Cerca:2 4 family

RAWAX proudly welcomes Felipe Gordon to the artist family! We are very happy to present you this outstanding artist from Colombia on our CHIWAX imprint. His fantastic debut release for us will be out early September. Higly recommended!

Composed in the aftermath of family tragedy, NY Graffiti’s Burden is an album full of peace anthems, psalms, dirges, and confessionals. In the pursuit of consolation, the tectonics of techno, dub, and post-club aesthetics are pushed past their margins onto new emotional plateaus.

Like the series of EP’s that NY Graffiti has released in recent years – including a split with Subtext affiliate UCC Harlo – Burden is an amalgam of dub-informed club music, acoustic emulations, and doom-scroll sourced social media chatter, filtered through the artist’s unique sonic palette that has developed over years on the fringes of New York’s contemporary club scene.

From the largely-improvised opener (and closer) “Approximation”, to the discord of the steppa-inflected track “98 Prayers”, and the dystopian ambiance of “Reach” (evoking early Hype Williams), Burden constantly reconfigures itself in search of catharsis. The album's seven tracks are dense and claustrophobic yet unexpectedly grounding. Amid the weight of grief, and the bleakness of our shared geopolitical realities, the NYC-based artist provides moments of solace that are intimate, direct, and revelatory.

Burden was initially released as a digital album earlier this year and is now available on vinyl through NY Graffiti’s own Peace Anthem Records and Switzerland-based Präsens Editionen. While the former has primarily focused on releasing NY Graffiti’s own projects, the latter is the publishing house of zweikommasieben Magazin and has released music and sound works by artists such as Anom Vitruv, Red On, Belia Winnewisser, Martina Lussi, Samuel Reinhard, and Magda Drozd

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2019, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.


Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).


On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes. Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2019, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.


Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).


On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes. Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

Hello 24! Nice to have you here. 23 is so yesterday, so over the top, really. Well, we’ve been dancing the following dances recently. What about you?

What lasts a long time usually turns out well. Having admired TEE MANGO from afar for many years, our A&R Michael Mayer took heart and invited him to this year’s TOTAL. “So In Love” is in the best tradition of the KOMPAKT minimal funk of the early years. We are delighted to have this lovely Englishman on board!

REINHARD VOIGT has always placed great emphasis on loving animals. On the track with the unsurprising title “Der, der mit dem Gummiball sang (Orange)”, he lets whole hordes of different four-legged friends and poultry on the microphone. Hopefully the stench will dissipate from the studio.

When Rhenish cheerfulness meets holiday anticipation, the result is something like this Hawaiian shirt turned music called “Chee-Caruso” by JÜRGEN PAAPE. No animals were tortured for this piece either, even if it sounds like it.

We stay in the realm of fauna and turn our attention to London’s award-winning pedigree dog REX THE DOG. “Laika” is a heart-warming ode to the mongrel dog of the same name, who was the first living creature to make it from the streets of Moscow into space. She would have loved that bleep.

A little-known fact about MICHAEL MAYER is that he is one of the fastest crossword puzzle foxes on the left bank of the Rhine, always in relentless rivalry with Wolfgang Voigt, who thinks he is even faster. The big battle is yet to come. Uninvited guest with five letters? “Urian”.

As an integral part of the family, JONATHAN KASPAR is of course not to be missed. “Are You” celebrates the kind of early morning rapture that is commonplace at his new DJ venue, the brand new Cologne superclub FI. Everything is so colourful here.

SASCHA FUNKE takes a bow to one of the greats of German showbiz with the trippy electro smasher “The Heck”. Born – like DJ Koze and Barnt – in Flensburg, died in Berlin in 2018 and wore glasses. More will not be revealed.

More emotion, more love, more sing-along factor? Si, claro! ARGIA’s “Love Keeps You Running” masterfully combines groove and pop – a blend that sounds very familiar to us. She may be at home in Madrid, but there’s Cologne DNA in her somewhere. We’re sure of it.

Let’s meet the legends, the veterans! JÖRG BURGER is still in a psychedelic mood in 2024. That suits him, that’s where he needs to be, that’s where we want him to be. A parallel universe is conceivable in which such music is affectionately called Goa.

Before going to bed, the WASSERMANN reads us a fairy tale from the Arabian Nights. At the same time, we focus on a point between everything, but really everything, and absolute, stark naked nothingness. 3, 2, 1… Let go.

Hallo 24! Schön, dass du da bist. 23 ist ja sowas von gestern, geht gar nicht, echt. Also, bei uns tanzt man neuerdings die folgenden Tänze. Und bei Euch?

Was lange währt, wird meist gut. Schon seit vielen Jahren aus der Ferne TEE MANGO bewundernd, hat sich unser A&R Michael Mayer ein Herz gefasst und ihn zur diesjährigen TOTAL eingeladen. “So In Love” steht in bester Tradition des kompaktschen Minimal Funk der frühen Jahre. Wir freuen uns, den quirligen Engländer an Bord zu haben!

Tierliebe wird im Hause REINHARD VOIGT schon immer groß geschrieben. Auf dem Stück mit dem nicht weiter verwunderlichen Titel “Der, der mit dem Gummiball sang (Orange)” lässt er gleich ganze Horden verschiedenster Vierbeiner und Federvieh ans Mikro. Hoffentlich zieht der Gestank wieder aus dem Studio ab.

Wenn rheinischer Frohsinn auf Urlaubsvorfreude trifft, dann kommt so etwas wie dieses Musik gewordene Hawaiihemd namens “Chee-Caruso” von JÜRGEN PAAPE heraus. Auch für diesen Beitrag wurden garantiert keine Tiere gequält, auch wenn es allenthalben so klingt.

Wir bleiben im Reich der Fauna und wenden uns London’s preisgekröntem Rassehund REX THE DOG zu. “Laika” ist eine herzerwärmende Ode an die gleichnamige Mischlingshündin, die es von den Strassen Moskaus als erstes Lebewesen ins All geschafft hat. Den Bleep hätte sie bestimmt gemocht.

