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For over a decade, Nika Roza Danilova has been recording music as Zola Jesus. She’s been on Sacred Bones Records for most of that time, and Okovi marks her reunion with the label.

Fittingly, the 11 electronics-driven songs on Okovi share musical DNA with her early work on Sacred Bones. The music was written in pure catharsis, and as a result, the sonics are heavy, dark, and exploratory. In addition to the contributions of Danilova’s longtime live bandmate Alex DeGroot, producer/musician WIFE, cellist/noise-maker Shannon Kennedy from Pedestrian Deposit, and percussionist Ted Byrnes all helped build Okovi’s textural universe.

With Okovi, Zola Jesus has crafted a profound meditation on loss and reconciliation that stands tall alongside the major works of its genre. The album peaks of tragedy with great wisdom and clarity. Its songs plumb dark depths, but they reflect light as well.

ARTIST STATEMENT:

Last year, I moved back to the woods in Wisconsin where I was raised. I built a little house just steps away from where my dilapidated childhood tree fort is slowly recombining into earth. Okovi was fed by this return to roots and several very personal traumas.

While writing Okovi, I endured people very close to me trying to die, and others trying desperately not to. Meanwhile, I was fighting through a haze so thick I wasn’t sure I’d find my way to the other side. Death, in all of its masks, has been encircling everyone I love, and with it the questions of legacy, worth, and will.

Okovi is a Slavic word for shackles. We’re all shackled to something—to life, to death, to bodies, to minds, to illness, to people, to birthright, to duty. Each of us born with a unique debt, and we have until we die to pay it back. Without this cost, what gives us the right to live? And moreover, what gives us the right to die? Are we really even free to choose?

This album is a deeply personal snapshot of loss, reconciliation, and a sympathy for the chains that keep us all grounded to the unforgiving laws of nature. To bring it to life, I decided to enlist the help of Alex DeGroot, who has been the only constant in my live band and helped mix the Stridulum EP back in 2010. It will be released on Sacred Bones, the closest group of people I’ll ever have to blood-bound family.

Zola Jesus

Okovi: Additions

    Zola Jesus’ Okovi: Additions lp offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists.

    Johnny Jewel turns “Ash to Bone” into a late-night cinematic torch song, Tri Angle Records composer Katie Gately’s “Siphon” is a dark choir of warping angels, black metal band Wolves in the Throne Room’s take on “Exhumed” makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares’ Aaron Funk) makes “Soak” feel like an aching classical standard— until it starts warping in on itself and goes somewhere else entirely.

    The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.

    “These four new songs were intended to be on Okovi,” Nika Roza Danilova explains. “Each of them represents a snapshot of my journey in making the record, and are just as precious to me as the songs that made it onto the final track listing. The remixes are beloved in their own way, as most were born from organic circumstances, and have drawn the original songs into completely new atmospheres.”

    FORMAT INFORMATION

    Coloured LP Info: Grey and black starburst vinyl.

    “Seven yers ago, it was winter break at university in Madison, Wisconsin. There was a snowstorm that covered the city with a still white haze. Not a single person in the streets. I was sitting on my bed with a cheap keyboard and a computer, screaming into the void. I barely remember writing the songs. It was a chaotic point in my life. I had no time to think about process or intent. It was a purge. I do remember taking a break from recording, bundling up, and walking through the barren streets while listening to the demos I’d made. The world, at once, felt clear. After writing and producing what would become the Stridulum EP, I contacted a new friend, Alex DeGroot, to come over and record my vocals. He was studying audio engineering and had more knowledge and gear than I could dream of. He helped mix Stridulum, too, because all I had was a pair of headphones. (Since then, Alex has stuck by me, as a live bandmate, technical director, co-producer, mixer, and engineer.) These songs were a huge leap of faith back then. It was my first time singing without layers of distortion, echo, and reverb. It was the first time I peeled back the layers to find out what was at the core. I’m still on that path today, seeing how far I can push myself into unknown places, whether through clarification or destruction. It’s like Stridulum’s still here with me, underneath it all. Still, it’s surreal to think that this record, made by a 19-year-old girl sitting on a bed in a freezing old house in Madison, would make its way into strangers’ ears seven years later.”

    -Nika Roza Danilova, June 2017

    Collects the early Zola Jesus EPs Stridulum and Valusia in a single volume for the first time.


    For her second album, "Melting Pot", UK jazz pianist Zoe Rahman is joined by Gene Calderazzo on drums and Oli Hayhurst on double bass. The trio bring us a fantastic set of contemporary instrumentals that showcase an upbeat, rhythmic style reminiscent of South Africa's Abdullah Ibrahim. Rahman also plays several tracks solo with inspirational ease. Described in The Observer newspaper as 'one of the finest young pianists in Europe', Rahman has firmly established herself as one of the brightest stars on contemporary jazz scene. This album has been hailed as 'one of the most distinctive piano trio albums' (Jazzwise magazine), a 'fantastic new album' (Courtney Pine, BBC Radio 2) and has also just received a nomination for the Mercury Music Prize awards. An essential album for tru jazz heads!

    Za Talent (Jonny Nash & Suzanne Kraft)

    Za Talent

    Za Talent is a fresh alias from regular collaborators Jonny Nash and Suzanne Kraft. While their previous outings were unashamedly ambient and horizontal in nature, this 12" for Animals Dancing is deliciously dancefloor-focused - even if there trademark rich chords and glassy-eyed electronics do feature prominently. On the A you'll find "Telex", a quirky chunk of laidback electro smothered in fax machine electronics, bubbly melodies and punchy drum machine hits. Flip for "The Whale", where intergalactic police sirens weave in and out of spacey electro motifs, gently pulsing electronics and a rhythm track that can't decide whether it's broken, jazzy or just plain weird. It is, though, really rather good.

    Zabrinski

    Screen Memories

    Psychedelic tinged, electonica / pop from this hotly tipped young Welsh band. Hints of Gorkys, Spiritualized and Super Furry Animals in their mellower moments!

    "People of the Dawn" is the debut album from Spencer Zahn - a bassist, multi-instrumentalist and composer. He has spent the last several years as an in-demand sideman and collaborator, touring and recording with artists from across a wide musical spectrum. While traveling as a bassist and keyboard player, Zahn started recording synthesizer experiments in his off time. These experiments - musical snapshots of cities all over the world - became the foundation of "People of the Dawn", an album that seeks to merge the chaotic wisdom of jazz improvisation with the warm pulse of electronica.

    "People of the Dawn" sees Zahn step away from the stage and into the studio with his own boundary pushing ideas. The record centers around the bass as a sound and instrument of melodic expression. Using the bass as an anchor for spectral synth textures, Zahn weaves the acoustic and electronic together. Throughout the record there's a dialogue between experimental electronics and contemporary jazz motifs that feels like uncharted territory. The result is a strange new map that casts Zahn as both cartographer and explorer of the sound. "...Dawn" was recorded in Brooklyn in collaboration with producer Dave Harrington, virtuoso guitarist and member of electronic duo, Darkside. The album features Zahn in conversation with Harrington’s electronic processing, manipulating acoustic instruments in real-time, the two longtime collaborators searching for, and creating, new forms for improvising. "People of the Dawn" was made in the spirit of a jazz album with the tools of contemporary electronic music.


    Zaire Black & June 22

    Life, Work It Out

    Brighton's cool Puma Strut label brings us this mellow hip hop tune (vocal and instrumental mixes) from this Californian based crew. Fresh rhymes, fresh beats and cuts by Westafa.

    Zak And The Krakens

    Zak And The Krakens

      From the depths of the Nordic Seas, Zak and the Krakens bring the ancient, otherworldly, underwater party to the house! Their game is aggressive ‘60s surf-style instrumentals where pounding drums and thundering bass lay the ground for a resounding, reverb-drenched guitar.

      If you are a surf music fan you may find they sound a bit like Dick Dale, The Ventures, and Man or Astroman?, but with their own distinctive twist. If you are not a surf music fan, you *will* be after being exposed to Zak and the Krakens!

      Since its surfacing in 2016, the Copenhagen-based trio has developed an extensive program of original material including the occasional classic surf cover. After the digital release of “...kraken’ surf classics” you can now enjoy the first self-titled originals album in all its glory.

      Surf’s up!

      Nick Zammuto

      We The Animals: An Original Motion Picture Soundtrack

        The limited edition super-deluxe vinyl format is pressed onto 100% virgin vinyl in a custom Yellow-White-Clear March-Up color mix. The records is packaged in a full-color gatefold jacket, and includes a full-sized 28-page full-color diary, and an original hand-numbered animation print cell from the We The Animals film production. The soundtrack to the massively acclaimed, aware-winning motion picture, We The Animals. We The Animals has received near-unanimous acclaim (91% on Rotten Tomatoes), and the soundrack has been praised as an integral part of the film’s profound resonance. We The Animals is the award-winning new film from Jeremiah Zagar (In A Dream). Based on the best-selling novel by Justin Torres, We The Animals is Zagar’s first narrative feature.

