Vinicio Adames


We are in 1987 and 2 years have passed since Vinicio Adames debut album “El Comienzo Del Camino” when Venezuelan painter Ernesto Leon asks Vinicio to compose music for his New York Art Exhibition at Lincoln Centre. The result is an exceptional composition and modern sound interpretation of their national heritage the Amazonas. Both Amazonia I + II, each version in its own way, honor the majesty and mystery of one of worlds greatest nature reservoirs. Both compositions were never intended for commercial release, and were only given out by hand in Flexidisc format during the exhibition. We at TrueClass Record felt, that the time has come to present this gem to all musiclovers worldwide. Short Info: Venezuelan Electronic Music Pioneer Vinicio Adames Synth-Pop Masterpiece from 1987. Vital Sales Points: 1st Official release. Quality Restoration and Re-Mastering by Calyx Mastering.


says: Collectors of ambient, Balearic and 80s synth-scapes know you have to scour the exhibition catalogues, fashion collection promos and weird commercial tie-ins to find the deepest nuggets. This shamanistic masterpiece is no exception, created for an Ernesto Leon exhibition in NYC '87. Perfect fourth world tackle for play alongside Crelier, Hassell and Finis Africae.


Amazonia I
Amazonia II

Here’s some things you should know about Larry: His legs are long. His heart is true. His heroics are unmatched. Leaky faucet? Stolen bike? Trouble with your math homework? Fear not! Larry is here and he’s got what it takes to ease your troubles. We can’t keep this green guy away from a good cause! The song "Long Legged Larry" details 3 instances where Larry’s valiance shines.Draftsman and renowned amphibian consultant Jeremy Fish created the artwork, and helped visualize Larry in the form of a beautiful plush toy with sick shorts and a big beard. Furthermore - visionary Rob Shaw has captured some of this frog’s finer moments through the magic of stop-motion animation in a music video available right now for your viewing pleasure.


says: Aesop gets his Slick Rick on, swerving into story teller mode to tell the story of a freaky frog called Larry over some brill boom-bap snatched from psych funk nuggets.


A. Long Legged Larry
B. Long Legged Larry (instrumental) 


Cold Water Music - Ice-Blue Vinyl Edition

    ATIC Records is proud to present the long-awaited vinyl reissue of Aim’s groundbreaking debut LP, ‘Cold Water Music’. Re-mastered from the original tapes and featuring all-new artwork. Heavy card (420g) outer sleeve. Black poly-lined inners. Transparent ice-blue vinyl (140g). There’s nothing quite like a re-issue to make you remember why you were so blown away with an artist the first time around and this new vinyl edition of 'Cold Water Music' does just that. Aim’s debut back in 1999, shifted over 100,000 copies on mere word-of-mouth and a listen to it again, seventeen years on, only serves to show why it got passed around. It’s a startling work of soul and hip-hop, packed with heartbreakers like the ever beautiful Sail, epic moments such as the mammoth title track, and fine breaks like the aptly named 'True To Hip Hop'.


    says: For me, this is one of the albums that really sums up Manchester at the end of the last millennium. Feel good hip hop, I can't help but smile when I listen to it.

    Two years on from the release of their remarkable debut album, 'New Moon', Almunia return with a second full-length of chugging psychedelic dub-disco, shimmering acoustic grooves and spine-tingling Italian Balearica. Decidedly less heady than its predecessor, 'Pulsar' impresses with its glistening guitars, touchy-feely textures, ocean-blue chords and otherworldly atmospherics. Along the way, there are tracks that variously sound like Cos/Mes jamming with Pet Metheny (‘The Magician’), the Idjuts locking horns with Mudd (‘Ode To Mum’), classic Scandolearica (the Lindstrom & Prins Thomas-ish ‘Pulsar’), Peter Green on valium (‘Views From A Blue Train’) and a lost Fleetwood Mac track (‘Secret Marriage’). Featuring brilliant new artwork by Mark Warrington this is an essential summer album.


    1. The Awakening
    2. Wrapped In Your Hair
    3. Ode To Mom
    4. Views From A Blue Train
    5. Follow What You Are
    6. The Magician
    7. Secret Marriage
    8. Pulsar

    John Andrews & The Yawns


      “John Andrews is picking flowers from each corner of his life and presenting you with an unusual bouquet. His imaginary band ‘The Yawns’ are back! Third time’s a charm. In hockey terms, they call it a ‘hat trick’ and you know who’s always wearing a ratty old hat? John Andrews. Three years in the making and we have Cookbook, the third, and most colorful record from your favorite New Hampshire based craftsman. “Unknowing folks usually assume he lives in New York City or Los Angeles but confer with John for five minutes and if he’s in the right mood he’ll talk your ear off about the granite state and the old, seedy colonial barn where he’s tracked his records with his weird and wonderful friends. “Take a listen to his previous effort, 2017’s Bad Posture. It was the grassroot slacker’s pie in the sky. His head was stuck in the past. He probably excessively listened to ‘Cripple Creek Ferry’ and he most likely wasn’t keeping up with household chores. Time moves on, but just look at him now! All grown up yet likely still feeling those growing pains. After a few more years of traveling we now have Cookbook, fresh out the oven…phew! About nine or ten new tracks, but who’s really counting? “The lyrics are simple and endearing, inspired by mid-century love songs. His inspirations are all across the board. If his subconscious was a bootleg taper, life would be the show. “At any rate, it doesn’t sound like a record made in New Hampshire, but make no mistake, this is a dyed-in-the-wool Yawns record, refreshingly straightforward yet full of character. It’s less of a crowded honky tonk, and more of an empty, poignant speakeasy. You can finally relax indoors after a weary day out in the cold. Have you ever seen that painting of dogs playing poker? It might as well be what they were listening to as the bulldog pushed his chips forward.” —John’s mom


      1. New California Blue
      2. River Of Doubt
      3. Ain't That Right?
      4. Try
      5. Song For The Gonz
      6. Early Hours Of The Morning
      7. Easy Going
      8. Johnny's Cookbook
      9. Keep On Dreamin
      10. Thankyou

      Aura Safari is an Italian Jazz / Fusion quintet consisting of Nicholas Iammatteo, Alessandro Deledda, Lorenzo Lavoratori, Daniele Melloni and Andrea Moretti.

      Each member of the band comes from different musical backgrounds like Jazz, 80's Boogie, World Music, Italo House, Balearic Beats, Jazz Funk and soundtracks. What most influenced them was spending years in the local scene of Perugia (Italy) attending Umbria Jazz Festival every summer and winter nights at the legendary Red Zone Club.

      This is the first 7 inch release for the band, we are very excited and honoured to have them on Terrasolare! On the A Side we have Niagara a truly emotional waterfall! A Jazzdance track à la Incognito melted with cinematic atmospheres. The perfect soundtrack to drive your convertible down the seafront on a hot summer day during sunset.

      On the flip we have Agua De Luna, where we left the sunset drive behind and we move to downtown under an exotic full moon light where the night begins… dreamy synth line, Fender Rhodes and slapped jazz funk bass line… we leave the rest to your imagination…

      As always mastered and manufactured by Timmion Cutting. Comes with silver pantone label and premium brown paper sleeve.


      1. Niagara
      2. Agua De Luna

      Anthoney Hart returns with his second Basic Rhythm album for Planet Mu. 'Electronic Labyrinth' is a maturing of his sound that draws a line under his work as Basic Rhythm thus far. The title itself conveys the overarching theme of the album, evoking the journey through a musical labyrinth that Hart has undertaken over the last 30 years or so, following a path through to the centre where these disparate strands have coalesced and solidified into a coherent whole.

      The underlying themes are of a more personal nature, intimated by the cover photo of St Fabian Tower where Hart first joined the now infamous Rude FM in the late 90s, the sometimes misleading directness of the track titles, as well as explicit references to books such as Wilson Harris’ Palace of the Peacocks, the ontological promiscuity of Harris’ writing mirrored here in Hart's own musical endeavours. What you end up with is an album that not only draws upon a wide range of influences from both the musical and literary worlds, intertwining them within a deeply personal context that imbues the music with a depth of meaning, but that is also somehow more coherent despite such a wide range of references and hidden meanings. It is at once both an album of subtexts open to interpretation, and a cohesive whole that fits together perfectly.



      2/Hayward Road
      3/Acid Track
      4/Larkin Around


      1/Electronic Labyrinth
      3/Palace Of The Peacock
      4/The Secret Ladder

      Beat Happening

      Crashing Through

        Formed in Olympia, Washington in 1982 by Calvin Johnson, Heather Lewis and Bret Lunsford. This 4 track single was originally released in 1987 on 53rd & 3rd records and appears here for the first time on 7”.


        Side A
        Crashing Through

        Side B
        The This Many Boyfriends Club

        Side C
        Look Around

        Side D
        That Girl

        Beautify Junkyards With Belbury Poly

        Painting Box

          The A side is a cover of The Incredible String Band’s Painting Box, originally written by Mike Heron. It’s a collaboration between Beautify Junkyards and Belbury Poly and produced by Jim Jupp. The flipside is an original by Beautify Junkyards, Ritual in Transfigured Time, produced by João Branco Kyron.

          Both have a delightfully disorientating sound. The artists complement each other perfectly with their through-the looking-glass electronic psychedelia.

          Beautify Junkyards:
          A talented group of Lisbon based multi-instrumentalists headed up by João Branco Kyron on vocals and keyboards with Helena Espvall (formerly of Espers) on cello, flute and electric guitar, Martinez on vocals, João Moreira acoustic guitar and keyboards, Sergue Ra on bass and Antonio Watts on drums and percussion.

          Belbury Poly:
          Jim Jupp is co-manager of UK label Ghost Box Records. As Belbury poly he’s released EPs, singles and six albums on the label. He is also a member of The Belbury Circle along with Jon Brooks (of The Advisory Circle) and occasional collaborator, John Foxx. He’s remixed tracks for several artists including John Foxx and Bill Ryder-Jones (The Coral) and has co-written a song with Paul Weller for his 2020 album On Sunset.

          Andy Bell

          See My Friends EP

            The two tracks from Andy Bell’s debut solo single reworked by Pye Corner Audio, with the original tracks remastered by Heba Kadry.

            TRACK LISTING

            1.The Commune (Pye Corner Audio Remix)
            2.Plastic Bag (Pye Corner Audio Remix)
            3.The Commune
            4.Plastic Bag

            Matt Berry

            The Blue Elephant

              In his tenth year with Acid Jazz, the ever-prolific Matt Berry has crafted a psych masterpiece. Once again proving his artistic progression and ambition knows no bounds

              Recorded during the summer of 2020, ‘Blue Elephant’ is testament to Matt’s exceptional musicianship, production skills and songwriting prowess with every instrument played by Matt including, guitars, bass, a variety of keyboards and synthesizers (piano, Wurlitzer, mellotron, Moog, Hammond, Vox and Farfisa organs), with the exception of drums – supplied by Craig Blundell, on arguably his best album to date. 

              This music soundtracks an album that explores themes surrounding today’s close scrutiny in all its bewildering, objectifying and unnerving experiences. Very much a conceptual and, therefore, continuous long-player, the album’s infectious grooves come to the fore on standout tracks ‘Summer Sun’, heavy-psych instrumental ‘Invisible’, the three-part ‘Blues Inside Me’, which encompasses a psych journey through a late ‘60s and early glam filter mixed with the propulsive ‘Like Stone’.

              TRACK LISTING

              1. Aboard
              2. Summer Sun
              3. Safe Passage
              4. Now Disappear
              5. Alone
              6. Invisible
              7. Blues Inside Me
              8. I Cannot Speak
              9. The Blue Elephant
              10. Life Unknown
              11. Safer Passage
              12. Like Stone
              13. Story Told
              14. Forget Me
              15. Now Disappear (Again)

              The Black Keys

              Delta Kream

                The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

                Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

                Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard [John Lee] Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

                The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

                TRACK LISTING

                1. Crawling Kingsnake
                2. Louise
                3. Poor Boy A Long Way From Home
                4. Stay All Night
                5. Going Down South
                6. Coal Black Mattie
                7. Do The Romp
                8. Sad Days, Lonely Nights
                9. Walk With Me
                10. Mellow Peaches
                11. Come On And Go With Me

                Phoebe Bridgers

                Copycat Killer

                  Copycat Killer is a 12” featuring 4 exclusive new versions of songs from Phoebe Bridgers’ wildly acclaimed Punisher album. Collaborating with arranger Rob Moose (Sufjan Stevens, The National, Bon Iver, Vampire Weekend, Jay-Z), these are brand new orchestral arrangements of the songs Kyoto, Savior Complex, Chinese Satellite and Punisher, all given a luscious revamp that is sure to delight any fans of Phoebe’s album and serve as perfect gateway for new listeners into what makes her one of the most special artists of 2020 and beyond.

                  TRACK LISTING

                  SIDE A:
                  1. Kyoto (Copycat Killer Version)
                  2. Savior Complex (Copycat Killer Version)
                  SIDE B:
                  3. Chinese Satellite (Copycat Killer Version)
                  4. Punisher (Copycat Killer Version)

                  Big break heavy extensions of a pair of classic funk cuts here, once again pressed in limited numbers for the collectors and DJs out there. On the A-side James Brown's "Funky Drummer" comes under the knife, looping up into a longer, beefier rendition a touch shy of five minutes. Over on the flip, the classic, but far from quantized "Root Down" by Jimmy Smith gets set to a click and extended with highly mixable loops of the track's insatiable groove.

                  TRACK LISTING

                  A1. James Brown - Funky Drummer (extended Breaks Special Edition)
                  B1. Jimmy Smith - Root Down (extended Breaks Special Edition)

                  Buffet Lunch

                  The Power Of Rocks

                    BUFFET LUNCH are a Scottish group who make it their mission to craft satisfyingly imperfect pop songs filled with imagery and humour.The group’s elementary parts are Perry O’Bray (Vocals/Keys/Guitar), Neil Robinson (Bass), John Muir (Lead Guitar) & Luke Moran (Drums), united by a shared love of music on the ABBA-to-Beefheart axis.

                    These four ricochet between Glasgow and Edinburgh, creating music that bristles with DIY spirit and upbeat wonkiness. Their tracks are vigorous excursions, meandering into clattersome terrain as often as hiking up into the breezy, melodious foothills.The desire to lead the listener along a curious tale helps tie things together, showcasing a lyrical playfulness that pins down their puzzle of sound.

                    Having been an active band for a few years, playing regularly north of the border with like-minds such as Irma Vep, Robert Sotelo and Kaputt, Buffet Lunch spent early 2020 working on the follow-up to their two EPs on Permanent Slump.The fruits from such labour bore out as the band’s debut album ‘ThePower of Rocks’, out may 7th on Upset The Rhythm.

                    ‘ThePower of Rocks’ was recorded in a Crofters cottage/studio on the banks of Upper Loch Fyne in Argyll, over four nights and five days at the beginning of March 2020, before Covid-19 made itself such an ongoing concern. Back then four people could occupy the same space and make music, lunch and dinner together. Days fell into a pattern of long sessions and long meals.The album came together as a luminous mix of Buffet Lunch’s live chestnuts, some sparky recent songs and some new material entirely written and recorded in situ. All tracks were recorded by Neil Robinson acting as the in-house engineer.

                    As the seriousness of the virus and talk of national lockdowns developed - there was a feeling of anticipation more than fear in the air, but being holed up in cottage in a wild corner of Scotland surrounded by snowy mountains still took on an apocalyptic feel, albeit an apocalypse where the band were safe and overdubbing vocals. After leaving the cottage, reality (as it must) set in and finishing the album became a more remote task.

                    Over the following months, an extended period of listening awarded the recordings a deeper realisation, as they bounced between band members computers. Perry also started writing on his Casio keyboard and collaborated on a couple of songs (‘Ten Times’ & ‘Ashley’s New Haircut’) with Jayne Dent (of electronic music project Me Lost Me), drawing on her ethereal singing voice as a counterpoint to his own more ‘spoken’ vocals on the album. These gauzy, dreamlike tracks were then sent to other members of Buffet Lunch to add their respective parts, creating evocative new dimensions to close each half of the album with.

                    The Power of Rocks’ rattles along like a short-story collection, exploring a variety of narratives. When it comes to the music itself, Perry describes their approach as “see what happens” but admits to a preference for simple synth melodies, plenty of percussion, and prickly guitar-parts. ‘Red Apple’ opens the album with a dizzy swagger, guitars and keyboard notes swirling in forays whilst its lyric tackles notions of social bravado. ‘Orange Peel’ follows equally serpentine with its blattering tune and jagged, yet jolly melodic twists.The themes across the album are wide-ranging and personal, from irritation with out of touch politicians (‘Pebbledash’), to love letters to seaside living (‘Bladderwrack’), to even the frailty and confusion of old age (‘Said Bernie’, ‘It Helps to Know’). Title track ‘ThePower of Rocks’ is an ode to the power of nature sunk within a rolling wave of cheery jangle. “Do you believe in the power of rocks when the sun is too hot on your face?” sings Perry as the song zigzags with consequence. ‘He Wore Two Hats’ sports similarly bop-worthy riffs and addictive nods as it deals with its story of savvy man who’d bitten off more than he could chew.

                    Buffet Lunch’s debut album accomplishes a lot in its brief 38 minutes. It stuns and startles, intrigues and entwines, drawing the listener further into its characterful world. When asked about any intent posed with this debut record Perry confides that “we hope people can hear the joy the band had making the album and the curiosity and frustration that went into the writing. There was no process or design, but there is detail, and deliberateness in our wish to explore and create.” It’s this attentive focus alongside a keen sense of humour that really sets Buffet Lunch apart, with ideas darting wilfully to and from the poignant truths at hand.

                    TRACK LISTING

                    01. Red Apple
                    02. Orange Peel
                    03. Pebbledash
                    04.ThePower Of Rocks
                    05. Bladderwrack
                    06. Ten Times
                    07. Looking At Liz Talent’s Chair
                    08. Said Bernie
                    09. Helps To Know (Time Moves)
                    10. He Wore Two Hats
                    11. Ashley’s New Haircut

                    Anna Calvi

                    Anna Calvi (10th Anniversary Edition)

                      Anna Calvi will release a 10-year Anniversary edition of her self-titled debut album via Domino. An astonishingly confident record; ‘Anna Calvi’ showcases the unique strengths of her songwriting, singing and virtuoso guitar-playing, all jumping out of the speaker together. Calvi drew on the ghosts of Nina Simone and Maria Callas for influence to create a stunningly modern sound.