Eine wenig bekannte Tatsache über MICHAEL MAYER ist, dass er zu den schnellsten Kreuzworträtsel-Füchsen links des Rheins zählt, stets in unbarmherziger Rivalität zu Wolfgang Voigt, der sich für noch schneller hält. Der große Battle steht noch aus. Ungebetener Gast mit fünf Buchstaben? “Urian”.

Als fester Bestandteil der Familie darf natürlich auch JONATHAN KASPAR nicht fehlen. “Are You” zelebriert frühmorgendliche Entrückungszustände, wie sie in seiner neuen DJ-Wirkungsstätte, dem nigelnagelneuen Kölner Superclub FI Gang und Gäbe sind. Alles so schön bunt hier.

SASCHA FUNKE verneigt sich mit dem trippy Electrosmasher “The Heck” vor einem der ganz Großen des deutschen Showbiz. Geboren – wie DJ Koze und Barnt – in Flensburg, gestorben 2018 in Berlin, Brillenträger. Mehr wird nicht verraten.

Mehr Gefühl, mehr Liebe, mehr Mitsing-Faktor? Si, claro! ARGIA’s “Love Keeps You Running” vereint meisterlich Groove und Pop – eine Melange, die uns durchaus bekannt vorkommt. Sie mag zwar in Madrid zuhause sein, aber irgendwo steckt in ihr eine Kölsche. Da sind wir uns sicher.

Auf zu den Legenden, den Urgesteinen! JÖRG BURGER zeigt sich auch in 2024 in einem psychedelischen Mood. Das steht ihm, da muss er hin, da wollen wir ihn haben. Es ist ein Paralleluniversum denkbar, in dem solche Musik liebevoll Goa genannt wird.

Der WASSERMANN liest uns vor dem Schlafengehen noch ein Märchen aus Tausendundeine Nacht vor. Wir fokussieren uns gleichzeitig auf einen Punkt zwischen allem, aber auch wirklich allem und dem absoluten, splitterfasernackten Nichts. 3, 2, 1… Loslassen

Limited Opaque Green Vinyl. Anthony "Ant" Davis is a distinguished hip-hop producer, one-half of the renowned duo Atmosphere, and a founding member of independent record label Rhymesayers Entertainment. His decades-long career of beat-making has also included works for MF DOOM, Brother Ali, Murs, Rav, Sage Francis and a dozen others. Raised in a military family, his nomadic upbringing exposed him to many diverse influences and, coupled with his father's love for collecting records, laid the groundwork for his deep appreciation for all sorts of music. Ant's latest endeavor, Collection of Sounds, is a four-volume series of instrumental works showcasing the breadth and depth of his musical expertise. The Collection of Sounds series offers a window into Ant's creative journey, reflecting his evolution as an artist over the years. Drawing from a vast vault of unreleased material, he's exhumed cross sections of his catalog with surgical precision, organizing songs by sound rather than mere chronology. Volume 1 is at times so intimate as to border on claustrophobia, like the creeping "Bar One" or the haunted twinkling of "I Was Always A Collector" while other tracks are expansive enough to fill entire venues, like the forebodingly airy "4-Track Beyond Beat 1996." Many of the beats on Collection of Sounds: Volume 1 have pockets that are practically begging for rappers to explore. When he first pondered releasing an instrumental series, Ant figured he might want to make the songs more intricate than the ones gave to his rapper collaborators, filling up the space in the mix that would normally be given over to their vocals. "But then it would be jazz, right?" he says with a loud laugh. "And I'm not that." Fitting, as Collection of Sounds is not about forgetting who you are-it's about remembering, reconfiguring and reimagining, all at once; a testament to Ant's artistic integrity.

Originally released in November 1984, Limahl’s debut solo album ‘Don’t Suppose’ is to be reissued on recycled lavender vinyl to celebrate its 40th anniversary. The album is probably best known for the aforementioned ‘Neverending Story’. As well as featuring in the film of the same name (which is being revived for the big screen once more), it more recently found a whole army of new fans when it appeared in the final episode of the third season of Stranger Things. Set in 1985, the song is sung by Dustin (Gaten Matarazzo) and his long-distance girlfriend Suzie (Gabriella Pizzolo) as a way to reconnect after not seeing each other for some time. Following the season's release on July 4, 2019, interest in the track surged; viewership of the original music video had increased by 800% within a few days according to YouTube, while Spotify reported an 825% increase in stream requests for the song.

Further reflecting on the album Limahl goes on… “I can’t believe it’s been 40 years, yet sometimes it feels like yesterday! Looking back now, it's surreal to think that at just 24 years old, being born and raised on a Wigan council estate with no family connections in the music business, I was thrust into a whirlwind of travel and appearances to promote my music worldwide via TV, radio, and press—long before the internet.

“I’m excited to imagine where and how the song will continue its journey. It’s amazing that it still feels relevant 40 years on. I’m not too shy to say how immensely proud I am of its achievements.”