        It reunites Zagar with Nick Zammuto, the renowned composer and co-founder of beloved collage-pop pioneers, the Books. Inspired by the film’s setting in rural upstate New York – and influenced by the early ambient electronic music that galvanized the Books two decades ago – Zammuto pairs that earthen, wooded isolation with dynamic pulses of customized electronics and sparse, crystalline layers of melodic soft synths. The juxtaposition is arresting, and gives the soundtrack a unique heft befitting of its subject matter – and betraying of its minimal instrumentation. Beautifully edited and sequenced to act as both a companion to the film and a standalone album, We The Animals: An Original Motion Picture Soundtrack is as subtle as it is startling, and succeeds in making even the heaviest emotions feel momentarily weightless

        Zanov

        Moebius

          Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov's own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks where recorded using only his old EMS, but also due to his won experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished). Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. We offer the first ever vinyl reissue of Zanov's Moebius 256 301 under license from Pierre Salkazanov himself and with his cooperation, in a limited edition of 500 copies that reproduce its original artwork, come with remastered sound and an 8 page insert with liner notes and photos courtesy of www.audionautas.com plus one bonus 7" with previously unreleased on vinyl format material.

          Zanzibar Chanel

          Big Bone Bitch - Inc. Bell Towers Remix

          Zac and Louis are back as Zanzibar Chanel, inaugurating the slightly obscene Pig Sweat imprint with the fresh dancefloor pressure of "Killer", unreleased classic "Big Bone Bitch" and a whacked out edit offered by fellow ex-Melbournite Bell Towers. After a hallucinatory snatch of Peppa Pig, our hosts get down to business, working 8-bit sequences into a basement weapon par excellence. The funk of the 'jazz club' is all but forgotton as ZC pay homage to Prescription classics on a cheap and trashy studio set up. Drifting, swelling pads almost to lift us up to the heavens, but the scuzzy aethetic keeps things down low and dirty. Switching to the flip, ZC treat us to the first vinyl outing of their slamming, stomping, voguing classic "Big Bone Bitch". Giving NYC's Ballroom scene and Chi-Town's Dance Mania catalogue a fresh and modern twist, the crew top a squelching b-line and rattling drum groove with some life affirming, sleazy and totally ridiculous lyrics - it's one hell of a party. Bell Towers drops by on the B2 to treat us to his interpretation of their Gok Wan groover, laying down a Fingers Inc-inspired backing before sending those vocals through the chopper - did I mention it was party time?

          Frank Zappa

          My Guitar / Dog Breath

            THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

            What would Record Store Day be without a Frank Zappa release? The good news is that this year there are two on offer and Frank’s third Record Store Day outing in three years originally hails from 1969. Its A-side, ‘My Guitar’, is a more radio-friendly, less controversially-named version of the Mothers Of Invention’s 1970 classic ‘My Guitar Wants To Kill Your Mama” from ‘Weasels Ripped My Flesh’. Remastered from original mono mix reels, this limited, numbered Record Store Day 2016 title is available on coloured vinyl and comes in an authentic replica cover with original B-side ‘Dog Breath'. 

            Frank Zappa

            Orchestral Favorites - 40th Anniversary

              When Frank Zappa’s Orchestral Favorites was eventually released in 1979 as part of fulfilling his contract with his contentious former label, the album was dumped into the world along with several other titles without the legendary musician’s permission or quality control. It did not include liner notes or credits and the artwork and audio wasn’t approved by Zappa who publicly criticized it as not being up to his standards. As a result of not receiving any promotion, it was quickly relegated to the bargain bin shortly after its release.

              Four decades later, in celebration of the long-beleaguered album’s 40th anniversary, the Zappa Family Trust is righting this wrong and presenting Orchestral Favorites with the audiophile detail and respect it deserves to commemorate the historical event that took place at UCLA’s Royce Hall in September 1975 where the compositions were recorded. 





              FORMAT INFORMATION

              3xCD Info: 40th anniversary 3CD deluxe edition featuring brand new proper hi-fi transfers of the original tapes, a newly created cover, and extensive liner notes from Zappa Vaultmeister Joe Travers and former Zappa bandmate Terry Bozzio who recounts performing at the concerts and provides some unique illustrations for the collection. The beautiful packaging includes proper musician credits for the first time and a wealth of stunning rare and never-before-seen photos of the event from the estate’s archive

              Frank Zappa

              Weasels Ripped My Flesh

                "A fascinating collection of mostly instrumental live and studio material recorded by the original Mothers of Invention, complete with horn section, from 1967-1969, Weasels Ripped My Flesh segues unpredictably between arty experimentation and traditional song structures. Highlights of the former category include the classical avant-garde elements of "Didja Get Any Onya," which blends odd rhythmic accents and time signatures with dissonance and wordless vocal noises; these pop up again in "Prelude to the Afternoon of a Sexually Aroused Gas Mask" and "Toads of the Short Forest." The latter and "The Eric Dolphy Memorial Barbecue" also show Frank Zappa's willingness to embrace the avant-garde jazz of the period. Yet, interspersed are straightforward tunes like a cover of Little Richard's "Directly From My Heart to You," with great violin from Don "Sugarcane" Harris; the stinging Zappa-sung rocker "My Guitar Wants to Kill Your Mama," and "Oh No," a familiar Broadway-esque Zappa melody (it turned up on Lumpy Gravy) fitted with lyrics and sung by Ray Collins. Thus, Weasels can make for difficult, incoherent listening, especially at first. But there is a certain logic behind the band's accomplished genre-bending and Zappa's gleefully abrupt veering between musical extremes; without pretension, Zappa blurs the normally sharp line between intellectual concept music and the visceral immediacy of rock and R&B. Zappa's anything-goes approach and the distance between his extremes are what make Weasels Ripped My Flesh ultimately invigorating; they also even make the closing title track -- a minute and a half of squalling feedback, followed by applause -- perfectly logical in the album's context." - All Music.

                DJ durable double-pack that dances down the line between the old style Chi-town House sound and slamming Jakbeat. Recorded in Chicago, 2019. Ltd Edition & downright crucial.
                Artwork By Cosmo Knex

                "I met Jordan Zawideh while working at a Chicago record store in 2002 called Weekend Records and Soap. The shop was owned by Jim Marlon Magas/Bridgette Wilson and was one of the only places at the time where you could find a mix of weird ass electro, noise, and mutant techno coupled with Midwestern freak vibes. He lived above the shop and would come down daily to listen to records and chat about music. We have played countless shows together over the years and I've prob seen him DJ at least 100 times. Chicago native hailing from Detroit, Jordan's music combines elements of both these cities rich electronic history, but with his own perverse twist. Doolally drum workouts, soupy samples, arachnid analog bites, all pieced together with DIY warehouse charm."

                Beau Wanzer
                Chicago, 2020

                Zaza is the musical union of Jennifer Fraser and Danny Taylor, who are both west coast transplants that connected by fate in New York. No strangers to creating great music, Jennifer is a talented multi-instrumentalist who previously played in Teepee Records’ stalwarts The Warlocks, while Danny is known for his close associations with The Pains Of Being Pure At Heart while also manning sound for various bands and venues throughout NYC.
                Riding in on oceanic waves of drone and immense muscular drums, enter the spectral dream-pop duo Zaza. While associated with their peers in Brooklyn’s recent exploding indie-pop/shoegaze scene, Zaza sonically contrast from their guitar-pop brethren in favour of something darker, more mysterious driven by haunting, ethereal vocals and rolling, cavernous rhythms. "Cameo" is their mesmerizing debut mini album (6 tracks).
                Zaza has already been met with praise from the NY press making favourable comparisons British dream-rock acts like Ride, Slowdive, and Cocteau Twins but to pigeonhole them as a 90s throwback would be a mistake as their debut radiates a mystical, otherworldly element that both challenges the listener, while at the same time inviting them in.

                Vancouver's Pacific Rhythm crew launch their new label Specials, featuring remixes from Project Pablo and DJ Sports.

                Providing the source material is Vancouver’s own ZDBT who's joined by Washington, DC's Dreamcast (who's previously released on PPU & Future Times) on vocal duties. "Take A Chance (On Love)" is a projectile of deep, yearning late night house music. The vocal - stricken with a bitter sweet emotion - riding buoyantly across a galloping 4/4 beat peppered with snares a two three note B-line.

                Project Pablo takes the track into bigger realms, adding an anthemic, hooky bassline and an endorphin-cruising chord progression to elevate the track into peak time trajectory.

                "Time For You" flips the energy into a carnal swell; throbbing along with skillfully programmed drums and another sterling vocal performance, riddled with feeling.

                One more flavour before kicking out time: DJ Sports' dub of "Time For You" which strips the vocal away and concentrates on that sweltering midday haze, adding cascading dub echoes and a pluming sub bass to blanket the listener in a thick, opiated patina that's tailor made to get lost inside your mind on a hammock with a carrot in hand! Jah blessings! 


