introduced, which is cleverly used as both a rhythm device and the melodic platform that sets up the whole track. Lex & Locke seem to be total masters of a ‘free-style funky synth lead’, and we’re treated to another slice of this particularly tasty pie in ‘Nine Palms’. Whereas Balandra is the late-night stake-out, Nine Palms is the final act where Lex & Locke high five each other following another successful bust. The Pacifica EP has a wonderfully intimate and assured vibe about it and is sure to feature in many a summer soundtrack. This release also proves that Samosa Records aren’t afraid to go off the beaten path occasionally - and when it’s this good we’re more than happy to follow. Grab this amazing cut of wax while you can!

Ste ‘Esteban’ Hendry (Black Light Disco)

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Hassan Wargui

Tiddukla

Water Cycle Clear Vinyl Edition

Release: 2021 / UK – Original

Genre: Organic Grooves

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Hassan Wargui is a self taught musician, composer, songwriter, multi-instrumentalist, and an expert in the songcraft and poetry of the Tachelhit speaking Amazigh tribes of the Anti-Atlas mountains in the south of Morocco.

He was born in 1985 in the rural community of Issafen, which lies between Taroudant and Tafraoute in the Anti-Atlas mountains of Southern Morocco. His music draws from the deep well of Amazigh, or Berber, cultures that have long been suppressed across North Africa after the region underwent a process of Arabization following the Arab invasions of the 7th Century.

Hassan grew up in an isolated mountain community in which art and music is embedded into daily life. This allowed him to develop an excellent musical sense, a deep understanding of the complex poly-rhythms that underpin Amazigh music, and time to become proficient on the banjo which, since the ascendency of the popular modern folk movement involving groups such as Nass El Ghiwane and Jil Jilala in the late '60s and early '70s, has been the preferred instrument of the region. Like many musicians from the region, Hassan built his first instruments himself, and it wasn't until he moved to Casablanca in his teens to find work which was scarce in his local community, that he was able to save for his first real banjo.

Since then Hassan has been active in the Amazigh musical community and has worked with a number of groups, notably Groupe Lbouchart, Imanaren and Etran Tiznit, as well as recording prolifically as a solo artist using Fruity Loops as a home studio. In 2009, Jace Clayton (DJ/Rupture) stumbled across a CD by Imanaren on a stall in Casablanca medina and this led to a fruitful series of collaborations in 2009 and 2011 (you can learn more about their work together here.)

Tiddukla (which translates to Friendship) is one of Hassan's numerous group projects and he recorded the album with friends in 2015 and self released it through YouTube due to the lack of music infrastructure in Morocco. The Tiddukla album is raw and hypnotic and sees Hassan and his group channeling the deep and contemplative sounds of classic Amazigh groups such as Izenzaren, Archach, Izmaz, all of whom risked their freedom by daring to sing in Tachelhit at a time when the language was still forbidden, and when Amazigh people were fighting for their rights to be recognised.

Hive Mind are thrilled to be able to release Hassan's beautiful music, and to introduce the fascinating rhythms of the Anti-Atlas Mountains into the wider world. We're incredibly proud to be able to support this fiercely independent and hugely resourceful and tenacious artist who has been able to continue creating music for over a decade without any real support from Morocco's music industry and while holding down a variety of day jobs. We really hope you enjoy his music as much as we do.

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Taner Öngür & 43,75

2x10" | 2021 | EU | Original (Tantana)

36,99 €*

Preacher's Sigh & Potion: Lost Album Yellow & Black Marbled Vinyl Edition

Release: 2021 / EU – Original

Genre: Rock & Indie

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As we continue our half-joke-verbal agreement of "one album per year" with Taner Öngür, here we go with "Water Cycle". Like many musician in the world, lock down home, early 2020 Taner Öngür got back to his own song books and merge them with some new ideas and brought us this exceptional instrumental album. It's quite hard to classify it within one genre but we can say it takes off from progressive sounds and explore around Öngür's latest band 43,75's own swing-surf-rock style (of course with some little psychedelic touches). These 14 tracks consist 3 special covers such as the Beatles' "I am the Walrus", Bollywood's famous "Mera Joota Hai Japani" and "Ya Mustafa" which featured in various works of middle eastern cinema. Taner Öngür, the legendary bass player of Moğollar (the iconic group of 1970’s Anadolu Pop movement), is producing solo projects since 90's. "Water Cycle" is his 4th opus of his collaboration with his latest band 43,75 and Tantana Records. During lockdown days of 2020, Öngür got back to his own song books and surfed between UK and India -and of course over fly central Asia- got together this very special instrumental guitar trip. Considering he is the "baptist" of the "anatolian rock" movement of 70's, his beyond-genres-eclectic view to the music fits perfectly to the swinging guitars, progressive touches, tribal beats, melancholic moments of “Water Cycle"... It's also a great "introduction to Taner Öngür's universe". Back in 2016 he formed this project: 43,75. Their first album “Elektrik Gramofon” (2017) was a beautiful selection of 20's - 50's Istanbul songs, distilled by Öngür's surf-swing-rocknroll appoach (it's LP's sold out within 48 hours!). Nowadays, most of the vinyl collectors knows about Anatolian Rock; but not many knows that Taner Öngür was on many cult records of the era and the definition of "anatolian pop" and "anatolian rock" are actually Taner Öngür's own wording, that became the name for it - since 70's. So, on "Sayko Ana” (2018) Öngür did not hesitate to have fun with it; browsing between forgotten Turkish folk songs and psych them. In 2019, he got back into archives, to dig "strange stories" from newspapers and vintage novels of 1930's-1960's, which gave birth to "Asrî Sadâ" album, that its LP consisting a superb - rich contented 16 pages tabloid newspaper; with "news" and "articles" related to the songs... and many other bizarre details of our "dusty days”. So, please welcome to Taner Öngür's own psych-surf-swing flavored universe!

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Matthew Dear

LP | 2021 | US | Original (Ghostly International)

Preacher's Sigh & Potion: Lost Album Black Vinyl Edition

Release: 2021 / US – Original

Genre: Electronic & Dance

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This unearthed Matthew Dear album was originally recorded after his acclaimed album Asa Breed (2007). Riyl: Beck, Bill Callahan/Smog, Bibio. Twenty-plus years into his career, producer/vocalist/songwriter/DJ Matthew Dear remains artistically unpredictable in pursuit of his prescient strain of electronically-formed, organically-delivered indie pop. His work traverses myriad musical worlds, belonging to none. But these fluid moves have not been without a few forks in the road, decisive turns, and what-ifs. Most notable is the pivot-point following Dear's acclaimed 2007 avant-pop LP, Asa Breed, in which he broke away from the 4/4 grid of his techno/house debut Leave Luck To Heaven and into something much more wild and idiosyncratic. Traveling between his adopted Detroit and his home state of Texas throughout 2008 and 2009, Dear amassed a set of personal, playful, looping guitar-centric recordings he'd consider for his next album. Given the new momentum of the hybrid electronic pop of Asa Breed which led to an opening slot for Hot Chip and remixes for `00 heroes like Spoon and Postal Service, Dear decided to shelf the material. He moved ahead to work on his watershed 2010 album, Black City, a steely noir set which earned him a Best New Music on Pitchfork and a worldwide tour with a besuited band. This "lost album" had a sound, a spirited country romp in the techno barn, and it had a rough title, a scribble on one of the CD-Rs passed to Ghostly label founder Sam Valenti IV, Preacher's Sigh & Potion. He never fully walked away from it, and merely kept moving down the road, waiting for the audience to catch up. Over a decade later, that time is now. Preacher's Sigh & Potion finds Dear unknowingly at an intersection in his young run, a burgeoning songwriter at his most freewheeling and unaffected. In hindsight, there were hints of Preacher's sound on Asa Breed, but the set still registers endearingly out of step with his eventual direction. This was the first time Dear tapped so directly into his late father's influence as a fingerpicking guitar player in the 1960s and `70s and a gateway to the music of John Prine, Townes Van Zandt, and Emmylou Harris. From the twang and tambourine stomp of album opener "Muscle Beach," to the metronome-like pulse of "Hikers Y" complete with an unmistakable Matthew Dear dryly dismissive mantra, to the gloomy carnival-leaving- town pomp of "Gutters and Beyond," Preacher's Sigh & Potion is filled with the reckless notions of an artist dashing the history of pop and rock, the twang of country, the build and release of techno. Dear is an auteur, and in retrospect, so many of his signatures crop up in these relics from his former self.

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Matthew Dear

LP | 2021 | US | Original (Ghostly International)

Enzo Carniel & Filippo Vignato As Silent Room

Release: 2021 / US – Original

Genre: Electronic & Dance

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Aria

LP | 2021 | EU | Original (Menace)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Silent Room, the duo formed by Enzo Carniel and Filippo Vignato is a conversation. Between the piano of the first and the trombone of the second, two living forces of the European jazz scene; between France and Italy; between acoustics and electronics. A patient dialogue initiated on the benches of the conservatory in Paris, which was nourished by the music of German trombonist Albert Mangelsdorff (to whom the duo paid homage for a concert at the Cité des Arts in 2014), musical moments shared as a group (Enzo Carniel's sextet at the Jazz à la Villette festival in particular) and in pairs - for numerous concerts given on both sides of the Alps - before perfecting their common grammar, giving birth to their own repertoire, creating their own space.

This first album, Aria, released on the Franco-Japanese label Menace, was recorded in the setting of the Villa Cicaletto in Tuscany, whose Silent Room the duo made their own in September 2019. Carniel had just released Wallsdown, the third elegiac disc of his House of Echo project (Jazz & People, 2020) and Vignato of an intense live duo recorded with American cellist Hank Roberts (Ghost Dance, on CamJazz in 2019).

The album is carried by simple melodies, tenuous threads on which the two improvisers who have slowly got to know each other crisscross and let their voices express themselves. Aria can refer to the opening of Bach's Goldberg variations, to sung opera arias, but above all to any expressive melody that develops the imagination. Aria is also the air in Italian: the air that comes from the breath, the air that fills the room, the air that vibrates and is transformed into sound. The repertoire is therefore this collection of Arias composed by Enzo Carniel and Filippo Vignato.

If the duo advocates with this album its jazz heritage - that of improvisation and conversation, of freedom and virtuosity - and claims to be Carla and Paul Bley, Keith Jarrett, Gary Valente, Albert Mangelsdorff, Ornette Coleman or John Surman; it also explores the contemporary colors of electronic music, ambient and Japanese minimalism. The use of the prepared piano, Fender Rhodes and synthesizers colors the sound space of the acoustic piano and trombone. The eponymous composition that opens the album in acoustic, closes it in an electronic version, illuminating the path of the duo between the two universes.

In the almost plant-like composition "In All Nilautpaula", Enzo Carniel evokes the water lily (in Sanskrit) coming to purify the water around him. On "Babele", Filippo Vignato invokes the great question of language: thanks to Arias, and therefore melodies, language becomes universal through music, and only the sensory experience counts.

Born from Carniel and Vignato's desire to create a sound space that would be filled with as many melodies as silence, a place for listening, dialogue and meditation, Aria is one of those rare records that contain entire worlds.

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Aor Global Sounds Volume 5 1977-1984 Selected By Charles Maurice

LP | 2021 | EU | Original (Favorite)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Favorite Recordings and Charles Maurice proudly present the 5th edition of the AOR Global Sounds compilations series: 8 rare and hidden tracks, produced between 1977 and 1984 in various parts of the world. Started in 2015, the AOR Global Sounds series was born from the will of Charles Maurice (aka Pascal Rioux) to share his longtime love for the AOR and WestCoast movement and highlight its influence for many artists in the late 70s and early 80s. In this 5th volume, he selected again highly forgotten productions, deeply infused with Disco and Soul flavors. Half of the compilation’s tracklist is naturally coming from the US, homeland of this music style, while the other half is made of productions from all over the globe, from France or United Kingdom to Venezuela. And for most of these beautiful songs, it came from artists and bands rather unknown and often released as private press. Often, these records will have a special story, sometimes they’re just part of the universal quest of finding true love. Nonetheless, they all carry a wide range of emotions magnified by the music. For example, “Don’t Take It Away” by Westside is as a love song about a new relationship, recorded in Minnesota and mastered on Sunset Bld. (Hollywood) by Bernie Grundman, who worked on Thriller – funny thing, the original LP is a picture-disc, which was still quite rare back in the days because the singer saw one from Mickael Jackson when visiting the studio. “Til’ Mornin’ Comes”, the only release by The Ferry Brothers, is also a love song, recorded in NYC with notably Gwen Guthrie, Vivian Cherry & Patti Austin singing as backup vocalists. On “What Its Meant To Me”, Jonathon Hansen remembers with emotion the good times spent with the members of his band including the vocalist he was in love with. On “J’Irai Squatter Ton Cœur”, Didier Makaga better-known as a French Boogie & Pop singer, arranger & composer, sings a charming declaration of love on a heavy and groovy eighties production. “You Never Know” by Rhapsody, recorded in Connecticut, sounds more like an East coast fusion of Soul and Jazz-Funk à la James Mason. “What You Do To Me” by Sugar Cane was highlighted on a Pittsburgh Rock Radio compilation: listening to this smooth ballad with its amazing Moog synth break will lift your soul. “Kailua” by Venezuelan Jazz-Funk band Esperanto, is a song about Hawaii which evocates bucolic dreamy nights facing the ocean, a typical AOR vibe. Finally, “I Need You” from Mark Williamson is a blue-eyed soul UK groover ending on a fouron-the-floor climax! And we could detail stories but our guessing is the best way to learn more about all these gems is to listen to the compilation, fully remastered from originals, and whether your preference is for vinyl or CD formats.