Carving an unlikely and elaborate niche in the stoney academic landscape
which she once shared with the likes of Phill Niblock, John Cage and Sorel
Hayes, the excitable proto-punk poèmes sonores of the linguistic loose
cannon known as Beth Anderson first rolled through New York in the mid-
1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost
Letterism, face paint and threadbare drummy funk to astonish gallery floors,
lecture theatres and loft apartment stages.
One thousand leagues under the radar of the commercial music industry,
with a sense of humour that elevated way above her highbrow peer group,
the music of Beth Anderson has successfully evaded the pressing plant for
most of her creative career, and not unlike fellow New York gallery actionist
Suzanne Ciani, it has taken decades to successfully collect and contextualise
these early recordings - expanding her elusive discography beyond the rare
and mysterious solo single entry in the process.
When uttered amongst the type of vinyl vampires that haplessly gravitate
between both art school vintage vanity pressings and family funded plunder
funk, there’s an outside chance that the name Beth Anderson might muster
some vague recognition on account of her one and only solo wax sojourn
into the expansive DIY market. In 1980 the 45rpm single, ‘I Can’t Stand It’,
combusted into the consciousness of adventurous participants with its deep
rhythmic backbeat (courtesy of future Sonic Youth / Dinosaur Jr producer
Wharton Tiers, member of the new wave band Theoretical Girls), climaxing
with two colourful and commanding linguistic tantrums before disappearing in
a puff of smoke leaving would-be fans dumbstruck without so much as a
label name or distribution contact to explain what they had just heard.
For those who have spent the subsequent years on the edge of that same
seat, it might come as some comfort knowing that somewhere out there,
there is also a contrasting world of gallery patrons and experimental sound
poetry enthusiasts that similarly didn’t know that their regular performance
poet Beth Anderson even made the ambitious pop record. For the uninitiated,
the enigmatic Beth Anderson has straddled both sides of the art / rock fence
placed between two equally niche pastures.
Hopefully this first ever vinyl compendium will succeed in joining the dots,
loops, yelps, squeaks, beats and repeats. Let us follow Beth’s lineage, along
her magnetic tape highways crossing multiple boundaries in a hope to bridge
unlikely anti-genres like ‘yoga punk’, ‘ramble rap’, ‘combustion pop’ and
‘formroom funk’… all of which were officially neatly bracketed under the
curious Text-Sound movement where Beth garnered utmost respect as a key
practitioner.

We are proud to welcome Myungho Choi to the family of Sakskøbing for our twenty-third release. Residing in the big apple New York and baptised in the early 90’s of the warehouses of the Midwest we can safely say the man has seen and experienced the music first hand. Boss of Transit records with the first official vinyl release dating to 1999, Myungho has acquired a ton of knowledge through the years of digging and listening to the music on any medium it came on. Having an opportunity to witness his heroes and get inspired by them sufficiently to create his own story within the sound frequencies.

The EP is a boat of smooth sailing but with the turbo jets attached to it, to get to any needed destination as comfortable as possible. Heavy influenced by the sounds of Detroit and Chicago, having grew up with an abundance of the music that comes from there resulted in JET, the formation of the artist’s skill and knowledge which has been executed on the canvas that is a beautiful to look at and pleasure to listen - the 12” vinyl record we are beholding today.

Typically, a band's big indie label debut doesn't come 15 albums into its career, but with Constant Smiles' Paragons, here we are. Primary songwriter and sole "constant" member Ben Jones_who considers Constant Smiles a collective_sees its impressive output as a way to document the group's evolution. Since its live debut as a noise duo on Ben's home of Martha's Vineyard in 2009, Constant Smiles has grown to include contributions from 50 other members, all of whom have personal connections to the group's extended family. And while the collective has indulged an array of musical whims along the way - including Ben's penchant for penning a new set's worth of material for each live performance - Constant Smiles' sound has tightened up considerably over their past couple of albums, in large part as a result of Ben's working relationship with Mike Mackey, who has become his main creative partner. This increased focus manifests on Paragons in the band's most cohesive batch of songs to date, ranging from shimmering psych-pop excursions to bittersweet, piano and string-accented strummers, and an execution that feels like a massive step forward for the band. Through its recent forays into dream pop and shoegaze (Control) and synth-pop (John Waters), Constant Smiles has learned how to incorporate its experimental inclinations more fluidly into the mix. Artists like Yo La Tengo, and the more recent Rat Columns, are good touchstones for Constant Smiles' musical approach - tethering to an indie-pop core while perennially mining genres, always finding new ways to intrigue listeners and pursue a unique vision. Paragons was produced and engineered by Ben Greenberg in the last two weeks of December 2020 at Gary's Electric, with additional recording done by Ben Jones at his home studio, The Void, and his Aunt Leanne's house. The album was mixed at Circular Ruin Studio and mastered by Josh Bonati. The band on Paragons consists of Jai Berger (who performed "Introduction"), Spike Currier (bass and synth), Matthew Addison (drums), Emma Conley (violin), Nicky Wetherell (cello), Adam Lipsky (piano), and Ben Greenberg (guitar and Mellotron).

Max Volume solo EP on Audiotrix.
Minimal or mental, Breakbeat pumpin music...
Defenitly kind of a family sound remaining here... Uncommercial one.

Luv !

RAWAX proudly welcomes Mr. Gerald Mitchell to the Family!
We are happy to present you in near future his own series on the Motor City Edition! This will include new releases and classic re-issues.
Starting with M5 - Celestial Highways from 1999. Originally released on Metroplex.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

"Even God Has A Sense Of Humor" is the long-awaited follow up album to Maxo's critically acclaimed 2019 release Lil Big Man. Across the 14-tracks, Even God Has A Sense Of Humor pays tribute to the mercurial nature of life and includes features from Liv.e, keiyaA, LastNameDavid, and Melanie Charles along with the previously released singles "Free!," produced by Dev Morrison and "48," produced by Madlib and featuring Pink Siifu. The FADER recently sat down with Maxo to discuss the album, which they described as having "a defiant glow, like a bronze statue still standing after an intense tornado."

Born Maxamillian Allen, Even God Has A Sense Of Humor finds Maxo earnest, full-hearted, and lyrically agile. His delivery punches as he poetically unpacks the trials and blessings that have marked the last three years since Lil Big Man, his stirring and meditative debut album. “Life is always gonna be life-ing,” Maxo says, speaking to the spiritual lessons that inspired this new project and an album process that has revealed to him the many ways in which he’s divinely protected.

The album’s striking cover features three casted sculptures of Maxo by legendary NYC-based artist artist John Ahearn, photographed by the rapper’s friend Steven Traylor. The image both preceded the music and set the tone for the record’s overall aura. Experiencing the casting process—which required long periods of stillness for form, and breathwork to avoid claustrophobia—became a metaphor about ego death for Maxo. “I had to go to a space where I was just not there,” he says. As the molding was poured over his body and the voices of those in the room became distant, Maxo’s inner world came into focus. “By the time it hardened, it seemed like the sculpture had risen to be 20 feet above where it was first— almost like it grew tall,” he explains. EGHASOH, in its aural ebbs and flows, honest questioning, profound revelations, and elegant verse, is Maxo standing spiritually tall following a period of challenges with family and friends.