                STAFF COMMENTS

                Matt says: Mega release with all four performances scoring highly on the pidgeometre! Get it in the bag!

                Zebra Katz

                Ima Bitch

                Pulling from a multimedia /performance art background, Zebra Katz brings a slo-mo dark delivery to his rhymes set over a the minimal unencumbered beat on “Ima Read”.But what does “Ima Read” even mean? Simply put, “reading” is an old voguing term describing someone verbally insulting an opponent about something not so apparent to the average viewer. A good reader could tear you apart with one simply sentence.

                Since we last saw Zebra Katz and Njena Reddd Foxxx they have played countless shows, opening up for Azealia Banks and Lana Del Ray. They released their single “W8WTF” and have taken the fashion world by storm when Rick Owens presented his latest collection to the tune of “Ima Read”. From its humble beginning as one of the first Jeffree releases “Ima Read” has turned into a 2012 anthem. Since the release was only featured on Jeffree’s volume 2 we felt it appropriate to present a re-release single with the thumping instrumental and an acapella version.

                FORMAT INFORMATION

                Ltd 10" Info: Limited 10″ pressing with etched B-side.

                Zebrahead

                MFZB

                Inspiring and crisply produced pop punk blitzreig bop with a clean, punchy guitar sound, driving rhythm section and uplifting, clenched fist lyrics delivered through hip hop influenced vocal harmonies. The sound is a little harder than their previous two lps and probably benefits from that.

                Zeca Do Trombone & Roberto Sax

                Zeca Do Trombone & Roberto Sax

                Another Brazilian funk landmark made by two of the most exceptional instrumentalists of the 70s scene. José da Silva better know under the pseudonym of Zeca do Trombone is a trombone player who has worked with a multitude of Brazilian artists including Tim Maia and Carlos Dafé Elizeth Cardoso, Beth Carvalho, Milton Nascimento. Roberto Sax or Zé Roberto Simonal is none other than Wilson Simonal’s brother.

                The original press of this LP is one of the rarest of Brazilian music. Mad About Record is proud to reissue it for the first time worldwide.



                2013 was a notable year for Thalia Zedek. She released her first album in five years, ‘Via’, which PopMatters called a “rumbling, sweet, muscled set of tunes, as resilient as they are beautiful,” followed by a tour across North America with Low. She also reunited with Come, the classic band she formed with Chris Brokaw in 1990, reissuing their classic debut ‘Eleven:Eleven’ and playing their first shows in over a decade across the US and Europe. Following this intense flurry of activity, Thalia regrouped with herband in Boston to record an EP, harnessing the creative energy she had accumulated during her time on the road.

                ‘SIX’ is a brand new 29 minute mini-album following ‘Via’, which was praised by Pitchfork, Spin, PopMatters, Paste, American Songwriter, Magnet, and Under The Radar.

                ‘SIX’ opens with a full band version of ‘Fell So Hard’, a characteristically mournful dirge that exudes a tenacious, slowmoving intensity. Zedek explores the complexities of interpersonal relationships, employing some of the most sparse arrangements of her career. The spareness of tracks like ‘Julie Said’ and ‘Afloat’ achieve incredible emotional heft, letting Thalia’s lyrics, delivered in her unmistakable voice, take centre stage.

                FORMAT INFORMATION

                CD Info: CD version packaged in 4 panel mini-LP style gatefold package.

                CD includes MP3 Download Code.

                Thalia Zedek Band

                Fighting Season

                  Thalia Zedek’s ‘Fighting Season’ is direct and raw, at times scorching and others fragile. The album features performances by guitarists and friends J. Mascis (Dinosaur Jr.) and Chris Brokaw (Come).

                  Thalia Zedek has been a been a seminal figure in the independent music scene for over 30 years as a member of Come, Live Skull and Uzi and, most recently, her trio E. ‘Fighting Season’ showcases her best songwriting and performances to date, featuring musicians she has worked with for many years, including longtime collaborator and violist Dave Curry, pianist Mel Lederman, bassist Winston Braman and drummer Jonathan Ulman.

                  ‘Fighting Season’, a term originally coined for the period of time in Afghanistan when winter comes to an end and fighting resumes, is reinterpreted by Zedek with a the focus on a rebirth of resistance brought on by the deteriorating US political landscape. Zedek deftly combines the force of her playing with the urgency of her unmistakable voice to spin tales of discord and struggle from the personal to the political. The potency of her message reflects her exceptional songwriting and playing.

                  FORMAT INFORMATION

                  Coloured LP Info: Indies exclusive purple vinyl.

                  Rachel Zeffira

                  Elizabeth Harvest: Original Motion Picture Soundtrack

                    Rachel Zeffira’s (Cat’s Eyes) score to Sebastian Gutierrez’s ‘Elizabeth Harvest’.

                    Zeffira’s ‘Elizabeth Harvest’ score contains elements of all of her musical influences, from her choral and orchestral arranging to her oboe solos and contemporary songwriting. Erik Satie’s sarabande becomes an underlying musical theme, which gradually becomes more unhinged as the score progresses. Other characters feature yet more experimental themes, where pieces were chopped, rebuilt and manipulated.

                    The vinyl is housed in a deluxe spined sleeve with beautiful artwork put together by Marc Bessant and comes complete with printed insert and digital download card. The score is pressed on clear vinyl.

                    Rachel Zeffira is a talented oboe player, soprano soloist and multi instrumentalist known for her work with the Victoria Symphony Orchestra and with Faris Badwan (The Horrors) in Cat’s Eyes. Together the pair scored Peter Strickland’s ‘The Duke Of Burgundy’, which won the 2015 European Film Award for Best Composer. She is also the first female composer to be nominated for an Ivor Novello award.

                    ‘Elizabeth Harvest’ is a stylised sci-fi thriller, gothic love story and existential mystery which follows newlywed Eizabeth (Abbey Lee) and her brilliant scientist husband (Ciaran Hinds) and their magnificent mountain estate. Slowly, Elizabeth begins to realise she may not be exactly who she thinks she is. The truth and its repercussions are beyond anything she could have imagined.

                    FORMAT INFORMATION

                    Coloured LP Info: Translucent clear vinyl.

                    Coloured LP includes MP3 Download Code.

                    After a break of two years, Zefur Wolves return with a brand new album, beating a path to the promised 2019 follow up to their acclaimed debut. The three-piece’s distinct brand of languid, emotive, alt-rock takes the commanding role with Truth is in the Stars, released on Strangetown Records.

                    The band have once again teamed up with M h of human consciousness and empathetic resistance to injustice. r. Kobo who hasn't disappointed with the beautiful and intricate sleeve artwork and lovingly presented by Mark James Works. For the audiophiles the gorgeous deep berry coloured vinyl will be a feast for the eyes as well as the ears.

                    Studio sessions helmed by producer and former live band member, Super Furry Animal’s Cian Ciarán, have driven the band to greater intricacy and an audible sense of playfulness, toying with compositional and recording technique. Having crafted their debut album in California, evocative of their cited inspirations including Spiritualized and Beach House, the upbeat trailblazing first single Flying High, recorded at Strangetown Studios in Caridff, suggests new and fertile creative ground has been found to ‘one up’ an already glinting reputation


                    STAFF COMMENTS

                    Barry says: For all of you that love the thrashing, but cohesive madness of the Lovely Eggs, the Zefur Wolves are here to brighten up your day. Throbbing guitars and snapping percussion are coated in an entirely non-eggy haze of shoegazing distortion and extended reverb. Thoroughly brilliant.

                    FORMAT INFORMATION

                    Coloured LP Info: Very limited edition coloured vinyl.

                    Emerging from that place where hip-hop slurs into ambience and where rap is just a hypnogogic mumble, is Delaware (US) based MC/producer ZekeUltra - who excels in warped and worn beats and woozy, near ambient textures, over which he declaims his truth. Ultra’s intelligent, introspective  hymes are at turns heartbroken and confessional, anomic and brooding, sometimes resigned, at other times optimistic, with a healthy dose of humour to prevent the narrative from traversing too dark a path. The delivery is muddied and beneath the surface, drawling in and out of view and shy of any thug braggadocio. Production duties on all but three tracks are handled by prodigiously talented Idaho (US) resident Yonqi, whose beautiful, hauntological loops and understated beats give the album a smoky, downtempo feel throughout. A gorgeous swirl of hazy, jazz-tinged electronica in miniature. The apparent disconnect (if only on initial spins) between the warm, soul-inflected samples and Ultra’s laconic and unadorned delivery is
                    what makes the record so special. Feels like someone rapping in their kitchen as a Madlib record plays in the next room, regularly hitting the perfect flow. ‘(The Power Of) The Will Of Man’ is no quick audio fix for impatient ears. This is a record to climb into and explore. To absorb its genre-blurring grooves, where half-speed, deep soul samples meet haunting, electronic textures, underpinned with cavernous subby bass and sparsely abstract beat constructions. It’s where Leyland Kirby meets Earl Sweatshirt, or the Jazzy Sport crew bump uagainst Ghost Box, all dug from the crates and knowingly  intage. A record of twilit soul splinters, fuzzy jazz cuts and enigmatic, stoned incantations. Effortlessly beautiful music for fans of the downbeat.