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Aor Global Sounds Volume 5 1977-1984 Selected By Charles Maurice

CD | 2021 | EU | Original (Favorite)

14,99 €*

7" | 2021 | EU | Original (Saigon Supersound)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Trùc Mai

Sài Gòn

11,99 €*

LP | 2006 | EU | Reissue (Ernest Jenning)

Release: 2021 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Not many cities in the world are gifted with a timeless anthem of their own. We all know “New York, New York”, a song widely known across its city borders. For many Vietnamese, the beautiful Cha Cha Cha tune “Sài Gòn” has a similar reputation. The tune was written by Hanoi-born composer Y-Van. Like many of his generation, he moved to the South in 1954 after The Geneva Accords partitioned Vietnam temporarily into two states. There he became one of the most famous and prolifc songwriters in South Vietnamese pop music. His revered songs are still sung and covered to this day. “Sài Gòn”, which he wrote in 1965, was recorded for the frst time by Saigonese-born singer Trúc Mai for the Sóng Nhạc label. It is one of his most iconic compositions and has been recorded countless times since. Trúc Mai rose to prominence during the late 1950s as a popular headliner in the cabaret circuit of Saigon, earning her the title, "Nữ Hoàng Mambo" (the Queen of the Mambo). Her reputation helped make the 1965 recording of “Sai Gon” an instant hit. It was so successful that it was one of only a few songs to appear on multiple 7” vinyl releases. However, that same year, Trúc Mai took a seven-year hiatus from the music industry to take care of her family. But she returned in 1972 to record “Sai Gon” again, this time with another producer, Duy Khánh – also a successful singer and musician. They released this track on his “reel 2 reel” tape series, “Cỏ May”. After the war ended in 1975, Trúc Mai and her family left Vietnam to begin their new lives in the United States, where she continued her successful music career with the overseas community.The Sài Gòn sung about in the song refers geographically to today's Districts 1 & 3 in Ho Chi Minh City, the name given in 1975, after reunifcation. But colloquially, the city is still afectionately called Sài Gòn by many of its residents, and even the airport retains the ‘sgn’ designation as its abbreviation. Despite being recorded over 55 years ago, the unbroken popularity of this life-afrming ode to the city is proven when, whether in Sài Gòn or Hanoi; the south or north; whether young or old, when the song plays, everyone immediately joins in to sing along to the chorus…Saigon đẹp lắm Saigon ơi! Saigon ơi! (Saigon is so beautiful! Saigon oi! Saigon oi!) The two extensively restored mixes are supplemented with a 2021 edit by Saigon Supersound producer and DJ Jan Hagenkötter, who tries to preserve the vibes of the original and at the same time to wrap it in a contemporary garment.

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Boise Cover Band

Unoriginal Artists

LP | 1985 | EU | Reissue (Ici Bientot)

Release: 2006 / EU – Reissue

Genre: Rock & Indie

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First Time On Vinyl!
Reissue of one-off 2003 project by Doug Martsch (Built to Spill), featuring Ned Evett, Ian Waters, and John Mullin
Includes covers of David Bowie, Captain Beefheart, The Pretenders and more

Boise Cover Band’s "Unoriginal Artists" is basically a Built to Spill album, the vision of its founding member Doug Martsch.

In 2002 while Built to Spill was on hiatus, Doug was inviting various local musician friends to his home studio for improvised jam sessions. Eventually he settled on guitarist John Mullin, long time BTS Soundman Ian Waters on drums and his former Treepeople bandmate Scott Schmaljohn on guitar. Doug played bass. After a while they lost interest in improvising and decided to learn a few covers.

When Scott no longer had time for the project he was replaced by boise guitar player Ned Evett. While Doug, John , and Ian were ok musicians Ned was a world class virtuoso, winner of the 2003 North American Guitar compitition and inventor of the glass-necked fretless guitar which he plays on the album.

No one seems to remember exactly how long the band existed, maybe a couple months. There were no ambitions, it was all just for fun. They played the Pretenders song “Back On The Chaingang” but without first listening to the original, relying only on memory. There was talk of maybe playing a show or two but the band ended up never performing live. When everyone’s lives got too busy for the band they made this record and called it quits.

It was recorded on Doug’s 16 track 1/2 tape machine in the same room where the band had always rehearsed, a garage behind his house that his three-year-old son had named the Man House because it had been built for humans, not for lions or elephants. Long time Built to Spill producer Phil Ek engineered the live tracking sessions and then Doug finished the record alone, adding more guitars, some keyboards, lead vocals, and the backing vocal parts that the other band members had been singing during rehearsals. He mixed it alone and Up Records executive Pete Ritchy designed the K-Tel style cover and released a few hundred CD’s on his unofficial side label Jo-Ri. Built to Spill sold them on tour and that was that.

And then seventeen years later Doug asked his friends at EJRC if they could make it available again because it is probably his favorite record he ever made.

Loving Pauper (Dobby Dobson)
Ashes To Ashes (David Bowie)
I Love You More (Lee Williams and the Cymbals)
Strange (The Delusions)
Chain Gain (The Pretenders)
I'm Glad (Captain Beefheart and His Magic Band)
Ta Magia Sto Pegadi (Georgios Trakis)

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Nyssa Musique

Comme Au Moulin

A Momentary Convergence Of Differently Paced Trajectories

Release: 1985 / EU – Reissue

Genre: Organic Grooves

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After NEF's album in 2019, Ici Bientôt is happy to present today the reissue of Comme Au Moulin by Nyssa Musique. Paris 1985... ‘Extra-European’ Traditions meet Jazz and Minimal Music. An unusual array of instruments turn music into a dialogue. For a unique record ... vivid, full of texture, somewhere between Midori Takada, Don Cherry and Jon Hassell. Beginning of the eighties, 5 musicians rehearse in a contemporary dance class hall, upstairs from the ‘’New Morning", renowned Music venue in Paris. Nyssa Musique is born. Passionate for a long time about traditional music, like those of the Middle East, India and East Asia, but also about African traditions, they throw a bridge between Jazz and ‘Extra-European’ traditions, resulting in what would be called "Spiritual Jazz" today, a little bit in the style of Don Cherry's Organic Music or Pharoah Sanders. With the notable difference, however, that their creations are strongly infused by contemporary classical and repetitive music, notably Steve Reich's work with whom they share a great interest for the traditional cultures of Southeast Asia, particularly Indonesia and its gamelans. In the original group we have Armand Amar, Ballet Music composer and John Boswell. Both specialists of traditional hand percussion which they had been studying for a long time in India and the Middle East, they are also very fond of synthesizers. Three other talented musicians quickly join them: Jean-François Roger, percussionist, marimba and vibraphone specialist, Henri Tournier, multi-flutist and Renaud Garcia-Fons, double bass player, who has a passion for the Middle East and has developed a virtuosic play of the bow, reminding that of Cecil Mc Bee. Each of them enriches the ensemble with their personality, originality and musical generosity. The rehearsal hall is rapidly invaded by the phenomenal instrumentarium put together by Armand Amar. A great opportunity for the musicians, for the dancers, to have access to an endless choice of instruments, offering infinite possibilities for mixing different colors and timbres. Their sense for being a group and their great capacity for improvising culminates, in 1985, in the composition of their first and only album Comme au Moulin (« As by the windmill"), testimony of years of creating without hidden agenda. Authentic, free and vibrant, still today, this album has no real equivalent. Even though it recalls the Fourth World current by its combination of traditional instruments with a subtle use of synthesizers, Comme au moulin gives more space to improvisation. It may also recall those of Midori Takada, less the New Age esthetics. An album that should delight as well lovers of "Love Supreme" by John Coltrane, of "Vernal Equinox" by Jon Hassell, as those of Moondog, an artist who, like them, invented a music based on the use of untypical percussions, at the confluence of 'Extra-European' traditions, Jazz and Classical, all together complex and hypnotic.

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Maurizio Ravalico

12" | 2020 | EU | Original (Funkiwala)

Mathreyata Black Vinyl Edition

Release: 2020 / EU – Original

Genre: Organic Grooves

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The 12" EP A Momentary Convergence of Differently Paced Trajectories is a heterogenous dj-oriented release, prelude and companion of Maurizio Ravalico's first solo percussion album Nobody's Husband, Nobody's Dad, released in November 2018 with the Funkiwala label. It comes in 180gms vinyl on a hand-numbered run of 300 individually screen-printed 320gsm brown card sleeves.
THE Music
Side A opens with a full-size batucada version of Fear of Mapping, one of the tracks from No Fiction Now!, the 2013 debut album of Maurizio's trio Fiium Shaarrk.
It is followed by a personal take on one of Collocutor's second album tracks, Here to There to Everywhere, arranged here as a spacey 5/4 drum'n'bass epic.

Side B contains an old-school jungle remix of Just Bring Your Toys, one of the tracks from Maurizio's forthcoming album, by the Italian d'n'b veteran Enjoy (Omni Music, Bustle Beats). The EP closes with an edited version of the same track: a taste of the album.

Despite being both loosely presented as remixes, neither of the two arrangements on side A makes use of samples from the respective releases, and any material not progammed or played anew by Maurizio comes from either unreleased off-cuts or preliminary demos.

"One of the finest avant-garde percussionists in the world. Maurizio Ravalico is incredible to watch and hear. Catch him live somewhere soon!"- Jean-Claude Thompson, IfMusic.co.uk
"Creative, deep and intriguing. Percussion avantgarde at its best." - Vince Vella, Dj, producer, Havana Cultura
Italian-born visionary cross-genres percussionist Maurizio Ravalico has been one notably eclectic presence in the London music scene since his arrival in the UK, in 1991.
Regularily seen on stage and on releases with the like of Jamiroquai and the James Taylor Quartet throughout the nineties, as well as with virtually every salsa and Cuban-oriented projects to originate from London in the same period, he has subsequently collaborated on many of the projects of the experimental music label Not applicable (Icarus, Isambard Khroustaliov, Alex Bonney, Tom Arthurs) since 2005, and is now an established name in both the London and Berlin improv and experimental scene, having played with John Edwards, Oren Marshall, Steve Beresford, Pat Thomas, Frank Paul Schubert and many others.
Maurizio Ravalico's peculiar approach to percussion is one of the distinctive traits of Tamar Osborn's modal jazz 5-piece band Collocutor (On the Corner records) and of the pan-European trio Fiium Shaarrk (on Bbc3 Late Junction's 12 Best Albums of 2017). Maurizio Ravalico also collaborates with the string quartet Phaedra Ensemble, the composer Fred Thomas and the French contemporary dance company Silenda.

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Dark Buddha Rising

LP | 2020 | EU | Original (Svart)

12" | 2020 | UK | Original (Lugar Alto)

Release: 2020 / EU – Original

Genre: Rock & Indie

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Dark Buddha Rising unveil their seventh album, Mathreyata on Friday the 13th of November 2020 via Svart Records. Mathreyata album artwork, and teaser trailer for first single “Sunyaga” revealed. Video by Dehn Sora. Finnish “dark underlords of psychedelic drone” Dark Buddha Rising return with their heaviest and darkest record yet. V. Ajomo from Dark Buddha Rising states “Mathreyata follows the visions that were received from Inversum’s implosion and is the accession of what we invoked with the II EP. Before completing the great circle, all cycles must be dissolved. In the end we are standing at the edge of the abyss with all our previous work as weights, impatient to dive in. We recorded the basis of the album just before the Waste of Space Orchestra project began and mostly because of that, it took a few years to get it finished. Finally the material that we have performed live for several years can be experienced as a recorded album.” Dark Buddha Rising’s abyssic and meditative sonic-void has been opening up over the last 10 years to swallow more and more devotees in their wake. Since their inception in 2007, with their first four albums being highly-coveted, sold-out private pressings, to subsequent Svart Records reissues, to their burgeoning fifth album Dakhmandal, Dark Buddha Rising have been shining like a black diamond for those that go mining for the real thing. Embraced into Neurosis’ Neurot Records fraternity, with 2015’s critically acclaimed sixth album Inversum, Tampere-based psychonauts, Dark Buddha Rising have captivated the collective consciousness of the heavy underground and achieved cult-legend status. 2019’s climactic and highly praised Waste Of Space Orchestra collaboration with local kindred spirits Oranssi Pazuzu at Roadburn Festival, put Dark Buddha Rising’s Wastement home studio: “the asylum of eternal feedback,” firmly on the International music world map and into the hearts of the pitch-black psych-rock underworld. Gathering a throng of newly devoted adherents who worship at the altar of their churning vortex, Dark Buddha Rising’s live shows are a transformative experience that are religiously revered by audiences across Europe, with Invisible Oranges calling their performance “brain melting.” Metal Hammer describe Dark Buddha Rising’s music as “a shamanic voice chanting before a tumultuous void, soon all encompassed by a yawning riff chasm, contorted by keys, chants, rants and abyssal atmospherics,” and to put words into what Dark Buddha Rising does to the listening audience is to describe the band surrendering fully to the intuition and primal instincts as altered states of mind. Prepare your mind and body for an initiation into the dark arts of Mathreyata on Friday the 13th of November 2020. Dark Buddha Rising have channeled a work for dark spirits and those who seek to travel beyond the unknown.

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Mumia

20,99 €*

Release: 2020 / UK – Original

Genre: Electronic & Dance

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"Lugar Alto's newest project is the idiosyncratic album Mumia (portuguese for Mummy). Never released before, it is a work that was originally recorded on cassette and combines elements of post-punk, industrial and ambient music.

Kodiak Bachine and Celso Alves formed the ephemeral and eponymous duo in 1988. The partnership resulted in a single recording derived from improvised sessions using minimal amounts of electronic equipment at Celso's country house, located in the interior of São Paulo.

Bachine was an important figure in the São Paulo underground. His most renowned project was the band Agentss from 1981, which also consisted of Miguel Barella, Eduardo Amarante, Elias Glik and Lyses Pupo (later replaced by Thomas Susemihl). In its brief duration, the band released only two seven inches that were considered seminal artifacts in the Brazilian post-punk scene: “Agentes / Angra” from 1982 and “Professor Digital / Cidade Industrial” from 1983. These two rare records are highly sought after by collectors and DJs from around the world for their inventiveness and originality.

Similar to Agentss, Mumia brings with it extreme authenticity, managing to extrapolate the barriers of more traditional Brazilian music and interact with unorthodox elements. The lyrics are a mixture of Portuguese and English and it is still possible to identify picturesque fragments of Spanish, French and German. In addition, sonically, the record portrays aesthetics from the eighties and dialogues with themes relating to LSD. Another notable feature is the fixation on Egyptian post-mortem themes, providing a cinematic and lysergic experience of the desert landscapes from the African country.

It is a recording with comic passages which provokes an unpretentious reaction from the listener. However, it still has more ethereal and atmospheric moments, such as the opening song “Ave do Deserto”. In the final two tracks, it is possible to enjoy a darker Mumia, which with “Massacre da Serra Elétrica I” and “Massacre da Serra Elétrica II”, provide a sound experience capable of accompanying intense scenes from the macabre productions by Tobe Hooper and George Romero.