                      To date, Anna Calvi has released three studio albums (‘Anna Calvi’, ‘One Breath’ and ‘Hunter’), a collaborative EP with David Byrne (‘Strange Weather’) and the most recent ‘Hunted’, a seven-track reworking of ‘Hunter’. Additionally, Calvi wrote and performed the score for Season 5 of BBC One’s Peaky Blinders and wrote the music for the opera The Sandman, directed by Robert Wilson.

                      Anna is the first solo artist to achieve three consecutive Mercury Prize nominations and has also received a Brit Award nomination. Throughout her career, Calvi has worked with Brian Eno, Marianne Faithfull, Charlotte Gainsbourg, Joe Talbot (IDLES), Dave Okumu (The Invisible), Johnny Flynn, Adrian Utley (Portishead) and Courtney Barnett.

                      The LP, which includes the likes of ‘Desire’, ‘Blackout’, ‘Rider To The Sea’ and ‘Suzanne And I’, is reissued for the first time, available to independent retailers on deluxe red vinyl. It also features brand new cover artwork and an 8-page booklet containing previously unseen photographs, plus digital download code.

                      TRACK LISTING

                      1. Rider To The Sea
                      2. No More Words
                      3. Desire
                      4. Suzanne And I
                      5. First We Kiss
                      6. The Devil
                      7. Blackout
                      9. I’ll Be Your Man
                      10. Morning Light
                      11. Love Won’t Be Leaving

                      John Carpenter

                      Lost Themes

                        John Carpenter, the legendary director and composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album ‘Lost Themes’ on Sacred Bones Records. 

                        John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fufighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

                        “Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

                        As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Singularly titled to inspire dread with such names as “Vortex,” “Dominion,” “Abyss,” and “Purgatory,” but all linked into a unified whole, Lost Themes has a mesmerizing power. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and the raging guitars and chiming percussion of Goblin’s Suspiria. “’Both classical music and rock and roll are part of my musical language, which is riff-driven,” Carpenter explains. “So if you listen carefully, I’m sure you can hear some echoes from my past. But I’m sure that’s true of any composer. You just bring your music along with you.”

                        TRACK LISTING

                        1. Vortex
                        2. Obsidian
                        3. Fallen
                        4. Domain
                        5. Mystery
                        6. Abyss
                        7. Wraith
                        8. Purgatory
                        9. Night

                        On Halloween 2014, the director and composer John Carpenter introduced the world to the next phase of his career with “Vortex,” the first single from Lost Themes, his first-ever solo record. In the months that followed, Lost Themes rightfully returned Carpenter to the forefront of the discussion of music and film’s crucial intersection. Carpenter’s foundational primacy and lasting influence on genre score work was both rediscovered and reaffirmed. So widespread was the acclaim for Lost Themes, that the composer was moved to embark on something he had never before entertained – playing his music live in front of an audience.

                        2016 will host the first ever John Carpenter tour and in true Carpenter spirit, a sequel to Lost Themes: Lost Themes II. The follow-up brings quite a few noticeable changes to the process, which result in an even more cohesive record. Lost Themes’ cowriters Cody Carpenter (John’s son) and Daniel Davies (John’s godson) both returned. Cody was recently also heard as a composer for Showtime’s Masters of Horror series (Cigarette Burns and Pro-Life), and NBC’s Zoo. Davies was a composer for NBC’s Zoo, as well as the motion picture Condemned.

                        All three brought in sketches and worked together in the same city, a luxury they weren’t afforded on the first Lost Themes. The result was a more focused effort, one that was completed on a compressed schedule — not unlike Carpenter’s classic, notoriously low-budget early films. The musical world of Lost Themes II is also a wider one than that of its predecessor. More electric and acoustic guitar help flesh out the songs, still driven by Carpenter’s trademark minimal synth.

                        Keep your eyes peeled for John and his co-writers to hit the road next year performing both lost and newly found themes, in addition to retrospective work from Mr. Carpenter’s multi-generational career. Long live the Horror Master.

                        STAFF COMMENTS

                        says: Master of Kosmische synth-workouts and general synth-based sountracking legend John Carpenter returns here with the second instalment of his surprising 'not a soundtrack' offering from last year. More twinkling synths, motorik pulses and cavern-soaked reverbed drums. Though soundtracks have always been Carpenters raison d'etre, this outstanding expansion on his lost themes selections just goes to show that Carpenter is indeed the king of the cosmic.

                        TRACK LISTING

                        1. Distant Dream (3:51)
                        2. White Pulse (4:21)
                        3. Persia Rising (3:40)
                        4.Angel’s Asylum (4:17)
                        5.Hofner Dawn (3:15)
                        6.Windy Death (3:40)
                        7.Dark Blues (4:16)
                        8.Virtual Survivor (3:58)
                        9.Bela Lugosi (3:23)
                        10. Last Sunrise (4:29)
                        11. Utopian Facade (3:48)
                        12.Real Xeno (4:30) (CD / Download Bonus Track)

                        Ian Carr


                          Official half-speed mastered re-issue of British trumpeter and bandleader Ian Carr's iconic jazz-fusion-rock hybrid ‘Belladonna’ from 1972.

                          Originally released on the Vertigo label, complete with collectable ‘swirl' record centre design, this sought-after jazz-rock-fusion rarity features some of the cream of the UK jazz musicians of the 70’s. Comprised from groups such as Nucleus, Brian Auger's band, Soft Machine, Stan Tracy group, the players included Brian Smith (tenor and soprano saxophones, alto and bamboo flutes), legendary guitarist Allan Holdsworth, Dave MacRae (Fender electric piano), and bassist Roy Babbington, to name but a few.

                          Seen as a benchmark point in Ian Carr's career, 'Belladonna’ is awash with atmospheric excursions and ethereal qualities, as well as a darker fusion aesthetic and prog-rock sensibility from Holdsworth's exceptional guitar playing. The moody, yet funky, vibe of the album has echoes of Miles Davis' electronic era à la 'In A Silent Way'.

                          The album is best enjoyed played in its entirety. There are ebbs and flows with certain tracks shining along the way. Standouts include the beautiful down-tempo track 'Summer Rain’, which has a soundtrack / library style brilliance and emotional electric piano soloing. Though recorded in the 70’s, the track has a timeless sound, a melancholic funk so often used in hip-hop and beat tape productions to this day. ‘Mayday's Shaft-like long extended intro builds the drama until the percussive release when the drums drop at over three minutes in.

                          To give a record of such quality the treatment it deserves, we have once again been lucky to enlist the service of mastering and lacquer cutting engineering don Miles Showell at Abbey Road Studios, to cut a brand-new half-speed master and let the music speak for itself.

                          TRACK LISTING

                          A1. Belladonna
                          A2. Summer Rain
                          B1. Remadione
                          B2. Mayday
                          B3. Suspension
                          B4. Hector’s House

                          Originally released as one side of a split E.P on Firewire Recordings back in 2002 “Venting Steam” and “Solid Gear” get a fresh remaster on Varial Records.

                          Featuring alongside are two additional unreleased tracks created and recorded at The Cube in the same time period, "Muted Point" and "Tallon Drive" provide a more lo-fi 4/4 techno workout. Inspired by the other worlds we escape into through sci-fi and video game culture. Both original tracks have become sought artefacts amongst devote techno and electro collectors whilst the new ones on offer here have plenty of kinetic energy nestled within their grooves to power a dancefloor when the doors reopen in June. 

                          TRACK LISTING

                          A1. Venting Steam
                          A2. Solid Gear
                          B1. Muted Point
                          B2. Tallon Drive

                          Caserta skillfully combines the wonderous vocals of Curtis Mayfield with some west coast boogie in an inspired double A-side for Bridge Boots. The Boogie Oogie Mix using the classic drum boxes and presets from the golden years of boogie. Meanwhile, the Curious Mix delves into a more late-80s aesthetic, electronic soul, especially Solar Records; with 808s driving the beat and a slightly more stripped back approach. Both sides bound to twist heads and cause a flurry of grown men rushing up to the decks for an ID! Recommended!

                          TRACK LISTING

                          A1.  Caserta’s Boogie Oogie Mix
                          B1.  Caserta's Curious Mix

                          The Chills


                            New studio album from the Dunedin (NZ) songsmiths helmed by the enigmatic Martin Phillipps with artwork by Trees’ David Costa. Dunedin’s finest, The Chills release their seventh studio album ‘Scatterbrain’, a glorious self-examination of Martin Phillipps’ songwriting hot (ish) on the heels of the hugely successful ‘Snowbound’ (2018) and the critically-acclaimed movie ‘The Chills: The Triumph And Tragedy Of Martin Phillipps’ a year later. “It’s about artistic integrity, self-realisation, self-acceptance and a reflection on mortality.” The Guardian Now in 2021, Phillipps is now taking stock of things – everything. Yes, everything.

                            The result is this triumphant new Chills’ album ‘Scatterbrain’, a thought-provoking and evocative take from a man who has lived through good times and bad. A mature and honest reflection on life, destiny and the fate of our times delivered in beautiful melodies with Phillipps’ trademarked incisive turn of phrase. Viewed from the perspective of a man understanding his age and indeed his own mortality, the new album takes a mature look at matters arising with a side order of perspective. ‘Scatterbrain’ is a life passing before your ears as uncertainty increases and fake news rumbles on; during which aliens invade, Phillipps scales the walls beyond abandon as he probes the minutiae of worlds within worlds and the hourglass fills. A landmark album from one of the great modern song writers, it’s pure pop music for the new normal and we can’t wait to see how it ends…

                            TRACK LISTING

                            Side A

                            A1 Monolith
                            A2 Hourglass
                            A3 Destiny
                            A4 Caught In My Eye
                            A5 You're Immortal

                            Side B

                            B1 Little Alien
                            B2 Safe And Sound
                            B3 Worlds Within Worlds
                            B4 Scatterbrain
                            B5 The Walls Beyond Abandon

                            Current Joys


                              Voyager rattles with the live-wire feeling that’s thrummed through all of Rattigan’s previous releases: quavering, scream-itself-hoarse vocals and self-interrogation via song. But here, that bristling, sentimental rock ‘n’ roll cacophony is overlaid with a soundtrack orchestra guiding it along. It’s an odyssey, a grand-sounding journey of self-discovery spread across sixteen tracks. Part ekphrasis, part personal, it’s Rattigan learning new ways to understand his own feelings and identity while inspired by the highly-stylized, striking storytelling of filmmakers like Alfred Hitchcock, Lars Von Trier, Terrence Malick, Agnès Varda, and Andrei Tarkovsky.

                              Voyager, Rattigan’s most mature release to date, is an evolution built on Current Joys’ prolific output since 2013. A Nevada native, Rattigan began Current Joys in Reno, before moving to New York after school and busting his ass working as a production assistant in the film/TV industry. He relocated to Los Angeles in 2016, and the songs that make up Voyager began coming together shortly after. Each piece of Current Joys’ previous discography is wholly built and envisioned by Rattigan, self-recorded and quickly released, quivering with a lonely intensity. Within six months of beginning the project, Current Joys had already released its debut, Wild Heart; by 2018, the sixth Current Joys full length and visual album, A Different Age, was out. All the while, Current Joys’ profile quickly and quietly ascended, selling out venues like LA’s El Rey along with European tours, simultaneously amassing millions of streams of the catalog, and a dedicated following.

                              On Voyager, Rattigan eschews lo-fi home recordings for a full band and recording sessions at Stinson Beach Studios. As a vocalist/drummer in his other band Surf Curse, Rattigan had finally opened up to the possibility of working in a professional studio. But while the audiences and songwriting/recording approaches changed and continue to evolve for Current Joys, the inspiration Rattigan draws from cinema remains a guiding force. Frequently he uses film as a jumping off point for songwriting. Lead single “Amateur” and its video reflects his affinity for the cinematic. The track is piano-heavy, a slow-build of tension, flitting with prettiness. The self-directed video features Rattigan in costume, chaotically driving a retro car.

                              Rattigan, who stays up all night to perfect the sequencing of his records once they’re recorded, doesn’t set out with a typical aesthetic in mind – instead, it just happens. Performing is his catharsis. Which feels palpable on Voyager; there’s fragments of hours spent watching movies, as well as stories from his own life; there’s overly-caffeinated car rides blasting the Pixies’ Surfer Rosa; there’s inspiration taken from the crooning presence of frontmen like Jeff Buckley, Chris Isaak, and Nick Cave, as evidenced on Rattigan’s cover of the Boys Next Door’s “Shivers.” And there’s the simple, ecstatic energy of getting a bunch of friends in the studio.

                              It’s all held together by the fervor of Rattigan’s creative process. He believes in the premonitory power of music, and he latches onto the song ideas that strike him in the moment, propelled by an abstract existentialism or burst of feeling more than anything else. It imbues Voyager with an intensity and intimacy – with the sense that you’re getting to hear, all at once, the disparate parts that make a project – or person – into a sprawling, cinematic whole.

                              TRACK LISTING

                              1. Dancer In The Dark
                              2. American Honey
                              3. Naked
                              4. Altered States
                              5. Breaking The Waves
                              6. Big Star
                              7. Amateur
                              8. Rebecca
                              9. Shivers
                              10. Something Real
                              11. Money Making Machine
                              12. Voyager Pt. 1
                              13. Calypso
                              14. The Spirit Or The Curse
                              15. Vagabond
                              16. Voyager Pt. 2

                              Cut Copy

                              Freeze, Melt

                                As you could possibly guess from the title, 'Freeze, Melt' is a more restrained affair than recent Cut Copy releases. You could never accuse the Melbourne outfit of resting on their stylistic laurels, covering New Order-esque melancholic pop, hazy summer synth jams, filtered funk, acid house and stadium bangers across their five previous long players. After relocating to Copenhagen, removed from his studio, safe space and record collection, Dan Whitford took inspiration from the minimalism and cool of his Scandinavian surroundings, as well as the immersive sparsity of Four Tet, Floating Points and Terry Riley. Despite this detour into the ambient realm, this remains a Cut Copy LP, so there are still hooks, grooves and playful motifs shimmering amid the restraint - the 'Melt' to the 'Freeze' I guess.

                                STAFF COMMENTS

                                says: Freeze, Melt is every bit the Cut Copy LP you'd expect, with huge synths and melodic vocals leading the way through a perfectly sequenced set of downbeat percussives, huge melodies and soulful grooves.

                                TRACK LISTING

                                1. Cold Water
                                2. Like Breaking Glass
                                3. Love Is All We Share
                                4. Stop, Horizon
                                5. Running In The Grass
                                6. A Perfect Day
                                7. Rain
                                8. In Transit

                                Japanese re-editer Dai San has delivered two EPs for GAMM and on this, the first EP, his b-boy and dance background shines through.

                                The EP opens with an edit of Roy Ayers best jam ever (well, possibly) and is followed by a drum-fuelled b-boy edit of a rare French funk-jazz cut.
                                Last but not least we end on a high with a classic dance jam for the jazz-funk-disco community.

                                Thuddin' and pumpin' in that typically GAMM fashion, these retweaked dancefloor grooves are just what the doctor ordered come 21st of June... 

                                TRACK LISTING

                                A. Still Good
                                B1. Body Moves
                                B2. People To People

                                Etienne De Crecy

                                Commercial EP1

                                Pixadelic and Etienne de Crécy are working to make new tracks available and help to limit the gloom that has been furtively emerging over this period with the production of a third release in the Commercial ep series.

                                Begun in 2006 and halted in 2007, the series achieved very promising results, encouraging fun on the dancefloor all over the world. In view of recent events, they felt it was urgent to resurrect and continue their efforts in that direction. The result is two tracks: “Junk” and “Drunk”, mined from the archive ahead of part 3, whose effects on the body stimulate those rushes of communicative excitement that have become essential at this time. 

                                TRACK LISTING

                                1. Fuck
                                2. Suck
                                3. Luck

                                Second volume of electro-house reissues from our man Etienne De Crecy on Pixadelic. Contain two stadium pleasing standards - "Punk" & "Funk" - both rich with wild sawtooths and heavily compressed beats.

                                The Bloody Beetroots get in on some remix action too, blasting apart "Funk" into a disjointed, cut-n-splice that's even more heavily gated and compressed than its mother stems.

                                Originally released in between 2006 - 2007, the "Commercial" series has been resurected during these hard times in order to give the modern day clubber, forced into lockdown, some pleasing sounds for the ears.

                                TRACK LISTING

                                1. Punk
                                2. Funk
                                3. Funk (The Bloody Beetroots Mix)

                                Etienne De Crecy

                                Commercial EP3

                                Following the repress of parts 1 & 2, Etienne De Crecy unleashes a BRAND NEW "Commercial EP" on Pixadelic. Continuing from the well-received series from 2006, EDC has conjured up two brand new slices of electro-house mayhem for when Big Rooms and festivals open up to the masses.

                                "Junk" rattles with a low-end riff comprised of a huge thick square wave. Arp ripples and thrusting pistons add the rhythmic edge whilst a plethora of smack-yer-face perx are included for maximum enjoyment. 

                                "Drunk" is slightly more stripped back more no-less stadium friendly. Guilded by a simple but weighted b-line; technoid squiggles and k-hole inspired sfx keep us locked to the primitive groove. Savage. 

                                TRACK LISTING

                                1. Drunk
                                2. Junk

                                Justin Deighton / Leo Zero


                                Second up on 7's Clash we have a spoken word mid-tempo piano house chugger, squarely in the balearic nu-disco camp that Pete Herbert excels in. With the original version on the flip at a more dubby pace reminiscent of early back room tracks you’d hear in the days of white jeans, waistcoats, perms and pointy finger dancing….

                                TRACK LISTING

                                A1. Humans - Pete Herbert Remix
                                B1. Humans

                                McKinley Dixon

                                For My Mama And Anyone Who Look Like Her

                                Richmond, Virginia-based artist McKinley Dixon has always used his music as a tool for healing, exploring, and unpacking the Black experience in order to create stories for others like him. For My Mama And Anyone Who Look Like Her, Dixon’s debut album on Spacebomb, is the culmination of a journey where heartbreak and introspection challenged him to adapt new ways of communicating physically and mentally, as well as across time and space. The language accessibility aspect of this project draws right back to communication and connecting,”

                                Dixon explains. “I think about the messaging, and how this can be a way for another Black person, someone who looks like me, to listen to this and process the past. Everything I've learned about communication for this album culminates with this bigger question about time. Is time linear when you’re still healing and processing? Westerners look at time travel as something to conquer or control—it's a colonizer mindset. That’s ignoring how time travel can be done through stories and non-verbal communication, and doesn't acknowledge how close indigenous people are to the land and the connections groups have because they’ve existed somewhere for so long. Storytelling is time travel, it's taking the listener to that place. Quick time travel. Magic.” Never relying solely on beats, Dixon taps into a hybrid of jazz and rap, pulling in an array of piercing strings, soulful horns, percussion, and angelic vocalists throughout the album—plus features by Micah James, Lord Jah-Monte Ogbon, Pink Siifu, and more. Jazz instrumentals add a level of uncertainty, with the sounds and shifts evoking a lot of emotion and vulnerability.