                    FORMAT INFORMATION

                    Coloured LP Info: Limited edition red vinyl (100 copies pressed)

                    Zen Baseball Bat

                    For Refund Insert Baby

                    Fronted by the talented and articulate "Gleavey Twins", this is motorized modern day ska with a distinctly northern flavour, drawing its influences from Two Tone, Jamaican ska, Motown and possibly even The Fall. Propelled by driving rhythms, a brilliant, exuberant brass section and a unique, ascerbic vocal style, this is a rare treat from a criminally overlooked outfit.

                    Zen Mantra

                    Zen Mantra

                      Dreamy, psychedelic pop songs seem to be the signature of New Zealand musician Zen Mantra (Sam Perry). And this, his self-titled second album, is filled with shimmering psychedelic lo-fi rock, and reverb drenched guitar melodies. Following on from his 2013 debut album 'How Many Padmes Hum' the 10-track album sees the 21-year old bedroom producer joining the Flying Nun roster and expanding his focus to incorporate all forms of pop music from ethereal shoegaze to walls of psychedelic distortion. Taking cues from his fellow indie dreamers like DIIV and Wild Nothing, Zen Mantra has a pure pop energy, an expansive sound and plenty of hooks. Simply put Zen Mantra will make you feel warm and fuzzy.

                      "Sam Perry brings to mind everything that made Gross Magic so exciting a few years ago, his songs are riff-laiden beats packed with asthmatic choruses" NME Magazine.

                      "The lo-fi, kaleidoscopic scene out in Australasia is booming. Zen Mantra…..is the latest enrollment into the continents already stellar alumni." VICE magazine (UK).

                      Wonky beats and woozy melodies, pitched vocal cuts and mournful strings. Rhythmic fragments of melody breathe in and out, punctuating the start-stop breaks. On the flipside, Malik Ameer features on a Thatmanmonkz remix, and turns the whole affair into a slamming rhythmic hip-hop stormer. Perfectly punctuated rhythms and rhymes float above the remixed original. Top stuff. 

                      Zeni Geva & Steve Albini

                      Maximum Implosion

                        'Maximum Implosion' collects all collaborative (and most sought after) pieces between Zeni Geva (KK NULL) and Steve Albini (BIG BLACK / SHELLAC): "Nai-Ha" and "All Right, You Little B*st*rds!". Also included are bonus tracks from the ultra-limited 12"-only "Superunit", presented with meticulous Cedar mastering by legendary mastering engineer Denis Blackham.

                        On the first CD, Zeni Geva present ultra-heavy Japanese noise rock, with sludgy riffs, thundering feedback, lumbering drums, subhuman bass crawl, and complex noise textures, with KK Null's trademark vocals / unique guitar accompanied by Albini's heavy guitar. "Nai-Ha" loosely translates to "broken inside", with the title track relaying the gruesome aftermath of a car accident.

                        The second CD captures Zeni Geva and Steve Albini's live-to-desk tracks from Tokyo & Osaka in 1992. Albini also makes vocal appearances, as well as guitar throughout. All production and mixing by Steve Albini. Final mastering by Martin Bowes at Cage Studios in England, and presented here in its complete form for the first time on Cold Spring.

                        "With a huge sound reminiscent of Godflesh in its heavy bottom and impossibly high-end guitar tones, resulting in almost no mid-range, it's hard to believe that there are only three people in the band... What saves the record from sounding like an impenetrable wall of sludge are a combination of Albini's sure-handed engineering and production, along with the band's precise grasp of noise, dynamics, and song construction... Anybody into sheer, painful heaviness should check this one out!" (Korperschwache).

                        Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album "Simple Things" was released selling over a million copies to date and was nominated for the Mercury Music Prize. Zero 7 were also nominated as Best Newcomer at the Brit Awards 2001. "Simple Things" peaked at no.28 in the UK album chart and spent 89 weeks on the chart. Stateside, the album hit no.4 on the Billboard Dance / Electronic album chart and stayed on that chart for 52 weeks.

                        Singles taken from the original album included ‘I Have Seen’ featuring Mozez, ‘Destiny’ featuring Sia & Sophie Barker, "In the Waiting Line" featuring Sophie Barker and "Distractions" featuring Sia. The LP has been out of print for almost two decades and second-hand copies of the original pressing are changing hands on Ebay and Discogs for upwards of £100!

                        STAFF COMMENTS

                        Andy says: Beautiful, lushly produced downtempo grooves topped with sweet melodies, somewhat akin to French masters Air but with soul and jazz flavours, this is a timeless classic, and every home should have one!

                        FORMAT INFORMATION

                        2xCD Info: Special edition with an extra 11 tracks.

                        Zero 7

                        The Garden - Special Edition

                          The Garden is another timelessly classic album from a seminal electronic band and an essential soundtrack to any laidback listening.  Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album Simple Things was released selling over a million copies to date and was nominated for the Mercury Music Prize. They released their third album The Garden in 2006 it also peak at no 4 UK album chart spending 7 weeks in total there. It has sold over 125k copies. In the USA, it entered the Billboard Dance/Electronic chart at #2 and stayed in the Top 20 of that chart for 5 weeks. Singles taken from the album include Futures featuring Jose Gonzalez, Throw It All Away and You’re My Flame both featuring Sia

                          This vinyl only "When it Falls" re-issue will mirror the original release, cut over 4 sides and using the original artwork but now pressed on heavyweight 180g vinyl. Cutting is by engineer Kevin Metcalfe using his original cutting notes. The vinyl LP has been discontinued and second-hand copies of the original pressing are changing hands on Ebay and Discogs for upwards of £100!

                          "When It Falls" was a Top 10 album, peaking at No. 4 in the UK album charts and spent 24 weeks in total in the charts. It has sold over a quarter of a million copies. Stateside the album entered the Billboard Dance / Electronic chart at #3 and stayed in the Top 20 of that chart for almost thirteen months.

                          Singles taken from the original album include “Home” with Tina Dico on vocal duties, “Warm Sounds” featuring Mozez. Sia and Sophie Barker also feature on the album, on tracks “Somersault”, “In Time” and “Speed Dial No. 2”.

                          "When It Falls" is a timelessly classic album from a seminal electronic band and the essential soundtrack to any laidback summer chilling.

                          This Special Edition release artwork will have a premium, luxury feel as it reworks the original artwork but this time using a metallic foil blocked finish. 


                          STAFF COMMENTS

                          Matt says: I'd just moved to Manchester when this came out and it soundtracked its fair share of bleary-eyed morning afters. Now back in all its former glory you too can re-live a slow Sunday morning with the curtains closed shut, safe in the bussom of this wonderful album.

                          "Party Girl" sees the classic Zero dB track come to 12” vinyl, joined by remixes from innovative UK producer Fixate AKA Declan Curran and jungle / DnB pioneer and one half of 4hero, Marc Mac. Originally released on 2010’s "One Offs, Remixes and B Sides", "Party Girl" is a high tempo, jazz house track decorated with lush sax and built on upright bass licks. Speaking of the re-release of "Party Girl", Tru Thoughts A&R and co-founder Robert Luis said: 'I have always been a big fan of Zero dB and the track was a big anthem at the original Tru Thoughts Brighton club night phonic:hoop and still gets regular plays by me today. At Tru Thoughts we had been working the publishing for the track in recent years and recently it got synched to a car advert and we feel that was a good excuse to commission some new remixes for some new interpretations and a new re-release on Tru Thoughts.'

                          Zero dB AKA Chris Vogado and Neil Combstock, have been keeping busy at the cutting edge since the release of their seminal "Bongos, Beeps & Basslines" (Ninja Tune), making killer club music under various monikers, and packing out dance floors with DJ sets in some of the biggest clubs and best sound systems known to man, including Plastic People and Japan’s Club Yellow. Vogado runs the boutique Fluid Ounce label from his legendary Fl. Oz. Studios and Combstock has also seen his muse lead him round the globe, living, DJing and making music variously in Japan and Thailand among other places. "One Offs, Remixes and B Sides" has become an essential listen not just for existing fans of Zero dB’s unique concoction of Latin heat, jazz colour, startling beats and pure bassline filth, but for anyone who has been remotely moved by dance music in the last half decade.


                          Zero Down

                          With A Lifetime To Pay

                          Zero Down are a three piece punk outfit hailing from LA and are the latest additions to the Fat Wreck roster. The members possess a sterling punk rock resume, having spent time in bands like Strung Out, Down By Law and Pulley. With some slower moody pieces and the usual high standard of Fat Wreck sound this is a brilliant debut.