The striking new artwork was created by the Sometimes Always studio, a partner of Lugar Alto and responsible for diverse graphic collaborations with artists, venues and parties in Brazil. The album, mastered by the prolific Arthur Joly, also has a booklet containing Kodiak’s texts in Portuguese and English, in addition to the lyrics, which serve as a logical exercise for further understanding of the album.

Mumia was unearthed by the renowned Brazilian DJ Millos Kaiser, who in addition to kindly curating this album, put together the compilation “Onda de Amor: Synthesized Brazilian Hits That Never Were (1984-94)”, released by Soundway Records.

Now, after 32 years in its tomb, the Mumia has risen and thanks to Lugar Alto it can finally be celebrated and appreciated."

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2LP | 2020 | EU | Original (Super-Sonic Jazz / Dance Regular)

Forever 10 Years

LP | 2020 | US | Original (Drag City)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Celebrating the tenth anniversary of Summer Dance Forever - Amsterdam’s insanely popular international hip hop festival - Super-Sonic Jazz has teamed up with James Rudie & Evm128’s UK sound-culture imprint Dance Regular to release a ten-track explosion of organic soulful house, broken beat, and bass-heavy uplifting cuts, ripe for the dancefloor. A sterling compilation featuring the who’s-who of fresh and upcoming UK talent, the EP is a coming together of like-minded worlds, full of highly charged dynamic rhythms, driving melodies, garage-like beats and an impassioned and authentic joie de vivre that perfectly matches the festival’s energetic spirit, and sets the tone for its equally impressive programme.

The brainchild of DJs James Rudie and Evm128, Dance Regular was born out of an East London event series that focussed on soulful, bass and body music. Alumni of the CoOp Presents Selectors Assemble, IG Culture and Alex Phountzi’s championing of the Bruk movement, James Rudie & Evm128 have a set a like-minded course to channel the spirt of UK body music culture, with this 10-track EP a fiery illustration of some of the talents at their fingertips. Throughout the 10-energetic tracks you’ll discover the likes of Trev, Entek, Cengiz, and many more fresh, global acts with a penchant for stirring broken beat productions, and deep, soulful melodies. Living at the intersection of garage and house music, with a deep underlying appreciation of jazz, it seems only fitting that the UK crew deliver this choice collection of cuts through the Super-Sonic Jazz imprint.

This year, understandably, the crews behind the tenth edition of Summer Dance Forever will be taking the festival actives online. Normally held at Paradiso, the inner-city urban dance festival would normally bring in participants from across the globe for nine-days of battles, parties, and workshops. Over the course of the past ten years, Summer Dance Forever has welcomed the likes of Dam Funk, Theo Parrish, and DJ Spinna into its home at Paradiso. One face that has always been a constant behind the decks has been Dutch stalwart, and one-part Super-Sonic Jazz founder KC the Funkaholic. The label, festival, and events series has become the home for new and exciting jazz and soul sounds from The Netherlands, in addition to showcasing fresher, soulful global sounds, including IG Culture who debuted his Likwid Continual Space Motion on the label this year. With such a combined focus in harbouring new talent and love for deeper jazz influenced driving-dance music, the collaboration is befit for the honouring of such an important, cultural and respected institution.

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Bill Callahan

Gold Record

28,99 €*

Termanology & Dame Grease

Release: 2020 / US – Original

Genre: Rock & Indie

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For his first record in….uh, well, just a little over a year (!), Bill Callahan Bill Callahan’s given us his first Gold Record Gold Record . They can’t all be gold, and they’re not all six years apart either — all good! You could probably call the album “ Gold Records Gold Records ,” too: all the songs have a standalone feel, like singles, meant for you to have a deep encounter with all of a sudden, from the start of the song to the finish. And what do you got when you have a record full of singles — and let’s face it, hit singles, at that? That’s a Gold Record Gold Record for you. From the top, it’s clear this is music with an affection for people, as Bill Bill immediately slips easily and deeply into his characters. Among them: a limo driver, a watcher of television, a suitor, a man in a broken-down car, a reader of books, a Ry Cooder Ry Cooder superfan, and in the closing number, a wanderer who “notices when people notice things”. The voices of the people, with their ups and downs, their loss and laughter. You can feel the love. For Bill Bill, preparing to tour for Shepherd In a Shepherd In a Sheepskin Vest Sheepskin Vest meant considering being away from home for long stretches of time — maybe up to a year, who knew? Feeling his oats, Bill Bill pulled out a few sketches from over the years and touched them up. Before he knew it, he was recording them, and in the shuffle, newer songs started popping up. It happened fast. Basics were recorded live with Matt Kinsey Matt Kinsey playing guitars, guitars, guitars and Jaime Zurverza Jaime Zurverza holding it down “and then letting it go” on bass. Drums and horns were brought in for a couple songs. Spirits were high! Six out of the ten were done first take; overdubs, when needed, came equally quickly. Listening, one hears their intuitive cohesion coming together richly behind Bill Bill’s titanic voice spread across the stereo spectrum: the gentle conversation of Bill Bill and Matt Matt’s guitars, the subtle percussion of the bass and drums, and odd appearances of trumpet, woodwind and synth, striking notes both decorous and discordant, sounding for all the world like the naturally occurring sound meant to accompany and express lives lived everywhere. These are in fact songs meant for other people to sing — but until they do, Bill Bill’s got this. He’s got a secret on this one, and before we go, we don’t mind sharing it with you: he’s figured out how to perfectly place his voice in proximity to your ear. It’s based on the distance from your heart to your brain. Simple! Why don’t more people think like this?

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Set In Stone

CD | 2019 | Original (Brick)

17,99 €*

CD | 2019 | EU | Original (Mello Music Group)

Release: 2019 / Original

Genre: Hip Hop

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Termanology has been creating classic streetwise boom-bap hip-hop since the late 90s. One of the most prevalent figures of
the worldwide underground rap scene, Termanology has earned widespread critical praise and garnered a cult-like following
through his music, and has performed with acclaimed legends such as Kool G. Rap, Inspectah Deck, Ghostface Killah, and DJ
Premier, and is a frequent collaborator with his ‘Showoff Radio’ (on Sirius XM Radio’s Shade 45) co-host DJ Statik Selektah. He
has released over 30 highly-regarded albums across various formats, while his own imprint ST Records has produced records
for fellow underground-denizens like Shortfyuz, Ea$y Money, and Superstah Snuk.
Dame Grease, an NYC native, first made waves when he produced several songs on The Lox's Bad Boy Records debut album,
Money, Power & Respect, including the hit “We'll Always Love Big Poppa” featuring Puff Daddy and Faith Evans. He followed
that with work on Mase's quadruple platinum album Harlem World and on DMX's debut It's Dark and Hell Is Hot, on which
he produced thirteen of its nineteen tracks. The 2000s saw Dame establishing his own label, Vacant Lot, and making hits
for the likes of LL Cool J, Slick Rick, Ol' Dirty Bastard, T.I., Cam’Ron, Juelz Santana, Curren$y, French Montana, Riff Raff
and many more.
The two legends have collaborated on a full length album, Set in Stone, hitting the streets on Sept 13th 2019.
"Term and myself hooked up on the "Its Quiet" record (from Term’s More Politics album) a couple years back & that lead us to
creating Set In Stone. We wanted to make records that our fan base would respect, and have enough of a worldwide vibe for
the universe to appreciate," explains Dame Grease.
“The chemistry was just great. So one day while we were both on tour with The Beatnuts, Dame gave me the first batch of
beats and I began writing the album” says Termanology. “It was such a pleasure working with Dame- he makes so many
different styles of beats, I was never put in a box. I was able to just go wherever the beat took me. I really wanted to try
something different with this album. This is my most diverse project. Every song is different. I got boom bap joints, lyrical joints,
R&B records, political records, even a song about fighting alcoholism. There is something for everyone on this project.”

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Seba Kaapstad

Thina

14,99 €*

LP | 2019 | EU | Original (Beat Art Department)

Release: 2019 / EU – Original

Genre: Organic Grooves

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Cynicism is an easy sell. We’re skeptical of harmony because the news sows division, social
media runs on scorn, and tangible reminders of good have become increasingly rare. Yet
there are those whispered moments of unity, those artists who effortlessly embody the
ideals of fusion –those who allow us to reap the rewards that can only yielded from an
embrace of different ideas, cultures, and sounds. This is the genius of Seba Kaapstad.
Seba Kaapstad is a multi-national neo-soul quartet comprised of a South African, a Swazi,
and two Germans. They summon the most powerful manifestation of creativity: music that
represents an idea. Their Mello Music debut album, Thina, takes its name from the Zulu
word for “us.” It is a gorgeous halo of soul, encompassing several continents worth of sound,
and obliterating the notion of genre. It is divined by artists whose lineage is riven with trauma
and suffering. But like their ancestors, they endured. And only in this futuristic present could
they reconcile the perseverance and turmoil of the past, using music to inspire unity and
heal.
They conjure beatific grooves that radiate with alluvial soul, celestial jazz, electronic
experimentation and the polyrhythmic essence of Africa. It is marrow music, what digs
beneath your bones, seeping into your bloodstream and inner visions. You hear flashes of
the greats: Badu, Georgia Anne Muldrow, Jill Scott, and the Things Fall Apart-era Roots. You
might even hear the ethereal float of Frank Ocean or the glowing bliss of Flying Lotus and
Thundercat. But like all stellar quartets, Seba Kaapstad is indivisible and made stronger by
the sum of their parts.
If the sonic roots lie in the tessaracts of eternal memory, Seba Kaapstad’s present-day
genesis trace to 2013, the year that Sebastian Schuster arrived in Cape Town and
immediately fell in the love with its rich cultural tapestry, legendary musical community, and
artful chaos. He soon paired with the rest of the band—Zoe Modiga, Philip Scheibel (Pheel),
Ndumiso Manana—developing the sort of telepathic chemistry can’t be replicated or really
even explained.
You hear this harmonic synthesis all over Thina. Each song is a symphony of its own. Take
“Don’t,” which opens with glistening pianos and a head-bobbing slap, then Zoe Modiga
unleashes her sky-rattling voice, alternating between near-rapping and time-stopping,
levitating multi-octave solos—all the while paraphrasing Shakespeare. And in the last
minute, there’s an exquisite string coda that you’d expect to hear at a world-class
philharmonic.
There’s "Breathe," which OkayAfrica raved was “a refreshing combination of the crew's
different influences…as much of a Friday/Saturday night jam as a Sunday morning one.” It’s a
spiritual hymn in search of water and solace, a loose-limbed rhythm that echoes the themes
of Fela and the jams of classic Electric Ladyland neo-soul. While the title track alternates
between Zulu and English, as Modiga offers inspirational uplift and timeless lyrics about the
natural elements.

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Soia

Where Magnolia Grows

Autobiography (Music from Wayne McGregor's Autobiography)

Release: 2019 / EU – Original

Genre: Hip Hop

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SOIA's happy place is "Where Magnolia Grows". This is where her paradise lies, where she can bloom and blossom. Adorned with playful melodies, the soundtrack fuses HipHop, R&B, NuSoul and Jazz over saturated and ample beats. The downright lyrics offer deep insights into SOIA’s soul. Together with her producer Mez she revives her musical roots of the nineties. The songs range between sensual soul and expressive contemporary R&B, neatly packed in a shell of electronic synths and keys. Throughout the nine tracks the beats make your head nod while SOIA’s voice makes you close your eyes in delight.

The first track, a boom bap tune called RUN WITH WOLVES, gently introduces you to the album. In her paradise world she runs from nothing and determines her own pace. SOIA's high-pitched vocals are a deliberate alienation, a stylistic break from her two predecessor albums, which she also uses in HOE FOR LOVE and LOOMING STORM.

VACANT PARADISE employs deep 808 kick drums and rolling hi-hats. In PAY FOR PIZZA, SOIA not only shows her love for HipHop, but also urges everyone to pay for their bills them damn selves.

Released on Beat Art Department, a new sub-label of the well-renowned Munich-based record label Compost Records, WHERE MAGNOLIA GROWS is SOIA's third solo album. Her two previous albums MOOD SWINGS and H.I.O.P. were published by the Philadelphia-based label Record Breakin' Music.

Her pre-productions have been nominated for the Austrian music award Amadeus twice and enjoy a loyal international fan base. She has appeared live at festivals such as SXSW, Sonic Visions, Electric Spring, Waves Vienna or Popfest Vienna, as well as at numerous club gigs from Cape Town to Vienna. Thanks to NASOM programme (The New Austrian Sound of Music) she is currently on tour with her band of four.

Quotes:

„Soia delivers sensual, abstract lyrics while effortlessly moving between spoken-word rhymes and melodic singing.“ - OKAYPLAYER / USA

„Soia & Mez have grown immensely over the years musically pushing the boundaries of soul & jazz within an electronically tainted spectrum. Brilliant Album!“ - JAY SCARLETT / SOUND SUPREME / SPACEK

"Soia and Mez have had a unique musical vibe from the start, but on this record they truly came into their own. Trusting each others talents and instincts enabled them to expand their sonic universe while staying 100% true to their path." -TRISHES / RADIO FM4

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Jlin

2LP | 2018 | EU | Original (Planet Mu)

7" | 1966 | EU | Reissue (Wah Wah)

Release: 2018 / EU – Original

Genre: Electronic & Dance

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By now, the story of how Jlin went from working in a steel factory in Gary, Indiana to being one of the most widely appreciated electronic musicians is well known. “Black Origami” was one of the most reviewed and lauded albums last year. Seriously prolific and seriously hard-working, she has toured constantly since its May 2017 release and despite being involved in a wide range of projects, still manages to find a balance and “do some personal healing and growing.”
Here we are over a year later with “Autobiography,” the score for her collaboration with renowned British choreographer Wayne McGregor arranged by Unsound. This isn’t technically her third album (that’s due to arrive in 2019 or 2020), but the soundtrack stands up on its own with all the emotional peaks and troughs of a well-sequenced longplayer.
For Jlin, making music for dance is the fulfillment of one of her lifelong dreams – and remarkably, Company Wayne McGregor’s performance was the first show she’d ever seen. She describes the process of working with Wayne: “We first met face to face in October 2016 in a downtown Chicago hotel, talking for about a solid two hours. Immediately, I saw Wayne was very friendly and energetic. He’s brilliant, witty, and knows exactly what he wants; an absolute gem to work with. Before I even started composing for Autobiography, Wayne told me so gently that he trusts me completely with my direction of creating the score. That was the best feeling in the world. I would wake up at two in the morning and work until six in the evening until I completed all the pieces. We were both very happy with the outcome. Creating the score for an impeccable piece of work such as Autobiography changed my life as an artist.”
“Autobiography” is a highlight in an evolving and growing career. During the last year, Jlin has also become an in-demand remixer, securing her place among a roster of music heavyweights. Unsurprisingly, given her positive and outgoing nature, she also developed friendships with the artists she has remixed such as Björk, Max Richter and Ben Frost.
Jlin will be touring with Company Wayne McGregor performing “Autobiography” this year in addition to completing a commission for the Kronos Quartet titled “Little Black Book.” She still approaches every performance “with the same attitude of doing my best to execute a good show, no more, no less. Doing my best is what’s most important to me.” She also still lives in Gary, Indiana, which keeps her grounded. She notes with her typical humility, “The local community is a little more knowledgeable of me now. But I don’t mind my community taking its time.”

