Suche:ac in records

What began as a challenge to fight creative stagnation, soon grew into a fully-fledged audio-visual project for Belgian DJ, producer and live artist, Biesmans. Setting himself the goal of making three tracks per week for a month, he re-scored ‘80s pop culture moments – including films, TV shows and games, resulting in a brilliant 12-track work encompassing new wave, indie, dark wave, electro and
disco.
Moving his modular-heavy studio to Berlin in 2014, the ensuring years saw Joris Biesmans drop heat on Correspondent, Disco Halal, AEON, 17 Steps and Future Disco. He’s been a core member of Watergate
family since his arrival in the capital, working as the club’s sound technician. He made his debut on Watergate Records in 2020 with the well-received ‘Electric Love’ EP.
The ‘Planes, Trains & Automobiles’ album took shape in April last year as the lockdown was starting to take grip and Biesmans needed a positive distraction. Ensconced in the music of his childhood and ‘80s
pop cultural fodder, he locked himself in his studio and set about creating, later digging through archival footage to match the music. Biesmans, who previously undertook work scoring films, was so absorbed by the process, he’d sometimes do it in reverse; allowing the vintage media be the guide. Throughout the period, the clips were shared each Monday, Wednesday and Friday on his Instagram, building up a firm following from fans, friends and colleagues. And thus, the project found its wings, developing into an album.
Throughout the dozen tracks, highlights are plentiful; from the neon ambience of the Kraftwerk-inspired ‘ ‘Cosmic Cruise’, which later accompanied a smoky scene between Tom Cruise and Rebecca de Mornay in ‘Risky Business’; the sun-soaked, retro-pop title track, which became the album’s first single, and was paired with a jubilant dance scene from the Breakfast Club; ‘Cold Void’, the album’s second single, which saw Biesmans link up with fellow Belgians Boi Wonder and Tom the Bomb for a dark wave creation built around a heavy guitar solo and set against a backdrop of Blade Runner clips; and the silky electro funk of ‘Another World’ that soundtracks scenes from Miami Vice.
Biesmans explains about ‘Planes, Trains and Automobiles’: “I started this as a lockdown challenge, in which I would make three tracks per week for a month, alongside providing videos where I re-scored
footage of 80s pop culture moments. Inspired by the movie of the same name, I picked the title because it ties to the theme of ‘mobility’. Our society is based upon being mobile and when Corona hit us, we
could taste a bit of being immobile. As an artist that meant, I could focus on making music 100%. No distractions, no weekend gigs, no parties just making music. This new lifestyle resulted in my first album.
A journey into the past but looking forward to the future, experimenting with other genres and techniques to make a real album that goes beyond club music.”

Growing Bin switches back into reissue mode with an off-kilter obscurity from Austrian eccentrics Molto Brutto. Equal parts amateur funk, indie jangle, art rock and idiot pop, "2" is a real weird bastard with a whole lot of charm. As the Bin continues to grow in all directions, there's plenty of space for new sounds to take root. Alongside patches of Ambient, Balearic, Kosmische and Jazz, Hamburg's audio allotment now stretches to accommodate the strange waves of Molto Brutto.

Basso dug their first LP a decade back in Stuttgart's Second Hand Records, embracing their abrasive style of sandpaper sonics and experimental urges. Interest piqued, he made the journey through their DIY catalogue, capturing excellent collaborations under the Ganslinger alias before bumping into the second of their two LPs. Originally released on their Golfdish imprint in 1988, "2" walks into the pub with an air of accessibility, but quickly unravels into glorious chaos - pissing in the corner and passing out on the bar. Pop structures are suggested then subverted.
Pints of Paisley slosh out of a broken Glass, tape loops spool onto shabby Material, and indie janglers are just a couple of stamps short of a Postcard.

Turning you tipsy, this loveable rogue starts to tell you his life story, but you're going to have to fill in some blanks. They miss 'Blackie', but who is he - a dog? What happened on the 'Deadly Vacation'? Is that song really about a 'Goldfish', or did they find out the name of America's horse? Words repeat until they lose all meaning, awkward poetry masks a lost laureate and a drunken Wurlitzer sends the room into a spin.