                          The Zest

                          Shadowcasters

                            Featuring South Lancashire's most adept Etheric Noblemen...
                            All compositions have been radionically tapped in real-time from the infinite sonic wisdom of the cosmos and dimensions beyond. Magnetically captured by the divine technological wonders of VHS and its equally majestic audio equivalent - the C90 Cassette Tape.
                            For the listeners' full enjoyment, safety and peace of mind - full assurance is given that during the process of duplication any physical tape material has been shielded from rogue malicious extra-dimensional entities, and from any real-time psionic black magick interference (or any variant or overlaid magnetised psi-programming)
                            Recorded at Cerberus Development Laboratories 2014/15

                            Vocal appearances by:  Elizabeth Six & Don Lovedog. 

                            Compiled and edited by Ste Spandex. Additional Musings by Anturio.

                            Includes unlimited streaming of Shadowcasters via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

                            STAFF COMMENTS

                            Matt says: The Cerberus space ship rockets onwards! This stupendously good star cruiser is like Manuel Gottsching or Ash Ra beamed deep, deep into a wormhole and coming out sometime close the very end of the known current universe. You know how the new Hubble is gonna show you light from the very beginning of time, well this is the sound vibrations transmitted at the very END of time and captured now, without any red shift. Get ya head 'round that pop pickers.

                            FORMAT INFORMATION

                            Cassette Info: As usual - eye-bleeding wrap around tape inlay. On tape artwork on slime green C90 tapes. Comes with download to full album.

                            Zig Zags

                            They'll Never Take Us Alive

                              AMAZING new album from LA’s Zig Zags..honing their skills to create a fierce brew of US hardcore skate punk and UK Nwobhm ..like the first wve of US thrash from 83.. get on it!! “Everyone puts photos of Sid Vicious up on Instagram. The other night I watched ‘D.O.A’, the documentary about The Sex Pistols, first and only U.S. tour. In it - Sid's a mess, he and his annoying girlfriend. And they're the only ones who get interviewed! Maybe John Lydon and Steve Jones (not to mention the drummer) didn't want to participate. Maybe Nancy made Sid do it. But it whatever the case, I didn't wanna watch it. The rest of the band is crushing! They sound just like the record! As a musician in a touring band, I can't stand Sid Vicious.

                              He’s cartoon character with a Swastika shirt, nodding off while everyone else loads the gear. I don't care if it's punk - you still gotta be able to play.” - J. Maheu, lead vocals and guitar for Zig Zags 8 years, 7 singles, 3 albums, 3 bass players, 2 drummers and God knows how many shows later - Zig Zags has continually evolved, mutated, transitioned and transformed, rising again and again, like a phoenix emerging from the flame. The addition of the newest member of our triumvirate - multi-instrumentalist, designated bassist (and longtime Zig Zags sound engineer) Sean Hoffman - recalls those golden moments past, when destiny stepped in...like when Neil Peart joined Rush or Bob Rock teamed up with Metallica. In short - the circle is now complete, the cornerstone has been set and the winged serpent rises - once again. Some say it’s luck, but really, it’s about patience.

                              A band is like a relationship. You have to know when to push, and when to hold back. You gotta listen and you gotta learn. We look to the masters. Like Henry and Glenn, we’ve gone from drinking hooch to pumpin’ iron. We quit smoking. Two of us are married, for chrissakes! After 2017’s brutal European tour, which left us coughing blood and taking names, we sought out Lemmy’s Doctor (Feel Good), who diagnosed us with,”Rock’n’roll Pneumonia”. Like Lemmy, we were pushing too hard. And if you push too hard you’ll end up in an apartment above The Rainbow Room, playing video poker on Christmas Eve (which is also your birthday)...but that’s another story.

                              Zimba

                              Baleka - Inc. Comet Is Coming / Siwo Edits

                                In the mid-70s, musician and songwriter Phil Arosa fled Southern Rhodesia's apartheid (now Zimbabwe) to settle in the Netherlands and pursue his musical career under more mundane skies. Alongside his partner Marga, he started the band Zimba which played for ten years in clubs around the country. During those years, ‘Baleka’ was the only studio recorded song and was released in 1983. This record went unnoticed at the time but this minimal and powerful mix of African rhythms with a new wave voice and an irresistible mbira motif deserved better. Luckily, Nyami Nyami step onto the scene and revive the track, inviting London friends The Comet Is Coming and Parisian Blackjoy (Siwo) to revisit this piece. The results are two very different versions of ‘Baleka’ but definitely carved for the dancefloors.

                                STAFF COMMENTS

                                Patrick says: Mutant Afro-funk of the highest order right here as Zimba's sole release gets the full reissue treatment from Nyami Nyami. Rubbery basslines, trippy mbira and clattering polyrhythms abound as Zimba rattle through insane Afro-cosmic territories. Two copies for me please!

                                FORMAT INFORMATION

                                12" Info: One copy found

                                Hans Zimmer And James Newton Howard

                                Batman Begins OST - Orange Vinyl Edition

                                  A super limited coloured vinyl reissue of Batman Begins, the first film soundtrack in the batman trilogy. A first time ever coloured vinyl release for this much admired and innovative Hans Zimmer and James Newton Howard score

                                  • A limited edition of just 500 copies WORLDWIDE
                                  • Gatefold sleeve double album
                                  • Orange Vinyl

                                  The movie hit of 2014, Interstellar, chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage. While the film is directed by acclaimed Christopher Nolan (Inception, Batman Begins, The Dark Knight…), the epic soundtrack score was composed by Nolan's longtime collaborator, Oscar, Grammy, and Golden Globe Award-winning composer Hans Zimmer.

                                  Zimmer and Nolan planned to move away from the Batman Trilogy's scores and to come up with a unique one. Before (re)writing a word of Interstellar, Nolan did something he had never done before, something that speaks to his desire for more emotionally potent work. He asked composer Hans Zimmer to write some music for the film, but without telling him about the genre, title, characters, or plot: "I said, 'I am going to give you an envelope with a letter in it. One page. It's going to tell you the fable at the center of the story. You work for one day, then play me what you have written.' He was up for it. And it was perfect. He gave me the heart of the movie." Zimmer says he remembers this idea from Nolan's letter: "Once we become parents, we can't help but look at ourselves through the eyes of our children."

                                  Zimmer conducted 45 scoring sessions for Interstellar, which was three times more than for Inception. Interstellar's score has been nominated for the 2015 Oscars, BAFTA Awards, Golden Globes and the Hollywood Music in Media Awards.

                                  FORMAT INFORMATION

                                  2xLP Info: 180g audiophile vinyl pressing in gatefold sleeve with 4 page booklet.

                                  Hans Zimmer And Benjamin Wallfisch

                                  Bladerunner 2049 - Original Motion Picture Soundtrack

                                    Hans Zimmer and Benjamin Wallfisch were given the near impossible task of scoring the sequel to one of the greatest and most beloved science-fiction films of all time. The original BLADE RUNNER had an incredible score by Vangelis that has gone on to be one of the most iconic pieces of music in film history, so it’s to their credit that they absolutely knock it out of the park with 2049.

                                    What they do with the music in 2049 is astonishing. It makes you feel like you’re in the same universe as the original film, but it’s also apparent that things have changed. There are hints at the past but also strange and beautiful new sounds to explore and get lost in. Expansive, dreamy yet forceful, and propulsive when it needs to be, the score to 2049 is a little more downbeat than the original. The sonics throughout are incredible, and it really feels like you’re wandering strange neon-lit alleyways with no clue where you are.

                                    It’s a truly beautiful (and beguiling) listen that captures real human emotion alongside more artificial replicant soundscapes. BLADE RUNNER 2049 features Viktor Kalvachev’s art with a spot Varnish Cover and layout by Chris Bilheimer.

                                    FORMAT INFORMATION

                                    2xColoured LP Info: Webstore edition pressed on 180 Gram Teal and Pink coloured vinyl.

                                    When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

                                    Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

                                    Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

                                    The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

                                    The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

                                    Words from the artist___:
                                    "I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

                                    Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

                                    As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

                                    Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

                                    For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."

                                    Zodiac, a new collaboration between Brendon Moeller and Monty Luke, present a heady brew of sci-fi dub and deep rhythms on a full-length album, ‘Serengeti By Night’.

                                    With meditative roots music at the very heart of ‘Serengeti’, experimental ideas are excavated over ten tracks. Vivid atmospheres are conjured up, as tribal trance, voodoo dub and otherworldly electronics are deployed over rock steady rhythms.

                                    With influences that lie in the musical endeavours of African Headcharge to Rhythm & Sound, Public Image Limited to Cybotron, Zodiac keep the flame burning for exploratory dub-leanings, and deliver an album from the space station above that administers sophisticated braindance sounds that will command repeat listens...

                                    Zofff

                                    FFF

                                      The second of May’s pair of ace new Deep Distance LPs, sees a second studio full length from Brighton based kraut / kosmische juggernauts ZOFFF.