Maxo’s writing process has always been rooted in imagery, observation, and capturing moments. Growing up in Southern California, Maxo spent a lot of time combing through old family photo albums, some of whose contents have become the artwork for prior releases. But his fascination with visual memento is less about nostalgia or remembering, and more about exploring concepts of growth, healing, and cycles. His artistry is intentional and deeply sensitive: “If I’m not feeling it, I’m not gonna record.” While his past records openly grappled with emotional turbulence, anger and depression, EGHASOH is Maxo’s acceptance stage: “I can't really judge nothing. I can't sit up and be mad at shit because everything is, everything is kind of coexisting,” he says.

Musically, EGHASOH is an impressive evolution from Maxo’s earlier, unornamented lo-fi projects. With an emphasis on jazzy instrumentalism and soothing, intricate vocals from both the artist and featured chanteueses Liv.e, Melanie Charles, and keiyaA, EGHASOH is a welcome and beautifully complex sonic effort. Its contributors include a range of musicians: Pink Siifu, LastNameDavid, Madlib, GrayMatter, Karriem Riggins, Beat Butcha, Lance Skiiiwalker, and more. The album was executive produced by Mount Kimbie’s Dom Maker.

“Nobody talks about the fact that we’re changing as we get older... Everybody just acts like you supposed to know,” Maxo says on album standout, “Face of Stone”. It's moody bassline meets a cinematic accordion melody that paradoxically both broods and uplifts—a fitting production choice that mirrors the song’s story. “I’m seeing how this world is chipping you and withering your bones,” Maxo says. “I’m talking about myself, talking about my bro. But it’s never nothing you gonna do that’s a one stop shop in this life. You gotta keep staying diligent and consistent.” For Maxo, Even God Has a Sense of Humor is nothing more than another moment on the timeline of his offerings of self-expression as an artist—one whose sole intention is to, in his words, develop as a human being and heal.

2024 REPRESS

Fourth corner. Physically, it's where four states in the U.S. come together at one singular point. Symbolically, it's where the four great rivers in China come together as one. Or, it could be the cycle of life during the four seasons of the year. For Trixie Whitley, it's a metaphor for trying to find balance and belonging from the songs that make up her scintillating debut album, Fourth Corner.

Whitley burst into public consciousness in 2011 as the lead singer of Black Dub, super-producer Daniel Lanois' (U2, Bob Dylan) project, blowing people away with a voice and presence beyond her now-25 years.

And it's that voice: an emotional, blues-drenched instrument that ranges from a lilting slap to a knock-you-backwards uppercut. On Fourth Corner, Whitley explores the range of human emotion in another set of four: utter love, total rage, unadulterated happiness, and crippling loneliness. "It's those elements of life I keep coming back to," she says. "Both as a person and musically as well."

Recorded in New York with producer/keyboardist Thomas Bartlett (aka Doveman, who's also worked with Glen Hansard, Antony and the Johnsons, Grizzly Bear and the National) engineer Pat Dillett (David Byrne, St. Vincent, Mary J. Blige), and string arrangements by Rob Moose (Antony, Bon Iver), aching songs like "Need Your Love" have Whitley working from a spare beginning that explodes into a blossom dripping with pleading vocals and delicate piano. On tracks like the sassy "Irene" and the sinister "Hotel No Name," Whitley lays down a snarling guitar line on top of scuzzy beats while her voice veers from defiant to remorseful.

It's a tantalizing mix of sounds that can come only from someone who says: "I'm from everywhere but have never felt like I belong." Whitley lived a nomadic life: born in Belgium, she split her time growing up there and in New York but also frequently visiting family in France, Texas, and Mexico. Her mother came from an artistic European gypsy family, filled with musicians, painters, writers, and sculptures, while her father, renowned singer-songwriter Chris Whitley, thrust her into the world of music as a toddler when she joined him onstage in Germany at age three.

After a few years of touring and recording experience with some of the most inspiring artists around, Trixie is ready to presenther anticipated first solo full length.

"I'm psyched and petrified," says Whitley in her archetypal wide-eyed wonderment mixed with a fierce determination. "As a songwriter, I want to go to places people don't expect and with that is complete freedom of expression." Perhaps that place is another version of a fourth corner: something spiritual perhaps, certainly emotional, but most definitely real.

Enumclaw aus Tacoma, WA, angeführt von Sänger/Songwriter Aramis Johnson, ist eine Bewegung von Menschen für Menschen. Mit ihrer neuen, zweiten LP „Home in Another Life“ ist Enumclaw mehr als nur eine Rockband. Stattdessen sind sie eine Gemeinschaft von Kreativen, Videofilmern, Fotografen, Schriftstellern, Kritikern und Skatern. Sie sind für die punkigen Kids in den Skateparks in jeder Stadt, für die Kids, die die Hähnchenstreifen im Supermarkt essen, ohne zu bezahlen, für die Kids, die vielleicht nicht in den Theatern und Amphitheatern anzutreffen sind, aber auf jeden Fall im Punk-Treffpunkt die Sau rauslassen. „Home in Another Life“ packt ein ganzes Leben voller Emotionen in seine elf Songs - Johnson gibt gleich beim Opener „I'm Scared I'll End Up All Alone“ den persönlichen Ton an, einem schwankenden, aber heftigen Auftaktsong, der sich an Bands wie Dinosaur Jr und Archers of Loaf orientiert, aber einen modernen Touch hat. Singles wie „Change“ und „Not Just Yet“ zeigen, dass sich die Fähigkeit der Band, Hooks zu schreiben, seit ihrem Debüt „Save the Baby“ aus dem Jahr 2022 komplett verbessert hat. „Would you want me to change?“ schreit Aramis über einem krachenden Riff von Gitarrist Nathan Cornell, während das aggressive Schlagzeug- und Bass-Duo Ladaniel Gibson und Eli Edwards bei „Not Just Yet“ zum Headbanging-Tempo des Songs beiträgt. Nach einem hektischen Tourneeplan mit Bands wie Nothing, Illuminati Hotties und Toro Y Moi gibt es bei Enumclaw keine Anzeichen für eine Verlangsamung ihres Non-Stop-Tempos. Von Anfang an waren sie stolz darauf, eine Band der Arbeiterklasse zu sein, die so viel wie möglich unterwegs ist und CDs an Merch-Tischen brennt, wenn es nötig ist. „Home in Another Life“ fängt diese Energie ein - es ist ein Soundtrack, den man verdammt laut aus dem Fenster einer Mittelklasse-Limousine oder durch die Wände des Wohnhauses des Nachbarn schmettern kann. Es ist ein Album, das darauf abzielt, sich mit dir zu verbinden - das ist die einzige Art und Weise, wie Enumclaw funktionieren.