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Brenner's Folk

Daurat Oest +3

12,99 €*

12" | 2018 | US | Original (Get On Down)

Release: 1966 / EU – Reissue

Genre: Rock & Indie

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The most elusive Edigsa 7" gets its first ever vinyl reissue on Wah Wah. An unsung moody garage folk-rock act, Brenner's Folk where the embryonic Pic-Nic (of "Cállate niña" fame) and featured a very young Jordi 'Toti' Soler right after he had gone through Els Xerracs (who also had released an EP on Edigsa), drummer Jordi Barangé (also from Els Xerracs) and brothers Vytas and Haakon Brenner. The Brenner brothers were born in Germany but grew up in Venezuela, where their family had emigrated after the devastation of World War II. The Brenner family would return several years later to establish in Europe, first in Italy and later in Barcelona. The new band started to rehearse under the name of The Vytas Brenner Quartet, and their main influences came from american modern folk acts like Peter Paul and Mary or The Mamas & The Papas, a.o. Not long after they started rehearsing, a very young Jeanette joined them thus becoming Brenner's Folk. Edigsa approached them and offered a contract for the recording of their only EP, sung in catalan and issued in 1966. A showcase of their folk and folk rock influences, the Brenner's Folk 7" is a lo fi garagey jewel that has become an elusive piece due to the importance that its band members would gather in years to come. Toti Soler became the biggest master of guitar, he went to psychedelic and progressive / jazz rock with Om prior to trading in his electric for a Spanish guitar and pioneering instrumental flamenco jazz rock fussion sound on his early solo albums. He is still active nowadays, he is one the biggest Catalan geniuses of modern guitar. The Brenner brothers returned to Venezuela where Vytas became a big solo act, recording the sought after LPs "La Ofrenda de Vytas" and "Hermanos" with his brother Haakon on production duties. Vytas continued a solo carrer that would last until his premature death in 2004 at only 57 due to a heart attack. Jeanette, of course, went on to lead the successful Pic-Nic along with Toti Soler and later enjoyed a successful solo career in the 1970s and 1980s, plus a come back in the early 2000s.

The 4 original Catalan sung tunes will appeal to lovers of Catalan sixties aborigen sounds, Euro & Nederbiet or American teen moody folk rock garage a la Rising Storm, Dovers, Nightcrawlers, Tormentors and the likes.

A facsimile reproduction of this mega rare EP, originally released on Edigsa in 1966, coming with remastered sound and an insert with lyrics, photos and notes.

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Indian Ocean

School Bell / Treehouse

LP | 2018 | UK | Original (Chopped Herring)

Release: 2018 / US – Original

Genre: Organic Grooves

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Chances are if you are reading this, you are probably already familiar with Dinosaur L's “Go
Bang” and danced countless times to Loose Joints' ""It's All Over My Face"". A prolific musician,
Arthur Russell produced an abundant amount of recordings over the course of his career.
Although a classically trained cellist, he released a number of successful underground dance
hits under various monikers and collaborations. As a solo artist however, his inability to
complete projects resulted in a limited amount of official releases; World of Echo (1986) being
his only full-length solo effort to see release in his lifetime. After releasing a number of
Club singles on labels like West End & Sire, Russell went on to form Sleeping Bag Records with
Will Socolov as an outlet for a sound not as restrictive as his ""disco"" material.
The initial concept was that Russell would provide the musical direction while Socolov handled
the business side. The label had huge success early on with Class Action’s “Weekend” remixed
by Larry Levan, and Russell’s seminal “Go Bang,” credited to Dinosaur L and remixed by Francois
Kevorkian. Although Russell and Socolov shared a lot of musical common ground, the difference
in vision began to show. Russell’s avant-garde sensibilities and perfectionism were not
compatible with an industry standard to release singles in quick succession, and his ""work in
progress"" approach began to be financially draining, ultimately resulting in the dissolution
of their partnership around 1983. With Arthur's departure, Sleeping Bag moved away from the
experimental and towards a successful hip-hop route with the growing involvement of Kurtis
Mantronik and leading to propel the careers of artists like Todd Terry, Just-Ice
and EPMD.
By the mid-80s, Russell’s health began to deteriorate after contracting HIV. Although the
business partnership did not work out, Socolov and Russell maintained their friendship. Aware
of the time he had left, Russell reached out to Socolov to record what was to become Indian
Ocean, his last release on Sleeping Bag and the last great collaboration between Arthur and
his old friend Walter Gibbons.
Unlike the rest of Russell's Dance collaborations, “School Bell/Treehouse” is very intimate
composition, putting to the forefront all the elements that defined him musically; with his
own voice and cello as the anchors to a piece that keeps growing in intensity, melding the
tribal rhythms of Mustafa Ahmed’s conga with percussions that sound like distorted drum
machines. There is a lot of beauty in this piece, with Peter Zummo's melancholic trombone lines
and Arthur's keyboard playing. Adequately ""mixed with love"" by Walter Gibbons, ""School
Bell/Treehouse"" really synthesizes the energy and soundscapes of Arthur's dancefloor.

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Stranger Danger presents

Tha Roach Killaz

LP | 2017 | EU | Original (Ecstatic)

Release: 2018 / UK – Original

Genre: Hip Hop

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Limited edition vinyl!
Check out this dope LA material!

Stranger Danger from North East LA hit Chopped Herring up with a project and it completely blew them away. Ridiculous break selection from and drug-fueled, hedonistic comedy from MC's Denzer, X-press & Stranger. What a treat this one is. There is definitely more to come from Mr Danger in 2018, no doubt!!
Stranger Danger started producing in the year 2000 and his first beat machine was a Boss SP 505, but he always collected vinyl since as early as the age of five when his parents bought him the first Fisher Price, Toys R Us record player.
Danger started freestyling and writing rhymes in 1995, but didn't actually start recording or mixing until 2001. He formed tha Roach Killaz in 2016 after his younger cousin X-Press told him that he and his homie Denzer wrote and spit ill rhymes as well.
During this time Danger was recording at a friend’s studio called The Halfway House where he met a 20-year old MC and producer named Saker, who he took under his wing as his protege to help him with production on the album.
In another studio session shortly after meeting, Saker brought his homie named Duer, and that’s when the puzzle pieces aligned perfectly and they knew they had something special. All of their influences are very similar. If it sounds dope, then it is! Greatest influences growing up were MF Doom, Kool Keith, DJ Premier, Kutmasta Kurt, RZA, Apakalypse, Necro, and DJ's like DJ Shi'iteand DJ Rob One.
The recording process is simple, let Mc's go at it until you hear something that you feel can help them sound better, whether it be vocal fluctuation, vocal tone, cadence, or energy.
Too much pride is a “no no”, it's all about doing whatever it takes to make the illest records possible. Stranger Danger digs or listens to music from all era's and over the world and studies music for at least six to eight hours a day, so what keeps him inspired daily is the opportunity to find incredible samples to flip.
It's an obsessive disposer but therapeutic at the same time. He used to have small intense spurts of creating, but now it's an all the time thing as he works on three to four albums at the same time constantly and always tries to top the album he did last.
X-Press, Denzer, and Stranger Danger are all Highland Park natives, (North East Los Angeles). Duer and Saker are originally from the San Gabriel Valley, which is in Los Angeles county as well! - Tha Roach Killaz, Killin Roaches.

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Novo Line

Dyad

LP | 2017 | US | Reissue (Thrill Jockey)

Release: 2017 / EU – Original

Genre: Electronic & Dance

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Novo Line reprises the meter-messing genius of his Movements album with the Dyad mini LP - a brilliantly uncompromising follow-up for Ecstatic. Exclusively using the tools of ’88/’89 professional recording set-ups - namely the Atari ST, but with a slight algorithmic alteration. While it’s increasingly hard to find new tricks in old gear, especially with the resurgence of hardware fetishism and the ubiquity of DAWs, that’s exactly what Nat Fowler has been doing for the best part of a decade as Novo Line. By, in his own words, “misusing one algorithmic composition program (not, by a longshot, a professional music production tool of any epoch) contained in 208kb of data on a 3.5” floppy disk”, He generates and explores new permutations of old music which, ironically enough, sound fresher or at least more innovative than a lot of new music in circulation right now.Inputting ever-changing parameters of melody, and 29 year old algorithms, the machine’s voice is live-mixed and presented un-rendered as maxed-out waveforms via 1MB RAM, resulting in a severely compressed and combusting effect that leave mastering and sound engineers the world over scratching their heads in puzzlement. However, the effect is equally enthralling to anyone whose ears have become overly accustomed to contemporary emulations of ‘space’ in electronic music, and genuinely sound unique in relief of the contemporary field.The release poses a playful question: can a record be ambivalent as to which speed it should be played? Celebrating vinyl and futhermore physical media, the listener is encouraged to find their exact speed of preference with the RPM toggle and pitch slider, that nearly forgotten joy in modifying speed in real time without a CPU mediating between the listener and sound; some tracks stumble heavily at 33rpm like boulders in the tumble dry, while others flash by at 45. In the taut, recoiling thud of Monad, thru the frenetic pop edit of Ennead to the ‘floor-curdling prong of Dyad Marcia on the front, to the forceful New Beat mutation Tetrad, and the mind bending Melpomenean Dyad which closes the LP, its some heavily challenging but deeply satisfying gear that seriously yet playfully messes with convention.Essentially Novo Line is revelling in the pure spirit of computer music and the sonification of dance music as we know it - born in the ’88/’89 phenomenon of techno-house music, including its Industrial/EBM precedents, and its New Beat/Euro House offshoots. And like John McCusker’s delectable artwork of a beige room and monitors interwoven with tubular, computer generated follies, Novo Line provides a captivating perspective that shortcircuits nostalgia’s illness to result in a killer vaccine against/for convention.

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Man Forever

Play What They Want

28,99 €*

LP | 2017 | EU | Original (Favorite)

Release: 2017 / US – Reissue

Genre: Rock & Indie

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The music of drummer John Colpitts as Man Forever is explorative, innovative and fearless. A musician and composer equally versed in the disparate musical languages of DIY rock, improvisation, and contemporary classical, Colpitts (aka Kid Millions) has made an album that defes genre classifcation. Propulsive, elaborate drum arrangements (created with TIGUE Percussion) remain essential to Man Forever - on the songs of Play What They Want, they are augmented by voice and melody with contributions from Laurie Anderson, Yo La Tengo, and Mary Lattimore to name a few. Play What They Want represents the culmination of 25 years of musical engagement by one of New York’s most acclaimed percussionists. The collaborative process, essential to Man Forever, requires the relinquishing of one’s ego for a greater purpose. In Play What They Want Colpitts leverages a vast and talented stable of diverse collaborators to create a work that transcends the sum of its parts.
“You Were Never Here” kicks off the album with a gorgeous vocal performance by all members of Yo La Tengo and, like the transition from the black and white to technicolor, the piece becomes a driving, wild marriage of Max Roach’s “Garvey’s Ghost,” McCoy Tyner, Alice Coltrane and Steve Reich. World-class harpists Brandee Younger and Mary Lattimore join bassist Brandon Lopez, pianist Sam Yulsman and the Quince Contemporary Vocal Ensemble to create an experimental jazz and classical “dream team.” “Ten Thousand Things” resonates with TIGUE’s tense, virtuosic compound meters, a Moondog-esque vocal by Colpitts and singer Nick Hallett, and another intuitive performance by harpist Mary Lattimore. Finishing the side, “Debt and Greed” is a surprisingly wry pop tune that combines Colpitts’ Jaki Liebezeit-esque drum groove with CSN-style harmonies, guitar by Trans Am’s Phil Manley, and horn playing by Ben Lanz (Beiruit, The National, Sufjan Stevens).
The second side leads with the evocative album centerpiece “Twin Torches.” Here Colpitts worked with the legendary multi-media artist and musician Laurie Anderson, who provided spoken vocals and violin on the nearly 10-minute tour de force. This composition also features arresting vocal atmospherics by Quince, which precede some of the most complex drumming Colpitts has ever recorded. The album closes with “Catenary Smile,” a prickly ballad featuring Nick Hallett’s cascading background vocals which buoy the lyrics: a contemplation of humanity’s problematic tendency to anthropomorphize inanimate things.
While Colpitts’ previous albums have expanded on the possibilities and limitations of drums and percussion, this new album redefnes the project in myriad ways. Building on a complex rhythmic foundation, Man Forever created an album that is innovative, imaginative and joyous. Play What They Want is a rare record of untamed ambition that hits all its marks.