                                      Described recently as "the finest purveyors of kosmische heaviness on the planet right now" by Shindig! Magazine, the band release their eagerly awaited follow up to the quickfire sell out of “ZOFFF I” in 2017 (separated by an equally hastily sold out live album on Drone Rock recs); “FFF” is released first week of May and again is expected to move out quick style.

                                      Over to Ben Graham for a few words: “ZOFFF are all about light and shade, and the dynamic movement from the subtlest curlicues of gentle sound to the full raging storm of sonic attack, and back again. On their second studio album ‘FFF’, the south coast psychedelic five piece serve up six tracks of improvised instrumental experimentation that blend seamlessly into a consistent whole: a trip, if you will, from First Faltering Feelings to Final Full-blown Freak-out.

                                      'Ye' assembles around a lonesome trumpet overture, before the drums and dirty fuzz guitar kick in and we're off, with no messing around and no ambient noodling: direct to the cranium and the groove with high-energy space rock reversing the polarity and shaking out the ghosts. 'Vav' takes it up another notch: tense and urgent, it climaxes in Coltrane-like sheets of sound over double-time drumming, before 'Har' arrives at a relatively gentle pace, dub-like sonic action swooping and fluttering over a rock-solid beat until the bass takes over and the direction becomes clear: FFForward!!!

                                      Side two starts with the appropriately titled 'Dig'. All the elements are in balance and the band are firing at Full Force. 'Ca' kicks off with horn, static and splash, a classic slow burn taking us up to the final eleven-minute climax of 'Zeta'. This surprisingly exploratory piece doesn't just aim to go out with a bang but takes time to set up new possibilities and juxtapositions, opening new doors right to the end where other lesser bands would already be packing up the scenery.

                                      Recent years have seen ZOFFF reaping acclaim and blown minds wherever they've appeared.

                                      Their live album, (2017’s KOZFEST MMXVI baring striking testimony to this), with psychedelia an increasingly devalued term, ZOFFF remain the connoisseur's choice. That's ZOFFF with three Fs by the way. We wouldn't want you to forget now…”

                                      The LP is released as a (clear) vinyl only pressing of 300 on Deep Distance, the go-to London label for kraut flavoured kosmische with a sold out back catalogue of 60/60 releases including Cavern of Anti-Matter, JD Emmanuel, Colin Potter and many others… 

                                      90's rooted industrial beats and atmospheric tracks that reminds a bit of early Reload and AFX tracks and even some Sahko. Produced by Amsterdam based DJ Zohar aka Rachel Green who is debuting on her own DIY, Zohar label with a wide spectrum of sound structures and complex moods that varies from club driven breaks, experimental electronics, ambient and dub. Possessing an upfront palette of sounds and a maverick sense of tune construction, Zohar could well be the direct shot of recklessness you require.

                                      Supernatural Cat is the label run by Malleus Rock Art Lab, artistic collective featuring two members of the psychedelic doom trio Ufomammut. After a busy 2012, the label seems to have been laying low. However, little did we know, behind the scenes they have been busy working on the vinyl release of ORO and preparing to unleash two new musical projects – the first of which we can proudly unleash today...

                                      Enter Zolle, self-proclaimed rednecks, on the loose and ready to run amok with the release of their self-titled debut album, an ode to yokel ways of living.

                                      They might not take themselves so seriously but don't be fooled, their music is no hayseed dixie, brace yourself for a ferocious, rampant record of thunderous riffs and robust drum blasts.

                                      Zolle are - Marcello (Lan of Morkobot) playing meaty riffs and Stefano who beefs things up on drums and xylophone. The duo commenced work on their debut album throughout the summer of 2012, and in just two months they had the music ready to commit to tape.

                                      Their self-titled album was recorded in September of the same year by Michelangelo Roberti at Mizkey Studio (MoRkObOt) and mastered by Giovanni Versari (zu, Morkobot, OvO, One Dimensional Man).

                                      It was played almost live, with overdubs reduced to the bone. The drums are of considerable proportion and made of copper and the amplifier an old digital model of the '50s which makes for a mammoth sound. Urlo from Ufomammut and Roberto Rizzo of Quasiviri/Runi add a little synth seasoning to flesh out the album also.

                                      The resulting album is mightily heavy, the short songs are direct and song titles are entrenched in references to redneck living. For example 'Mayale' is a play on the Italian word for pig [Maiale] but is written like 'Maya' to reflect the sacred image of the Mayan pig face adorning the album's cover. Similarly, 'Heavy Letam' is suggestive of 'Letame' which means manure in Italian – not to mention being an anagram of 'heavy metal'.

                                      Zolle may be a no-frills band but there is much more to them than meets the eye. They are far from restrained and their debut album will definitely give you something to chew on.

                                      A few months ago France synth obsessives Zombie Zombie put out a four track LP originally composed to score a juggling related performance art piece (bloody Frenchies eh?). To the surprise of our Zombies, "Slow Futur" sold out in a matter of days, so they decided to give it a longer lease of life via this red hot remix disc. Opening the set in total darkness is Piccadilly favourite, Kriedler mainstay and Salon Des Amateurs co-founder Tolouse Low Trax. The Dusseldorf man follows up killer releases on Themes For Great Cities and Antinote with a slowly unfolding piece of machine voodoo. Weaving black magic through bleeping keys, African rhythms and industrial toughness, Detlef does his thing, locking us into a hypnotic, glue-sniffing groove from start to finish. Over the other side, I:Cube lends "Hyperspace" a lilting dub flavour via thick bass notes, system twisting fx and lush soundscapes. Fresher than a cool summer evening, this dubby synth redux should play very nicely with anything from the Peaking Lights corner of your collection. Lastly, the legendary Gilb'r provides a percussive reprise, retaining some of that wall shaking dub bass, but adding a whole load of polyrhythmia for a humid, tropical delight.

                                      STAFF COMMENTS

                                      Patrick says: Three production heavyweights step up on a remix tip here, offering very different flips of Zombie Zombie's driving "Hyperspace". Tolouse Low Trax slows things right down for a mindbending exercise in machine voodoo, I:Cube gets deeply dubby and Gilb'r goes round the globe with a totally tropical take on matters.

                                      FORMAT INFORMATION

                                      12" Info: *one copy found!**

                                      Zombina And The Skeletones

                                      Death Valley High

                                      After several aborted attempts at making their own horror movie (it's harder than it looks), cult Liverpool franken-popsters Zombina and the Skeletones have returned to what they do best - rocking. They've concentrated their efforts into a 13 song album version of their favourite film concept; the one where the teenage horror-addict psycho girl meets the hunky mad scientist at a Devo concert and they end up destroying the school, and the world, with lasers - welcome to "Death Valley High"! The story is now told in a killer collage of surf-to-metal guitars, tough garage punk beats, horror samples, doo wop vocal harmonies and Mr Jonny Tokyo's mutant army of pianos, organs and analogue synthz! Don't be afraid, though - this isn't Zombina and the Skeletones' foray into a new prog rock direction or anything like that. Mini genius punk-pop songs that rarely meet the three minute mark are still very much the order of the day!

                                      ZOMBY, one of the UK’s most enigmatic electronic producers, underscores his already illustrious succession of releases with his latest EP “GASP!" ZOMBY’s ability to effortlessly shift aesthetics across his career has firmly stationed him as a producer that can’t be boxed, and “GASP!" sees him altering his often jungle-driven sound yet again, furthering him as a sonic chameleon among an ever-increasing landscape of musical similitude.  In his signature spirit of cryptic variety, “GASP!" explores another tectonic revision in ZOMBY’s style. A shift forward indeed, the compact, 3-track EP is a relentless, hardware-driven behemoth of beats and breaks that fit somewhere between a chugging steel factory and a darkened dancefloor.

                                      FORMAT INFORMATION

                                      12" includes MP3 Download Code.

                                      Hardcore breaks revivalist / future bass maestro, Zomby comes at us with a brand new LP; including THAT collaboration with Burial ("Sweetz"). "Ultra" sees the esteemed producer dipping into a number of futuristic and dystopian styles. He warps discordant Eski grime on numbers "Burst", "Freeze" and "Yeti", creates dreamlike neon-blooms on "Her" and "Thaw", and builds crystalline music box takes on house and 2step on "Glass’ and "I". Side A sees the first of four collaborations as "Fly 2" has the amazing Banshee co-creating an icy but euphoric anthem for bedroom ravers and modern lovers across the UK's recession hit working classes. Not afraid to touch on England's dark underbelly, the record possess that same intent and attitude as, say, Dean Blunt's Babyfather, but does so without the lyrical content; instead relying on sonics and rhythms to get the point across. Across the LP Zomby also collaborates with Darkstar, Rezzett, Burial and HKE. These all throw up unpredictable fusions and immaculate fissions. Housed in red metallic mirriboard with debossed graphics, while the vinyl is additionally enclosed in spot-varnished hi-gloss card inner bags, designed by Ben Drury, reflecting the radioactive glow of Zomby's music. Already cited by many to be one of the best electronic albums of the year, and receiving heavy accolades from across the board, "Ultra" sees Zomby expand on his already impressive reputation with a fully realized vision of a broken England and a world fighting over what remaining resources we have left.