Enumclaw aus Tacoma, WA, angeführt von Sänger/Songwriter Aramis Johnson, ist eine Bewegung von Menschen für Menschen. Mit ihrer neuen, zweiten LP „Home in Another Life“ ist Enumclaw mehr als nur eine Rockband. Stattdessen sind sie eine Gemeinschaft von Kreativen, Videofilmern, Fotografen, Schriftstellern, Kritikern und Skatern. Sie sind für die punkigen Kids in den Skateparks in jeder Stadt, für die Kids, die die Hähnchenstreifen im Supermarkt essen, ohne zu bezahlen, für die Kids, die vielleicht nicht in den Theatern und Amphitheatern anzutreffen sind, aber auf jeden Fall im Punk-Treffpunkt die Sau rauslassen. „Home in Another Life“ packt ein ganzes Leben voller Emotionen in seine elf Songs - Johnson gibt gleich beim Opener „I'm Scared I'll End Up All Alone“ den persönlichen Ton an, einem schwankenden, aber heftigen Auftaktsong, der sich an Bands wie Dinosaur Jr und Archers of Loaf orientiert, aber einen modernen Touch hat. Singles wie „Change“ und „Not Just Yet“ zeigen, dass sich die Fähigkeit der Band, Hooks zu schreiben, seit ihrem Debüt „Save the Baby“ aus dem Jahr 2022 komplett verbessert hat. „Would you want me to change?“ schreit Aramis über einem krachenden Riff von Gitarrist Nathan Cornell, während das aggressive Schlagzeug- und Bass-Duo Ladaniel Gibson und Eli Edwards bei „Not Just Yet“ zum Headbanging-Tempo des Songs beiträgt. Nach einem hektischen Tourneeplan mit Bands wie Nothing, Illuminati Hotties und Toro Y Moi gibt es bei Enumclaw keine Anzeichen für eine Verlangsamung ihres Non-Stop-Tempos. Von Anfang an waren sie stolz darauf, eine Band der Arbeiterklasse zu sein, die so viel wie möglich unterwegs ist und CDs an Merch-Tischen brennt, wenn es nötig ist. „Home in Another Life“ fängt diese Energie ein - es ist ein Soundtrack, den man verdammt laut aus dem Fenster einer Mittelklasse-Limousine oder durch die Wände des Wohnhauses des Nachbarn schmettern kann. Es ist ein Album, das darauf abzielt, sich mit dir zu verbinden - das ist die einzige Art und Weise, wie Enumclaw funktionieren.

Multi-Blues Music Award-Winner Albert Castiglia Assembles All-Star Cast of Righteous Souls on His New Gulf Coast Record Album including Joe Bonamassa, Josh Smith, Danielle Nicole, Christone "Kingfish" Ingram, Popa Chubby, Ally Venable, Kevin Burt, Monster Mike Welch, Gary Hoey, Rick Estrin, Jimmy Carpenter and Alabama Mike.

"During last year's "Blood Brothers" tour, Mike Zito informed me that it was time for me to do another solo album. At that moment, I felt I was ill prepared for the task. I had been constantly touring with Mike for the last two years, doing very little writing so I didn't have a lot of original material. My last two studio albums were quite thematic. With 'Masterpiece' the album centered around the discovery of my daughter. 'I Got Love' was fueled by my life during the pandemic of 2020. What would be the thing that fuels the next one? It concerned me because if I'm not living the songs, it'll never work. It had to mean something to me. Mike suggested we make it an album with guests, my friends so to speak. I was concerned my friends wouldn't have time to devote to the project. I was wrong, so wrong. Joe Bonamassa, Josh Smith, Kevin Burt, Gary Hoey, Ally Venable, Popa Chubby, Rick Estrin, Kid & Lisa Andersen, Alabama Mike, Jimmy Carpenter, Kingfish Ingram, Danielle Nicole, Monster Mike Welch, Jerry Jemmott, D-Mar Martin, Jon Otis, Jim Pugh and others stepped up for me. My daughter, Rayne even participated which was the cherry on top. Suddenly, the theme became clear. It's about friends and family. It's about 'Righteous Souls'." - Albert Castiglia

The boys are seated under the shade of a family tree that bears its fruit on the branches of Kings of Leon & the Black Crowes; deeply rooted in an unwavering respect for Lynyrd Skynyrd & Led Zeppelin. Founded as an edgy, hard rock band in 2018, Mojo Thunder have built up a rabid fanbase in the time since with its enthralling live shows and down-to-earth humility. During that time the band has become one of the most entertaining new acts to emerge from Kentucky -- a state otherwise known for its bluegrass and country music. On the album's 10 tracks, the band explores everything from the dark side of activism ("Holy Ghost") and civil rights ("Memphis") to the healing power of a live concert experience ("Greetings from Western Art") and the feeling of not being enough ("Step by Step"). A definitive journey of growth, the project sees the band as their most authentic selves yet as they push themselves -- and their listeners -- to be the best versions of themselves. Mojo Thunder's sophomore effort, The Infinite Hope will please fans of rock music as they return to some familiar sounds while also ambitiously reaching for new heights.

"This Jon Favreau-directed movie stars Will Ferrell as Buddy, a human raised in the North Pole to be an elf. After discovering he`s really a human, Buddy heads to NYC to find his place in the world and to find his father.