The pubs are shut, so get happy drunk with Molto Brutto.
Patrick Ryder

Sir Rod Stewart was on his way to becoming one of the most successful recording artists in history in 1974 when he moved to America and signed with Warner Bros. Records (now Warner Records). Over his next 27 years with the label, Stewart released some of the most commercially successful and critically acclaimed records of his extraordinary career. This 5LP boxed set features Stewart's first four Warner albums on vinyl, plus a bonus LP of rare and unreleased studio outtakes from those albums: Atlantic Crossing (1975), A Night on the Town (1976), Footloose & Fancy Free (1977), and Blondes Have More Fun (1978).

After being out of print for decades, the studio albums look and sound better than ever as they return to vinyl, complete with replica sleeves and newly remastered sound. The albums and the bonus LP are all organised in an iridescent box with Stewart foil-stamped on the cover, his blonde shag haircut glistening in gold, and his leopard-print suit shimmering in silver.

After brilliant stints with the Jeff Beck Group and the Faces and several outstanding solo albums, Stewart moved to Los Angeles in 1974. ROD STEWART: 1975-1978 reflects the burst of creativity that followed, starting in 1975 with his label debut, Atlantic Crossing. The album was produced by the legendary Tom Dowd, who produced Stewart's next three albums. After Atlantic Crossing was certified gold, A Night On the Town went double-platinum, and Foot Loose & Fancy Free went triple-platinum, as did its follow-up Blondes Have More Fun, which became Stewart's first #1 album. That era introduced many of the singer's best-known tracks: "Sailing," "I Don't Want to Talk About It," "I Was Only Joking," "The First Cut Is the Deepest," "You're in My Heart (The Final Acclaim)," "Da Ya Think I'm Sexy?" and "Hot Legs."

The bonus LP, titled Encores 1975-1978, is a collection of 10 outtakes selected from the recording sessions for all four albums. The first side highlights five songs from the recent deluxe editions released for Atlantic Crossing and A Night on the Town. Songs include an alternate version of the B-side "Rosie" and a cover of the Bee Gees' "To Love Somebody" recorded with the influential Stax Records house band, Booker T. & The MG's. The flip side features five previously unreleased session outtakes from Foot Loose & Fancy Free and Blondes Have More Fun. Highlights include a cover of the Motown classic, "You Really Got A Hold On Me," and the unreleased tracks "Silver Tongue" and "Don't Hang Up".

Liz Phair announces ‘Soberish’, her highly-anticipated new album and first collection of original
material in eleven years. Produced by Phair’s longtime collaborator Brad Wood - known for helming
Phair’s seminal albums ‘Exile In Guyville’, ‘Whip-Smart’ and ‘whitechocolatespaceegg’ - ‘Soberish’ is
released via Chrysalis Records.
Almost thirty years since her peerless debut album ‘Exile In Guyville’ was released (voted #56 in
Rolling Stone’s 2020 list of the 500 Greatest albums Of All Time), Phair returns with a new record that
will both intrigue and satisfy her long-standing fans and introduce her to a smart young audience
whose contemporary heroes have been reading from Phair’s playbook since they first picked up a
guitar.
Liz Phair has achieved the kind of status in her industry rarely bestowed on recording artists. Her
albums in the 1990s were central to the indie rock canon of the day. Her image was featured in
countless magazines, early Apple commercials and Gap ads. Her eponymous album for Capitol
Records in 2003 took Phair in a pop direction that ruffled some critics’ feathers but nonetheless went
gold, galvanizing a host of new fans, particularly among young women who fell in love with hits like
‘Why Can’t I’ and ‘Extraordinary’, tracks that were featured in several major films and TV shows,
including 13 Going On 30, Raising Helen and How To Deal. Liz has picked up two Grammy
nominations and a spot in Pitchfork’s Greatest Albums Of The 90s, with over five million record sales
to date (including three US gold albums). She sang ‘God Bless America’ at the opening game of the
Chicago White Sox World Series victory in her hometown in 2005.
‘Soberish’ is a portrait of Phair in the present tense, taking all of the facets of her melodic output over
the years and synthesizing them into a beautiful, perfect whole. She’s at the top of her game in the
recording studio, drawing upon years of experience in television composition to weave through the
songs daring and unexpected sound design. With Brad Wood’s exquisite engineering and masterful
production, the result is a wholly fresh yet satisfyingly familiar sound that challenges on the first listen
and seduces with each subsequent play through. The earworms are strong with this one.
Phair says, “I found my inspiration for ‘Soberish’ by delving into an early era of my music development,
my art school years spent listening to Art Rock and New Wave music non-stop on my Walkman. The
English Beat, The Specials, Madness, R.E.M.s Automatic for the People, Yazoo, The Psychedelic
Furs, Talking Heads, Velvet Underground, Laurie Anderson, and the Cars. The city came alive for me
as a young person, the bands in my headphones lending me the courage to explore.”
None of the arrangements on Soberish are traditional songwriting standards but the hooks are so
catchy, the imagery so compelling, that the listener is drawn effortlessly along with the music. There
are the off-kilter, unexpected guitar chords listeners will recognize as her signature style, a mainstay
from her earliest work; the instantly knowable choruses of her most pop-friendly songs of the early
2000s; the frank lyricism and storytelling that has opened doors for countless women picking up
guitars and attempting to speak about their experiences.
Phair shares insight into the meaning of her title: “‘Soberish’ can be about partying. It can be about
self-delusion. It can be a about chasing that first flush of love or, in fact, any state of mind that allows
you to escape reality for a while and exist on a happier plane. It’s not self-destructive or out of control;
it’s as simple as the cycle of dreaming and waking up. That’s why I chose to symbolize ‘Soberish’ with
a crossroads, with a street sign. It’s best described as a simple pivot of perspective. When you meet
your ‘ish’ self again after a period of sobriety, there’s a deep recognition and emotional relief that
floods you, reminding you that there is more to life, more to reality and to your own soul than you are
consciously aware of. But if you reach for too much of a good thing, or starve yourself with too little,
you’ll lose that critical balance.”