                                      STAFF COMMENTS

                                      Matt says: Cripes! This is good int it?! You're defo gonna be hearing me opening a few sets with "Her" over the dark months ahead. The rest of the album ain't bad either. 'TIP' I believe they say...

                                      When first released on Actress’ Werk Discs imprint, ‘Where Were U in 92 ?’ was instantly hailed as the rave album that was never made in the early ‘90s, a tumbling anthemic barrage of lost mixtape masterpieces from an artist who was starting to take the electronic dance scene by storm. However, ‘Where Were U in 92 ?’ is not just some facsimilie-style homage to the past, taking a firm grip of the energy and sheer rushing dynamics of early hardcore breakbeat, and placing those sounds and styles smack in the centre of right now. “He’s gotten to the point where he can invoke old signifiers as something more than you-had-to-be-there nostalgia: all at once, Where Were U in '92? is a history lesson, a depiction of a musical timeline that folds in on itself, and a revival that works because it approaches its subject with the idea that it simply evolved instead of died.”Pitchfork (8.3) // “Every texture and every nuance is immediately recognisable, an instant memory rush. But, far from being a facsimile, it all ends up sounding a bit well, weird. Zomby treats rave the way early Young Gods treated metal.” Quietus

                                      Zooey

                                      The Drifters

                                        'The Drifters' is the debut album from London based French duo ZOOEY (Matthieu Beck and Marie Merlet) that takes the listener on a trip between idleness and daydream. A classy collection of eleven electronic retro futuristic pop songs, underpinned by drum machines and synth arpeggios that meld fluently with flutes, pianos and percussion, creating a laid back yet evocative noir cinematic listening experience.

                                        Recorded in their London home studio, 'The Drifters' mixes the many influences and experiences of both musicians. Marie loves experimental pop and Sixties soul, she has been a long time collaborator of Laetitia Sadier in Monade and has just released her first solo album as Iko Chérie on Elefant Records. Matthieu was at the core of disco pop Parisian band Adam Kesher and is now involved in the London based indie group Oslo House as well as curating the ambient music podcast Love In The Afternoon. He's also the mystery French voice on the opening track of this years NZCA/Lines album.

                                        The album invites the listener to action ('Realise Realise'), questions our relationship to the world ('A Good Night Sleep'), celebrates freedom and escape ('Time To Get Alone') but also acknowledges the difficulty of changing ('Marcher La Nuit'). Two instrumental tracks and one cover are at the heart of the record: 'Jóia' and 'Joya' are balearic soundtracks directly inspired by library music records. 'The Country Song' is an adaptation of 'Let's Move To The Country' by singer- songwriter Bill Callahan.

                                        Mixed mainly by producer Charlie Alex March (NZCA/Lines and Veronica Falls) and their long time friend Emmanuel Mario (Astrobal, Julien Gasc). 'The Drifters' is released on the WONDERFULSOUND label, whose chief Miles Copeland recalls how they first met:

                                        “Many years ago Matthieu and Marie cheerfully came up to me after a gig I was playing in south London with my band The Superimposers. They had emailed me out of the blue one year earlier with a remix of one of our songs. They did it without stems and without our permission and I loved it! So I released it. When they moved from Bordeaux to London we built up a true friendship, so when I heard their album ‘The Drifters’ I knew it had to come out on Wonderfulsound.”


                                        "Zorch demonstrate how good 'weird' can be." SPIN.

                                        The debut full length by Austin duo Zorch is the end result of nearly 5-years worth of material similarly collected, then shredded, condensed and completely remolded into a solid whole. It sounds like two hyperactively creative minds finding ways to cleverly merge together effervescent synth blips, blue-eyed soul vocals, gang-chant backups, blurting EDM bass lines, frenetic drums, hazy psych-drone and even the proverbial kitchen sink taking leads here and there. Each song sounds like it could've been crafted out of samples from several different decades of pop culture history, though it's entirely the work of two exceptional musicians.

                                        If Zzoorrcchh sounds like a photomosaic looks, it's because there is similarly a meticulously organized logic to it all. When Zac Traeger (keyboards, omnichord, vocals) and Shmu (drums, omnichord, vocals) first started playing together in 2008 while studying music in college in Boston, the pair would improvise and record many hours worth of ideas. Some of these songs are direct descendants of those jams; the duo picking out pieces of those recordings, re-organizing and reworking them multiple times and in various studio settings while also adding on and creating new ideas. Demo versions of some of the songs on this album were previously released, only to again be redone a couple of times over for the album. And, Zorch even previously offered up all of the basic audio tracks from early EPs for fans to remix their own versions.

                                        The band are just as intensive about its live shows, often playing upwards of 20 shows during the 4 days of SXSW. Zzoorrcchh kicks off fittingly by easing listeners into their world with a slow fade-in to whirling synths, a stately piano loop and countless layers of sounds comprising "My Joy is Explosion." The minute-long tune immediately segues into the blissfully hyper celebration of life, "We All Die Young." Here, Shmu's rollicking drum pattern that might make Neil Peart's head spin drives Zac's frantic synth arpeggios while several layers of voices sing, "what a day, let's celebrate it/ I want to feel elated." Elsewhere, on "This Is The Way It Goes" neo-rave staccato chords sounding like computer error tones, marimbas and pounding toms meet cheerful vocals singing the song title's seeming lament. "Inopportune Sailing" starts off like a repetitive, perky chiptune from an imaginary 80s video game that morphs into a full-fledged living pop-soul jam. It sounds like Zorch actually beat Daft Punk to the punch at making their own organic recordings sound like vintage song samples. "Zut Alors", a longtime fan live favorite lyrically pokes fun at conspiracy theories of reptilian overlords with the refrain, "giant surprise/ We are lizards disguised/ And we're controlling your lives/ With trilateral spies."

                                        The album is a wild auditory amusement park that gets more and more exciting with each visit. Early support/features confirmed with Pitchfork, Spin, Magnet, Alarm, Consequence of Sound, MSN and much more.

                                        John Zorn

                                        Filmworks XVIII - The Treatment

                                        Rudavsky's new romantic comedy, Zorn has put together a new quartet with a fresh new sound. Drawing upon the modern tango of Piazzolla with a touch of minimalism, this dynamic quartet of violin, accordion, vibes and bass is modern instrumental music at its creative best. At times upbeat and humorous, at times dark and moody, the music combines a soaring lyricism with interlocking counterpoint and complex rhythmic tapestries. Featuring guitar genius Marc Ribot in a supportive role on several tracks.

                                        John Zorn

                                        The Hermetic Organ:Philharmonie De Paris

                                          John Zorn. Rituel * Une Crise de Nerfs * Prière Empoisonné * L’heure des Sorcières John Zorn returns to his original instrument with a new volume of organ improvisations recorded at his infamous Weekend in Paris in April 2017. The organ at the Grand Salle Pierre Boulez is one of the most powerful and versatile in France, and Zorn approaches it with great sensitivity and wild abandon. Includes both the full 40 minute concert recording, and over 30 additional minutes of Zorn alone at the manuals in rehearsal the same day.

                                          John Zorn

                                          The Urmuz Epigrams

                                            Desperate from Having Been Left without a Bladder With The Urmuz Epigrams Zorn returns to his roots, using the recording studio as instrument to create an intensely personal suite of compositions in the style of his legendary File Card compositions and Zoetropes. Dedicated to the visionary Romanian writer Urmuz whose small, scattered body of work predated Dadaism by decades, The Urmuz Epigrams is a suite of surrealistic miniatures more akin to philosophical aphorisms than actual music. The pieces are presented here in two iterations, as a set of “rare 78rpm records” complete with surface scratches and limited dynamic range, and as a modern reconstruction of same with the full blown studio sound presented in all its perplexing glory. Some of the craziest music in the Zorn catalog!

                                            John Zorn

                                            There Is No More Firmament

                                            There is No More Firmament is a remarkable collection of recent compositions from 2013–2016 that showcase the range, variety and continued creativity of Zorn as he enters his sixties. Connected together with a thread of intensity, magic and madness, the music tells a twisted and complex story of a magical descent into madness. The compositions include two works for brass ensembles, a woodwind quintet, jazz piano trio, string trio and two solo pieces for clarinet and trumpet, with the outrageous trumpet solo Merlin appearing in two realizations—one by jazz master Peter Evans and another by the European classical virtuoso Marco Blauuw from MusikFabrik.