                                It’s an energy he describes as “Pre-Kendrick Lamar To Pimp A Butterfly,” the era when rap adopted more live instrumentation. The best way to sum up this album is: I was sad, I was mad, and now I’m alive,” Dixon explains. “These things I talk about on the record have had harmful and brilliant effects on my timeline, and have forced me to be cognizant of the fact that living is complex. Rap has allowed me the language to communicate, and be someone who can communicate with people from all over. Knowing how far I’ve come, I think people will find trust in the message I’m sending.”

                                TRACK LISTING

                                1 Chain Sooo Heavy
                                2 Never Will Know
                                3 Bless The Child
                                4 Make A Poet Black
                                5 Protective Styles
                                6 Swangin’
                                7 Brown Shoulders
                                8 B.B.N.E
                                9 Grown Man Voice
                                10 Mama’s Home
                                11 Twist My Hair

                                DJ Soopasoul is back on his own Soopastole Edits label, this time paying tribute to the more great funk sounds and killer drum breaks. The artist is well versed in subtly reworking the classics, bringing them up to date and adding his own unique flavour. This time round Pac and Outlawz' brutal bars from savage Biggie diss "Hit Em Up" find a home over the tight groove of Fred Wesley's "Damn Right I Am Somebody" - forget Tinder, this is a match.

                                TRACK LISTING

                                A1. Damn Right I Hit Em Up (vocal Version)
                                B1. Damn Right I Hit Em Up (instrumental)


                                Build A Problem

                                  At just 25, dodie has already done a lot of living. Some of that has played out online as she made a name for herself as a singer and writer, amassing millions of fans with her disarmingly honest videos and affecting, intimate singing style. She has scored two top-ten EPs, headlined and sold out London’s Roundhouse, and the Hollywood Palladium and New York’s Terminal 5, and become an ambassador for Depersonalisation charity Unreal. It’s hard to believe she has yet to release her debut album.

                                  “Build a problem” is a line from ‘Hate Myself’, one of many standout songs on the record. She found herself with a bit of a problem because she’d already named her previous EP, 2019’s top 5 Human, and the songs she found herself writing for the album really added up to the same idea; the flawed, emotionally erratic, wondrously complex conundrum that is being alive - and Human was taken. But this line seemed to add up to a similar concept; the moments and actions in life that build within us all problems that we don’t even realise we have until we look back and go, “Ohhhh, that’s where that came from.” dodie, whose past is still infiltrating her present and her future, explores all of this and more on her musically ambitious and dreamily intimate record named - what else? - Build A Problem.

                                  She wrote most of the songs on the album over the past two years. “I think I was going through a crisis actually,” she says now. “I was very unsure of who I was and I was trying to figure it out in music. So I think it’s quite unstable of an album - but it’s definitely honest.”

                                  “I’d like people to come away from this album knowing what I can do,” she says. A single listen to Build A Problem shows she has matured into an exceptional musician, using ancient modes, writing complex string arrangements and imbuing each song with a sense of charming intimacy.

                                  By her own admission, dodie may be a work in progress; problems have been built, mistakes have been made. But with Build A Problem, she’s proven that she is an artist for the ages.

                                  STAFF COMMENTS

                                  says: This beautiful collection reminds be of the bombastic joy and euphoric upbeat percussion of Jonsi's soundtrack work, tender vocals and uplifting celebratory major-key melodies. There are moments of less jubilance, but the overarching takehome is a brilliantly conceived and wonderfully uplifting whole.

                                  TRACK LISTING

                                  Standard LP / CD
                                  1. Air So Sweet
                                  2. Hate Myself
                                  3. I Kissed Someone (It Wasn’t You)
                                  4. Cool Girl
                                  5. Special Girl
                                  6. Rainbow
                                  7. ?
                                  8. Four Tequilas Down
                                  9. .
                                  10. Sorry
                                  11. When
                                  12. Before The Line
                                  13. Guiltless (Bonus Track)
                                  14. Boys Like You (Bonus Track)

                                  Clear Double Vinyl Tracklisting
                                  Disc 1

                                  1. Air So Sweet
                                  2. Hate Myself
                                  3. I Kissed Someone (It Wasn't You)
                                  4. Cool Girl
                                  5. Special Girl
                                  6. Rainbow
                                  7. ?
                                  8. Four Tequilas Down
                                  9. .
                                  10. Sorry
                                  11. When
                                  12. Before The Line
                                  13. Guiltless (Bonus)
                                  14. Boys Like You (Bonus)

                                  Disc 2
                                  1.Bored Like Me (Demo)
                                  2. Let Go (Demo)
                                  3. Bite Back (Demo)
                                  4. One Last Time (Demo)
                                  5. All My Daughters (Demo)
                                  6. Anything (Demo)
                                  7. Drawing The Blinds (Demo)
                                  8. Don't Quite Belong (Demo)

                                  Fatima Al Qadiri

                                  Medieval Femma

                                    ‘Medieval Femme’, Fatima Al Qadiri’s new ten track suite inspired by the classical poems of Arab women, invokes a daydream through the metaphor of an Islamic garden, at the border between depression and desire, where the present temporarily dissolves, leaving only past and future. Mixing neon drones and the faint outlines of Arabesque melody, ‘Medieval Femme’ reveals a fully-realised, dreamlike setting, shaded with colour and subtle friction. Conveying a thematic state of melancholic longing, Fatima seeks to transport the listener to a place of reverie and desolation, to question the line between two seemingly opposite states and rejoice in celestial sorrow. ‘Medieval Femme’ takes instrumentation from music of the Middle Ages, recast in a futuristic setting; soft-synth lutes, organs and pipes reverberate in space while gauzy pulses ripple in response. Fatima's vocals of repeated, mantra-like phrases are sometimes pitched and altered, drawing out increasingly intense peaks, angelic choruses and yearning incantations. On ‘Tasakuba’, Kaltham Jassim’s recitation of a couplet from the 7th century poet Al-Khansa', the sorrow of her words are given a turbulent, hallucinatory setting, before the album resolves on the final song, the limpid, airy ‘Zandaq’.

                                    TRACK LISTING

                                    A1. Medieval Femme
                                    A2. A Certain Concubine
                                    A3. Sheba
                                    A4. Vanity
                                    A5. Stolen Kiss Of A Succubus
                                    B1. Golden
                                    B2. Qasmuna (Dreaming)
                                    B3. Malaak
                                    B4. Tasakuba
                                    B5. Zandaq

                                    After spending some time on the Adriatic coast of Croatia, Fred wrote his 2018 album "Long Way Home". "Barbarella" was one of the songs on the album. It was inspired by a morning set he did at Barbarellas, the infamous outdoor venue in Tisno. The kitsch disco vibes are also a wink to the cult B-movie of the same name. But it was the "7am in Tisno” mix, featured on the alternate version of the album "No Way Home" that made the song popular.

                                    While there was no plan to release it as a single, Fred had the idea to contact I:Cube, one of his all-time favourite producers, to see If he would be interested in remixing it. The process took a little while but thanks to confinement, with more available time in the studio, the I:Cube Parisian Sleeze Version was born. Taking only a few elements from the original, he completely rearranged the track into a modern disco classic as only the Cube can do. This is one of those cuts that gets better every time you hear it.

                                    On the B-side, "Fred’s Slow Down 2021 Version" expands on the Balearic vibe at a slower tempo. Sounding a little bit like Sade on acid, with added samples from the 1968 Jane Fonda movie.

                                    TRACK LISTING

                                    A1. I:Cube Parisian Sleeze Remix
                                    B1. Fred Everything Slow Down 2021 Version

                                    Fu Manchu

                                    Return To Earth

                                      The third release in Fu Manchu’s 30th Anniversary vinyl reissue series, Return To Earth 91-93 Deluxe Edition, is the first ever update to this legendary compilation of the band’s earliest singles. These songs are the only ones recorded with the band’s original lead guitarist, Scott Votaw, as well as the only ones recorded as a three piece of the original core line-up of Scott Hill (vocals/guitar), Mark Abshire (bass) and Ruben Romano (drums). Return To Earth 91-93 Deluxe Edition features the 9 songs from the original release including the first version of fan favorite, “Ojo Rojo,” plus 2 newly discovered tracks that have never been heard before: “Ford-Natic” and an early version of “Shine It On,” which was later re-recorded for their debut album. All songs were remixed by Scott Hill along with the band’s current producing partner, Jim Monroe (Adolescents, Channel 3, Ignite) and remastered by Carl Saff for optimum fidelity. This limited edition 2,000 unit LP run is pressed on neon purple vinyl and the newly designed gatefold package includes never before seen photos of the band and flyers from their early shows. The limited edition 1,000 unit CD run also features the updated art and a digital specific remaster

                                      TRACK LISTING

                                      1.“Don’t Bother Knockin’ (If This Van’s Rockin’)”
                                      3.“El Don”
                                      4.“Pick-Up Summer”
                                      5.“Ojo Rojo”
                                      8.“Shine It On”
                                      10.“Space Sucker”
                                      11.“Vankhana (Rollin’ Rooms)”


                                      Fugazi - Reissue

                                        Fugazi were formed from the ashes of legendary DC hardcore bands Minor Threat and Rites Of Spring. They played their first shows in 1987 and released this first mini album the following year. 
                                        They took the energy and abrasiveness of their former bands and honed it into an intense and ulitmately hugely influential sound. 
                                        This album along with it's follow up "Margin Walker" were both permanent fixtures on the shop stereo back then and had we done end of year charts at the time would most certainly have made it into the top 10.

                                        A singular group of experts issues a notice of extraordinary urgency in the vicinity of various atmospheric phenomena, which are partially localized and, above all, of high intensity. Yet the sun shines with strength over the Neapolitan favela. 'Allerta Meteo' is the first album of sparkling sonics by The Funkin' Machine Collective and the newest release of Periodica Records? Pegaso Series, comprising a cross-section of jazz and funk sounds, with bright colors that are good for any season, whether rain or shine. The voice of Andres Balbucea - the binding soul of the opera - is supported by the unmistakable flow of Speaker Cenzou during the vibrant ''L'ora d'o Groove'', accompanied by the performances of Roberto Porzio on the synthesizers, Alessio Pignorio and Riccardo Betteghella on the guitars, Vincenzo Lamagna bass guitar, Andrea De Fazio drums, Paolo Bianconcini on percussions, and the extraordinary participation of Pietro Santangelo in the cinematic ''Django'' and Jeroen Verberne on Trombone in ''Rafiki''. An authentic wave of warm notes destined to overwhelm the most observant listener, the first-hour followers, and all the citizens.

                                        TRACK LISTING

                                        1. Prufesso
                                        2. Django (Fischio)
                                        3. Rafiki
                                        4. Allerta Meteo
                                        5. Affittacamere
                                        6. Ll'ora Do Groove
                                        7. Pataturk

                                        The Future Sound Of London

                                        Music For 3 Books

                                          Over the past 5 years, The Future Sound of London have released three A6 booklets, filled with stories of FSOL's past, images and accompanied by 20 mins of music. For the first time, these have now been put these together to form a 1 hour seamless journey.

                                          TRACK LISTING

                                          1. Viewed From Outside
                                          2. The Whispering Masses
                                          3. Orrery
                                          4. Fracti
                                          5. Episode
                                          6. Magnify Within The Thought
                                          7. Replace I With You
                                          8. Viewed From Trains
                                          9. External Limits
                                          10. To Become Silent
                                          11. Skylines
                                          12. Turbulent Haze
                                          13. Restricted Conversation Between Occupants
                                          14. Take Umbrage
                                          15. Outsourced
                                          16. Viewed From Pedestrian's Angle
                                          17. Desseminate

                                          Lisa Gerrard & Jules Maxwell


                                            Dead Can Dance members Lisa Gerrard and Jules Maxwell have teamed up under a new guise with James Chapman (MAPS) to create a studio album, titled ‘Burn’. The record began its journey more than seven years ago, when Lisa met Irish theatre composer Jules Maxwell before working together for the first time. ‘Burn’ is set for release on 7th May 2021 via Atlantic Curve. Speaking about the origins of the album, Lisa Gerrard explains, “It is with great pleasure that I share this collaboration with Jules Maxwell. Jules and I began our creative journey with Dead Can Dance. We realised that we could connect through improvisation and that musical exploration continues to evolve with this present work.”

                                            Although this record is a new release, its beginnings go all the way back to 2012 during that year’s Dead Can Dance world tour. Originally brought in as a live keyboard player, Jules Maxwell helped create a new song with Lisa Gerrard called ‘Rising Of The Moon’, which was performed as the final encore of each show. By the time the tour finished in Chile in 2013, a strong affinity had begun to develop between the two of them and further opportunities to collaborate with each other resulted over subsequent years. In 2015, when Maxwell was asked to submit songs for the Bulgarian choir The Mystery of the Bulgarian Voices (Le Mystère des Voix Bulgares), he approached Gerrard to co-write material and travelled to Australia to work with her in her home studio. The pair came away with four new songs for that release, as well as the building blocks for this new venture together. Jules describes the introduction to James Chapman. "About a year later, over dinner in Sofia after a concert by the Bulgarian women, my publisher suggested to me that I work with James Chapman on completing the BURN songs. James had established a sound with his band MAPS, which also had big horizons at its core, and it seemed like an intriguing proposition to me."

                                            With Chapman joining the duo as producer, ideas began to be generated freely and over time a distinct sound for their work began to emerge. Their focus was to create a sound that was both euphoric and compelling, more inventive than what they had worked on separately in the past. From gentle beginnings, each track builds and intensifies, creating a hypnotic experience to listen to from start to finish.

                                            With Lisa remaining in Australia, Jules adding his keys and percussion from France, and James bringing new light to the sound from England, the three were literally worlds apart, but those worlds fused in the music. Recently, Jules Maxwell also released his debut solo album ‘Songs From The Cultural Backwater’, Lisa Gerrard received a Grammy nomination and returned to Dead Can Dance to release the group’s critically praised ninth studio full-length ‘Dionysus’, and James Chapman released MAPS 4th full-length album ‘Colours. Reflect. Time. Loss’. Stylistically, the new album ‘Burn’ is a diverse mix of electronica, alternative, cinematic soundscape and world music with hints of early Vangelis. Accumulatively, this is a stunning departure for all three of them.

                                            TRACK LISTING

                                            SIDE A
                                            1. Heleali (The Sea Will Rise)
                                            2. Noyalain (Burn)
                                            3. Deshta (Forever)
                                            4. Aldavyeem (A Time To Dance)

                                            SIDE B
                                            1. Orion (The Weary Huntsman)
                                            2. Keson (Until My Strength Returns)
                                            3. Do So Yol (Gather The Wind)

                                            Manchester has produced some of the UK's greatest rock bands from Joy Division to the Stone Roses, but it isn't just the indie scene that thrives here, from the likes of Jon Thorne and Stuart McCallum to the Beats & Pieces Big Band and trumpeter Matthew Halsall, Manchester's jazz scene has produced some of the UK's brightest and most original jazz groups. Now with its eighth release Matthew Halsall's Manchester based Gondwana record label shines a light on another of Manchester's expansive, brilliant piano trio GoGo Penguin. Featuring pianist Chris Illingworth, bassist Grant Russell and drummer Rob Turner (all still in their twenties), GoGo Penguin, draw on a heady brew of influences from Aphex Twin to Brian Eno, Debussy to Shostakovich and Massive Attack to EST.

                                            Grave Flowers Bongo Band

                                            Strength Of Spring

                                              Los Angeles’ Grave Flowers Bongo Band’s sophomore LP “Strength of Spring” is an inverted pyramid balanced on the headstock of an acoustic guitar, a rainbow painted in campfire smoke, an endless staircase circling into the clouds. That acoustic guitar, perfectly captured here by Ty Segall’s excellently sere and close mic’d production, plays skeleton to these conjurors woolly grooves, and singer Gabe Flores’ thousand-yard moan keeps us guessing as to exactly where this wildebeest is headed. He pinions these far out tunes, which burst generously with shit-hot guitar leads, Stoogeseque sax squalls, and a gaggle of great eight-armed drum fills, with a flinty wrist-flicking heartbeat as the band turns from whimsy to nimble riffery on a dime, following that pied-piper six string jangling down many lovely rabbit-holes of melody and exploration. It’s obvious these guys play together a lot (the lineup shares two members with acclaimed space rockers Hoover III to boot) and the telepathy on display here is synapse-snappy. Coursing throughout is that note-pad filling, lighter raising, undefinable black magic that feels so rare these days….

                                              TRACK LISTING

                                              1. Lazy River
                                              2. Sleepy Eyes
                                              3. Tomorrow
                                              4. Smile
                                              5. Inner Bongolia
                                              6. Animal Lord
                                              7. VATMM
                                              8. Outer Bongolia
                                              9. Down Man

                                              Group Home

                                              Livin Proof

                                              Jamal Felder aka Melachi The Nutcracker and James Heath aka Lil' Dap are a duo from New York City who first appeared in the hip hop world as guests on Gang Starr's 'Daily Operation' and 'Hard To Earn' albums. They went on to put out six well received albums and work with the legendary DJ Premier on production. These two tunes come from their debut record and were two of the best. 'Livin Proof' has the edgy synth sounds, the deep and dusty beats and deft scratching which are all pure 90s but still resonate. On the reverse, 'Supastar' is a more party starting feel good jam with plenty of atmosphere and catchy hooks.

                                              TRACK LISTING

                                              A1. Livin Proof
                                              B1. Supastar

                                              Fresh, bass heavy, UK dance from Guava (Banoffe Pies / Holding Hands) with assistance from Breaka and LUXE. Returning to Control Freak for his second full length EP ‘The Dolphins are Back in Venice’ - a collection of 4 playful dancefloor bangers, precision engineered for the club.