He not only finds his family, but he also manages to rekindle Christmas spirit in the city. The soundtrack includes songs by Louis Prima, Ferrante & Tercher, Ertha Kit, Brian Setzer, Ella Fitzgerald, Wayne Newton, Stevie Wonder, Billy Preston, Johnny Osbourne, Frank Sinatra, Ray Charles, Zooey Deschanel, and Leon Redbone."

Composer and musician Daniel Rafet Grima, offers a thematic release via Research Records titled 'You Are In the Embrace of The History'.

The double A side nods to ambient music, jazz and devotional musics in its arrangement and lyricism; penned as an act of faith in something other.

Research Records' 12" vinyl release of 'You Are In the Embrace of The History' will feature B side reworks by Iti (UK) and Kuniyuki Takahashi (Japan).

Rafet studied music from a young age. Tertiary education brought about further teachings in jazz. Growing up in the family village of Miniara (North Lebanon) saw to an inquiry into maqamat and traditional arabic musics post study. After composing for multiple ensembles and performing in various projects over the years, Rafet settles into his own artistry with this debut.

The vinyl is limited edition blue vinyl with a numbered certificate. This is the first coloured Evo vinyl. The Miners Son Film Soundtrack features self-penned material from Ettecon. 11 original Tracks, most of which has been written and composed by Ettecon Productions. A Nostalgic story of the hopes and dreams of a rock band in 1984. THE MINER’S SON depicts how a year of industrial action and violent unrest changed the face of a small tight knit community and their way of life forever. A bitterness that is still very much felt today. The film focuses on a bygone industrial past of a Kent town in Southeast England. Some of the characters are based on real people and true events from the day. The findings for this story are factual and sourced from friends and family who lived through this turbulent time. This story evolved from the memories of Kevin Short, co-writer & producer of The Miner’s Son. Kevin, a miner’s son himself was a guitarist in many local rock bands who struggled to achieve recognition. Despite this, he recalls the era as a fun and carefree time. A world away from how people see life today.

With a deep-rooted love for traditional Music, Zach Top is poised to
invigorate the country genre with his homage to classic sounds and
authentic storytelling
Zach embodies the spirit of 90's country legends, shaped by his upbringing in
Sunnyside, WA, listening to classic country music while driving around his
family's ranch tending to livestock.
At the age of seven, he formed a band with his siblings which set the stage for his
musical ambitions. Throughout his teenage years and early twenties, Zach honed
his craft by playing in various bluegrass bands before moving to Nashville in 2021
where he has been steadily making his mark as an artist to watch.
Zach just released two special holiday tracks and is set to join CMA Entertainer of
the Year, Lainey Wilson's "Country's Cool again" tour this year

There is something simultaneously both brand-new and retro about 'All News Is Good News’ - the debut album from Melbourne's instrumental soul group Surprise Chef. It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity.

There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of 'All News Is Good News’ was released on the band's own 'College Of Knowledge' imprint in November 2019. It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process.

We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo. The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way".

The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone's fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

Also available on Red Vinyl - Limited Edition of 200 Copies.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Immerse yourself in a unique narrative experience, embarking on a vibrant journey that will awaken your senses and evoke warm memories.

Play as Mimi, exploring the precious recollections of your childhood and the times shared with your late grandmother. As past meets present, confront your adult choices with fond childhood memories to uncover lost family secrets.

For the OST, SUPERNAIVE brothers oscillates between melancholy and wonder. They build a strong narrative throughout the songs, taking the listener by the hand to discover their unique poetic universe.

Motion picture soundtrack to the critically acclaimed 2023 black comedy starring Barry Keoghan, Jacob Elordi and Rosamund Pike. Includes the huge resurgent hits Murder on the Dancefloor by Sophie Ellis-Bextor and Perfect (Exceeder) by Mason vs Princess Superstar.

Saltburn is the 2023 black comedy psychological thriller film written, directed, and co-produced by Emerald Fennell. The film stars a student (Barry Keoghan) at Oxford University, who finds himself drawn into the world of a charming and aristocratic classmate (Jacob Elordi), who invites him to his eccentric family’s sprawling estate for a summer never to be forgotten. The film became one of the most-streamed films upon its streaming release on Amazon Prime Video in December 2023. It received critical acclaim and several accolades, including nominations for two Golden Globe Awards and five BAFTA Awards.

WRWTFWW Records is wonderfully proud to announce the long anticipated official reissue of Chrysalide (1978), the sole album from French multi-instrumentalist and enigmatic genius Michel Moulinié. The krautrock/ambient/minimalism paragon is available as a limited edition LP with one never-heard bonus track. It is sourced from the original reels and housed in a heavy 350gsm sleeve.

Originally released in 1978 on Ange and Jean-Claude Pognant's mythical prog rock label Crypto,
Chrysalide is a fusion of minimalist meditations, cosmic soundscapes, and ambient with a human warmth, carried by a profoundly beautiful and unique use of twelve-string guitar, bass, and violin.

Ideal for an introspective listening experience, the hypnotic Kosmische Musik of Michel Moulinié belongs to the same psychedelic family as Manuel Göttsching’s Inventions For Electric Guitar, Mike Oldfield’s Tubular Bells, early Tangerine Dream, and Steve Hillage’s innovative guitar mastery. WRWTFWW listeners might also be reminded of the label’s seminal French release, Dominique Guiot's L'Univers de la Mer, which makes a great spiritual pairing with Chrysalide.

Escape into the vast universe inside yourself :

Gregory T.S. Walker’s Minstrels & Minimoogs was self-published by a young, nomadic composer and virtuoso in 1988 to accompany an immersive multimedia performance at the University of Colorado Boulder’s Fiske Planetarium. Created with this outer, and other, world setting in mind, the four tracks find Walker stretching toward an ancient-to-future vision where Egyptian myths and Hieronymus Bosch-ian tableaus are rendered in a screaming three dimensional circuitry of electronic drums, synth guitars, and, of course, Minimoog. Given the musical terrains and outmoded topics traversed, and that this entirely DIY effort was originally released as a micro one-sided 12” edition, Minstrels & Minimoogs is as perplexing and euphoric a document lost-to-time as it is now found.