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Joao Selva

Natureza

2LP | 2015 | UK | Original (Late Night Tales)

Release: 2017 / EU – Original

Genre: Organic Grooves

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Favorite Recordings proudly presents Natureza, first album of Joao Selva. The story of Natureza is made of the meeting between two passionate artists who are Jonathan "Matuto" Da Silva and Bruno "Patchworks" Hovart.
Born and raised in Ipanema and son of a pastor, Jonathan Da Silva grew up in a community of ex-prisoners and converted artists. He made his first guitar notes before his 10th birthday, under the watchful eye of Wanda Sa (muse of the bossa nova), and influenced by a father who in addition to his work, was also a true music lover with a collection, where black music, rock and classical meet. From the age of 18, Jonathan began a life of entertainer, traveling the world to offer shows for disadvantaged children and intensively practicing the Brazilian traditional music arts (Capoeira Angola, Maracatu, Samba de Roda, Coco de Roda...). It was later in France and in Lyon that he put down his instruments. There he formed the trio Forro de Rebeca in 2008, touring the all country and winning many praise in media. The trio recently joined forces with American producer Maga Bo on the project Sociedade Recreativa, whose album was released in 2016 on The Jarring Effects label.
Bruno Hovart is a recognized producer, multi-instrumentalist, and remixer. After passing through Angers, Birmingham and London, he’s based in Lyon since 2001. Bassist and guitarist for various bands, he switched to production in the mid-90s. Passionate about music and tireless creator, Bruno has practiced in almost every imaginable style, when it comes to groove music, collecting many aliases and projects for more than 10 years: Patchworks, Voilaaa, Uptown Funk Empire, Mr President, Taggy Matcher, Mr. Day, Hawa, John Milk, Lightnin 3, The Dynamics or Metropolitan Jazz Affair ... Nothing resists and escapes his talent and production skills. Thus, when he discovered and met Jonathan and his music, Bruno saw an immediate opportunity to broaden the spectrum of his discography a little more, by looking at Brazil.
Beyond its traditional heritage, Brazil has always been a land of extremely varied music, influenced by the international scene. Soul, Jazz and American Pop did inspire many local stars such as Chico Buarque, Carlos Jobim, Gilberto Gil, Tom Zé, or Erasmo Carlos. Both fervent lovers of this movement and these names, it’s with the idea to pay them a faithful tribute, that Jonathan and Bruno began the Joao Selva adventure. Together they gave birth to Natureza and embark us for a trip into the heart of the Tropicalist Pop influences of Jorge Ben and Caetano Veloso, the intoxicating Funk of Tim Maia, and the social poetry of Vinicius de Moraes.

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Jon Hopkins

Late Night Tales

36,99 €*

Babs Robert & The Love Planet

Release: 2015 / UK – Original

Genre: Electronic & Dance

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Unmixed Double 180 gram Vinyl (Includes download code to the Jon Hopkins mix and full unmixed tracks as wav/mp3)

Requiem for a dreamstate. It’s possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins’ world, not so much joining the dots as colouring the whole damn picture in.

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he’s gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar’s ‘Hold Me Down’. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute ‘Requiem For The Static King Part I’. Sigur Ros offshoot Jónsi & Alex’s heroic ‘Daniell In The Sea’ sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling ‘Yr Love’ by Holy Other or the pair of Black Country acts Bibio and Letherette, whose ‘After Dawn’ is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane’s wistful ‘Lady Divine’ or even Four Tet’s mesmerising ‘Gillie Amma I Love You’, with its enchanting kids’ choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer’s ‘I Remember’.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

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LP | 1970 | EU | Reissue (Alpha)

44,99 €*

Finest Ego: Faces 12" Series Volume 4

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Folks, this is a must have for any Spiritual Jazz fan! Despite its modest role on the world stage, Belgium has produced a number of internationally renowned musicians and composers. There is the iconic gypsy jazz guitar maestro Django Reindhart, whose position remains unassailable, and guitarist/harmonica player Toots Thielemans, who became an internationally renowned artist performing and recording with Bill Evans, Oscar Peterson, Ella Fitzgerald, Peggy Lee, Shirley Horn and Quincy Jones. The other key Belgian figure is composer/arranger Francy Boland, co-leader with US bebop drumming legend Kenny Clarke of Europe's leading big band of the 60s, the Clarke-Boland Big Band.

Whereas the post-war modern jazz scene produced a few notable successes, trad and New Orleans style jazz remained popular and bebop and swing were still played during the peak post-bop and free jazz years of the late-60s and early-70s. Despite the overwhelming popularity of ‘historic’ forms, there were a few worthy exceptions who pointed the way to the future: composer and pianist Marc Moulin formed his first trio in 1961 as a backing band for expatriate American musicians such as Johnny Griffin and Don Byas. He later collaborated with Philip Catherine to form Placebo, a group that mixed jazz, funk, rock and electronic sounds. Their influences ranged from Jimi Hendrix to James Brown, via Herbie Hancock and Soft Machine, and they experimented with the Moog and early synthesizers. Between 1971 and 1975 Placebo released three albums that have become much sought after by DJs and producers for beats and grooves to sample.

Moulin also contributed sleeve notes to one of the most sought after European deep jazz recordings of the late 1960s and early 1970s, and it’s a Belgian recording no less: ‘Babs Robert and the Love Planet’ (Alpha 7003, 1970) is one of the few examples of Belgium avant-garde jazz and was originally released on the Alpha label, a tiny enterprise based in Jette, Belgium. Alpha released renaissance / baroque music and the Babs Robert album is a wonderful aberration that is such an outlier as to be seemingly from another planet – the very Love Planet name-checked in the title perhaps?

The initial original quartet line-up was Babs Robert (sax), Paul Dubois (bass), Johnny Brouwers (piano), and Johnny Peret / Robert Pernet (drums). On the album session, the quartet was augmented with the addition of John Van Rjimenant (saxes) and Michel Gobbe (bass). As well as their main instruments, the band members also played an array of unusual instruments, principally percussion.

This is the first official re-release of the ‘Babs Robert and the Love Planet’. Original copies of the album fetch many hundreds of Euros on the collecting circuit and it remains a curious and fascinating window into a moment in time that still resonates some forty years later.

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Lomovolokno / Sieren

12" | 2013 | EU | Original (Project: Mooncircle)

9,99 €*

Black Mercy / Band Of Bastards

Release: 2013 / EU – Original

Genre: Hip Hop, Electronic & Dance

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Project: Mooncircle & Finest Ego have teamed up to establish a fresh new 12” producer series, entitled “Faces”. On every edition, you will find two different producers. Respectively, each producer will have their own record-side and unique cover artwork by the aspiring Bioniq, known for his surrealistic portraits, blending humans and technology.

On our fourth “Faces” edition we are featuring the two ascending artists Lomovolokno and Sieren, presumably the two most unknown so far. Originally hailing from Krasnodar, Russia and Bielefeld, Germany, one was inspired by naive childhood memories of imaginative creatures seen floating in the nighttime sky, while the other looks into an uncertain future that holds the anxiety of a fresh start but also the ever present risk of failure. The artwork takes these motifs and implements them in a vision of technological enhancements of human capacities and evolvement, forming a futuristic symbiosis that enables for synaesthetic senses heightened to an subatomic degree. But it is unsure, however, if these augmentations can actually expand our human experience or rather amplify our solitary existence and emotional void while traveling across fantastic worlds and the universal vacuum filling the space between.

Krasnodar, Russia: In the midst of grey soviet housing projects, a young boy enjoys playing and improvising his first little melodies on his parents piano. Always being inspired by the nature nearby the city - memories of peaceful springtime swimming sessions in the Black Sea come to mind – Lomovolokno grows up fascinated by machinery like samplers and the rapidly increasing possibilities of modern computers. Delving deeply into twisting melodies, building sounds and crossing notes leads his way to first field recordings resulting in an influx of elements ranging from waves of the sea, the wind, sand, crackling noises, banging and rustling becoming a part of his sound.

Sieren is the maiden name of Matthias Frick’s mother and also his current alias under which he started to release his first free tracks in 2011. Rumor has it that he has a dark secret history of producing experimental techno, albeit his love for UK influenced bass music existed for more than one handful of years. It was not until recently that he began to make the most of his love for field recording and experimental soundscaping and is now throwing his full force into music, while simultaneously finishing a university degree in computer science and design before moving from small town to métropole to follow a new set of challenges and advance to the next stage of his life.

Bioniq is an artwork designer, DJ and producer from St. Petersburg in cold Russia and Project: Mooncircle's special KGB agent. With his drawings he aims to create new horizons on paper and draws inspiration from historic tales, events of the present age but also possibilities the future might hold.

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The Curse / American Carnage - Split

LP | 2024 | US | Original ((In) Sect Records)

29,99 €*

Todd Terry Presents Sound Design

Release: 2024 / US – Original

Genre: Rock & Indie

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Black Mercy and Band of Bastards of Austin, TX, team up to give listeners a glimpse of what lies beneath the local underground hardcore scene. The brutal and beautiful album’s 16 songs clock in right around 25 minutes and feature members of bands Tia Carrera, Brick, Employer Employee, Total Diamonds, Those Peabodys, Society Of Friends (Black Mercy) as well as ...And You Will Know Us By the Trail of Dead, Mukilteo Fairies, Broken Gold and Sparta (Band Of Bastards). This split recording breathes new life into the tradition of early '80s-early '90s punk, noise, and hardcore music that has always sought to commune with the unsatisfied and disaffected. Black Mercy “The Curse” (Side A) Description: Black Mercy, an Austin-based band formed in 2019, brings a fierce blend of fast-paced, raw hardcore and punk energy on their new LP “The Curse”, recorded at Adrian Quesada’s studio Electric Deluxe. Embodying the spirit of Minor Threat or Circle Jerks, with the chaotic sensibilities of seeing Clikatat Ikatowi or Unwound blowing out an amplifier. More a noisy band with a hardcore framework, their music exemplifies their aggressive sound that is just a bit off-center. Every song has twists and turns on this record, with one stand out track, “Lost” where they bring the tempo down to where Sleep lives. With vocalist and scene-veteran Noble Brown leading the charge, Black Mercy infuses their music with elements of '90s DIY punk and '80s hardcore, creating a high-energy experience that is both nostalgic and refreshingly intense. Black Mercy’s sound is characterized by gruff, fast, and intense punk rock with a nod to '90s emotive DIY and '80s Dischord records. The band has been praised by Maximum Rocknroll and The Austin Chronicle for their raw intensity and innovative music videos featuring fingerboarding. Their music captures the essence of innovation and a strong respect for the past. Band OF Bastards “American Carnage” (Side B) Description: Band of Bastards, formed in 2018, is a powerhouse hardcore punk band from Austin, Texas, known for their short, explosive tracks and high-octane performances. They recorded their new record “American Carnage” with drummer Sam Rich at the helm, and the result is nothing short of brilliant. Drawing on their diverse backgrounds, vocalist Jason Reece delivers a potent mix of hardcore punk with a modern edge, driving home the message that the world is still imperfect, and you have to give a shit. The band’s music is fast, aggressive hardcore punk with influences from early Dischord records and first-wave hardcore bands, with notable tracks like “Minor" and “fyp". They have been featured for their relentless energy and DIY spirit, with their 2nd release that promises to shake the hardcore scene. Their music embodies the same raw power and fervor that defined the early hardcore scene, capturing the straightforward and impactful nature of music.

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Bounce To The Beat (Chris Stussy / Dan Shake Remixes)

12" | 2024 | UK | Original (Bounce To The Beat (Chris Stussy / Dan Shake Remixes))

18,99 €*

Release: 2024 / UK – Original

Genre: Electronic & Dance

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The combination of Todd Terry and Hard Times is synonymous in the world of House Music. The legendary DJ/Producer, a true pioneer of the genre, was among the first US artists to play at the intimate, vibrant gatherings in the North of the UK in the early ‘90s. Forever linked by "A Night In The Life," the live mix released in 1995 that set a new benchmark for mix-tapes, it is a collaboration that has continually blossomed, forging a bond that remains strong over 30 years later.

1995 also saw Todd Terry make his first impact on the label with the seminal club smash "Bounce To The Beat." Following his chart breakthrough with 'Can You Party’ in ‘88, the legendary 'The Unreleased Project’ series, which spawned club hits such as “Jumpin’”, and just a few months ahead of topping the charts with his remix of Everything But The Girl’s ‘Missing’, label boss Steve Raine seized the perfect moment to bring his friend on board at Hard Times Records with the signing of Bounce To The Beat. "I can still remember pressing play, hearing those beats for the very first time and thinking we had big track on our hands" says Raine. "It was our second release on the label, but it would be the track that firmly placed us at the forefront of the scene, both here in the UK and globally."

Hard Times & Todd Terry now revive 'Bounce To The Beat' with a 2024 reimagining, featuring two of house music’s most exciting young stars, delivering two powerful remixes that promise to dominate dancefloors this summer and beyond.

Dutch producer and Up The Stuss label head, Chris Stussy, takes the track on a '90s- inspired journey, blending progressive strings, high-energy bassline and original vocal, for an exhilarating ride. "I remember discovering Todd’s productions back in the days when I started to dig for that 90’s sound. He’s one of the artists that inspired me massively. He has proven that he owns the art of making timeless music as his productions are still being played till this day all across the globe. To be remixing ‘Bounce To The Beat’ is something special for me personally and I tried to give it a 90’s touch with a modern twist." says Chris.

London’s own Dan Shake offers a fresh twist with a 2Step-inspired remix, featuring an Armand-esque bassline that pulsates and evolves, building to an epic crescendo that is set to ignite mass hysteria on the dancefloor.

"Bounce To The Beat was actually one of the first records I bought when I started collecting house music. So to come back 15 years later and remix this iconic track for the legendary label Hard Times was both surreal and very, very fun," shares Dan.

Two exemplary reworks of Todd Terry presents Sound Design’s 'Bounce To The Beat'. For Vinyl and Digital release on Hard Times alongside the Original and ‘Tee’s Freeze Mix.’

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BABY-G x Kuromi

BGD-10K-6ER

79,95 €*

Trapped In A Parking Garage

Available Sizes: One Size

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Kuromi becomes brand ambassador for BABY-G on the brand's 30th birthday. The BGD-10K, a compact digital watch and case holder set, comes with bezel and band that can easily be detached — no need for any special tools. Wear the BABY-G x Kuromi BGD-10K as a wristwatch or place the center case into the holder, turning the watch into a unique time-telling charm. Hang it from your waist or bag — enjoy the freedom of mixing and matching to suit your mood and outfit each day.

Pop-casual color variations are inspired by the trendy Y2K fashion hues that are back in style. Add stickers to the silicone holder; decorate it your way to really make it your own. Decorate the top and sides of the silicone holder’s acrylic panels to really make it your own.

The LCD on the upper right rotates at 30-second intervals through five retro-style pixel-art animations featuring a cast of characters that includes a dog and cat for an added touch of fun. Or press the Light button in Time Mode for a random pixel-art animation (surfer, dancer, dolphin, blowfish, dog, cat). Their charming moves add a touch of fun to the watch’s face and a bit of BABY-G whimsy to the easy-to-read digital LCD.