For fans of AMON DÜÜL, CAN, FAUST, NEUBAUTEN, BRIAN ENO, CLUSTER, CULT OF LUNA, NINE INCH NAILS, MASSIVE ATTACK OR - Norwegian for "dizzy, confusing" - is the third album from Italian avant-rock trio OSLO TAPES, and the album keeps what the word promises: a dizzying ride through a feverish dreamscape of imaginary Norwegian highlands painted in cubistic shapes. Hypnotic basslines, repetitive drum patterns, new wave synths and psychedelic guitar textures covering the full width of the stereo room, all seamlessly woven into a gloomy Kraut - tapestry which sounds refreshingly_ modern, while paying tribute to the aged genre. Marco Campitelli, born and raised in Lanciano on the Southern Adriatic coast of Italy, founded OSLO TAPES in the early 2010s after a trip to the Norwegian Capital left him deeply impressed. Under the influence of this infatuation, he composed and produced OSLO TAPES' first record "OT (un cuore in pasto a pesci con teste di cane)" within a week in 2013. Supervised and supported by friend Amaury Cambuzat (faUSt / Ulan Bator), Campitelli's first attempt to capture the mystical vibe of Norway was released on DeAmbula Records (Ulan Bator, The Marigold, 7C). In 2015 he was joined by Mauro Spada and Federico Sergente (Zippo) and together they recorded OSLO TAPES' sophomore album "Tango Kalashnikov", also released on DeAmbula Records. "OR" is a much more collaborative effort for OSLO TAPES than the first two records. Next to Campitelli, the album was co-produced by Amaury Cambuzat (Ulan Bator) and James Aparicio (house engineer for Mute Records and mixing and mastering engineer for Depeche Mode, Mogwai, Nick Cave). During production, Campitelli became friends with Emil Nikolaisen of Serena Maneesh w h o guided him "through the Norwegian imagination". As a result, the record's title is also courtesy of Nikolaisen. During this journey spanning over eight songs, OSLO TAPES, completed by Mauro Spada (bass) and Davide Di Virgilio (drums and percussions) construct a dense and ever so dark atmosphere that is captivating, brooding and imaginative. After a spiraling takeoff with "Space is the place", we find ourselves floating weightlessly above the nocturnal Norwegian highlands through "Zenith" and "Kosmik Feels", an airy circulation of jazzy drums, pulsating bass lines and shimmering guitar clouds. We saddle up, gallop across the sky on "Bodo Dakar" and drift back into the night on "Cosmonaut". The trifecta of "Norwegian Dream", "Exotic Dreams" and "Obession Is The Mother of All" conclude this agitated fever dream journey. There is a sense of solitude in OSLO TAPES' compositions which makes it easy to imagine them as interstellar jam sessions between cosmonauts, each in their own isolated space capsule. Every spin of "OR" brings new discoveries: sometimes it is a noise that we did not notice before, sometimes a slight change in the drum groove, sometimes just a piece of the lyrics, meandering through our mental space. "OR" is a vertiginious journey to be remembered - and repeated. "The focus of Oslo Tapes is to harmonize the noise" says Marco Campitelli.