                                              Returning with a new and refined style, following a relocation to Berlin, but retaining the melodic flourishes of his earlier releases whilst turning his focus squarely towards the dancefloor - a perfect fit for Control Freak. As an accomplished session musician, Guava continues to explore the synthesis between digital and analog production and songwriting techniques, innovatively self-sampling his own guitar playing across the record to add a human touch to his airtight productions.

                                              On new 4-tracker ‘The Dolphins are Back in Venice’, which includes collaborations with rising UK artists Breaka & LUXE, Guava draws influence from a broad range of dance music styles in true CF fashion - combining rising, trance-influenced melodies with the syncopated rhythms and bassweight of the UK scene. Strictly limited vinyl release, hand stamped in London at CFHQ - first come first served!

                                              STAFF COMMENTS

                                              says: Hardcore indebted, front-facing dance music with its chest puffed out. This'll test your speaker stacks to the maxxx!

                                              TRACK LISTING

                                              A1. Guava & LUXE - TWANG
                                              A2. Guava - Framboise Baby
                                              B1. Guava & Breaka - The Dolphins Are Back In Venice
                                              B2. Guava - SZD Orion

                                              Manchester based, DJ, bandleader and trumpeter Matthew Halsall is one of the UK's brightest jazz talents. A gifted trumpeter with a beautiful, expressive tone, his music draws on his love of the transcendental, spiritual and modal jazz of Alice and John Coltrane and Pharoah Sanders, as well as the glories of 60s British jazz.

                                              His third album "On The Go" is a heartfelt love letter to the jazz of the late 50s and early 60s. Inspired by the evocative sounds of Miles Davis' soundtrack to the Louis Malle film "Lift To The Scaffold" and the legendary early 60s recordings of Art Blakey and Max Roach the album is nostalgic but always soulful. However, while Halsall's elegiac music is imbued with a sense of history, the young trumpeter and DJ nevertheless brings a contemporary bounce to his music ensuring that his music breathes with a personality all its own.

                                              The album opens with "Music For A Dancing Mind", the most obvious nod to the work of Blakey and Roach. The beautiful "Song For Charlie" is named for Halsall's grandfather, a key inspiration in his life. Dukkha is a Buddhist term roughly translating to suffering so the title "The End Of Dukkha" is self-explanatory and "Samatha", another Buddhist term, means calm, a perfect title for this elegant tune. "The Journey Home" came to Halsall on the train back to Manchester from London and captures that happy feeling of return.

                                              In the midst of a global pandemic that has seen gigs, club nights and festivals cancelled, and tens of millions around the world in some kind of lockdown or quarantine, the need for musical escapism and aural daydreaming is greater than ever. It was this search for creativity and positivity that led to the recording of Sunday in June, the gorgeous and sun-kissed debut album from Hillside.

                                              The outfit’s origins lie in the ongoing friendship and musical relationship of guitarist/bassist Alex Searle, percussionist Patrick Dawes and Claremont 56 founder Paul ‘Mudd’ Murphy, a trio who have been playing on each other’s records since the dawn of the millennium. They began jamming and creating instrumental music together for what would become the Hillside project a few years back, but the pace of production increased during the pandemic year of 2020, with multi-instrumentalist, composer and arranger Michele Chiavarini (an experienced solo artist and long-term member of Dave Lee’s Sunburst Band) coming on board to help shape the sound of their eight-track debut album.

                                              Built around warm, languid grooves, expansive musicality, simmering strings – arranged by Chiavarini and replayed live by Pete Whitfield – and seductive solos provided by a handful of guest musicians (most notably flutist Tamar Osborne and violinist Mike Piggott, who has previously worked with Ralph McTell, Pentangle and Bert Jansch), Sunday in June could be considered an imaginary soundtrack to a long, lazy drive down the U.S West Coast.

                                              The collective’s intent is exemplified by stunning opener and title track ‘Sunday in June’, where soaring strings, eyes-closed guitar solos, expressive keys and subtle percussive touches seemingly dance atop a sun-soaked groove that sits somewhere between jazz-funk and vintage West Coast rock. It can be heard, too, on the low-down hustle of ‘Trinity Strut’ – think Steely Dan doing Blaxploitation movie funk and you’re close – and in the languid drift of ‘Aguila Negra’, with its heart-aching orchestration, jazzy guitars and sunset-ready synths.

                                              Sunday in June has many subtle twists and turns. Check the swelling, flute-sporting, organ-rich breeze of ‘For Daniel’, a track written in tribute to an old friend of Murphy’s who passed away in 2020, and the kaleidoscopic, smile-inducing positivity of ‘1939 Grand Avenue’, whose title references the address of a favourite San Diego hang out. There’s also room for recent single ‘Walpole Days’, a gorgeous downtempo odyssey, and a new album mix of the combo’s most Steely Dan-esque cut, 2019 single ‘Hidden Port’.

                                              Rounding things off is a rather impressive bonus cut: a previously unheard ‘Spiritual Healing Mix’ of ‘Walpole Days’ by the great Joaquin ‘Joe Claussell’. Whereas his previously released versions of the track were largely percussive and dancefloor-friendly, this interpretation takes us deep into the world of weightless new age ambient, with Hillside’s impeccable instrumentation slowly rising above immersive chords and pads.

                                              As usual with Claremont 56, the album’s artwork is every bit as detailed and painstakingly crafted as the music, with the stunning cover illustration coming courtesy of regular label collaborator Mark Warrington. His vibrant vision is naturally a perfect fit with Hillside’s colourful and emotion-rich music.

                                              STAFF COMMENTS

                                              says: If my memory serves me correctly, Claremont's remit is 'releasing beautiful music', and they don't come much prettier than this sublime slice of deliciously drifting Balearic business. Shades of ambient, jazz and a sizable spliff in Formentera.

                                              TRACK LISTING

                                              1. Sunday In June
                                              2. Trinity Strut
                                              3. Walpole Days
                                              4. Aguila Negra
                                              5. For Daniel
                                              6. Hidden Port (album Version
                                              7. 1939 Grand Ave
                                              8. Walpole Days (Joe Claussell Spiritual Healing Mix)



                                                After a brief design-related false start, Swedish wunderkind HNNY releases his debut on Tooli's Omena Records. After bursting onto the the scene with a chunky house refit of Mariah's Foreigner cover, Johan Cederberg delivered a stream of revival house bangers on Local Talk and Let's Play House (including the majestic "For The Very First Time") before broadening his horizons to include Balearic groovers and sunkissed downbeat, and tt's in the latter mood we find him on his debut longplayer. Armed with an endless supply of dusty blue eyed soul samples, production expertise and unhurried style, HNNY packs "Sunday" with the kind of sumptuous textured chill out we, well, chilled out to in the genre's late nineties heyday. Previous singles "Cheer Up My Brother" and "There Is No One Else" are the most floor-friendly cuts on the LP, the latter cutting neat shapes in the filter house realm, while "Sylvia" and "My Baby" are delightfully horizontal soothers worthy of a vintage Ibizan sunset. Lavishly packaged and in frenzied demand, you'd be advised to snap this up sharpish.

                                                STAFF COMMENTS

                                                says: Balearic centric HNNY album that disappeared rather quickly in 2015 and has since demanded high figures 2nd hand. Limited repress so don't be complacent!

                                                Third Place captain Will Hofbauer steps up to the plate with 3 freshly laid eggs of barn-storming oddball dance music for night clubs. Lying somewhere between Peder Mannerfelt, Pender Street Steppers & the Sunklo firm, but littered with crazy farm noises and a rambunctious swing… All polished off with a high definition aesthetic that makes it really put the speaker stacks to the test!

                                                Early support for the record coming from Hessle heroes Joe & Ben UFO.


                                                TRACK LISTING

                                                A1. Where Did All The Hay Go?
                                                B1. Count Me In
                                                B2. Hoot Flute


                                                Water For The Frogs

                                                  Having originally been born as a solo drum machine project by Bert Hoover, Hooveriii (pronounced "Hoover Three") has now evolved into it's true final form - a six member band adept at creating their own brand of psychedelic space rock. And after almost a decade in, the band is set to release their sophomore album and debut for The Reverberation Appreciation Society, Water For The Frogs. Influenced by Iggy’s The Idiot, Bowie’s Berlin records, and Soft Machine, the LP sees the band creating their own version of prog rock, circa 2021.

                                                  In 2019, Hooveriii took their live show to Europe for the first time. Bert Hoover shares, “seeing all the old cities and beautiful landscapes while becoming closer as a band had a huge impact on this album. A lot of our favorite music came from the Krautrock scene in Germany from the late 60's-70's, and when we had a day off in Furth, Germany, we spent most of it writing the record,” he continues, “we were able to rehearse in an old German bunker that has been converted to rehearsal space. It definitely had a strange energy that helped give this album light.”

                                                  TRACK LISTING

                                                  SIDE A
                                                  1. Cindy
                                                  2. Control
                                                  3. Hang Em' High
                                                  4. Shooting Star

                                                  SIDE B
                                                  1. We're Both Lawyers
                                                  2. Erasure
                                                  3. Gone

                                                  Huerco S

                                                  For Those Of You Who Have Never (And Also Those Who Have)

                                                  Now, most of us here at Piccadilly HQ already have a large proportion of our heart (and our record shelves) devoted to Huerco S. The Proibito / Future Times star has carved out a truly unique, idiosyncratic sound all of his own. More stoned than Snoop Dogg in a weed dispensary on May 4th, yet with a futuristic vision that puts him alongside luminaries such as Brian Eno and Vangelis, Huerco S is the real deal. His twelves have possessed a blurred, hazy hue yet move through mindscape exploration to murky dancefloor contortions with ease. Here we get his second long player to date. Nine of the most densest and meditative tracks of the 21st century! As mentioned, Huerco's vision is non-linear, and the record is hard to place in time yet almost remains elusively futuristic. Monolithic and stark but extremely warm, intensely personal, and strangely accessible for everyone in every which way. When experimental music is this moving you know you're onto something special. 

                                                  STAFF COMMENTS

                                                  says: Repress of this now cult artefact from Huerco S. One of the best electronic-ambient pieces the year it was released (2016) its serene simplicity and radioactive warmth is still as arresting as it ever was. Every home deserves a copy of this to see them thru the Winter!

                                                  TRACK LISTING

                                                  A1. A Sea Of Love
                                                  A2. Lifeblood (Naïve Melody)
                                                  B1. Hear Me Out
                                                  B2. Kraanvogel
                                                  C1. On The Embankment
                                                  C2. Marked For Life
                                                  C3. Cubist Camouflage
                                                  D1. Promises Of Fertility
                                                  D2. The Sacred Dance 

                                                  Melbourne digger and edit master Hysteric joins the Pleasure of Love fam with this 4 track EP, Pleasure of Edits 08: Kitchen Appliances. With releases on Public Possession, Lisbon’s Ostra Discos, Centre Neptune, and his own italo influenced Mothball record label, Hysteric delivers an adventurous Pleasure of Love 12 Inch that continues to reward on repeated listens.

                                                  'Chrome Plated Broiler' kicks things off and lives up to the name, a bouncy late 80s new beat dance floor heater. Another highlight is 'Automatic Can Opener,' a post-disco tinged, xylophone led groover that highlights a cheeky vocal re-sampling bit to great effect. Hysteric and Pleasure of Love make for a good pairing on this cosmic edit twelve.

                                                  STAFF COMMENTS

                                                  says: Regular readers know I have a pretty huge ear-crush on Hysteric, so I was delighted to see him appear on Pleasure of Love with a quartet of synth-heavy Italo frothers for cocktail hour in your favourite nightspot.

                                                  TRACK LISTING

                                                  A1. Chrome Plated Broiler (Edit)
                                                  A2. Electric Juicer (Edit)
                                                  B1. Automatic Can Opener (Edit)
                                                  B2. Portable Dishwasher (Edit)

                                                  Iron & Wine

                                                  Archive Series Volume No. 5: Tallahassee Recordings

                                                    Archive Series Volume No. 5: Tallahassee is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America’s most original and distinctive singer-songwriters.

                                                    Creek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up.

                                                    Tallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations.

                                                    Together they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings – all captured in the house where they lived – have a “live in the room” feel akin to say Neil Young’s Harvest or Nick Drake’s Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time.

                                                    These recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years. The one track that floated out there, called “In Your Own Time” was shared without a title to childhood friend Ben Bridwell (Band of Horses) at some point. The song became known as the “Fuck Like A Dog” song and Ben shared it with more than a few folks during the golden era of mix cd’s. Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances. And for many that is where the Iron & Wine story begins, until now…

                                                    Tallahassee is the foreword to your favorite book that you’ve somehow skipped over time and time again. It’s an alternative history mixed with some revisionist history told over the course of eleven songs. It’s also the debut record by Iron & Wine some twenty years after the fact. 

                                                    TRACK LISTING

                                                    Why Hate The Winter
                                                    This Solemn Day
                                                    Loaning Me Secrets
                                                    John's Glass Eye
                                                    Calm On The Valley
                                                    Ex-Lover Lucy Jones
                                                    Show Him The Ground
                                                    Straight And Tall
                                                    Cold Town

                                                    Jay Z

                                                    Empire State Of Mind / 99 Problems

                                                    Lil Static Records has a reputation for delivering light touch rubs of classic hip-hop jams. The basic idea is to slightly beef up and tweak much-loved hip-hop faves while also making them slightly more DJ-friendly. That appears to be the case with their latest "45", which reps two stone cold classics from Mr Beyonce himself, Jay-Z. On the A-side you'll find a fine - if very similar - version of Alicia Keys hook-up 'Empire State of Mind', a colossal hit from the tail end of the last decade. Over on the flip the mysterious crew subtly tweaks Black Album favourite '99 Problems', in the process making a fuzzy, percussive classic even more scuzzy and low-slung.

                                                    TRACK LISTING

                                                    A1. Empire State Of Mind
                                                    B1. 99 Problems

                                                    BAR07, a double A side featuring an 11-minute mind bending rollercoaster by JEANS and the debut of Blond, a new moniker by Oceanic, delivering the perfect spring / summer track.

                                                    "All Units We Have Shots Fired" deploys a definitive slant on UK techno; buzzing with ring modulation and flat-lined beats. Both stadium and basement friendly, it's a rawkus slice of new energy that'll captivate a young & up-fer-it crowd.

                                                    "Bright Grass Bodies" shimmers with almost holographic properties, an enchanted piece which hovers above a trpytamine-forest spreading peace and love vibes to all that encounter iit.


                                                    STAFF COMMENTS

                                                    says: Two proper sick pieces in very contrasting style. One's a heads-down, 3 pills deep techno rampage; the other, high on tryptamines, sat in your favourite rainforest retreat. erm, YES PLEASE!

                                                    TRACK LISTING

                                                    A1. JEANS - All Units We Have Shots Fired
                                                    B1. Blond - Bright Grass Bodies

                                                    John McLaughlin / La Pregunta

                                                    Planetary Citizen

                                                      Remember kids, Breaks & Beats do NOT fuck around. Never has this been more evident than on this FIRE extension of the WILD "Planetary Citizen" by John McLaughlin - the jazz funk monster which provided the "hey hey heeye hey" for Massive Attack's "Unfinished Sympathy". Thing is, though that sample spot is most fulfilling, it's the killer basswork, clav madness, guitar and groove which makes this one a must have. On the flipside, La Pregunta's 'Shangri La' is a gloriously cheesy bit of cruise ship disco which just happens to boast one of the fattest breaks ever. Hip Hop heads will know it from LL Cool J's "Breakthrough".

                                                      TRACK LISTING

                                                      A1. Planetary Citizen ( Extended Breaks Special Edition)
                                                      B1. Shangri-La (Extended Breaks Special Edition)

                                                      Buried amongst the gems on the second Claremont Editions compilation was ‘Oui Non’, a collaborative cut that marked the first label appearance of Jpye (real name Jean-Philippe Altier), a French multi-instrumentalist, DJ and producer best known for his work as part of Twonk alongside Leonidas and percussionist/vocalist/guitarist Renato Tonini.

                                                      Here Jpye and Tonini join forces once more for their first single on Claremont 56 – a sensual and seductive slab of slow-motion, sun-soaked synth-pop that features more than a few subtle nods to classic Italian Balearic disco cuts such as Radio Band’s ‘Radio Rap’ and Tullio de Piscopo’s ‘Stop Bajon (Primavera)’.

                                                      Built around squelchy synth bass and a shuffling drum machine rhythm, ‘Cosa Ti Va’ is marked out by glistening, jazz-fired guitar solos, vibrant synthesizer squiggles, rich electric piano chords and echoing, dubbed-out electronics. It’s a pin-sharp but effortlessly laidback number that’s as tactile and loved-up as it as lazy and horizontal.

                                                      ‘Cosa Ti Va’ is presented in two complimentary versions. On the A-side of the vinyl version you’ll find the full vocal, which boasts Tonini rapping in his native tongue in the manner of Italo-disco’s most eccentric and atmospheric vocalists. With his deep, rich tone and fluid flow, it’s hard not to fall in love with Tonini’s previously unheard rapping. Rounding off the single is the pair’s vocal-free instrumental take, in which Jpye’s stunning guitar motifs and tactile, soft-touch production can be savoured in full.

                                                      STAFF COMMENTS

                                                      says: Summer's just round the corner, nature is in full bloom and the Aperol's on chill - there is no better time for this synth-y shuffler to greet my ears. Whisper rapped Italian vocals happily skipping atop a Balearic pop belter.

                                                      TRACK LISTING

                                                      A1. Cosa Ti Va? (vocal)
                                                      B1. Cosa Ti Va? (instrumental)

                                                      Damien Jurado

                                                      The Monster Who Hated Pennsylvania

                                                        On The Monster Who Hated Pennsylvania, Damien Jurado gathers up ten stories of people determined not to be broken by their dire circumstances. 'The world is a liar, the stars are a must,' he sings over brushed drums, a circling bassline, and acoustic guitar on 'Helena,' which opens his 17th album, the first release from Damien's own Maraqopa Records. Dire circumstances have long been fixtures of Jurado's songs, which are filled with ghosts, killers, cruel lovers, and the occasional UFO cult or false messiah. But here, the scenes are earthy, drawn from ordinary but no less immense calamities: hurricanes moving toward town, strained connections, amnesiacs in the front yard.

                                                        On The Monster Who Hated Pennsylvania, Jurado pulls the curtains shut, blocking out 'the light now embarrassed and afraid of the dark,' as he sings on 'Tom,' one of the album's haunting numbers, only to throw them open the exact moment sunshine needs to come flooding in.