                                            Zorn’s compositions for a cappella voice are some of his most sensual and sublime creations. This CD presents his two books of Madrigals scored for six female voices. Beautifully performed by his long time ensemble the “Sapphites” the music is even more varied and challenging than his previous masterpieces The Holy Visions and Shir Hashirim, touching upon minimalism, tonal and atonal counterpoint, textural experiments and more. Inspired by the visionary poetry of 19th century British Romantic Percy Blysse Shelley, a charming lyricism and subtle spirituality rides through the music from first note to last. 

                                            John Zorn

                                            Sacred Visions

                                            Sacred Visions presents two Zorn masterpieces touching upon the mediaeval world. The Holy Visions is a Mystery Play in eleven strophes concerning the life, work and philosophy of 12th century composer, healer and visionary mystic Hildegard von Bingen, and is one of Zorn’s most beloved and acclaimed works for voice. Here is it coupled with Zorn’s latest string quartet The Remedy of Fortune, six tableaux depicting the changing fortunes of romantic love, which was inspired by the work of 12th century troubadour Guillaume de Machaut and receives a precise and passionate reading by the brilliant JACK quartet. Two brilliant modern compositions drawing on mediaeval spirituality, both sacred and secular! 


                                            Featuring the magical sonorities of Bill Frisell’s guitar in a heavenly tapestry of harp and vibraphone, the Gnostic Trio is one of the most sublime ensembles in Zorn’s ever-expanding universe. Their sixth CD is their best yet, and presents gorgeous and intimate chamber music touching upon themes of innocence, adventure, childhood and longing that unfold like an exotic flower. Inspired by the charming character Scout from the American classic To Kill A Mockingbird and tempered by a folk-like simplicity, Zorn and company spins an hypnotic web of melodic beauty to soothe the restless spirit. 


                                            John Zorn

                                            The Alchemist

                                            Zorn’s string quartets are some of the most important modern contributions to the canon and a new Zorn quartet is truly a cause for celebration. His sixth quartet is inspired by the hermetic Angelic actions of John Dee and his mystical medium Edward Kelley and contains some of the most intense contrapuntal writing he has yet achieved. Replete with the procedures of distillation, calcination, crystallization, sublimation, purification, rotation as well numerology, prayers, canons, contrapuntal complexity and the ghost of a familiar fugue, this music is part séance, part science, and all Zorn—in short, a trip through an alchemist’s laboratory! Performed here by Zorn’s own Quartet, this is the definitive recording of this important and powerful string quartet, already considered a modern classic. Also included is Zorn’s mystical response to the ancient Newgrange sacred site in Ireland, a beautiful and evocative setting of Amergin, one of the oldest Celtic sacred texts, written for three female voices.


                                            John Zorn

                                            The Hermetic Organ Vol. 2 - St. Paul's Chapel, NYC

                                              Drawing upon traditions as varied as Messiaen, Xenakis, Ligeti, Bach, Tournemire,Ives, Korla Pandit and The Phantom of the Opera, Zorn’s organ improvisations are transcendent, inspiring, ecstatic experiences, offering a direct line to the workings of his rich compositional imagination. Performed at St. Paul’s Chapel at a time when the organ was undergoing extensive reconstruction, the limited number of stops available to him focused his imagination to new heights, resulting in Zorn’s most revelatory recital to date. The second volume documenting these legendary organ recitals is a transcendent experience filled with moments of passion, tenderness,
                                              fragility and extraordinary power.

                                              Zuhura Swaleh & Party initially rose to fame on the Mombasa scene in the early 1970s. Traditional taarab music – the Islamic music of Zanzibar and the East African coast – had for a long time been influenced by Bollywood soundtracks, but Zuhura & Party were instrumental in bringing the focus back onto classic Swahili styles, at the same time introducing a new fast-paced and electrically amplified style known as chakacha that revolutionized the scene.

                                              Zuhura was not afraid of speaking out and her music - sometimes featuring risqué lyrics - dealt with contemporary issues from a female perspective, something of a rarity at the time and something that would pave the way for the new “modern taarab” sound that came to fore in the 1990s.

                                              The group played across Kenya, Uganda and Tanzania throughout the 70s, and while playing a wedding in Nairobi in 1981 they were approached by the local Polygram studio to record an album - one of the only full-length Taarab recordings of the period. The record did not catch on as the LP format was not suited to the tiny portable record players in use in Kenya back then, and the record industry as a whole collapsed in the wake of the 1982 coup d’état attempt and the resulting economic slump. Only a few records were pressed and have since become much sought-after collectors’ items. Locally the songs survived and remained popular as pirated dubs (first on cassette now on CDR). 


                                              Zulu Winter are set to release their eagerly awaited debut album on Play It Again Sam Recordings.

                                              'Language’ was produced by Tom Morris at 4AD’s studio in Wandsworth, and Miloco Pool Studio, South London, and was mixed by Claudius Mittendorfer (Interpol, The Vaccines, Glasvegas) in New York.

                                              “Music that shimmers like a sky full of fireworks” - NME
                                              “They shine a light on eerie, shimmering art pop” - The Fly
                                              “Stealth like hit of the year, their charms captivate” - Loud & Quiet

                                              Peter Zummo (born 1948) is an American composer and musician. He plays the trombone, valve trombone, euphonium, synthesizer, other electronic instruments, and also sings. He is associated with the postminimalist and Downtown aesthetics, and he describes his music as "minimalism plus a whole lot more." He’s well-known for his work with Arthur Russell.

                                              “In this project for Optimo, the listener can hear that my musical food pyramid has musicians at top, or maybe they are at the bottom. In any case, they are important. That is why, from track to track, I selected segments in which one player or another is featured in the take. Some may think that we musicians do multiple takes to get the perfect performance, but I like to find the special interactions lurking in each excursion. Different players came forward in each of the takes, which were recorded in the studios Seaside Lounge and Headroom, in Brooklyn, and live in performances at Cube Cinema, in Bristol, U.K., as well as in Long Island City and on Staten Island, New York.

                                              In order to escape the tyranny of the lyric, I am exploring in this release the possibilities of nonsensical and non-emotional lyrics. These kinds of lyrics bring the singing voices into the mix without an overweening message. The tracks include open-form compositions in which the duration was not specified.”


                                              STAFF COMMENTS

                                              Patrick says: Downtown legend and Arthur Russell collaborator Peter Zummo lands on Optimo Music with a sublime set of spiritual frequencies in strung out sleeping bag style. Indian percussion, loose bass and echo drenched trombone float freely on an LP perfect for horizontal journeys and sofa-based space excursions. Jazzy, Balearic and a little bit silly, this should please anyone looking to bathe in the light of the miracle...

                                              Zwartjes

                                              Tapes 1

                                              This LP represents the first ever sound recordings from the archive of cult Dutch film director Frans Zwartjes. The sound is unlike anything you maye have heard - dream-like, disjointed, peculiar, unexpected and totally unique. Frans Zwartjes is famous for his art-house films (look him up on YouTube). A Dutch underground auteur, his prolific output dates from 1968.

                                              A unique talent, Zwartjes produced, directed and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes is still alive today and his large body of work is only now being recognised by a wider, more international crowd, with screenings at the NFT and other important art-house cinemas across the world. The recordings on Tapes 1 were mixed directly from the Zwartjes soundtrack tape archive.

                                              They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and were originally issued three years ago on cassette, in an edition of 50. Don’t bother trying to find one of them. The music, sound and speech have been put together as two long, seamless sequences; they are dreamlike, peculiar, plugged-in, prescient and unlike any other soundtrack we have heard.

                                              STAFF COMMENTS

                                              Patrick says: Shifting between kosmische synthscapes, abstract tape experiments and experimental jazz, this collection of self composed scores from Dutch auteur Frans Zwartjes is batshit, beautiful and brilliant all at the same time.

                                              "My name is Stephen Evans and I am the bass player from the band Twisted Wheel. I have played in many bands before joining Twisted Wheel, most of which you will have probably never heard of.

                                              I've always loved the process of writing and recording music, and during the last few years I have compiled quite a large collection of songs. The idea of ZX+ was to write and record songs under rules and guide lines, whether it be time restraints, conceptual ideas, or any other unusual restrictions that do not accompany the freedom involved with writing. I especially liked the songs which resulted from the idea of time restraints, with their unusual structures, and production techniques that were used to disguise mistakes and rushed recordings. The combination of these factors made for a very interesting sound, one entirely different to the songs I would usually write. After the idea of writing songs with rules got a bit boring, I decided to try and write some songs that had similar structures and production techniques to those written under time constraints, without the idea of time constraints preventing me from improving them. I recorded about 30 songs with this idea in mind, and picked the best ones for this album.

                                              I love vinyl, and I still consider it the best way to listen to music. Holding the sleeve of the record, marvelling at it's artwork, reading the notes, watching the record spin - these are all physical aspects of listening to music that are being lost through the way in which digital has taken over the listening experience. This album is only available on vinyl, I hope you enjoy it."

                                              FORMAT INFORMATION

                                              Ltd LP Info: Limited white vinyl. 300 copies only.


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