- Available for the First Time on Vinyl - Deluxe Old Style Tip-On Gatefold Packaging with 180 Gram - "Yellow Raincoat with Blood Red Splatter" Colored Vinyl - Insert with Liner Notes and Original 1976 Recording Session photography // Waxwork Records is thrilled to present the debut release of ALICE, SWEET ALICE Original Motion Picture Soundtrack by Stephen Lawrence. Alice, Sweet Alice is a 1976 American Slasher-Horror film directed by Alfred Sole and starring Brooke Shields in her film debut. Set in 1961 New Jersey, the film focuses on a troubled adolescent girl who becomes the suspect in the brutal murder of her younger sister at her first communion, as well as in a series of unsolved stabbings that follow. In the years since its release, Alice, Sweet Alice has gained a cult following and is considered a contemporary classic of the slasher sub-genre in critical circles. It has also been the focus of scholarship in the areas of horror film studies, particularly regarding its depictions of Roman Catholicism, child emotional neglect, and the disintegration of the American nuclear family. The film's chilling score was composed by Stephen Lawrence. Lawrence is an American composer that has scored more than 300 songs and musical cues for Sesame Street, resulting in three Emmy Awards for Outstanding Achievement in Music Direction and Composition. The music of Alice, Sweet Alice features heavy usage of dissonant strings, repetitive keys, church organ, and motifs that segue from eerily mischievous and playful to dread-inducing and utterly haunting. Available for the very first time in any format, the complete soundtrack to Alice, Sweet Alice comes available on 180 gram "Yellow Rain Coat with Blood Red Splatter", deluxe packaging with new artwork by Steven Reeves, old-style tip-on gatefold jackets, a heavyweight insert, exclusive composer liner notes, and original recording session photography.

“In some respects, Trust is a simultaneous documentation of progression and regression. A homecoming of sorts, influenced by the interim where we developed our skills as producers and our skills as artists. Armlock, as a vehicle, seems like returning full circle to where we started.”

Trust, out June 2, 2021, is the debut release of Australian duo, Armlock. It’s a nuanced record that explores trials felt in personal growth, from resentment to submission to complacency. A quiet, thrashing gem of songcraft, the record makes as much use of the intimate, empty space as it does of its layered, heavy instrumentals. Each one of these songs conjures a summer storm of internal conflict, with the angst and uncertainty that comes with realizing that you’re finished growing, and rather than feeling a sense of ease you’re left restless and discontented.

Multi-instrumentalists Simon Lam and Hamish Mitchell met studying jazz together at Monash University in Melbourne. While rehearsing standards for a small ensemble in 2010, the two discovered their mutual hatred of the genre, opting to explore experimental, song-based electronic music. Alongside Solitaire Recordings owner, Dan Rutman, they went on to form the group I’lls, releasing four records in five years, and, later, the two went on to form Couture. Simultaneously, Lam (along with his cousin Chloe Kaul) found success with the synthpop group Kllo, amassing over 100 million streams on Spotify and critical acclaim from Pitchfork, The Guardian, GQ, NME, NYLON, and Stereogum. Lam’s solo project Nearly Oratorio (also on Solitaire Recordings) has achieved acclaim in its own right, as has Mitchell’s work as a producer and designer for artists like Jack Grace.

With their first release as Armlock, the duo maintains the depths of I’lls’ electronic soundscapes but brings the warmth of analogue instruments with Lam’s clear, disillusioned singing up front. He sounds both heartfelt and dejected in equal measure, with a dispassionate coolness that synergizes with the vulnerability of his lyrics. Live, the duo are backed by a reel-to-reel tape, with Mitchell on guitar and Lam singing, bridging their electronic past and indie present.

With Bending the Golden Hour, the third album from Memphis, Tennessee’s Aquarian Blood, husband and wife team J.B. Horrell (Ex-Cult) and Laurel Horrell (formerly of the Nots) continue the gorgeously stripped-down and atmospheric direction set on their critically acclaimed previous effort A Love That Leads to War.