                                                        TRACK LISTING

                                                        1. Helena
                                                        2. Tom
                                                        3. Dawn Pretend
                                                        4. Song For Langston Birch
                                                        5. Minnesota
                                                        6. Johnny Caravella
                                                        7. Joan
                                                        8. Hiding Ghosts
                                                        9. Jennifer
                                                        10. Male Customer #1

                                                        Kings Of The Valley

                                                        Kings Of The Valley

                                                          Kings of the Valley are finally ready with their selftitled debut album! Three long years have passed since the band released their first EP. Norway’s friendliest band serves critically acclaimed retro prog and catchy stoner rock. Kings of the Valley plays music characterized by intense guitar riffs, melodic bass, pulsating drums and vocal harmonies. The band’s expression has strong common features with seventies rock, psychedelic rock, good old prog rock and stylish stoner rock. Like the EP from 2017, the album was mainly recorded in Brygga Studio in Trondheim by super technician and wonder producer Pål Brekkås and keyboardist and guitar hero Øystein Megård. The gorgeous album cover is designed by art legend Robert Høyem. In 2017, The Wilhelmsen said “Holy cow, these guys can play!”. Ida Jenshus recently stated that Kings of the Valley is “by far the most pleasant rock band in Norway!”, while the drummer’s mother says: “Nice music, but I think it’s a bit noisy.” The debut Kings of the Valley is comprised of a handful of shorter and several lengthy tracks which move thematically and genre-wise within 60s and 70s prog-rock, psychedelic rock and 90s stoner rock in the same vein as King Crimson, Sleep and Motorpsycho. Kings of the Valley is out September 18th on Wonderful & Strange Records and available in Europe from Stickman Records.

                                                          Nairobi-based electronic musician / sound-artist Joseph Kamaru - KMRU - signs to Injazero for the release of his beautiful compendium album Logue, comprising works from his past years of self-releasing. KMRU is uniquely positioned between the rarely-married cultures of ambient and African musics, entwining his compositions with field recordings from his native Kenya and the surrounding countries of East Africa. Though the deep, tectonic slowness of his music can be compared to the work of Lawrence English, William Basinski, Stars of the Lid (i.e. Western musicians), Kamaru’s core culture shines through in a pure and singular way. Found within Logue’s pieces are radiant melodic antiphony commonplace in African music, and huge, spacious drones that reveal his love for ambient soundscapes, held effortlessly together by field recordings and analogue synthesis. “Every track reflects an event, space or location,” Joseph writes.

                                                          “The pieces are developed from field recordings, improvisation and spontaneity.” Formed of tracks written from 2017 to 2019, Logue represents an artist not only in command of his form but also willing to develop and evolve, ready to deconstruct and radically refocus his music to explore new contours of experimental and ambient sound-design. Some of the earliest compositions found on Logue - 2017’s “Jinja Encounters”, for example - represent Joseph’s first trips outside his homeland and the experience of new sights and new climates, full of discovery and wonder. The synth line of 2018’s “Argon” pops and bubbles, mimicking bright African melodic vibrancy while a churning, static distortion threatens to breach the surface, revealing a sophisticated, measured understanding of texture and timbral interplay. “OT”, from late 2018, jumps with joyous calls and deftly panned arrhythmic percussion, a new subtlety of light and dark gained from experience and experimentation.

                                                          Consistent across the entire album is intensely personal and powerfully intuitive expression, crossing continental divides with a singular elegance. KMRU is a young, recently debuting musician. He has self-released on Bandcamp for the past few years, and 2020 saw his first official, international releases, including the scintillating Peel album for Editions Mego. Resident Advisor listed him in their 15 East African Artists You Need To Hear article in 2018. He appears regularly at the celebrated Nyege Nyege Festival in Uganda, and has also performed at CTM Festival and Gamma Festival. Injazero Records was formed by London / Istanbul-based music producer and journalist Siné Buyuka in 2015. It has to date released music by artists such as Heinali, Matt Emery, C. Diab and Hinako Omori.

                                                          TRACK LISTING

                                                          2.Jinja Encounters
                                                          4.A Meditation Of Listening
                                                          7.Bai Fields

                                                          Gordon Koang, South Sudan’s enigmatic superstar and ceaseless fountain of infectious, upbeat pop music, kick starts 2021 by revealing a series of remixes from his recent Unity album, this time partnering with two of the undisputed leaders of electronic music in his adopted home city of Melbourne, Australia - Sleep D and Andras.

                                                          Stranded overseas after civil war tore apart their country over six years ago, Gordon and his cousin Paul Biel Kueth, who were on tour performing to expatriate communities in Australia, were forced to apply for humanitarian protection and made the heartbreaking decision to leave their families stranded at home, on the chance that citizenship would be granted and reunification made possible.

                                                          After languishing on the outskirts of Melbourne’s suburbs for many years, Gordon met the Music in Exile label, a not-for-profit run by members of Melbourne’s flourishing music scene in order to create more opportunity for the city's numerous refugee and migrant musicians. He immediately assembled a band and tracked his eleventh full-length album, Unity (his first recorded album featuring performances in English and made widely available).

                                                          In the midst of a successful run of singles and festival performances around Australia, the Covid-19 pandemic hit, derailing Gordon’s newfound success and growing status as the darling of Melbourne’s vibrant music scene. Forced to find alternatives, Gordon reached out to some of his newfound friends in that city’s community. The result - this set of startling remixes by some of the finest voices in electronic music today.

                                                          Gordon, who was born blind in a small village in South Sudan’s Upper Nile Valley, began composing on the thom, a five-stringed instrument sometimes referred to as a Sudanese banjo, He started busking on the streets of Juba, accompanied by his cousin Paul Biel, who would sell homemade cassettes and CD’s. His anthems of peace, love and unity struck a chord, and before long Gordon found himself as something of a folk hero and a voice for peace in a country torn by ongoing conflict.

                                                          Now resettled in Australia, Gordon records and releases music in order to support his family back home in East Africa. He still awaits Australian citizenship, and forges on in the hope that this may one day be granted, allowing him to reunite with his wife and family in his newfound home.

                                                          TRACK LISTING

                                                          A1. Y Dah (Sleep D Remix)
                                                          A2. Y Dah (Sleep D Remix - Radio Edit)
                                                          B1. South Sudan (Andras Remix)
                                                          B2. South Sudan (Andras House Remix)

                                                          Kolida Babo

                                                          Spirits Of Mauronoros / Kolida Hymn

                                                          And now for something completely different and, man, is it a treat!

                                                          Blending acoustic (duduk, sax, double bass) and electronic (Moog and Roland synthesisers) elements, this Greek duo of Sokratis Votskos and Harris P cannily updates the modal folk drone that has bewitched musicians and listeners alike for centuries.

                                                          'Spirits of Mauronoros' is as mesmerising and it is lovely; a plangent soprano sax improvises over an enticing, bubbling, synthetic stew—imagine Eno extemporising alongside a Dimotiko folk band having just listened to 'In A Silent Way.'

                                                          After the opening invocation, 'Kolida Hymn' offers a simple, repeated descending synth line (think early '70s German electronica) topped by a minor key sax melody. Spacey and hypnotic, it then takes flight into an uplifting atmospheric refrain before paring itself back down.

                                                          Reverence of the Ineffable is the vibe on both sides of this modern spiritual meditation making it perfect for late night chill.

                                                          TRACK LISTING

                                                          1. Spirits Of Mauronoros
                                                          2. Kolida Hymn

                                                          Labi Siffre / Banbarra

                                                          I Got The / Shack Up

                                                          If you needed some funky disco tunes if your life then look no further, Labi Siffre and Banbarra have got your back. ‘I Got Your Back’ has that irresistible catchiness that has turned it into a pure classic. Flash forward to the B-Side, ‘Shack Up’ is just an essential funk track, instantly recognisable and an absolute banger!

                                                          TRACK LISTING

                                                          Labi Siffre - I Got The
                                                          Banbarra - Shack Up

                                                          Lafayette Afro Rock Band / Gaz

                                                          Hihache / Sing Sing

                                                          On a handy 45 tip, Breaks & Beats are back with another pair of extended B-boy / DJ bangers from Lafayette Afro-Rock band and Gaz. Their latest seven-inch excursion begins with a tidy revision of Lafayette Afro-Rock Band's brilliant "Hihache", a low-slung favourite rich in lolloping, head nodding drum breaks, jazzy bass, flanged funk guitars and fuzzy horn motifs. The new version is deferential towards its source material, extending breaks here and there whilst leaving much of the tune in tact. Fans of LL Cool J may recognise this jam from its appearance in "Jingling Baby". One of the most doubled-up drum breaks in hip-hop history takes pride of place on side B, where Gaz's Salsoul released wiggler "Sing Sing" gets the re-edit treatment.

                                                          TRACK LISTING

                                                          A. Lafayette Afro Rock Band - Hihache
                                                          B. Gaz - Sing Sing

                                                          Lost Girls


                                                            Norwegian duo Lost Girls, artist and writer Jenny Hval and multi-instrumentalist Håvard Volden, release their first album after collaborating for more than ten years. Volden has been playing regularly in Hval's live band for more than a decade, and their duo project goes back to an acoustic collaborative album from 2012, using the moniker Nude on Sand. Instead of resurrecting the previous band, Hval and Volden opted for a fresh start for their 2018 EP Feeling, taking nomenclatural inspiration from the 2006 graphic novel by writer Alan Moore and comics artist Melinda Gebbie.

                                                            For their first LP, Hval and Volden booked an actual studio (Øra studios, Trondheim, Norway), which they had never done before. Recording sessions took place in March 2020, even if they felt like the material wasn’t really ready for recording. This left a lot to improvisation, and so Menneskekollektivet was created in-between set structures and the energy of collective exploration.

                                                            Perhaps this is what makes Menneskekollektivet unique: The quality of trying something, to see if the structures fit. In a way this is a more physical version of what Hval has been exploring lyrically over the past decade in her solo work. The title is Norwegian and translates to human collective, which adds to the feeling of a recording made as part of a strange, improvised performance project.

                                                            The music flickers; between club beats and improvised guitar textures; between spoken word and melodic vocal textures; between abstract and harmonic synth lines. Throughout the piece, Volden’s guitar and Hval’s voice come across as equals, wandering, wondering, meandering. Sharing the space.

                                                            The writing process began with short, more concise forms, but then Volden brought in experiments with seasick synth loops and drum machines, and the work went off on a longer durational tangent, inspired by chance and intuition. This allowed for an unfinished, raw feel, and the song structures and words were expanded and improvised in the studio. Hval says: “There are lots of late night ideas at work, begun as half-asleep, slack vocal takes on top of something really strange Håvard has sent me. We both record before we know what we’re actually doing.”

                                                            TRACK LISTING

                                                            1. Menneskekollektivet
                                                            2. Losing Something
                                                            3. Carried By Invisible Bodies

                                                            4. Love, Lovers
                                                            5. Real Life

                                                            Antti Lötjönen & Koma Saxo

                                                            Erzeben Strasse / Erzeben Koma

                                                            Helsinki bassist Antti Lötjönen follows up his 2020 We Jazz Records debut LP with a new 7" introducing a fresh version of key album cut "Erzeben Strasse" and throws in a wild treatment by Petter Eldh's Koma Saxo on the flipside. "Erzeben Strasse" presents Lötjönen's Quintet East lineup in fine form, swinging steadily but also adding enough sideways movement to blur the lines just a little bit. The band features a stellar Finnish cast in Lötjönen (bass), Verneri Pohjola (trumpet), Mikko Innanen (baritone sax), Jussi Kannaste (tenor sax) and Joonas Riippa (drums).

                                                            The Koma Saxo treatment of the track, dubbed here as "Erzeben Koma" is full of fire. Uplifting, a bit hectic, beat-driven and jubilant, Eldh's band of brothers double the ensemble heard on Side A, both sampling and adding new recording into the mix. The entire Koma Saxo live band is featured here: Eldh (bass/production), Otis Sandsjö (tenor sax), Jonas Kullhammar (tenor sax), Innanen (alto sax) and Christian Lillinger (drums). The modern sound of Helsinki meet Mauerpark Liquid Jazz.

                                                            TRACK LISTING

                                                            1. Erzeben Strasse (7" Edit)
                                                            2. Erzeben Koma

                                                            Volume four of this tantalising Loveface De-mixes series, sees another triple threat of ‘80s infused, electro boogie rework gold, supercharged, and firing on all cylinder from the LFM DeLorean. Be quick though or this one might just slip on back to the future.

                                                            STAFF COMMENTS

                                                            says: Loveface keeps the fire burning with another hefty 12" of retro-fit boogie, this time pulling a singing for money on Ultra Nate's "Free". Let's do the timewarp again!

                                                            TRACK LISTING

                                                            A1. Let Me Love You
                                                            A2. Dub What You Wanna
                                                            B1. Do Me Baby

                                                            Kevin Low & Fiona Carlin

                                                            The Gayfield Enterprise - Demo Tapes From 1986

                                                              Comes with digital download code.

                                                              These tracks were recorded by Kevin Low and Fiona Carlin in Kevin’s bedroom in Gayfield Square, Edinburgh, in 1986. Me and my dad, Kevin, dug out a huge bunch of his tapes over the lockdown (about 80 of the them at first). Some were…better than others, however, the Gayfield Square demos were the pick of the lot. Previously Kevin and Fiona were part of the Post Punk / indie band ‘Wild Indians’, whose first release “Stolen Courage” had come out in 1983 – released on Flexi Disc via the Edinburgh fanzine Deadbeat. Throughout the mid-1980s they performed across Edinburgh’s clubs, including at the Hoochie Coochie Club (name checked on track 7), where they played alongside bands and close friends Pop Wallpaper and Visitors. The band went on to release two 12” singles, “Love of My Life” in 1984 and “Penniless” in 1986.

                                                              After the band broke up Kevin sold his guitar amp and 7inch collection, Fiona her saxophone and they went out and got themselves a Yamaha RX-5 drum machine, Yamaha QX7 sequencer and a Yamaha DX-100. These bedroom tracks are the fruits of their first venture with this hardware, combining their experimentation with synthetic sounds (mostly the DX-100’s famous pre-sets) with a post-punk vocal style.

                                                              These eight tracks are also, in part, the fruit of the “Enterprise Allowance scheme” - a policy venture of Margaret Thatcher’s UK government that gave unemployment claimants access to an extra £40 to top up the basic dole money. Following Thatcher’s election victories in 1979 and 1983, the policy sought to reduce the figures of mass unemployment which hung over Britain well into the 1980s. This policy, according to Kevin, helped to keep up the credit payments. He notes that, “when Fiona and I turned up at the DHSS office with the sure-fire money-making plan of making a business as a ‘song-writing’ duo they signed us up. However, I still think they thought we said, sign writing as they were filling out the form.”

                                                              Kevin and Fiona stopped making music together shortly after these tracks were recorded so unfortunately, they never saw the light of day…until now!

                                                              Fiona went on to work in Film and Television sound. Kevin became a photographer, working mostly in theatre. He is now an artist/painter working in Glasgow.

                                                              TRACK LISTING

                                                              1. Change Of Heart
                                                              2. Nothing Else Will Ever Be The Same
                                                              3. Your Love
                                                              4. Kylie
                                                              5. Lonely When You Go
                                                              6. Miracle Town
                                                              7. Hoochie Coochie
                                                              8. Locked Out Of Love

                                                              Holly Macve

                                                              Not The Girl

                                                                “My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

                                                                For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra [with Mercury Rev in 2017]. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

                                                                At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

                                                                Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax. “Lonely Road” closes the album on a note of becalmed resilience, its narrator looking “past the prison walls and into the garden”, ready to face whatever waits out there.

                                                                Other contributors included Fiona Brice (Placebo, John Grant), whose string arrangements helped Macve fulfil an ambition to blend ’70s Laurel Canyon sounds and the rougher edges of ’90s grunge with the melodic sweep of Scott Walker. Collin Dupuis (Lana del Rey, Angel Olsen) mixed the album in Nashville; CJ Hillman (Billy Bragg) plays pedal-steel, Emily Druce plays viola, and David Dyson/Phil Murphy play drums. The Arts Council helped with funding, and recording took place between Holly’s home studio, Retreat Studios in Ovingdean, Ryder-Jones’ YAWN studio in Liverpool, and Kore Studios in London.

                                                                Brave, brooding, and beautiful, Not The Girl is the sound of that confidence in full, spectacular bloom.

                                                                TRACK LISTING

                                                                1 Bird
                                                                2 Eye Of The Storm
                                                                3 Be My Friend
                                                                4 You Can Do Better
                                                                5 Daddy’s Gone
                                                                6 Little Lonely Heart
                                                                7 Sweet Marie
                                                                8 Who Am I
                                                                9 Not The Girl
                                                                10 Behind The Flowers
                                                                11 Lonely Road

                                                                Eric Malmberg

                                                                Milda Döden Hämtar Oss Alla Till Slut

                                                                We Jazz Records is delighted to present the first ever vinyl release for two modern classic tracks by Swedish organist Eric Malmberg. Originally released in 2007 by the label Häpna on Malmberg's second solo album "Verklighet & Beat", the pair of tunes herein serve as proof of Malmberg's remarkable artistic vision, echoing both the pure pastoral beauty and the irresistible groove of his work. This release, part of the ongoing 7" series by We Jazz Records, follows the label's Artistic Director Matti Nives's 10+ years of obsession with the aforementioned Malmberg album after an initial chance encounter with the side A track on a WIRE Magazine compilation in 2007.

                                                                "Eric Malmberg's music is a small miracle. I don't want to call him a genius, because I don't want to jinx him. But I will say that he's a complete original, in addition to being a vastly talented musician. I will also say that his recordings and the two performances that I saw by Sagor & Swing merit a place on a short list of most enjoyed musical experiences of the last half decade. I could bleat about the quality of the work, but "most enjoyed" to me carries the stronger charge." – David Grubbs, New York, March 2007

                                                                "A special mention needs to go out to the phenomenal and totally bonkers 'Till minne av Lilly Lindström' a track which starts with a clean break, builds into dancefloor abusing Hammond-hammering mayhem and then ends up with lush string orchestrations and disco-lite sweeps. Insane and more enjoyable than you could possibly imagine - an album to totally lose yourself in, and one for anyone looking for something just that little different. Huge recommendation." – Boomkat

                                                                TRACK LISTING

                                                                1. Milda Döden Hämtar Oss Alla Till Slut
                                                                2. Till Minne Av Lilly Lindström

                                                                Mammal Hands

                                                                Oni / Lantern

                                                                Formed in Norwich in 2012, Mammal Hands, have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. Saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett all contribute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos.