Born in 1961 into an intensely musical family spanning four generations, Gregory’s mother Helen Walker-Hill was a noted musicologist specializing in the rediscovery and work of historical Black female composers, while his father, George Walker, was the first African American composer to win the Pulitzer Prize for music. Both parents studied with the famed (and famously strict) Nadia Boulanger in Paris in the 1950s, and held to lofty aesthetic standards in their home life. Walker began studying the violin as a child, but when a burgeoning interest in the electric guitar and rock music as a teen manifested, it was largely verboten in the household. The rule was that the music played in the home was to be acoustic and classical. Although the elder Walkers eventually relented and allowed Gregory’s guitar to be plugged in for a brief interval on the weekends, the remaining days he settled for strumming it sans amplification.

Gregory, conditioned and eager for a life in music but looking to get out from under the influence and yoke of his famous composer father, ultimately chose to study computer music at the University of California at San Diego, where he earned a Master of Arts. This was followed by another MA in electronic music composition at that hotbed of West Coast experimental music, Mills College. Intermedia and multimedia in the arts was the rage in the 1980s, and Mills was one of the centers for it; audacious spectacle meeting visionary performance, such as one of the realizations for Anthony Braxton’s music for multiple orchestras a young Gregory performed in with his violin.

After a series of solo synthesizer concerts around California, Gregory followed a girlfriend on a mid-country move to Boulder, Colorado. After picking up yet another composition degree at University of Colorado Boulder, his life as a composer really started, writing a piece for extended technique for guitar, a passacaglia for vocoder and orchestra, as well as Minstrels & Minimoogs.

Envisioned as a multimedia performance such as the kind he’d experienced at Mills (which was all but unknown in Boulder at the time), Gregory roped in a number of college going or aged friends of varying skill levels and musical sympathies to accompany him with distorted sax or oblique spoken interludes. Confronted with a lack of finances, but driven to get his ideas captured in a complete musical package, the album was recorded in his brother’s apartment. If not every player assembled was on Gregory’s virtuosic level, so be it; it was more about capturing the spirit of his intentions and embracing the serendipity of mistakes.

An inspired attempt at world building, Minstrels & Minimoogs draws on the deep well of musical knowledge Gregory gathered from his parents and teachers, but all the while subverting that historical basis by incorporating mutant strains of prog and pop music. The work accumulated is not unlike the playful 1980s work of Gregorio Paniagua, where medieval estampies and rondeaus are wrenched into an anachronistic present where Hildegard Von Bingen and Kate Bush are contemporaries. Ars nova, new art, a 20th century minimalist jester and troubadour.

A one sided LP was the cheapest option Gregory found to have Minstrels & Minimoogs memorialized on vinyl, so somewhere between 50 to 100 copies were pressed. There was no distribution, outside of copies that were handed out to friends or sold at the performances at the planetarium. Gregory T.S. Walker’s cosmic-futuristic forays into oblique pop and baroque subversion could forever reside perfectly in both the domed simulacrum of our universe for which it was composed, in the formats it is being reintoduced now, and our own biblical firmament. For in the words of Gregory, straight from the original liner notes: “God Is A Minimoog”

Gregory T.S. Walker’s Minstrels & Minimoogs arrives again August 23, 2024 on vinyl and digitally as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music's outermost fringe.

Hip hop 50th Anniversary reissue on Gold
Vinyl. Includes MF Doom remix of “If I
Ruled The World”. Special edition
stickered sleeve

RAWAX proudly welcomes 20:20 Vision - Boss, Mr. Ralph Lawson to the Family!
We are very happy to present you one of the hidden gems, Ralph produced with Fraser Brydson in 1993!
This re-mastered release also contains for the first time the unreleased Ralph Lawson Dub of "Percussion Obsession" on B1!
Special thanks to SOMA Recorings!

Young Marble Giants' "Colossal Youth" has mystified and beguiled audiences since its 1980 release. Seen by primary songwriter Stuart Moxham as "a last gasp" at making a record, Stuart insisted the one-off 7" deal offered by Rough Trade be altered to allow an entire album . . . that paid off when with a big seller which produces cover versions even from bands whose members were a decade or two away from being born on the album's release. When YMG disbanded, Stuart was at a loss; he'd never envisioned a follow-up. A series of experimental recordings made with pal Phil Legg (Essential Logic) and supported by other YMG members, musicians from This Heat and Swell Maps, old Cardiffian pals, and new friends like Vivien Goldman resulted in an album, "Embrace The Herd", as The Gist. Released just before Rough Trade made bold moves toward pop charts with Scritti Politti, The Smiths and others, the album was odd for its time, but has since taken on the lustre of genius. Years of silence followed, thereafter intermittently broken by the odd release from small labels. Stuart delved into family life, though he never stopped writing and recording. In more recent years, two retrospective compilation of lost recordings by The Gist have been released, as well as a superb collaboration with French arranger Louis Philippe, "The Devil Laughs". "Fabstract" is the final gathering of Stuart's lost recordings. Compiling long-lost YMG-era tracks with the recent brilliance of "Crow, Crow" and "Suburban Monochrome", through bits of whimsy and vastly alternate versions of fan faves, this diverse album shouldn't work . . . but it does, telling a satisfying story of an underrated talent whose mistake was following his muse, not the charts. This album precedes a new recording, years in the making, produced by Dave Trumfio, which promises to be Stuart's most complete - and original - work since "Colossal Youth". Tracks:

After the success of her breakout EP, 'Water-Based Lullabies', a playful, Zodiac-inspired odyssey through life and love, Mancunian fan favourite Abbie Ozard is back with a bang. The last release hinted at an evolution in sound, and in the soon-to-drop album 'Everything Still Worries Me', we see all that potential realised as Ozard's musical and personal growth is laid bare.