While Aquarian Blood has roots as a chaotic punk rock six-piece, the band shifted gears after two raucous cassette-only releases on ZAP Cassettes, a pair of seven-inches, and 2017’s Last Nite in Paradise, released on Goner Records. After drummer Bill Curry broke his arm, the Horrells redefined

Aquarian Blood, reemerging in early 2018 as the more intimate, mostly acoustic balladeers behind the staccato, fever dream sound of A Love That Leads to War. Like its immediate predecessor, Bending the Golden Hour was recorded at the Horrell's Midtown Memphis home. The band turned over 43 tracks to Goner co-owner Zac Ives, who handpicked 17 songs for the album.

The final result is shimmering and hopeful; as beautiful and sparse as a Rockwell Kent snowscape. Bending the Golden Hour begins ominously with “Channeling,” which sounds like an outtake from Paul Giovanni’s soundtrack to 1973’s pagan nightmare The Wicker Man. Then the band upshifts for “Time in the Rain,” a sweet duet set to a rigid snare beat. From there, Aquarian Blood zigs to country and zags to psychedelic folk, brooding on one song and soothing listeners with the next. And while the music, feel, and experience is different, Aquarian Blood naturally brings to mind some legendary musical partnerships: Richard and Linda Thompson, Lee Hazlewood and Nancy Sinatra, Johnny and June Carter Cash, Gram Parsons and Emmylou Harris; not to mention similarly-bent-but-beautiful luminaries like Roy Harper, Pentangle circa 1967 -1973, and Jackson C. Frank.

There’s a big middle ground, like folk-psych, or weirder country music,” he says, reeling off names like Skip Spence and Syd Barrett as stepping stones between the genres of punk and folk.

Inspirations for Bending the Golden Hour come from myriad sources that document the milestones and minutiae in a family’s full life. Some lyrics name a time or a place; others reflect the fleeting moments that elapse unnoticed. “Come Home,” which is sung by J.B. and his daughter Ava, was written the day Ava got her driver’s license. “Ava took the car out by herself afterwards, and I wrote the song immediately—she sang her part when she got home that evening,” J.B. recalls. Whether or not the listener knows the backstory, the song rings sentimental, with subtle, supportive instrumentation that underscores guitar and vocals. The bewitching “Rope and Hair,” on the other hand, is less sketched out, with lyrics that are simply a recitation of the talismen found on a silver sabertooth charm that J.B. purchased for Laurel at a Latin strip mall in southeast Memphis. That’s all to be said. “Sometimes when you know too much about what the song is about, it takes away the magic,” says J.B. “Alabama Daughter,” says Laurel, is about a place where a childhood friend lived called Castleberry Holler. “It was really rural, just a lot of shacks without electricity—the kind of place you didn’t go to unless you were invited,” she says. “Probable Gods” is a hazy reflection on the struggle of such a strange year. “It’s been very cathartic to put all of this into words and not have it live

The legendary composer of Mission: Impossible participates in this tribute album entirely produced and performed by Jean-Michel Bernard and his musicians, himself a acclaimed composer and jazzman / pianist recognized throughout the world. This vinyl edition is exclusive to Wayô Records, after the CD version by Varese Sarabande in the USA.

Jean-Michel Bernard Plays Lalo Schifrin is above all a beautiful story of friendship...

The pianist, conductor, composer and Argentinian arranger Lalo Schifrin is known, among others, for his film music (Bullitt, Dirty Harry, Enter the Dragon…) and tv shows (Mission: Impossible, Mannix, Starsky and Hutch…). On the other side, pianist and composer Jean-Michel Bernard accompanied Ray Charles in concert for the last three years of his life, and is notably the usual composer for Michel Gondry's films.

This album, focusing on the orchestrations of film scores composed by Lalo Schifrin, was born from the friendship that unites the two composers and the success of a concert program put on by Jean-Michel in tribute to Lalo Schifrin at the La Baule Festival (France) in 2017.

With the presence, on three tracks, of Lalo Schifrin as well as Kyle Eastwood on, of course, the music of Dirty Harry…

Kolonel Djafaar’s ‘Cold Heat’ packs a mighty punch, combining the irresistible charm of Ethio jazz and psych rock with the power of a big band brass section, that has made them a formidable live force across Belgium. As they come into their own cinematic sound, now is the time for them to be enjoyed more widely, thanks to masters of exotic groove, Batov Records.