                                                                Their records are entrancing and beautiful affairs, drawing on their love of electronic, contemporary classical, world, folk and jazz music, Mammal Hands take in influences including Pharoah Sanders, Gétachèw Mekurya, Terry Riley, Steve Reich and Sirishkumar Manji.

                                                                Recorded at the same sessions as last year's acclaimed long-player, Captured Spirits, Oni / Lantern is a perfectly formed, strictly limited 12" release that pairs the rhythmic punch of the incessant A-side banger, 'Oni' with a beautiful folk-tinged future-anthem in the wistful, engaging 'Lantern' and with just 500 for the world, copies pressed this one will fly!

                                                                TRACK LISTING

                                                                1. Oni
                                                                2. Lantern

                                                                Vaughan Mason / Bad Bascomb

                                                                Bounce Rock Skate Roll / Black Grass

                                                                Good news for giddy kippers all over, the Breaks & Beats 7" series returns this week with another two Bboy classics, given the slight adjustment for extended ecstasy. Volume 10 sees Vaughan Mason's roller-disco classic "Bounce, Rock, Skate, Roll" looped up and suped up, backed with a cheeky extension of break-heavy country funker "Black Grass" by Bad Bascomb. Get yer lino!

                                                                TRACK LISTING

                                                                A1. Vaughn Mason - Bounce, Rock, Skate, Roll
                                                                B1. Bad Bascomb - Black Grass

                                                                Paul And Linda McCartney

                                                                Rams (50th Anniversary Half-Speed Master Edition)

                                                                  To mark the 50th anniversary of the release of RAM, the album will be pressed from a master cut at half speed using the original master tapes at Abbey Road.

                                                                  The only album credited to both Paul and Linda McCartney, RAM reached Number 1 in the UK and stayed in the US Top 10 for five months. Recording after he’d left The Beatles and before the formation of Wings, Paul initially flew with Linda to New York to record the songs they’d written but arrived without a band.

                                                                  As Paul recalls, “We were thinking of forming a group at that time, Wings. We went to New York, found a really grotty little basement somewhere and auditioned a bunch of people. We got someone to throw a lot of drummers at us, out of which we picked Denny Seiwell who’s one of the best, and his personality fitted. Then we went in, worked with him, Hugh McCracken, Dave Spinozza, a couple of New York session men, and did RAM.”

                                                                  To avoid arousing too much interest, the auditions were held under the guise of a session for a commercial jingle. As well as Paul’s lead vocals there are harmonies from Linda. “I gave her a hard time, I must say, but we were pleased with the results. Elton John later said somewhere that he thought it was the best harmonies he’d heard in a long while. It was very much the two of us against the world at that point.”

                                                                  TRACK LISTING

                                                                  Side A
                                                                  Too Many People
                                                                  3 Legs
                                                                  Ram On
                                                                  Dear Boy
                                                                  Uncle Albert / Admiral Halsey
                                                                  Smile Away

                                                                  Side B
                                                                  Heart Of The Country
                                                                  Monkberry Moon Delight
                                                                  Eat At Home
                                                                  Long Haired Lady
                                                                  Ram On [reprise]
                                                                  The Back Seat Of My Car

                                                                  Jackie McLean & Michael Carvin + Chris McGregor’s Brotherhood Of Breath

                                                                  Melodies Record Club 001: Four Tet Selects

                                                                  “Melodies Record Club”, a string of DJ and artist curated mini compilations in loud 12” format. The first instalment was put together by Four Tet, selecting two big peak-time Jazz tracks he used to spin regularly at Plastic People.

                                                                  On one side, we’ve got all time jazz greats Jackie McLean and Michael Carvin’s De I Comahlee Ah, taken from their seminal album Antiquity recorded in Denmark back in 1975. A year and a half ago, we visited Steeplechase, the original label in the outskirts of Copenhagen. They informed us that at the time, the track was cut short as it didn’t fit on the full LP. They were kind enough to provide us with the tape of the full original recording, allowing us to release for the first time the full extended version capturing twelve and a half minutes of studio magic. Speaking with Michael back in November, he told us that every song on that album was recorded without any overdubs. They had taken their shoes off and organised the studio in such a way that they could move from instrument to instrument during the take (!!)

                                                                  On the flip, we have Chris McGregor’s Brotherhood of Breath – MRA. Back in 70s London, the Brotherhood had brought together musicians who had sought refuge from South Africa’s apartheid regime and the best of a new generation of British jazz musicians. Music journalist Richard Williams, who had originally reviewed the band in the 1970s tell us: “They made music that appealed in equal measure to the head, the heart and the feet, taking the jazz legacy of Duke Ellington and Charles Mingus and adding to it the fantastic dance rhythms and gorgeous harmonies of the townships and untethered collective improvisations of the new free music”.

                                                                  Four Tet’s instalment is out early May in 12” format and digitally (stream & download), first press comes with a folded A2 insert with words from and about the artists. Graphic design by Studio ChoqueLeGoff, illustration and animation by Nevil Bernard and for the audiophiles out there, remastered and cut at half speed by Matt Colton at Metropolis Studios!

                                                                  The second instalment curated by Ben UFO is scheduled shortly, which will be followed over time by a string of releases including selections from Hunee, Mafalda, Floating Points, Anya & Julia from Javybz, Daphni, Josey Rebelle, Charlie Bones, Gilles Peterson… and more, stay tuned!

                                                                  STAFF COMMENTS

                                                                  says: Time to get your Jazz on, Four Tet Selects these absolute gems for the first instalment and it doesn't disappoint! Bring on the rest I say... more jazz, more jazz!

                                                                  TRACK LISTING

                                                                  A1. Jackie McLean & Michael Carvin – De I Comahlee Ah (extended)
                                                                  B1. Chris McGregor’s Brotherhood Of Breath - MRA

                                                                  Australian 9-piece Spiritual Jazz group Menagerie announce their highly anticipated third album 'Many Worlds'. Menagerie is the Melbourne-based Jazz ensemble founded by producer, songwriter, guitarist, DJ and recording artist Lance Ferguson, also the driving force behind The Bamboos, Lanu, Rare Groove Spectrum and Machines Always Win.

                                                                  Recorded at Union Street Studio by award-winning engineer John Castle, 'Many Worlds' features some of Australia's finest musicians, including pianist Mark Fitzgibbon (a regular performer at Gilles Peterson and Patrick Forge's original Dingwalls sessions), drummer Daniel Farrugia and renowned saxophonist Phil Noy (The Bamboos).

                                                                  Inspired by both the post-Coltrane generation of the 70's, labels like Strata-East, Impulse! and Tribe, along with the current 'New Wave Of Jazz', Menagerie aligns with the world of Kamasi Washington, Shabaka Hutchings and Nubya Garcia, whilst also bringing their own unique twist.

                                                                  Lead single 'Free Thing' leans heavily into the spiritual side of the band's sound. The hypnotic spoken word-poem is evocative of The Last Poets, an earthy yet futuristic meditation on the universal theme of freedom itself, set to a backdrop of insistent percussion, double bass and brooding piano voicings.

                                                                  'Hope' carries forward the sound of spiritual jazz into the 21st century, with its epic vocal harmonies and melodic fanfare, it is an uplifting anthem for this period of global worldwide upheaval and uncertainty.The title track 'Many Worlds' is a perfect example of how Menagerie incorporates their myriad influences, but manage to create a sound that feels uncannily fresh and contemporary. Book-ended by ambient, ethereal sections, the slow-burning groove builds over its 11-minute duration to create a standout crossover track.

                                                                  TRACK LISTING

                                                                  1. Hope
                                                                  2. Many Worlds
                                                                  3. Free Thing
                                                                  4. Mountain Song
                                                                  5. Hymn Of The Turning Stone
                                                                  6. Quantum Blues

                                                                  Early in the year 2020, the world saw an unprecedented shutdown unlike anything we had experienced in living memory. Communities everywhere closed ranks, putting an end to physical interaction between individuals in response to a rapidly developing and unpredictable crisis. The streets emptied of rush hour traffic, and landscapes took on a new and eerie silence.

                                                                  As a result, we found our thoughts wandering the world, while our physical selves remained firmly at home. For artists, creative energy was frustrated by the physical sense of confinement. But human beings are resilient creatures, and so individuals began reaching out to each other across the empty spaces, finding inspiration in cooperation and partnership.

                                                                  The recordings featured here are a direct result of these times. Drawing upon existing source material, these artists worked remotely over the course of a year, exchanging ideas and developing the finished pieces that you now hold in your hand. In the course of this activity, new means were found, and new works unearthed that may never have seen the light of day.

                                                                  We do not intend this as a statement of strength and durability, for that would imply that human beings are rigid and cannot change. Instead, we hope to celebrate that fact that we can change, we can adapt. And we celebrate the link of humanity that ties us together in this world that we share.

                                                                  TRACK LISTING

                                                                  A1. Sleeping Tiger On The Bund
                                                                  A2. Body Of Water (What Is Love)
                                                                  B1. Hidden Qi
                                                                  B2. My Love Is Not What It Was

                                                                  Next up from Mind Fair is a crafty cover of cosmic classic, That Thing, by That Thing. Originally released as a currently scarce 12 on AVI in 1977, That Thing was a one-off synth-pop project produced by Dutch musician Geertjan Lacunes – who worried the outer limits of various European hit-parades during the ‘70s and ‘80s under the alias Jerry Rix. German label Jupiter picked up the quirky curio and repressed it as 7 for wider distribution, no doubt envisioning that they’d licensed a novelty monster the scale of Chicory Tip’s Son Of My Father - which alas was not the case.

                                                                  The track was however a firm favourite of pioneering Italian DJ, Daniele Baldelli, since its wonky bass riff can be heard spinning in and out of a multitude of his legendary mixtapes - where it`s twisted, almost inverted, by the maestro’s use of EQ.

                                                                  Back in 2020, Mind Fair have fashioned a faithful but you-betcha beefed-up reworking. The crazy lyric - care of Chicken Lips cohort, Johnny Spencer - and cowbells accompanied by un-MIDI-ed Moog and modular synth twitches, italo arpeggios and fuzzed guitar tones.

                                                                  Fabrizio Mammerella delivers a remix that's like a meeting of NYC’s Emergency Records, and Belgium’s Antler and Subway. Chris Barbosa and Morton, Sherman and Belluci. ‘80s New York and ‘90s New Beat. Dropping the chorus into devastating delay, chopping Johnny up into percussive Pop Muzik snippets. Sealing the psychedelic deal with a deft dose of analogue acid.

                                                                  In comparison, Eric Duncan’s re-imagining, initially comes across as kinda muted, but that’s just to catch you off guard. While pitched down, and the drums for sure more sedate, it’s definitely the trippier of the two revisions - with all sorts of strangeness throwing abstract shapes deep in its detail. That 303 now sounding severely stoned.

                                                                  It’s like that cat at the afters, the one who commandeers the drinks table in the kitchen and then bends any and every unsuspecting ear - spontaneously connecting the disparate dots in the universe, seemingly without stopping to draw breath - while endlessly shaking folks’ cocktails. The kind of nut that everyone knows, but can never work out how they make it home.

                                                                  Tongue-in-cheek weirdness worthy of Eric’s Rub N Tug partner, Thomas Bullock, and his mate, DJ Harvey, too slow to disco, too high to stop dancing, it’s quality psyche gear for the experienced, discerning, dimensional traveler. There’s a dub for those that can’t quite handle the vocal (lightweights!).

                                                                  STAFF COMMENTS

                                                                  says: Though the purists might cry sacrilege, I'm all about this beefy cover of cosmic classic "That Thing". Fabrizo Mammarella (chief slo-mo acid alchemist) heads in the psychedelic direction with his remix, before Eric Duncan shouts "Me Too" and follows suit.

                                                                  TRACK LISTING

                                                                  A1. Original Mix
                                                                  A2. Fabrizio Mammarella Dub Mix
                                                                  B1. Eric Duncan Mix
                                                                  B2. Eric Duncan Instrumental Mix

                                                                  Mathias Modica

                                                                  Sonic Rohstoff

                                                                    Mathias Modica’s "Sonic Rohstoff" is the new album on Berlin-based label Kryptox Music, Toy Tonics’ and Gomma Records’ sub label for new forms of Jazz & Electronica.

                                                                    Over the past two decades, Mathias he has made a name for himself by discovering and breaking new talent and styles of music. He produced albums with James Murphy and Nancy Whang of LCD Soundsystem, Peaches, Asia Argento, The Rammellzee and WhoMadeWho just to name a few.

                                                                    The album is a journey through abstract downtempo vibes, lofi jazz and futuristic electronica. This is Modica’s first album under his own name, following three albums under his monikers Kapote and Munk. All instruments are performed by Modica himself, embellished by guest musicians from the new Berlin Jazz scene. Most people might know Modica from his earlier works as a producer, keyboard player and founder/ creative mind behind Toy Tonics, Gomma and Kryptox.

                                                                    The music on “Sonic Rohstoff” is based on deconstructed samples and beats made from real drums and field recordings. Guest musicians are Ralph Heidel (fl, sax), Viktor Wolf (sax), JJ Whitfield (Beats). Loose drum patterns lead the way, mixed with carefully crafted, sensitive atmospheres setting the perfect mood for Modica’s warm and melancholic chord progressions and melodies played on several keyboards. Across the album, he draws inspiration from 1970s jazz funk and 1990s hip hop and electronica. Moods transition from sweet to bizarre, from cinematic to funky. Modern pioneers like Flying Lotus and DJ Shadow are influences as well as movie composers like Alessandro Alessandroni and David Axelrod and the fascinating world of 1980ies japanese fusion jazz.

                                                                    TRACK LISTING

                                                                    A1. Blumen Der Vernunf
                                                                    A2. Mica Male
                                                                    A3. Kontainer Kollektif
                                                                    A4. Le Sud
                                                                    A5. Nippon Jonetsu
                                                                    B1. Kotti Bizarre (Antitheater)
                                                                    B2. Konterfei
                                                                    B3. Haengboggam
                                                                    B4. Ostinato Eisbox
                                                                    B5. Vendetta '71

                                                                    Back in stock Cover of Moon EP by M|O|O|N.
                                                                    The first release from Wrong Island Communications is the eponymous "M|O|O|N EP". M|O|O|N is the artist name of 18 year old Bostonian, Stephen Gilarde. His musical talent being so well defined at such a young age can possibly be explained as a family trait: he is the nephew of James Murphy (LCD Soundsystem). These recordings are the first Stephen made not long after being given an old mixing desk and some monitors by DFA's Juan Maclean. They were made in 2010 and released via Bandcamp, proving so popular M|O|O|N was recently listed as one of the 10 Artists To Watch by Billboard 100 and were then picked up for the soundtrack to last year's 'Hotline Miami' video game. Since then, he has produced two more EPs which Wrong Island Comms. will be releasing over the next year. Comes in a picture sleeve designed by Madison McKenna with an A4 insert. Wrong Island Communications is a vinyl only label run by the same people as the long-running Glasgow club night of the same name.

                                                                    TRACK LISTING

                                                                    A1. Paris
                                                                    A2. Crystals
                                                                    B1. Hydrogen
                                                                    B2. Release

                                                                    Pioneers of the British music scene, ‘Blackest Blue’ will be the band's 10th studio album in a discography that spans three decades. 2020 saw Morcheeba unable to tour or perform live, which gave Skye Edwards & Ross Godfrey “time to write songs and really get to hone them,” as Godfrey puts it. “There weren’t so many pressures so we could really take our time getting the songs right,” adds Edwards.

                                                                    The result of this time is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop & soul - into one cohesive record that dives deep into the soul of the band’s genre-mashing musical heritage. As usual, the band didn’t approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba.

                                                                    Edwards’ lyrics are primarily focused on positivity and overcoming personal adversity that lies within. ‘Sounds Of Blue’, is a stunning cut that puts Skye Edward's sultry vocals to the forefront, floating high above an ethereal backdrop.

                                                                    The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). 

                                                                    TRACK LISTING

                                                                    LP Tracklisting:
                                                                    1. Cut My Heart Out
                                                                    2. Killed Our Love
                                                                    3. Sounds Of Blue
                                                                    4. Say It’s Over
                                                                    5. Sulphur Soul
                                                                    6. Oh Oh Yeah
                                                                    7. Namaste
                                                                    8. The Moon
                                                                    9. Falling Skies
                                                                    10. The Edge Of The World

                                                                    Bonus 7” (Indies Exclusive Version Only)
                                                                    A. Slow Rippling Surges
                                                                    B. Falling Sky (Merther Hum Dub Remix)

                                                                    Mother Freedom Band’s Cutting The Chord is a funky modern soul classic. It’s both a criminally under-appreciated album and a hard-to-find record so we’re delighted to be giving this sweet disco-funk groover the reissue treatment it deserves.

                                                                    Produced by the great Al Goodman from The Moments and originally released in 1977, Cutting The Chord seems to be one of the lesser known releases on the curious, and often great “All Platinum” label. Other than a 7" of a couple of these tracks, the only thing that the band seem to have released is this album, and what an album it is. Unbeatable soul-funk of the highest quality.

                                                                    The album bursts open with “Love Will Stay In Your Corner”. It’s a soulful dancer that reliably slays any funk set you care to drop it in. It’s followed by the lithe disco funk “Flick Of The Wrist” that’s all bubbling baselines and elegant horns. The groovy, horn-enhanced sweet soul of “Gotta Get It Back” is equal parts heartbreaker/hip-shaker and the acidic organs on “Mr Brother” are an experiment in synth soul.

                                                                    Perhaps the group’s best known track, “Beautiful Summer’s Day” might well be worth the price of an original copy alone. It’s pure piano-driven paradise soul. A tropical birdsong intro sets the scene of a warm, perfect sunshine day and the lead vocal soars over the lush, clean production. The tempo oscillates between contemplative and stomping. Essential.

                                                                    The brilliantly-named “(Assistants Rag) When You’re Hot, You’re Hot” opens side two. Another huge highlight, its title refrain repeated over this laid-back, power-funk workout. It still sounds incredibly modern, like something off the last D’Angelo record, and if Public Enemy and Diamond D both sampled it you know it knocks hard.

                                                                    The horn-heavy, clav-stabbing-stomper “We Like To Boogie” keeps things fast and funky before the airy, heavenly harmony soul of “Come On Home” mellows us all out. Things pick up again with “Touch Me”, and you might recognise its addictive elements sampled in Jay-Z’s Kanye West-produced “A Star Was Born”. The magical, reggae-tinged, gospel-influenced “Sweet Love” closes out this assured, classy set.