BABY-G x Kuromi BGD-10K-6ER - Features/Specifications:

• Resin case & band
Resin is made of synthetic resin and is the perfect material for watches due to its extreme durability and flexibility.
• Shock-resistant
Shock-resistant construction protects against impact and vibration.
World time
29 time zones (30 cities), summer/winter time changeover on/off
• Stopwatch
1/100 second stopwatch
• Measuring capacity: 23:59'59,99''
Measuring modes: Elapsed time, split time, 1st - 2nd place times
• Timer
Countdown timer
• Unit of measurement: 1 second
• Countdown range: 24 hours
Countdown start time input range: 1 minute to 24 hours (steps of 1 minute and 1 hour)
• Alarm/hourly time signal
5 daily alarms
• Hourly time signal
• LED backlight (Super Illuminator)
Illumination duration (2 seconds), afterglow
• Light color - LED: White
• Fully automatic calendar (up to 2099)
• Mute function
Key operation tones on/off
• Accuracy: ±30 seconds per month
• 12/24 hour format
• Regular time recording: hours, minutes, seconds, 24 hours (am/pm), month, date, day
• Water resistance classification (10 bar)
Perfect for swimming and snorkelling: the watch is water resistant to 10 bar according to ISO 22810.
• Dimensions (H x W x D): 42.8 × 39 × 14.7 mm
• Weight: approx. 33 g

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Citric Dummies

7" | 2024 | US | Original (Feel It)

17,99 €*

7" | JP | Original (Pillow Union / Lawson Entertainment Co., Ltd.)

Release: 2024 / US – Original

Genre: Rock & Indie

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"Jeff Goldblum takes a deep breath and initiates the teleportation sequence, unaware that lurking in the corner of the telepod are three greasy eighth grade boys quoting their favorite lines from Kids In The Hall sketches. The sequence initiates; a crack of static; a horrible flash of white hot light. Dramatically backlit and shrouded in fog, what emerges from the adjacent telepod is not so much man-child as teenage lobotomy. The camera jumps to a tight shot on the receding hairlines of three dumb assholes: “Look out world…” they whisper with an off-putting wink into the camera. “I’m eatin’ Arby’s.”

This is the Citric Dummies and that is a reference to their song lyrics! Yes, you do not have to ask: this shit is dumb. Lyrics like “I'm driving a piece of shit because I am a piece of shit” dumb. I hear fear in their voices: this is both a reference to Lee Ving’s phlegm and the fact this band is naked and lost in a parking garage, “A traffic cone used for modesty (It’s not a giant orange dick, you see)”. But unlike Fear, this band does not hate you, for they are too busy hating themselves. “Fuck you!” you yell at them, and they know why.

When you see these Citric Dummies (and oh, you simply must!), you will notice their jackets—matching in satin, unique in color. A bassist in green satin, like a lime, and bald (not unlike a lime…). Guitarist? In lemon yellow; he has a regular amount of hair. And that drummer on the drums, the one with the most hair of all? Orange! What we have here is a band who visually tastes like an orange 7Up if such a dumb thing were a thing.

And this band plays: fast! Fuck! Live, it’s fast-as-fuck-oh-fuck-this-is-fast. Dean Dirg is there playing fast, and The Hives, because we love the Hives and know their roots are of the same raw Swedish garage milieu as the Hellacopters and Henry Fiat's Open Sore. “It’s too rock ‘n roll for hardcore, too hardcore for rock ‘n roll,” you may say (because you yourself may be dumb). Is this what is called…punk? Yes! That’s it! Maybe this is punk, you dumbass.

Oh no! I’ve forgotten the best part of all! You don’t have to just read about the Citric Dummies, you can hear the Citric Dummies. You can even have the Citric Dummies!—on a new 4-song 7” out on Feel It! And I forgot the other best part of all! They are soon touring Europe with Erik Nervous! So rock over London, and rock on Chicago, because Citric Dummies are a band from Minneapolis, and I don’t care who knows it!"—Brendan Wells

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Summer Eye

Sankyu

LP | 2024 | EU | Original (Play Loud)

Release: JP – Original

Genre: Pop

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Summer Eye's big gratitude song "Sankyu" has been released as a 7-inch version! ! The hip, boogie, Latin, and dubby number "Sankyu", which was released on Bandcamp at 3:09:39 p.m. on March 9th, is now available in analog form! !

Last year, after releasing the album "Daikichi", we performed live in various places. Tokyo, Hokkaido, Sendai, Tochigi, Gunma, Ise, Matsumoto, Fukui, Osaka, Nagoya, Hiroshima, Oita, Nagasaki, Kumamoto, Kagoshima, Fukuoka, Hyogo, Matsue, Naha, there may be more. I also went to Bangkok.

The people who invited me and the people who came to listen to my music generally had the same ideas as me, and I felt like they were a bit on the outskirts of society. But when I thought about it, I wondered how many people actually fit into the world. I feel like everyone is doing it in different places.

The Clash has a song called "Rudie Can't Fail." Rudy is a Jamaican slang term for a juvenile delinquent. There's also a song by The Specials called "A Message to You, Rudy." The original song was sung by Dandy Livingstone. Both songs are not boasts or praises for delinquents, but are an encouragement to the rude boys to "get serious."

As I continued my journey, I thought, ``The people who are involved with me now could be called the current Rudy.'' I want to write a song for these beloved compatriots right away that says, ``Do it as a master! Thank you! See you again!'' I'll be 39 years old soon. It was released on March 9th and sold for 390 yen, with T-shirts also selling for 3,900 yen...Wouldn't it be interesting if the title was of course the song "Sankyu"? Isn't it funny? Based on that idea, I made a demo around the latter half of January this year, and slowly completed it.

While playing around with my favorite Elektron digitakt, I came up with the breakbeat that became the basis for the song. I applied spring reverb to the snare to make it look like a DUB. The intro grooves with guitar and horns, and then the singer appears. I would be very happy if you could dance with the main character, who is a little embarrassed about turning 39 years old.

The jacket is by Maeda. It's still the best!

The release date is my Summer Eye birthday! The day before, on the 12th, we have decided to have a one-live show at Shibuya Quattro! I also go on tour. We will also visit Kyoto and Nagoya. With a band, of course. Please look forward to it.

■live info

Summer Eye

6/8 (Sat) @ Kyoto Crucifixion 6/9 (Sun) @ Nagoya Kanayama Brazil Coffee 6/12 (Wed) @Tokyo Shibuya Club Quattro

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Limpe Fuchs

Amor

36,99 €*

Release: 2024 / EU – Original

Genre: Organic Grooves

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Limpe Fuchs – Amor
When asked about the title of her new record, “Amor”, Limpe bluntly responded, “because it’s everything”. Being a Beatles fan from the very beginning, she’s well aware that “all you need is love”, but there’s more to her sentiment than a corny pun. On the one hand, she’s more than half a century into her musical career, and describes the relationship towards her instruments in terms of an ongoing and deepening love affair. “Be it my piano, my viola or my percussion instruments, they’re all far more than just wooden caskets, they’re living entities, they need to be tended and cared for, they’re resonating with me and when engaging with them while playing I respond to their momentary being – and they alter my body and soul all the same.” So, it’s about time for a love letter to her percussion instruments and the act of drumming and listening to her drums, which can be heard as “Trommeln” on the second to last track on “Amor”. We also get to learn about “Verliebte Autos im Wald” – a poem by Augusta Laar, Limpe recites during the closing track to “Amor”. What may come across as a goofy nursery rhyme at first is indeed testament to Limpe’s longstanding animistic beliefs, her imagination towards everything around her. “It may sound wonky, but it’s as simple as it’s true and it’s important to love yourself and everything around you – at least I try to do so the best I can, and sometimes I fail, sure.” And, again, if you think about it, it’s not much of a surprise, she’s singing about cars, the vehicles that since decades get her and her instruments from gig to gig, all across Europe. But it’s not all just about the material world around her, of course. So, on the other hand and for the most part, “Amor” reflects on love as an interpersonal and spiritual experience. Drawing inspiration from such different authors as Giordano Bruno, Hilde Domin and Serge Kahili King, “Amor” is a record of compositions one could almost call “songs” although they’re far from being performed in a conventional way. It is also Limpe Fuchs’ most openly insightful and vulnerable record to date. As curious as ever, in her light-hearted yet thoughtful manner she explores the upsides and downsides of what it means to be loved or not loved: “At times it’s also sad, that love is the only way, but it is – at least it’s what I experienced and experience to this day.” (Holger Adam)

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12" | 2024 | EU | Original (Neotropiq)

Tree Frog Army EP

LP | 2024 | US | Original (Stardumb)

Release: 2024 / EU – Original

Genre: Electronic & Dance

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This special, sixth release on Neotropiq brings together four artists from the DJ collective that has grown from the booth of the label’s secretive and sought-out parties in South London. The “Treefrog Army EP” features solo tracks by the label’s founder, Silverlining, alongside Neotropiq residents, Trixie, Oliver Moon, and South London legend, Tom Gillieron.

What is Neotropiq? The neotropical realm is the bioregion that provides the lungs of the planet and is home to the highest concentration of biodiversity and unique species anywhere, many of which are endangered. The label’s emblem, the treefrog, celebrates individuality and nature whilst recognising the need to protect both. Therefore, Neotropiq can be defined as a multi-background, gender-balanced, and cross-generational collective of DJs, producers, and music lovers. Just as we might see a caravan of camels and a shoal of piranhas, the collective makes up the beautiful army of treefrogs that is Neotropiq.

The “Treefrog Army EP”, therefore, marks out distinguished yet complementary atmospheres that wander between several shades of electronic dance. As if each were telling their own distinct tale, this body of work flows like a late-night conversation between four good friends. With all tracks mixed or pre-mastered at Silverlining’s recently built North Wood Cabin Studio, this family excursion represents each artist’s individual sonic palette and groove while perfectly complementing the others.

Silverlining’s opening track, “Murine Illusions”, is a powerful, peak-time, West-Coast-inspired acid house workout cruising on an irresistible, rumbling bass arrangement and nostalgic vocal samples. Next up is Trixie, whose “Handshake” is a simmering and hypnotic encounter, with glitchy broken drums and whirring, otherworldly synths that animate another life around the body of the track.

On the B-side, Oliver Moon doesn’t hold back with the dynamite “What You Want” where icy Tr-707 drums brush by as you find yourself caught in an elasticated groove that's full of surprises. Mysterious vocals by Moon himself are laced throughout, creating a sense of curiosity on the dance-floor. Last but not least are the chunky Motor City-infused vibrations of Tom Gillieron’s “Orange Clouds”. Subaqueous pads create a mesmerising dreamworld and combine with crisp drums for the hazy hours of the morning.

This four-tracker offers a breath of fresh, forest air from the Neotropiq crew who break genre conventions while sharing a love for warm aesthetics. Outside of production, the crew also shares a love for vinyl digging, and in the booth, they each deliver their own unique energy. The all-encompassing collective is not only united by music, but also use their unified voice to speak up about injustice and imbalances around the world.

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James Sullivan

Vital Signs

16,14 €* 18,99 € -15%

LP | 2024 | UK | Original (Modern Love)

Release: 2024 / US – Original

Genre: Rock & Indie

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In Spring 2022 and with a new record from his band More Kicks in the can, James found himself waiting. Release dates scheduled for nine months in the future, nothing much could happen beyond tour planning for the following year. “To be honest, I was scared” says James. “I’d been writing and recording like a man possessed for the past 18 months, writing the More Kicks album ‘Punch Drunk’ and my first solo record ‘Light Years’. I was worried what would happen if I stopped. So I headed back to my cupboard-sized ‘studio’ and plugged in my halfbroken tape machine.” ‘Vital Signs’ was written and recorded over the next couple of months, dragging a handful of friends into that cupboard studio for a lending hand here and there. Written, recorded, mixed, mastered and then back to the ‘day job’ of More Kicks touring across Europe, USA and UK. Stuff. To. Do. But something wasn’t quite right. “It took me a long time to realise that I didn’t want to make another record with More Kicks. I was obsessed with making us as good as we could be but suddenly I didn’t feel like writing new More Kicks songs and I had this finished record sitting there doing nothing.” ‘Vital Signs’ expands James’ musical palette to include blitzed-out fuzz (‘Dronify’) and chewed-up chamber quartets (‘La Rochelle’), while never entirely abandoning the more familiar turf of sneakily self-lacerating melodic nuggets (‘All I Wanna Do’, ‘Endless Summer’). Take the first track, ‘It’s Good To Be Wrong’, a Modern Lovers, Alex CHILTON-style stomp that blends heartbeat drum crashes with psychedelic organs and swooning Replacements guitars. “That song was a deliberate attempt to do as little as possible. My tendency is to overthink structure so I wanted to make a song that was essentially a mantra. Just hammer myself over and over with only two chords. It almost worked, there are three. “I recorded everything on an 8-track by myself and there are unhealthy amounts of tape hiss over everything. But for me, the whole point of these solo records is to get out of my head, don’t think twice, press record, keep going. It’s not that I don’t care, quite the opposite. But if I’ve learned nothing else from playing music, it’s that I should trust my instinct far more than my brain.” That brain almost left this record languishing on a tape before the instinct to put it out into the world took over. If what comes next isn’t immediately obvious, it’s certain that more music will continue to emerge from this innately restless writer. “I’ve accepted my fate that I’m a lifer.”

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Delphine Dora

Le Grand Passage

23,79 €* 27,99 € -15%

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Delphine Dora was nearing the end of a three-day prepared piano residency when a technician stepped in to tune her grand piano for her final performance. He removed the objects from the strings and fixed the pitch, leaving Dora with a freshly tuned instrument. Mesmerised by its new sound, she proceeded to switch on her recorder and pour out her soul, channeling, in her own words, “something greater than myself”. The result is some of the most unusual but elevated material the prolific composer, improviser and multi-instrumentalist has ever recorded, rooted in a deep understanding of European musical history but willing to push at its boundaries, questioning the earthly logic of life and death, asceticism and impiety. Baroque paradigms bleed into fragile, introspective mantras, expressed through a made up language of existential yearning and channeled through piano and voice. It’s music that caresses the sublime, made without any premeditation. Glistening imperfections lash ‘The Great Passage’ to the physical world, but Dora - seemingly possessed as she quivers in a fictional dialect - lets her fantasies intensify her spirit, lifting the music towards the heavens. It’s not sacred music, per se, but it is unashamedly mystical. On the luxurious, languid opening, Dora dissolves eerily familiar romantic piano motifs into an attentive ceremony, singing with charged emotion. Her words aren’t really decipherable, but their resonance vibrates beyond language; it’s striking to hear how confident she is in vulnerability. She lets the piano wrap into her voice, connecting us directly to a unique mode of emotional expression by urging us - the listener - to project our own meaning onto her abstracted words. As her songs blur in and out of focus, dipping from a hoarse croak to a choking wail, she places herself at the very edge of musical formality, questioning strictures put in place to suffocate self-expression. Her music has often been labeled “outsider”, but here she sounds intimate and interconnected, more self-consciously candid than anything traditional might have allowed. She conjures affecting, plainspoken poetry, like a bedside diary written in a hypnagogic, delirious state: a stream-of-unconsciousness, channelling the beyond. The album title connects to a book dedicated to French philosopher and activist Simone Weil, who famously pored over global religions to ascertain spiritual truths. To Weil, meditation was a passage to access mystical experience, or a bridge between humanity and divinity. In Dora’s hands, this idea is a corridor between herself and the listener, a liminal place where she’s able to address feelings without making anything explicit. The title, of course, also refers to life, its impermanence, finitude, and fragility, presenting the complex, multi- dimensionality of being through one of the most undiluted, unbridled set of songs imaginable.