Growing pains and the overwhelm of those first steps into adulthood of stand out as overarching themes in this more serious, introspective body of work, in which Ozard explores beyond her bedroom-pop origins and lays bare the vulnerabilities that will resonate with so many young women becoming adults in a complex, confusing and ever-changing world. Even without the transcendent vocals that could belong to no one else, Ozard is present in every second of this album - from musical performances from close friends to samples of old family videos, she is enshrined in this spellbinding debut that could not be more authentic to its creator.

Meghan Parnell (vocals) and Dave Barnes (guitar) are the founding
members of Bywater Call, a powerhouse seven-piece Southern soul,
roots rock band from Toronto, Canada
The band is completed by Bruce McCarthy on drums, Mike Meusel on Bass,
newest member, John Kervin on Keys, Stephen Dyte on Trumpet and Julian Nalli
on Tenor Sax. Bywater Call has received multiple Independent Blues and
Maple Blues Award nominations including Entertainer, Electric Act and Best
Female Vocalist for the 2024 Awards Season. They have toured extensively in
Europe where shows have been praised by Dutch, German and UK media, with
references to Meghan as one of the best female voices in blues and roots today.
In August 2023, the band participated in Joe Bonamassa's thirdKeeping the Blues
Alive at Sea Mediterranean Cruise alongside headliners Blackberry Smoke and
Christone "Kingfish" Ingram, and were invited to perform at the All-Star Jam on
the mainstage with Bonamassa himself. Guitarist Dave Barnes was also asked to
join legendary blues artist Jimmy Vivino (Conan O'Brien's Basic Cable Band) on
stage. On October 24, 2023, Bywater performed a live stream performance for the
famed German TV show and festival Rockpalast. The band's music is an
exploration of life's highs and lows. From intimate ballads that lay bare the
complexities of human emotion to electrifying anthems that demand to be played
at full volume, their catalogue is a journey through the human experience,
incorporating influences from the likes of The Band, The Wood Brothers, Tedeschi
Trucks Band, Otis Redding, Little Feat, Sly and the Family Stone, among others.
Video Link:

'A Handful Of Memories' is the result of an appreciation upon reflection of Adam's
past experiences, trips with his family, his touring families and friends in some
places that hold special memories for him.
To reflect the personal, minimalist nature of the tracks, no effort was made to
remove any of the pedal noises or enhance the tracks in any way, as Adam
wanted them as exposed and natural as they can be.
The pandemic had a hand in Adam's return to modern classical piano after 25
years. As a highly sought- after touring pianist, Adam played extensively with
Black Sabbath, Ozzy Osbourne, Travis and many others. When the pandemic
started, and the music world paused, he was halfway through a South American
tour with Martin Barre on his 50th Anniversary Tour of Jethro Tull. Forced to leave
his gear in Peru and hurry home before the airports closed, a period of reflection
had started and this album is a result of that.

" In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)
From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)
Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)
On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)
Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet."

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we've been listening to their self-released debut album Trouble In The Shed since last year and finally spoke with the band and agreed to release it on vinyl for the first time. It was very good timing as they've just been in the studio to finish recording their second album, so we'll be releasing that later in 2024. Welcome on-board! We caught up with Peter to ask as few questions about the band_ Q: "In a week when the Labour Party promised to return the rail network to public ownership, we ask how did your fascination with trains begin?" A: "Honestly, I don't really know - I've just loved them ever since I can remember. It's not like with some people who had a family connection or watched Thomas the Tank Engine; I've just always loved them. I guess it's just a childhood obsession that never went away!" Q: "'Trouble In The Shed' is quickly becoming a firm office favourite here at DG. There's a touch of punk, indie and new wave about it. What would you say are the key influences that make up your musical DNA?" A: "My main influence when this album was released was Blyth Power. They'd been my favourite band for years when this was recorded, so everything on it was influenced by them in some way. They've had so many different musical styles over the years that they kind of conglomerated into this album, to create yet another eclectic mix of songs. The only real exception to that on this album is Electrification - no prizes for guessing the influence there! If you see us live, however, you may notice another influence pervading through our songs. That influence is the anarcho-hippy band 'The Astronauts,' whom I discovered midway through the recording process, and have quickly become one of my all-time favourite bands!" Q: "What's the story behind your song 'Hornby Horrors'?" A: "Hornby Horrors is an interesting one. People who haven't heard it may assume it's about some ill-fated model railway endeavour, but it's actually a tale of corruption in, of all places, the model train company Hornby! This song was the result of several minor scandals at Hornby HQ making their way to the modelling masses, the main ones of which were an ill-fated tier list, which placed retailers in three categories as to whether or not they received Hornby's products, with tier 3 retailers barely getting anything at all. Interestingly, the UK's former biggest retailer, Hatton's Model Railways, was a tier 3 retailer due to their 'competing products' (made by their own small brand Hatton's Originals') and has recently announced closure due to financial hardship. Now as we all know, correlation does not equal causation, but I wonder_" Q: "The album is being released on a specific shade of green vinyl. What's the significance?" A: "The shade of green on the vinyl is very similar to the shade worn by the locomotives from the Great Western Railway in the 1870s - 1940s. Due to this connection, we thought it was only proper we picked this colour, which we have dubbed 'Great Western Green!'" Q: "The album release coincides with an appearance at Rebellion Festival in Blackpool this August. Can you give the readers three reasons why they should come and see your performance?" A: "1 - We like to think we provide something different with our music - it is very obviously punk, but it's a bit more light-hearted than a lot of the political stuff, with nearly all the songs being about some sort of obscure steam loco engine. If you just want something light-hearted to enjoy, we might just be the band for you! 2 - We've got a rather interesting line up - instead of the usual line-ups you see, we've got a 15 year-old singing drummer with his dad on guitar, a newly-turned adult with a massive ginger afro playing the bass, the guitarist from the old anarcho band 'Dog On A Rope' playing some gnarly lead parts, and all topped off with some beautiful backing vocals from the drummer's sister and mother. As Attila the Stockbroker described us, Blyth Power meets the Partridge Family - not to be missed! 3 - Here's something you won't forget in a hurry - as well as his vocals, our 15-year-old frontman Peter plays drums and trumpet at the same time! If that's something you want to see, make sure you get down to see us!"