                                                                    We dare to say that Cutting The Chord is a rare example of a funk-soul LP which is killer from start-to-finish. Sure, there are the stand-out bombs, but the whole thing is a complete and varied album of feel-good vibes held together by its fluid horns, tight, tight rhythm section and beautiful vocals.

                                                                    Mastered for vinyl from the original analogue tapes by Simon Francis, cut by Pete Norman and artwork restored at Be With HQ, this new edition should hopefully stop this album slipping any further into obscurity. It’s just too good to be forgotten.

                                                                    STAFF COMMENTS

                                                                    says: Shockingly underrated, Cutting The Chord is filled to capacity with hit after hit of stone cold funk classics. Drenched in soul and groovy goodness, in need of the attention it truly deserves.

                                                                    TRACK LISTING

                                                                    A1 : Love Will Stay In Your Corner (2:59)
                                                                    A2 : Flick Of The Wrist (3:10)
                                                                    A3 : Gotta Get It Back (3.06)
                                                                    A4 : Mr. Brother (4:24)
                                                                    A5 : Beautiful Summer Day (3:21)
                                                                    B1 : (Assistant’s Rag) When You’re Hot, You’re Hot (4:06)
                                                                    B2 : We Like To Boogie (4:24)
                                                                    B3 : Come On Home (5:13)
                                                                    B4 : Touch Me (3:21)
                                                                    B5 : Sweet Love (4:18)

                                                                    Sweden's Mr. Tophat has this unique and faultless grasp of house music that means within the first few bars you're fully aware it's him behind the beats. "Ketamine Boogie" is no exception; creeping in with that subtle, low-volume master which makes you reach for the gains just before it drops into a full-frequency, speaker-tweaking cut. Utilizing a rollin' b-line, squelchy stabs and great spoken word interplay, he's crafted a quintessentially Tophat groove that simmers and broils the dancefloor into a thick aural soup. Mycket br!

                                                                    On the flip the formular is extended to included some exotic sample sources, twisted and filtered into the concentric madness we associate with this Scando-superstar. Another cleverly placed spoken vox, mangled string swirls and expert EQ'ing complete the package. Absolutely fucking storming! You need this now! 

                                                                    STAFF COMMENTS

                                                                    says: Matt, Sil and I fell in love with Mr. Tophat thanks to the entirely essential Karlovak releases, and when I slapped this on the Piccadilly player yesterday we all lost our minds. Filtered disco, nudged towards DC-10 tech house, but with a knowing manipulation of vocals and a pretty amazing approximation of what music sounds like when you're slipping into a k-hole.

                                                                    TRACK LISTING

                                                                    A1. Ketamine Boogie
                                                                    A2. Ketamine Boogie Tool
                                                                    B1. Midsommar SE Lufthansa

                                                                    That illusive & cult collected Mutable series has beguiled and pleasured the most ardent oddball disco and leftfield funk lovers with a highly desired, low-turnover series full of dancefloor jubulence that now reaches its forth release. Whilst only a few know the true identity of the master craftsman behind the label, plenty have indulged in its pleasures on the dancefloor.

                                                                    Side A of the new record contains two workouts that sound like you're catching Moodymann DJ'ing at either Plastic People or The Roadhouse circa 2004 - primo disco-house soul that simmers and broils with passion.

                                                                    Side B begins with an electronic rock-disco cut which bucks to a wicked groove and unleashes a Zanzibal-esque b-line onto our receptive body particles. Continuing with a hefty slice of timpani-led disco-funk full of slashing Stratecasters and wild bass before concluding with an piece of exo-orbitting dub that contains a plethora of tropical instrumentation.

                                                                    As always, nothing short of splendid. Limited copies and highly recommended from all.

                                                                    STAFF COMMENTS

                                                                    says: The mystery continues... Part four of the riddle. Sounds like Moodymann, plays like Andi Handley; is neither of the two but you DO know him! ;)

                                                                    TRACK LISTING


                                                                    Sarah Neufeld


                                                                      Composer and violinist Sarah Neufeld is a career-long touring and recording member of Arcade Fire. Her third solo LP ‘Detritus’, confronts anguish with beauty, turmoil with grace, gliding through the present like a dancer mid-motion, reaching through space 'til she's caught.

                                                                      The album is wistful and emotive, and carries the listener on a journey of euphoric and complex looped violin dusted with mesmeric melody recall. Openers ‘Stories’ and ‘Unreflected’ lead with atmospheric ease, sombre soundscapes and distant, otherworldly vocals. ‘With Love And Blindness’ ups the tempo with remote, dreamlike rhythms that hypnotise and enthrall. ‘The Top’ is elated, but it highlights the isolated strings and poetic loneliness Neufeld is able to convey with them. ‘Tumble Down The Undecided’ and ‘Shed Your Heart’ are climatic in their delivery, full of cascading notes and delays before closer ‘Detritus’ exits with a state of calm, easing back into the shadows and taking with it the vivid textures and images crafted with infinite grace over the course of the album.

                                                                      NOTES ABOUT DETRITUS
                                                                      I composed this album within a larger body of work that was commissioned as a live soundtrack for Peggy Baker Dance Project’s Who We Are In The Dark.

                                                                      Who We Are In The Dark is a collaboration originating in 2015 when Peggy Baker (legendary Canadian dancer and choreographer) and I were asked to perform a duet together at Fall For Dance North. Peggy chose to choreograph to my piece From Our Animal from my (then) upcoming second album, The Ridge.
                                                                      Wanting to create something personal for her for this performance, I composed a prelude which began with the words “who we are in the dark”.

                                                                      There was something utterly compelling about working and performing together.
                                                                      Coming from different generations (Baker is now 68), we share a sense of intensity, curiosity, and ferocity.
                                                                      Shortly after our debut performance together, Peggy commissioned me to collaborate with her on a full scale piece for her company. I began composing for this project in 2017, with the solo violin piece, The Top.
                                                                      Peggy and I were exploring themes of darkness- her take often lived in the macro, universal elements, space, death, while my own exploration at the time was more close up- intimacy and the ego self. I think there was an invisible thread between us from our own experiences of loss and grief.
                                                                      To say the least, this collaboration and the work we produced has held tremendous meaning for both of us.

                                                                      Drummer and composer Jeremy Gara (Arcade Fire) joined the collaboration in 2018, adding percussive and harmonic depth to my solo compositions, as well as inputting his own signature style of ambient noise composition and heavy, gripping drumming into the live score.
                                                                      The work premiered in February 2019 and toured internationally throughout the year, with our most recent performance in Den Hague at Holland Dance Festival in February 2020.

                                                                      I began distilling the solo compositions into a smaller, album length body of work in the Summer of 2019, experimenting live with solo versions, adding more vocals, and incorporating foot pedal bass synth to my solo live capabilities. This body of work stood out for me, as a further push and refinement of the composition style I’ve been developing for the past 8 years, and as a marker of an intense and difficult passage in my own life.

                                                                      TRACK LISTING

                                                                      1. Stories
                                                                      2. Unreflected
                                                                      3. With Love And Blindness
                                                                      4. The Top
                                                                      5. Tumble Down The Undecided
                                                                      6. Shed Your Dear Heart
                                                                      7. Detritus

                                                                      The Nightingales / Stewart Lee

                                                                      Ten Bob Each Way / Use Your Loaf

                                                                        This joint Nightingales / Stewart Lee 7" kickstarts a lengthy campaign of reissues by Robert Lloyd's combo, The Nightingales from Call Of The Void and Fire Records, in the wake of the acclaimed documentary from Fire Films, King Rocker. "Ten Bob Each Way" / "Use Your Loaf" is released in conjunction with the airing of the long-awaited Michael Cumming-directed, Stewart Lee-written film, King Rocker, which tells the tale of Robert's markedly unique four-decade career in music.

                                                                        Stewart Lee and Nick Pynn recorded "Use Your Loaf" in the attic of Brighton's beloved mini music café, Jane Bom-Bane's and was originally recorded for a mooted Nightingales tribute album. "Ten Bob Each Way" is a brand-new Nightingales recording, their first since recording the "Four Against Fate" album. It was recorded at Woodbine Street Studios, whose in-house producer, John Rivers, worked previously with Swell Maps and The Specials, among many others. A tale of work drudgery related through the tedium of recurring jokes "handed down like diseases", "Use Your Loaf" is the favourite of many 'gales fans and was widely praised by Mark E. Smith as "typically brilliant". Originally recorded as a single by The Nightingales way back in 1982, for Cherry Red Records. It was subsequently re-recorded for their debut album, ‘Pigs On Purpose’, which will be almost simultaneously reissued in deluxe expanded form through Call Of The Void.

                                                                        TRACK LISTING

                                                                        Side A – The Nightingales - Ten Bob Each Way
                                                                        Side AA – Stewart Lee W/ Nick Pynn - Use Your Loaf

                                                                        The Nivens


                                                                          Indie pop sensations The Nivens from Northumberland existed between 1987 to 1990. Recording for the excellent Woosh label, Their debut ‘Yesterday’ hit the indie top ten in January 1989.

                                                                          TRACK LISTING

                                                                          Side A

                                                                          Side B
                                                                          I Hope You’ll Always Be My Friend

                                                                          Some more classic hip-hop action on the cheekily-named Old Chilin' label, this time courtesy of D.I.T.C crew member Omar Credle AKA O.C. Many fans of golden-era hip-hop may already be familiar with 1994 gem 'Born To Live', a Buckwild-produced jam that also features vocal contributions from Pharoahe Monch and Roc Raida. The full vocal version - or at least the "Rap Edit" version prepared for radio stations - resides on the A side and sees Credle spitting atmospheric, largely positive rhymes atop a snappy, head-nodding beat, deep bass and some deliciously jazzy instrumental samples. The quality of Buckwild's production, and the weightiness of the beats in particular, can be further enjoyed on the flipside instrumental take.

                                                                          TRACK LISTING

                                                                          A1. Born To Live (vocal
                                                                          B1. Born To Live (instrumental) 

                                                                          Dansu Discs 2021 takeover continues with Tom Jarmey added to the Dansu Discs team under his new alias Ocean Stirs.

                                                                          His ‘Through Twist and Seam’ EP takes you on a journey across tasteful, jungle- infused electro, half-tempo rollers and vocal ear candy. It was a breakthrough 2020 for Tom, with numerous releases under both his Tom Jarmey moniker and collaborative project, Mother Of Pearls.

                                                                          Five tracks which demonstrate an uncanny knack of studio trickery, in-depth knowledge of Fast Music, coupled with the restraint, poise and sophistication of an almost guru-level production talent.

                                                                          Impossible to catagorize under one simple genre alone, I can see the thing preventing this from being played by eveyone is simply how far the pitch adjust stretches! Sure to cause a fuss when segued into any forward-projected collection of music, these tidy tools will jazz up any DJ set or live stream. Highly recommended! 

                                                                          TRACK LISTING

                                                                          A1. High Noon
                                                                          A2. Interscape
                                                                          B1. Spawned In Motion
                                                                          B2. Valley
                                                                          B3. Latch

                                                                          Augustus Pablo Meets Lee Perry & The Wailers Band

                                                                          Rare Dubs 1970-1971

                                                                          The mighty Lee Perry was the producer many have said, that enticed the best work, both socially, politically and lest we forget musically from Bob Marley and the Wailers Band. This was in no short terms aided by the excellent musicians that would mutate from Lee Perry's own studio band The Upsetters into what would become The Wailers band itself.

                                                                          This set of musicians originally grew out of a group called The Hippy Boys. The core of which consisted of Glenroy Adams on keyboards, Alva 'Reggie' Lewis on guitar and brothers Carlton and Aston 'Familyman' Barrett on drums and bass respectively. This quartet played on most of the Lee Perry produced Wailers material recorded between 1970 and 1971. When in 1972 Bob Marley needed to put together a touring band to promote his work in Europe the Barrett brothers left and became an integral part of the Wailers band.

                                                                          So, this link between The Upsetters and the Wailers band would under the guidance of Lee Perry produce an outstanding body of music. Recorded at Randy's Studio 17, as at the time Lee Perry did not have a studio of his own, but on checking out the various studio's available, opted for Studio 17, liking the vibes it transmitted.

                                                                          We have unearthed from this selection of work some rare dubs featuring the fabulous melodica playing of Mr Augustus Pablo, playing over these classic rhythms and adding a haunting additional feel to these already iconic tunes. On their initial release Lee Perry recognising the strength of the rhythm tracks, planned to release the vocal cuts as one album and the instrumental versions as another release. We at Jamaican Recordings believing in all thing’s rhythm, also think that these cuts in their dubbed form, with the additional flavour of some fine melodica playing, deserved to be listened to in their own right.

                                                                          Respect Jah Floyd.

                                                                          TRACK LISTING

                                                                          Side 1
                                                                          1. Soul Rebel Dub
                                                                          2. Don't Rock My Boat Dub
                                                                          3. Corner Stone Dub
                                                                          4. Rainbow Country Dub
                                                                          5. Screwface Dub
                                                                          6. 400 Years Dub
                                                                          7. Concrete Jungle Dub

                                                                          Side 2
                                                                          1. Satisfy My Soul Dub
                                                                          2. It’s Alright Dub
                                                                          3. Put It On Dub
                                                                          4. Long Long Winter Dub
                                                                          5. Soul Almighty Dub
                                                                          6. No Sympathy Dub
                                                                          7. Keep On Moving Dub

                                                                          In 2018, Sean Worsey, a successful lawyer in California, began to receive some rather surprising emails. These were not from prospective clients, or about current cases he was working on, but rather queries from record collectors. They wanted more details about a pair of obscure, largely forgotten records he’d made in the mid 1980s as part of a virtually unknown band called Passion Theatre.

                                                                          To say he was surprised is an understatement. “People from around the world were emailing, calling and messaging us about the music, particularly a track called ‘Vacation Day’,” he says. “Our records were rare and gaining in value, mainly because there were not many manufactured at the time. By 2019, several individuals in the music industry had emailed me about licensing tracks.”

                                                                          Space Talk eventually agreed with Sean to include ‘Vacation Day’ on Charles Bals’ second compilation, Retour Au Club Meduse. Impressed with the quality of the compilation Sean approached them again to discuss whether they would be interested in reissuing both of his old EP’s in full, an idea he’d been considering for a few months already.

                                                                          The original studio tapes were long gone but a friend of Sean’s had some mint vinyl copies which made the trip from California to use as the master source, restored and mastered superbly by Technology Works in London. The striking original artwork from the two EP’s has been faithfully reworked into a gatefold double vinyl LP by designer Asger Behncke Jacobsen and features extensive interview/sleeve notes by Matt Anniss.

                                                                          In the words of Sean Worsey - “One of the nicest things about the renewed interest in our music is that we can now enjoy it for what it is - back then we were a bit too worried about succeeding.” 

                                                                          STAFF COMMENTS

                                                                          says: I'm not sure this could be any more relevant to my interests; Painfully obscure 80s synthpop, heavy on the groove, angular, art-ish and kinda flouncy in a Balearic way. In other words, it's my dream record. Buy it now or regret it later!

                                                                          TRACK LISTING

                                                                          1. Strange Desire (EP1: Strange Desire EP)
                                                                          2. International Love Affair
                                                                          3. Menage A Trois
                                                                          4. No For Answers
                                                                          5. Mannequin (Fiesta Mix - EP2: Mannequin EP)
                                                                          6. Vacation Day
                                                                          7. In Love With A Mannequin


                                                                          Sofian - Inc. Loyal Remix

                                                                          Having lit up sunsets and sunrises the world over with their first outing on Leng, the deliciously Balearic ‘Last Night in Sant Celoni’, Payfone has opted for a more sensual and seductive sound on their triumphant follow-up.

                                                                          Phil Passera and Jimmy Day are in fine form on ‘Sofian’, a deep, chugging and intoxicating affair topped off by a sleazy and breathy, half-sung and half-spoken vocal from Barbara Alcindor, previously of hugely successful European chart-toppers French Affair.

                                                                          As with previous Payfone productions, no samples were used in the creation of the track. Instead, Passera and Day focus the action around hypnotic, slow-motion machine drums and a brilliant analogue synthesizer bassline that will quickly worm its way into your subconscious.

                                                                          On top of this the pair has layered up warming chords, languid boogie-style guitar riffs, colourful synthesizer lines, hand percussion and mazy Wurlitzer electric piano solos played by guest musician Phil Marten. It’s an undeniably alluring combination of musical elements that offers a clever counterpoint to the barely hidden melancholia within the track’s surprising lyrics.

                                                                          Jimmy Day delivers the flipside ‘Loyal Mix’, a slightly brighter and more vivid interpretation that gives extra weight to the track’s razor-sharp guitar riffs and kaleidoscopic synth sounds. The result is a weighty, synth-powered dub disco workout that makes a fine accompaniment to one of Payfone’s most dramatic and addictive songs to date.

                                                                          STAFF COMMENTS

                                                                          says: Recall the feels of warm sun on your face, grilled calamari drifting up your nostrils and the gentle lap of waves at your feet with this 100% Balearic offering from Payfone. Original for the daytime, Loyal's remix for the night. Perfecto!

                                                                          TRACK LISTING

                                                                          A1. Sofian
                                                                          B1. Sofian (Loyal Remix)

                                                                          Piccadilly Records

                                                                          Black Heavyweight Fair Trade Cotton Tote - Bubblegum Pink Print

                                                                            Heavyweight fair-trade cotton canvas bag with 12cm (4 1/2") gusset so it's plenty big enough and strong enough to hold a fair chunk of records and also doubles as a rather nice groceries bag.

                                                                            Piccadilly Records

                                                                            Black Heavyweight Fair Trade Cotton Tote - Cherry Red Print

                                                                              Heavyweight fair-trade cotton canvas bag with 12cm (4 1/2") gusset so it's plenty big enough and strong enough to hold a fair chunk of records and also doubles as a rather nice groceries bag.

                                                                              Piccadilly Records

                                                                              Black Heavyweight Fair Trade Cotton Tote - Electric Blue Print

                                                                                Heavyweight fair-trade cotton canvas bag with 12cm (4 1/2") gusset so it's plenty big enough and strong enough to hold a fair chunk of records and also doubles as a rather nice groceries bag.