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Charles Peterson

Nirvana Signed Edition

Minor Matters Books

99,99 €*

CD | 2024 | UK | Original (É Soul Cultura)

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Preorder shipping from 2024-11-22

Limited edition signed by the author.

For millennia, “nirvana” has been a term associated with belief systems of the Indian subcontinent. But in 1988, a band from a small coastal town in Washington state decided to create some new associations with this word . . . through their music.

Active for just six years, Nirvana left an indelible mark on the late twentieth century that remains visible today. Photographer and self-described “music fanatic” Charles Peterson, a fellow twenty-something from the suburbs of Seattle, was present with his camera as a genre took form, and his images have become synonymous with the sounds, styles, movement and attitude known as grunge.

Charles Peterson’s Nirvana, in the tradition of many great documentary photobooks, expands beyond Peterson’s iconic images of the band seen repeatedly over the last thirty years (on album covers, in magazines, and in dozens of compilation books and exhibitions focused on this music and its birth era) to highlight gems never before published. Over a five-year photo edit, Peterson looked at each one of thousands of frames, considering what drew him to Nirvana in the first place—their songs. He honed in on the compositions that stimulated visceral memories of their live performances.

The resulting selection of photographs and their carefully constructed sequence mash up venues and years, suffering and the sublime, to arrive at a visual experience that one cannot help but also feel, and hear.

Book design by Jeff Kleinsmith.

9 x 12.25 inches vertical; ~90 black and white photographs; 168 pages;. Hardcover. Foreword by Krist Novoselic.

Charles Peterson (b.1964, Longview, Washington) is internationally known for his photographs of the Seattle music scene of the late eighties and nineties. He began making photographs while a student at Bothell High School, and then went on to study photography at the University Washington, where he first met as friends many of his future subjects.

Peterson’s distinct visual style and early work for Sub Pop Records became an important signifier of the phenomenon known as grunge.

His photographs have been featured in numerous publications, as well exhibited in group and solo exhibitions around the world. They are included in many private collections, and the permanent collections of the Seattle Art Museum and MoPOP.

Krist Novoselic (b. 1965, Compton, California) is co-founder of Nirvana.

Nirvana originated in Aberdeen, Washington in the late 1980s through the energies of Novoselic and Kurt Cobain. They were joined by drummers including Chad Channing (1988–1990) and David Grohl (1990–1994). Nirvana’s live performances, music videos, and albums Bleach (1989), Nevermind (1991), Incesticide (1992), In Utero (1993) and MTV Unplugged in New York (1994) made their music a defining component of the late twentieth century internationally.

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Transmission Towers

Transmission One

Transmission One Black Colored Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Aerials live, dials tuned, Transmission Towers broadcasting. On either side of the river Mersey, transcendental communications are traded back and forth. Two late-night revellers, one firing messages filled with music, the other returning them laced with lyrics. The result, a dopamine hit of oddball machine soul, melded with a highlife, Afrofuturist touch. Wonky and murky yet deeply emotional, Transmission One, is a debut album that also marks the first release on Luke Una’s É Soul Cultura label, encompassing expertly the off-kilter atmosphere the label sets to orbit.

A synthesised landscape with a Northern charm, Transmission Towers marry the musical worlds of two artists that last collaborated over a decade ago. 10 years have passed, lives have been led, but a gravitational pull has placed Mark Kyriacou and Eleanor Mante back in each other’s spheres on opposite sides of the city of Liverpool. Energised with a newfound desire to strip it all back to the sounds that influenced their formative years in the late ‘80s and ‘90s - astral travelling, intoxicated on Motor City techno, Black Dog IDM and mystical Sun Ra. Mark half Irish, half Greek Cypriot, Eleanor half Nigerian, half Ghanian, the music contained within is an alchemy of those roots and the pivotal acts that buried deep into their minds. A cosmic contrast, part machine-made, part distinctly human. Take the opener ‘up’, an ESG-channelling, sci-fi punk beatdown or the polychromatic hyperspace anthem ‘Roller Skater 23’. Transportive throughout, you ride the solar waves, pace and emotion ebbing and flowing. Tracks like ‘Go Slow Heart’ and ‘Cosmic Trigger’ step to a slower beat but hit with a punch. The former, a slo-mo blast of celestial tenderness, the latter an otherworldly, chugged-out lunar excursion, micro-dosing on whacked-out Wah Wah and Eleanor’s ethereal vocals. Beaming love letters to space and back, ‘Sparse’ marries the organic with the artificial, pianos and percussion circling around synth pads and broadcasting bleeps. Elsewhere, vibrations move faster. ‘Mega’ strikes, fusing sonic tribalism with psychedelic swirls, as ‘Everything’ sweeps you up in its extra-terrestrial new wave grip. Synth stabs and basslines fizzing from every angle. Demos of Transmission Towers music surfaced on Luke Una’s radar, making him stop in his tracks. Something magical was emerging, perfectly aligned with the E Soul guardian’s tastes. Guidance followed, quickly turning into conversations about Transmission One becoming the first release on Luke’s own label. Escapist and futurist yet grounded and relatable. Transmission One is synthesis meets sentiment with a deep, spine-tingling soul at its core.

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Transmission Towers

LP | 2024 | UK | Original (É Soul Cultura)

24,29 €* 26,99 € -10%

Transmission One Magenta Colored Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Transmission Towers

LP | 2024 | UK | Original (É Soul Cultura)

28,99 €*

12" | 2024 | UK | Original (Sozialistischerplattenbau)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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F. K. Raeithel

Dance With Uncertainty

Springs Eternal Blue Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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The second album by F.K. Raeithel, just after the operetta DIE Wurlitzerorgel DES Geistes, explores the realms of interlocked rhythm sample and hold music. On 16 tracks different setups of self generating modular synthesizer patches are gathered on this release.

The concept of Dance With Uncertainty is deeply rooted in philosophical, artistic, and cultural traditions. The notion of embracing uncertainty and change has been explored in various forms throughout history, often symbolizing the human experience and the impermanence of life. In the context of music and sound, Dance With Uncertainty could be seen as a reflection of the constant ebb and flow of life‘s uncertainties, captured and conveyed through sonic textures and evolving compositions.

Interlocked Rhythm Sample & Hold Music, this approach to sound creation weaves a mesmerizing tapestry of rhythm, texture, and sonic exploration, captivating listeners and defying traditional musical boundaries. At its core, Interlocked Rhythm Sample & Hold Music is a synthesis of technology, creativity, and a deep understanding of rhythmic intricacies. The foundation lies in the Sample & Hold circuit, a device that captures and freezes incoming voltages, creating distinct musical snapshots that evolve over time or an Linear Feedback Shift Register (eg. Rungler), a circuit used in electronic music synthesis and sound manipulation to create unique and evolving musical textures. The Rungler was created by Rob Hordijk. A more sophisticated use of a 8 bit shift register and by combining this with a typical sequencer design is the Klee Sequencer developed by Scott Stites. A cheap version of this design is the Turing Machine. Another tool is the Analog Shift Register. In the context of creating arabesque melodies, an analog shift register (invented by Fukushi Kawakami and later adapted by Serge Tcherepnin) can be a fascinating tool to generate intricate and ornamented musical patterns. Yet, it‘s the interlocking of these snapshots that sets this genre apart, infusing the compositions with an intricate dance of patterns and pulses. A fourth device is a pendulum or random addressed sequencer, that in the first case moves in a drunken unpredictable manner. Each of these devices for uncertainty becomes a rhythmic sculptor, freezing the dynamic interplay of melodies, beats, and textures. These frozen moments are then interwoven, each snapshot forming a unique thread in a sound tableau that stretches and contracts, pulses and breathes. The result is an auditory experience that challenges preconceptions of rhythm and structure. The interlocked rhythms give rise to complex grooves that ebb and flow in unpredictable ways, evoking a sense of perpetual motion and transformation. The music becomes a living organism, its heartbeats synchronized yet untamed, its evolution both deliberate and free-spirited. The juxtaposition of staccato bursts and fluid flows, of machine-like precision and organic unpredictability. As listeners delve into the world of Interlocked Rhythmic Sample & Hold Music, they embark on a sonic odyssey. The music becomes a companion, guiding them through a labyrinth of rhythmic landscapes that simultaneously challenge and invite them to the dance with uncertainty.

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William Doyle

LP | 2024 | UK | Original (Tough Love)

LP | 2023 | Original (Night School)

Release: 2024 / UK – Original

Genre: Pop

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Serving up art-pop for the anthropocene, Springs Eternal is the Mercury-nominated, critically acclaimed artist William Doyle’s most ambitious and most playful creation to date. Taking a panoramic view of the ecstasies and agonies of life in the 2020s, the record asks how we exist as fragile flesh and blood – our hearts beating and our minds racing – in an unprecedented, almost unimaginable time of runaway climate destruction and technological expansion.

Springs Eternal presents a strange and thrilling cast of characters – from cowboys to castaways – who just might be Doyle, once or twice removed. “Most of the songs are in the first-person, but rather than being autobiographical, I was trying to imagine hyperreality versions of myself,” Doyle says. “What if decisions I made in my life had resulted in the self of each particular song? How many degrees of separation am I from those realities? It’s a frightening thought, and frightening thoughts often make for good songs.”

Across 11 tracks, we hear from narrators teetering on the precipice of global disaster, heartbreak, addiction, indoctrination and mental illness, until they pass into the great unknown. The lyrics, by turns earnest and ironic, upfront and allegorical, are paired with infectious melodies and often outright swagger. Co-produced by indie superproducer Mike Lindsay (Tunng, Lump) at his Mess studio in Margate, we hear the siren song of the sea washing around pulsating electronics and stirring instrumentation, featuring contributions from musicians Alexander Painter, Genevieve Dawson and Brian Eno.

A recurring theme of water and flooding runs through the record, alluding simultaneously to the global climate crisis and the deluge of overwhelm these parallel-universe Williams are experiencing. “It wasn’t until we were mixing the record that I realised how many water references there are,” Doyle says. “I guess there’s a fluid border between our inner selves and the outside world that allows things to flood in, in unstoppable or perhaps irresistible ways.”

Springs Eternal is the next chapter in the William Doyle sonic odyssey that began with his incarnation as East India Youth (Total Strife Forever, 2014; Culture of Volume, 2015) and developed under his own name, producing the critically acclaimed records Your Wilderness Revisited (2019) and Great Spans of Muddy Time (2021). Alongside his own output, Doyle recently produced Anna B Savage’s celebrated debut album A Common Turn (2021) and plays in Orlando Weeks’ band both live and on his upcoming record.

“Springs Eternal” follows 2021’s critically acclaimed Great Spans of Muddy Time album (10/10 Loud & Quiet, 9/10 Line of Best Fit, 4/5 Mojo, 8/10 Uncut, 5th The Quietus 100 Albums of the Year).

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Teresa Winter

Proserpine

Peter Golding & Barry Miles

Release: 2023 / Original

Genre: Electronic & Dance

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Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.

On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.

Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.

While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.

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Rock Graphic Originals: Revolutions In Sonic Art From Plate To Print '55 - '88

Thames & Hudson

33,99 €*

Totally Wired: The Rise And Fall Of The Music Press

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A unique insight into, and record of, the 20th century’s most exciting and productive period of rock poster art and graphic design.

Rock Graphic Originals: Revolutions in Sonic Art from Plate to Print ‘55–’88 presents counterculture’s psychedelic poster art from its beat origins to its stadium rock zenith. Portfolios of 30+ poster artists – Rick Griffin, Victor Moscoso, Mouse Kelley and Hapshash amont them – are laid bare for all to see. For the first time, the sketchbooks and paste-ups, the printing plates and colour separations are unveiled to reveal the layers of process integral to the design of each poster.

Rock Graphic Originals is packed with more than 750 examples of posters, artworks and logos, created for the bands that epitomise their era, their sound and their scene – in San Francisco and the west coast, Detroit and New York, Swinging London and revolutionary Paris. Rock legends promoted in the posters include Big Brother and the Holding Company, Grateful Dead, Quicksilver Messenger Service, Moby Grape, Frank Zappa & the Mothers of Invention, Captain Beefheart, the Doors, the Velvet Underground, Jimi Hendrix, Tim Buckley, the Yardbirds, Cream, Led Zeppelin and many more.

Barry Miles – cultural commentator and founder of International Times – contextualizes the exquisitely curated pages. Punctuated with special features on the socio-political phenomena that permeated the music and artwork of each period – underground clubs, head shops, obscenity trials, legalize pot rallies, acid tests and violent protest – the story is completed by personal insights from the artists themselves.

'Gig posters, magazine covers and band visuals from the golden age of rock' The Herald, Music Books of the Year

About the Author: Peter Golding, musician and creator of the world’s first ‘designer jean,’ began collecting rock ’n’ roll art in 1967, naming his collection ‘Inspirational Times.’ As part of the sixties and seventies fashion movement, Peter Golding’s famous ACE boutique in London’s Chelsea brought him into regular contact with the biggest names in rock ’n’ roll, and he went on to create one of the most comprehensive collections of rock ’n’ roll graphics. He curated the first exhibition for ‘Inspirational Times’ in London in 2003, was a major lender to the Tate Liverpool exhibition ‘Summer of Love’ in 2005, and more recently contributed to the V&A’s 2016–17 exhibition ‘You Say You Want a Revolution.’

Barry Miles is the bestselling author of numerous biographies and countercultural histories. He was a founding contributor to International Times, a regular contributor to NME from 1975 to 1978, and editor of Time Out from 1978 to 1979.

Format:Paperback Size:31.5 x 21.8 cm Extent:224 pp Illustrations:750 Publication date:25 October 2018 ISBN:9780500293539

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Paul Gorman

Thames & Hudson

Here's Tom With The Weather Oxblood Color Vinyl Edition

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A raucous yet reflective look back at the evolution of the music press and the passionate rock and pop journalists who defined the music of the 20th century.

Totally Wired is the definitive story of the music press on both sides of the Atlantic, covering its evolution from the 1950s to the 2000s, through rock ’n’ roll, mod, the Summer of Love, glam, punk, pop, reggae, R&B and hip-hop. Paul Gorman chronicles the development of individual magazines from their Tin Pan Alley beginnings and the countercultural foundation of Rolling Stone, to the 1970s heyday of NME and Melody Maker and the rise of dedicated monthlies like The Face and Mojo.

Drawing on his own interviews with many of the key players, Gorman paints a complete picture of the scene, exploring the role played by such writers as Lester Bangs, Caroline Coon and Nick Kent in the careers of David Bowie, the Clash, Led Zeppelin and others. He also tackles the entrenched sexism and racism faced by women and people from marginalized backgrounds by shining a spotlight on those publications and individuals whose contributions have often been overlooked. What emerges is a compelling narrative containing stories of unbound talent, blind ambition and sometimes bitter rivalries, making Totally Wired a rollercoaster and riveting read.

'Paul Gorman has given us the book that the music press deserves: fun, factual, glamorous, gritty, packed with mad anecdotes as well as cold-eyed truth. Essential' Miranda Sawyer

'The music press as we knew it barely exists any more, which makes 'Totally Wired' the perfect eulogy - a broad, deep, fascinating exploration of its 100-year lifespan' Alexis Petridis

' I learned so much from this riveting sweep through the birth and evolution of the music press. The characters in it are almost as fascinating as the stars and scenes they wrote about' Barney Hoskyns, Rock's Backpages

'An illuminating treatise … Gorman expertly combines first-hand interviews with his own insight from inside the trenches to paint a vivid portrait … essential reading' Electronic Sounds

'Nobody is better qualified to write the history of the music press … there’s no doubt that he does a fine job of telling the whole story, from the launch of the Melody Maker as a monthly for dance band musicians in 1926 through to the closure of all the big titles in the 21st century' David Hepworth, The New Statesman

About the Author: Paul Gorman is the author of many books on music, fashion, design and pop culture, including The Story of the Face: The Magazine that Changed Culture, The Look: Adventures in Pop & Rock Fashion, The Life and Times of Malcolm McLaren and The Wild World of Barney Bubbles.

Format:Paperback Size:19.8 x 12.9 cm Extent:384 pp Illustrations:54 Publication date:6 July 2023 ISBN:9780500297469

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Shack

LP | 2003 | UK | Reissue (Shack Songs)

33,99 €*

Here's Tom With The Weather Black Vinyl Edition

Release: 2003 / UK – Reissue

Genre: Rock & Indie

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The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (rip) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (rip) of Love’s backing band. In ‘97 , they created

a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘hms Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

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Shack

LP | 2003 | UK | Reissue (Shack Songs)

27,89 €* 30,99 € -10%

Timeless Black Vinyl Edtion

Release: 2003 / UK – Reissue

Genre: Rock & Indie

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Robert Cotter

LP | 1980 | EU | Reissue (Best Record Italy)

21,59 €* 23,99 € -10%

Timeless Red Vinyl Edtion

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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Worthy re-issue of Robert Cotter's second late 70's soul album! Comprising five songs, with four of them being quite lengthy and well-structured for the dance floor, was entirely recorded in the United States by top-notch American musicians. "Timeless", a fresh and lively expression of late 70s soul music, was recorded at the Sundragon Studio in New York. This studio was home to legendary bands such as Talking Heads and Ramones, as well as a few 'disco studio groups' like Andrea True Connection, Tony Valor Sound Orchestra, and Camouflage, who recorded songs that later became considerable hits. For this reason, it's believed that the positive outcome of the album can be partially attributed to Ned Liben, an eclectic New York musician and co-founder of the studio in the Flatiron district of Manhattan, served as an exhaustive interlocutor for any artistic and technical needs. He was also the arranger of "Rock Me With Your Love", the most significant song on the album. Ned's successful mission was to capture the maximum timbral fidelity of Robert Cotter's voice using appropriate recording techniques, assisted by Michael George Ewing, a talented engineer who had previously worked on similar projects with well-known artists like Carol Williams, Maryann Farra & Satin Soul, Touch and Tony Valor. In fact, the piece features original and melodious lines, coupled with an excellent steady rhythm, spanning approximately 8 minutes and 30 seconds - in short, "a delightful sound for every beat." This ensured that the performance of the young singer-songwriter from New Jersey was faithfully reproduced without neglecting the overall musical landscape. The other four songs, arranged by Ben Lazzaroni with the same musicians as the first piece, are no exception. Best Record also delivered on the promise to Robert's older brother, Karl Potter, a powerful percussionist transplanted to Rome, for whom the roman label produced "Sweet & Salty Cha-Cha-Cha" (12", 1986). Robert Cotter, an artist about whom almost nothing has been written, is poised to gain recognition once word spreads about his album, which has been entirely remastered by Dom Scuteri and features a more congenial tracklist. This album is destined to be truly 'timeless', ready to captivate audiences around the world. Even the new cover artwork, created by Nerina Fernandez, pays homage to an artist who, despite expressing himself with elegance and simplicity, radiates energy and exudes love. "Timeless" is an inevitable revelation for anyone who missed it at the time, and for the next 40-plus years, it will remain an absolute must-listen for Robert Cotter's many fans, leaving them all in awe. In addition to the reissue on the classic glossy black vinyl, a strictly limited edition on red vinyl will be released exclusively by Clone Distribution.

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Robert Cotter

LP | 1980 | EU | Reissue (Best Record Italy)

20,39 €* 23,99 € -15%

12" | 2023 | UK | Original (Auto Shop)

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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2lanes

Tincture / My Simulacra

The Future Sound Of Yesterday Orchestra

Release: 2023 / UK – Original

Genre: Electronic & Dance

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2lanes is proud to announce the next single, Tincture/ MY Simulacra, from his recently minted label Auto Shop. The two-tracker finds the artist both deepening his expansive sound and honing it to weave seamlessly into any DJ set. “tincture / MY Simulacra” solidifies the cinematic textures and rusty low-end percussive drive of 2lanes’ earlier releases this year, “Diamond Rain Ep'' & “Sid Ranger Redux EP.” Spending much of this past year on the road, 2lanes dove headfirst into the contemporary electronic music world, meeting an array of new and exciting producers, some of which are featured remixers on this release. On the A side, take a dose of Tincture and see just how far the rabbit hole goes. Inspired by raving all night with friends, 2lanes linked with Detroit-based singer Akillaco for a wild talking track like none other. We all know those moments at the party when both nothing and everything makes sense. You want to be prophetic but you just make everyone laugh. You think about the past, future, & present all at once. This is the ultimate message of Tincture, which Akillaco emphatically points out. The long-winded musing is underlined by a heavy swung style beat that 2lanes fans have come to know well. Frequent 2lanes collaborator Salar Ansari joins the fun for the steamy, guitar-laden Howling Diablo remix that could as easily be played at a forest rave as a sleazy dive bar a la Coyote Ugly. Purelink’s Millia reduces the solution to an even dubbier chill out mix that begs to be played in the early mornings. On the B side, we have the bass-heavy vision quest MY Simulacra. Ancient percussion meets modern sub bass–and together, they transport you to a new plane of being. This track also features performances from a few regular 2lanes sonic cohorts. Detroit keyboard prodigy Ian Fink (Scott Grooves Ensemble, Omar S) evokes celestial moments with a memotron solo, and Jonah Baseball (Overtone Series) provides a stargate-sounding break beat. MY Simulacra features two amazing remixes. The First is from Baltimore-based club aficionado Jialing and the second is a prime cut of rough and ready machine phunk from Los Angele’s 1morning. Initially recorded at 2lanes’ home studio over Halloween in 2021, Tincture has since evolved to its final form that we see now. The tune has even shown up in sets from electric selectors like Scott Zacharias and Livwutang. The record label features beautiful artistic renditions by Norway-based Sverre Brand, whose work can be found on releases by Priori and Dust E-1. Worldwide vinyl distribution handled by Rubadub. “Tincture is my religion” - Livwutang

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Senor Sapo

12" | 2023 | EU | Original (Shaddock)

13,29 €* 13,99 € -5%

Taped Heart Sounds 2023 Repress

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Señor Sapo is a character created based on the Mesoamerican deity Quetzalcoatl:

while capturing Sr. Sapo atop The Pyramid of the Sun at Teotihuacan in The Valley of Mexico; dawn…

Augie Robles (the photographer) spotted an elementary school class of around 25 children with two teachers suddenly appear scaling the momentous stair case behind our subject!

They shouted;

“Sr. Sapo! Sr. Sapo!” the name has stuck! they wanted to have their pictures taken with Sr. Sapo? however; they did not want to touch him as they thought his skin might be “viscoso” or “slimy”?

“Q’uq’umatz” (as it is known amongst the K’iche’ Maya) goes back to the Olmec culture and represents the duality of flight to reach the skies; whereas the reptilian (in most cases a snake) represents the ability to mingle amongst other creatures of the Earth; Among the Aztecs he was related to the gods of wind; of the dawn; of merchants and arts; crafts; knowledge and the planet Venus: as well as their patron god of the priesthood…

THE Future S0und 0f Yesterday is as well a construct of the imagination; a fictitious “orchestra” with many imaginary characters; Kent CHESTERFiElD; LEE NAilZ; Phattitude; EPiPHANY Taleur; ThE ClARKETTES (they actually exist in the “real” world)…

The titles: “0de to A Tree”; is the culmination of a night out in Berlin; “…met a young man in a bar close to the “atelier”; he said he wanted to play something on a piano; we go to the place and he plays this melody over a rhythm though not in rhythm? …basically edited none of it; then used a series of tone generators and filters to change the sound into all the soundscapes you hear in the final piece; the title was simply a tribute to the trees…” Eric D. Clark

“is it good for Ya’?”; is a slow pumping House song with a message in the form of a question; “is it good for you?” as in “I could do it; however; should I? you know; look in a mirror and ask the question”… the Music came about as an experiment at Nadel EiNS Studio in Berlin; Heavy bass at around 116bpm plus Erix’s cheeky vocal stylings weaving in & out of frame (as well key) deliver a unique aural experience!

the final track: “Elsewhere playback” is literally the playback of a track Eric did under the guise of Kent Chesterfield for a party series he did in Sacramento CA with AJ Sachs… it’s really just a tool; the good thing is you can drop -8 (or -16 assuming your tables are tuned) to bring it to a tempo one could easily rap over OR push it up to +8 and have a dry Tech number? Either way it Bangs! Dub Plates & Mastering did a swell job!!

overall a must for any Dance Music aficionado’s collection out on October 10th on Shaddock Records !

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Jesper Munk

LP | 2022 | EU (Billbrook)

20,79 €* 25,99 € -20%

Kim Salmon & The Surrealists

Release: 2022 / EU

Genre: Organic Grooves, Pop

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Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-

instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing

music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk

edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that

go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.

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Rantings From The Book Of Swamp

2LP | 2023 | US | Original (In The Red)

29,99 €*

LP | 2023 | UK | Original (Albert's Favourites)

Release: 2023 / US – Original

Genre: Rock & Indie

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In the Red Records will proudly present the U.S. edition of Rantings from the Book of Swamp, the freewheeling eighth studio release by Australia’s magnificent and unpredictable Kim Salmon and the Surrealists, as a two-LP.

The Surrealists were formed by the Scientists’ singer-songwriter-guitarist Kim Salmon in 1987, betwixt the last two tours by the original incarnation of that pathfinding Perth-bred band. The Surrealists had been dormant in recent years, as the bandleader focused his energy on recording and touring with a reunited lineup of the Scientists featuring guitarist Tony Thewlis, bassist Boris Sujdovic, and drummer Leanne Cowie, who had recorded the career-summarizing 1986 LP Weird Love. (In 2021, In the Red issued Negativity, a new album by that unit, to wide acclaim.)

In 2020, as the Covid-19 pandemic lockdown settled around the globeSalmon reconvened with bassist/baritone guitarist Stu Thomas and drummer Phil Collings, who had appeared on the Surrealists’ 2010 release Grand Unifying Theory, the group’s most recent record. As with that work, the new material was created live on the studio floor, and emphasized improvisation in both its structure and content.

“The premise for this recording,” Salmon explains, “was that at its commencement the band members would come prepared with no other material than whatever ideas they might be able to individually bring. The lyrical content was all derived from my notebooks (Book of Swamp) from sketches I’d been jotting down over the last couple of years. There was to be no consultation about musical forms until the event began. Once the event began, the band had carte blanche to do whatever necessary to salvage compelling performances over the two live events @ 7PM Aest 6/13/20 + 6/14/20 respectively…….i.e., we had to make it up from scratch!”

Captured at Rolling Stock Recording Rooms in Collingwood, Victoria, Australia, by Myles Mumford, the music heard on Rantings from the Book of Swamp was originally presented as a pair of live streams directed by Andrew Watson at Semiconductor Media. The resultant album comprises 13 brain-bending tracks characterized by Salmon’s percolating lyrical imagination and the raw, unfettered interplay of the three seasoned musical collaborators.

After the world began to emerge from the pandemic lockdown in 2022, the Surrealists hit Australian stages on the double-barreled “You Gotta Let Me Swamp My Rantings” tour, which featured two different lineups performing two albums in toto: the Rantings from the Book of Swamp trio, and the threesome of Salmon, Thomas, and drummer Greg Bainbridge, who played the material from You Gotta Let Me Do My Thing, the 1997 Surrealists album they cut together.

Offbeat, off the street, off the map, and off the wall, Rantings from the Books of Swamp serves as a potent reminder that Kim Salmon and the Surrealists remain a puissant force in boundary-pushing rock music.

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And Is Phi

Double Pink

21,84 €* 22,99 € -5%