                                                                                Piccadilly Records

                                                                                Black Heavyweight Fair Trade Cotton Tote - Mint Green Print

                                                                                  Heavyweight fair-trade cotton canvas bag with 12cm (4 1/2") gusset so it's plenty big enough and strong enough to hold a fair chunk of records and also doubles as a rather nice groceries bag.

                                                                                  Plunky & Oneness Of Juju

                                                                                  Make A Change

                                                                                    Strut present the definitive edition of a 1977 classic, Plunky & Oneness Of Juju’s ‘Make A Change’ album featuring the international hit ‘Every Way But Loose’ and five previously unheard studio takes.

                                                                                    Recorded at Omega studios in Maryland, the album marked a transition for the band with lead vocalist Jackie Eka-Ete recording her last sessions with Plunky and Virtania Tillery taking over lead vocal duties. “‘Make A Change’ was always designed as a slightly more commercial entry in our discography,” says Plunky. “We approached the sessions in the same way that we had approached all of our music since the early ‘70s. We played extended jams because we would always find something within those explorations. The songs had enough organic qualities to be considered R&B and enough rhythm to be Afro funk.

                                                                                    After catching fire in Washington DC clubs through local record pools, the dancefloor favourite ‘Every Way But Loose’ famously became an anthem for Larry Levan at New York’s Paradise Garage, kick-starting international success for the track. Other album cuts like funk workout ‘Higher’ and the wistful stepper ‘Always Have To Say Goodbye’ have remained staples among soulful DJs worldwide. “The songs and lyrics on this album have come back around full circle,” continues Plunky. “With songs like ‘(Family Tree) Make A Change’ and ‘Every Way But Loose’, we don’t have to change one word for them to be relevant all these years later. The positive messages are universal and timeless.”

                                                                                    This definitive edition of ‘Make A Change’ features the full original album alongside five previously unheard studio takes, all remastered by The Carvery from the original tapes. Bonus tracks include extended studio versions of ‘Every Way But Loose’ and ‘Always Have To Say Goodbye’ and a previously unheard version of ‘Time’. Package features brand new liner notes by bandleader Plunky Branch.

                                                                                    TRACK LISTING

                                                                                    1. (Family Tree) Make A Change
                                                                                    2. Run Away Bay
                                                                                    3. Love’s Wonderland
                                                                                    4. Every Way But Loose
                                                                                    5. Higher
                                                                                    6. Always Have To Say Goodbye
                                                                                    7. Plastic (Previously Unreleased Version)
                                                                                    8. Time (Previously Unreleased Version)
                                                                                    9. Every Way But Loose (Extended Version)
                                                                                    10. Run Away Bay (Extended Version)

                                                                                    Debut album by NAFF co-founder Priori. "On a Nimbus" brings you to the heart of the network. It's frenetic and weightless, bleepy and essentially NAFF at its very core.

                                                                                    Ghosts of Detroit techno collide with subs and breakbeats of UK jungle across two discs of incredibly detailed and sympathetic dance music. All the classic instruments, sounds and patches are present and correct but Prior adds fresh new spin and patina on these well-established dancefloor building blocks, resulting in an LP which though accessible and warming to the ear, pushes things forward enough to keep those with a penchant for future technologies more than happy. Recommended! 

                                                                                    TRACK LISTING

                                                                                    A1. 2see
                                                                                    A2. Creative Lizard
                                                                                    A3. Dreams Of A Digital Sublime
                                                                                    B1. Tech Ne
                                                                                    B2. Critter
                                                                                    B3. On A Nimbus
                                                                                    C1. 6 Thematic
                                                                                    C2. Afterburn
                                                                                    D1. 4 See
                                                                                    D2. Ee-POH-ne
                                                                                    D3. Ani Ma

                                                                                    Limited to 250 copies, hand stamped.

                                                                                    Ace! La Beauté Du Négatif welcomes Qeta, best kept secret from xxxxxx. 5 trackers from electronica to jungle via braindance. There's a subtle but definite uprising of this hybridized IDM; which takes cues from AFX, Autechre & Boards of Canada whilst utilizing the most hi-tech modules and equipment around. Brainwaltzera, alongside much of the FireScope roster know this formular brilliantly, but it's especially pleasing to see La Beauté Du Négatif get in on the action. Superb, from start to finish; it's refreshing to see this sound invigorated with such enthusiasm and nuance. A breathtaking release - you simply must check it out! 

                                                                                    STAFF COMMENTS

                                                                                    says: Top drawer braindance music here on the exquisite La Beauté Du Négatif - one of my favourite labels of the last decade. Taking in vintage BOC and AFX blueprints but psychedelicizing them for modern consumption. Superb.

                                                                                    TRACK LISTING

                                                                                    A1. Annexx
                                                                                    A2. Go With The Rush
                                                                                    B1. Llexi
                                                                                    B2. I Know You (Qeta Rmx)
                                                                                    B3. By Dawns Early Light

                                                                                    Radius / Cv313

                                                                                    Interpolation Tapes 0/3

                                                                                      This marks the final installment of Radius's "Interpolation Tapes" series, lovingly re-mastered in Echospace. All previously unreleased material culled from the vaults, these masters were one of the first Demo Tapes of the Radius project and where many of the sound sources for the series were conceived. We've spent months doing our best to restore the old tapes from our Tascam 688, an 8 track cassette recorder purchased and abused since 1992 and to our ears still sounds quite impressive even by modern standards. We've had nearly every component replaced and re-calibrated to bring this obsolete machine back to life, it's been a truly nostalgic experience re-visiting and redesigning these masters. The first mix is an unreleased version rewired and reshaped by the cv313 project, taking cues from the original source material and developing it into an ocean of analogue bliss!

                                                                                      We truly hope you enjoy reliving these magical times of music, very inspired by all that was happening in those years, there was just something in the air, an undeniable energy, long may it live on...


                                                                                      Artist: cv313
                                                                                      Title: analogue oceans [current IV + V] limited edition series
                                                                                      Label: echospace [detroit]
                                                                                      Cat: echospace313-9-LE
                                                                                      Format: CD (RETROGRADE ECO FRIENDLY DIGIPAK W/CUSTOM CHROME STICKER)
                                                                                      Price: £11.99

                                                                                      CD1: analogue oceans [current IV] subduction | 55:51
                                                                                      CD2: analogue oceans [current V] obduction | 60:00
                                                                                      Download Zip

                                                                                      Limited 2XCD edition inspired by and created during the production of "analogue oceans", these two versions were omitted due to their 60+ track lengths. This release features current IV [subduction] and current V [obduction], the last 2 closing pieces of this ethereal opus cv313 has created, a mind shifting movement of electricity modulates voltage and currents into a sonic world like no other. Anyone in love with the original will have so much to adore here, this is hands down some of most engaging sounds this project has ever explored!

                                                                                      "The sound of water is deep, its form is serpent-like, its color green, and it is best heard in the roaring of the sea." -The Sufi Teaching of Hazrat Inayat Khan

                                                                                      This mysticism is the essence of our time. Engineered, written & produced by cv313. Tape Transfers, digital conversion and mix downs in Echospace. Additional Modular development and Reproduction by Variant. Conceptualized with @ Antique Modulation, Ann Arbor / Detroit, MI circa 2012-2013. Field recordings conducted in Gamma, Japan & Maui, Hi.

                                                                                      TRACK LISTING

                                                                                      CD1: Analogue Oceans [current IV] Subduction | 55:51
                                                                                      CD2: Analogue Oceans [current V] Obduction | 60:00

                                                                                      Ziad Rahbani

                                                                                      Bennesbeh Labokra... Chou?

                                                                                        Landmark album by Lebanese cultural icon Ziad Rahbani reissued on vinyl for the first time since its release in 1978. Curated by Lebanese-born music expert Mario Choueiry from Institut du Monde Arabe in Paris, the reissue features original gatefold sleeve, remastered audio and a 2 page insert with a new introduction by Choueiry.

                                                                                        Ziad Rahbani's cult album, Bennesbeh Labokra...Chou? originally released in Lebanon only and mixing Arabic music with jazz, bossa nova and other western influences, is hailed as an absolute classic. The album is the soundtrack to his eponymous play and has been highly sought-after by DJs and collectors around the world.

                                                                                        Bennesbeh Labokra… Chou? is a skilful blend of Arabic music and Bossa-nova - "First Introduction" - the recurring theme of the album, groove - the funky beat of "Second Introduction" and the jazz vibe of "Variation's 3 and 4." It's also interesting to hear an early version of "Al Bosta" which would grace Fairuz's 1979 album "Wahdon" in a faster, funkier version. With a knack for cinematic orchestrations reminiscent of Lalo Schifrin, Ziad Rahbani also brings more complex arrangements to the album on such tracks as "Variation 5" making the album such a rich listening. Undoubtedly one of the most important albums recorded in the Middle East.

                                                                                        TRACK LISTING

                                                                                        A1. First Introduction
                                                                                        A2. Variation 1
                                                                                        A3. Reda
                                                                                        A4. Variation 2
                                                                                        A5. Al Bosta
                                                                                        A6. Second Introduction
                                                                                        B1. Variation 3
                                                                                        B2. Variation 4
                                                                                        B3. Wahda Balak
                                                                                        B4. Variation 5
                                                                                        B5. Last Scene
                                                                                        B6. Final Theme


                                                                                        No Medium

                                                                                          While the collection of songs on Philadelphia/Michigan musician Rosali’s electrifying third LP, No Medium, explores the often dark territory of loss, death, sexuality, self-sabotage, and addiction, there is a surprising lightness to its sonic being. 

                                                                                          Backed by members of the David Nance Group, Rosali (Long Hots, Wandering Shade, Monocot) wades through the emotional mire with infectious, earworm melodies led by her luminous voice. With their rich, raw instrumentation, these rock ballads sound like the resilience discovered in facing one’s darkest moments, the assurance of the calm and clarity that comes after the storm. As she sings on the second track, “Bones,” “Through the darkness of the field / I walk through without yielding / To the rest of the feelings / I’m carrying.” With her confident song craft, Rosali illustrates the ability to push through, moving toward something greater without being destroyed by the weight of trauma.

                                                                                          Engineered by James Shroeder and featuring Kevin Donahue (Simon Joyner), James Shroeder (Simon Joyner, DNG, Connor Oberst), David Nance, Noah Sterba, Colin Duckworth, and Daniel Knapp, the album was recorded in ten days and the raw immediacy of the music is palpable across these ten tracks. Added adornment was contributed by Philadelphia's Robbie Bennett (War on Drugs) on organ and keys, and Matt Barrick (The Walkmen, Jonathan Fire Eater, Muzz) makes a percussion cameo on “Whisper,”which was tracked at Philly’s Silent Partner Studio, where No Medium was mixed by Quentin Stoltzfus (Mazarin, Light Heat). The open creative collaboration elevated the songs, resulting in the exciting, vibrant sound of the album.

                                                                                          Rosali wrote the bulk of these songs in January of 2019 while on a self-imposed two week residency in the hills of South Carolina. Alone in an old farmhouse, she experienced supernatural events and faced her own demons in the deepest darkness. Perhaps as a result, there is a boldness that permeates the album, a daring vulnerability in both the lyrical themes and their musical accompaniment. Rosali says, “I approach guitar playing the same intuitive way I sing, which is profoundly spiritual for me. Where words fail, the guitar becomes the conduit for raw feelings, providing a direct connection to them. I’m constantly working on being fearless in my work, which means showing the rough side, the mistakes along with the triumphs.”

                                                                                          While writing No Medium, Rosali was inspired by harmonographs—swinging pendulums that create beautiful illustrations of the mathematics of music—considering how the mind, too, creates images through song. She imagined herself as the swinging pendulum—“a body suspended from a fixed point” (Encyclopedia Britannica), governed by the forces surrounding her. She thought about the pendulum’s relationship to time, movement, and even its use in divination practices. The album’s title, lifted from Charlotte Brontë’s, Jane Eyre, resonated with this vision: “I know no medium: I never in my life have known any medium in my dealings with positive, hard characters, antagonistic to my own, between absolute submission and determined revolt. I have always faithfully observed the one, up to the very moment of bursting, sometimes with volcanic vehemence, into the other.” With the multiple meanings of “medium”—as middle ground, a term for psychics, and as the material of artistic expression—No Medium felt like the appropriate name, describing how the self is shaped by the patterns of life .

                                                                                          The influences for the sound of No Medium reflect this pairing of assured vulnerability, in the stylistic coherence of Bob Dylan’s Desire, the tender delivery in Iain Matthews’ Journey From Gospel Oak, the strut and swagger of Bowie’s Hunky Dory, the ambition and beauty of Gene Clark’s No Other, and the playful catharsis of Harry Nilsson’s Nilsson Schmilsson. The Richard and Linda Thompson-esque album opener “Mouth,” places Rosali within both a physical and emotional space. “East of the river I was travelling on / watch me lie, undone / rest me in a forest, overgrown / until I am free of all that I’ve known,” she sings. There is movement, both within a cityscape, and in her outlook on love. Speaking of her thought process when writing the song, she says, “I imagine confidently walking away from the past, toward a new approach to love and intimacy to achieve a closer relationship with myself.”

                                                                                          In “Pour Over Ice,” Rosali explores her relationship with alcohol and her former reliance upon it as a social lubricant to quell her social anxiety, an energizer to keep moving, a means to cope and self-medicate, and most addictively, to lure out her wild side as a free flowing, good time girl. While drinking helped her through some shitty times, it eventually got the upper hand and became an insatiable hole within. She says, “The ‘you’ in the song is really me, talking to that component of myself struggling with drinking and self-sabotage, caught up in the cycle, and all the bad choices I made.” She sings, “Maybe I didn’t care enough / or can’t remember / chasing small pleasures / making fire from embers.” Rosali wanted her lead guitar on this track to simultaneously sound like a slow motion car crash propelling her through the day, and the sound of a gnawing hunger for something more.

                                                                                          Rosali’s alliance with the Omaha musicians that orbit David Nance Group (including Nance himself) came about while on a Long Hots / DNG tour in the summer of 2019. Great friendships formed and one night after playing in Detroit, Dave suggested they be her backing band. The pairing was effortless and natural, and in November of the same year, they were recording No Medium in a basement in Omaha. 

                                                                                          TRACK LISTING

                                                                                          1. Mouth
                                                                                          2. Bones
                                                                                          3. Pour Over Ice
                                                                                          4. Waited All Day
                                                                                          5. All This Lightening
                                                                                          6. Whisper
                                                                                          7. If Not For Now
                                                                                          8. Whatever Love
                                                                                          9. Your Shadow
                                                                                          10. Tender Heart

                                                                                          Jorge López Ruiz

                                                                                          El Grito (Suite Para Orquesta De Jazz)

                                                                                            Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs.

                                                                                            Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”.

                                                                                            A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”.

                                                                                            As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed.

                                                                                            The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years. But it isn’t just being hard to find that has pushed up the prices of those few original copies that survived, this is a foundational record in the development of jazz in South America.

                                                                                            El Grito (Suite Para Orquesta De Jazz) is a showcase for Jorge López Ruiz’s skills as a composer and arranger as he leads a virtuoso orchestra of the likes of Mario Cosentino (alto sax), Baby López Furst (piano), Pichi Mazzei (drums), Gustavo Bergalli (trumpet), Oscar López Ruiz (guitar), Arturo Schneider (flute) and Jorge López Ruiz himself plays double bass on the fourth and fifth movements.

                                                                                            As the album’s sub-title explains, The album is a Jazz orchestra concept suite. Five movements, to be heard as a whole, that end where they begin.

                                                                                            “When I wrote it there was no history of a cyclical work in jazz. But I didn't notice that, I needed to express something and I did it. At that time they told me I was crazy, that such a thing was very difficult to do. But hey, I like challenges”.

                                                                                            Yet this is not challenging jazz. There are certainly avant garde, free jazz flourishes, but the hard bop characteristics make this a very accessible album: easy to listen to without being easy listening. López Ruiz’s love of film brings a definite cinematic feel.

                                                                                            The title movement opens the album in bombastic style. “El Grito” grabs you by the lapels and refuses to let go. Raw then controlled, it’s by turns stabbing then soothing, with rage weaved in and out of the elegant styles. “M.A.B. = Amor” is our favourite here. With a tense introduction and a patient build, a gentle sax sweeps in to lift everything up to meet the serene piano and soft drums. Elegantly paced, it moves back and forth between deep contemplation and a more urgent call and response between strings and horns. A near-eight-minute, slow motion marvel.

                                                                                            The second side eases in with the beautifully-titled “Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas” (“Up To The Sky, No Clouds, With All The Stars”) a relatively brief mid-tempo piece featuring López Ruiz’s insistent bass notes high in the mix, and again blending the sublime with the emotive with its wild horns and tight rhythm section.

                                                                                            It’s followed by “Tendré El Mundo” (“I Will Have The World”) which also leads with hypnotic bass, but this time swifter, driven by crashing drums, rapid horn conversations and effortlessly cool piano flourishes. Rounding out the suite, “De Nuevo El Grito” (something like “The Next Scream” or “The Scream Renewed”) is a stylish closer. Whilst López Ruiz’s bass shifts the track along, the horns and piano are more restrained, yet no less stunning.

                                                                                            This Be With edition of El Grito sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost. The tortured artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every protest art collection.

                                                                                            TRACK LISTING

                                                                                            A1 : El Grito (06:12)
                                                                                            A2 : M.A.B. Amor (07:45)
                                                                                            B1 : Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas (03:54)
                                                                                            B2 : Tendré El Mundo (04:10)
                                                                                            B3 : De Nuevo El Grito (07:45)

                                                                                            next 100

                                                                                            Latest Pre-Sales

                                                                                            155 NEW ITEMS

                                                                                            Saturday! Saturday! Saturday! OPEN from 10am - 6pm today. See you soon.
                                                                                            Sat 15th - 7:33
                                                                                            Cooked up in the Blue Note Lab, RMX presents last year’s band-defining masterpiece, @GoGo_Penguin re-imagined throu…
                                                                                            Fri 14th - 1:30
                                                                                            Now stocking @TheFaceMagazine Cosmic scallies, Palace skateboards, hyperpop musicians and 130 pages of pure, unad…
                                                                                            Fri 14th - 11:42
                                                                                            Yes, we aim to please 😀 It’s the reason why you should take your headphones off when in a record shop. You never kn…
                                                                                            Fri 14th - 11:09
                                                                                            Super psyched to announce @durand_jones are doing a virtual in-store on Friday July 30 ☄️ To take part all you hav…
                                                                                            Fri 14th - 11:04
                                                                                            E-newsletter —
                                                                                            Sign up
                                                                                            Back to top