Kolonel Djafaar’s debut release for Batov is an all-killer-no-filler EP. On "Bactrian Camel’’ the four-man brass section picks up a thundering groove, only for the organ-led rhythm section to answer with their own snaking retort. Joris Wendelen’s electric guitar riffing adds a further Middle Eastern flavour to the stew. Written by trombonist Willem De Mol, who delivered the song after two months alone in Russia, "Lamentation" continues the Ethio vibe with a little
Latin panache. The brass-led tone here is mysterious, the melody lingers. An almost surf-esque guitar solo transports the listener before the main groove on organ and brass recalibrates us to the solid rhythm.

Comparable to, but distinct from, The Budos Band and The Comet is Coming, the low-slung sounds of "Recording 68" in particular reveal Kolonel Djafaar coming into their own. The tempo drops, emphasizing the depth of the groove. The EP is appropriately closed in cinematic style on "The Heist". The pace picks up. Drums of death, in the mode of DJ Shadow or Unkle, hold up the distorted synths and that sharpest of horn sections. A song ready for the dirtiest of chase scenes. "Cold Heat" is suitably titled. Fast or slow, killer grooves that will take no prisoners. A taste of Kolonel Djafaar’s power on stage and the clearest picture yet of their direction in sound.

RED FANG return with their highly anticipated new album, Arrows! Their first album in five years, everyone's favorite beer-crushing, zombie-killing, air-guitar-contest-judging metal heroes are back in action, doing what they do best- AND MORE. “This record feels more like Murder The Mountains to me than any record we’ve done before or since,” bassist/vocalist Aaron Beam ventures. “It doesn’t sound like that record, but Murder the Mountains was us doing whatever the fuck we wanted, and that’s what this is, too.” Arrows was recorded at Halfling Studios in the band’s hometown of Portland, OR, with longtime collaborator Chris Funk, producer of Murder The Mountains and 2013’s Whales and Leeches. “Chris is a major influencer as far as the weird ambient stuff in between the songs and the creepy incidental noises within the songs,“ guitarist Bryan Giles points out. “I think he definitely creates an added layer of atmosphere that we wouldn’t have otherwise.” Arrows is also a proper title track, which is new territory for the band. “This is the first time we’ve named an album after a song that’s actually on the album,” Beam explains. “We have other albums that are named after songs of ours that are not on those albums. So this time we’re really fucking with you because we didn’t fuck with you.” Similarly, fans might not believe what the song “Arrows” is partially about. “If you’re confused by some of the lyrics to the song, that makes sense,” Beam explains. “But it makes reference to meditation. I started meditating six years ago, but I can only do it when I’m not feeling too anxious. So, when I don’t need it, that’s when I can do it.” Elsewhere, “Fonzi Scheme” was named after legendary Happy Days cool guy Arthur Fonzarelli—if only because it’s in the key of his famous catchphrase, “Aaay.” Producer Chris Funk came up with the idea of bringing in string players from the Portland Cello Project to class up the track. Meanwhile, the opening riff of closer “Funeral Coach” was written 11 years ago. But it took until recently for the song to blossom into its full double-entendre glory. “I was driving around and I saw a hearse that said ‘funeral coach services’ on the back,” Beam explains. “So the first thing that popped into my head was a dude with a headset and a clipboard going, ‘Alright, dudes—more tears! Five minutes in is when the tears are critical, or no one’s gonna believe that anyone cares that this person died.’” In a nod to tradition, Arrows will be available in formats that include all the drums, bass, guitars and vocals. But it could’ve gone another way. “Our original idea was to release the album with no vocals or guitar solos,” Beam explains. “If you want the guitar solos, it’s an extra five bucks. If you want the vocals, it’s an extra ten bucks. So basically people should feel lucky that we didn’t do that. You get to buy the whole thing altogether.” RED FANG think of it as a generous display of gratitude toward their fans. “Yeah,” says Sherman, “Thank you for buying our album, you lucky bastards.”

Demon Records presents the narrated TV soundtrack of a partially ‘lost’ six-part adventure set in a
future Ice Age, starring Patrick Troughton as the Doctor.
The Doctor and his friends land on Earth in the future, and find it in the grip of a new Ice Age.
They join a team of scientists struggling to hold back the huge glaciers that threaten all human
life. A giant creature is discovered inside the ice and quickly comes to monstrous life – it’s an Ice
Warriors from Mars! It intends to find its crashed spaceship, where a whole crew of Warriors is
waiting to be revived…
Presented across a trio of 140g Molten Ice vinyl discs, this 1967 TV soundtrack – only four
episodes of which survive as film recordings - is narrated by Frazer Hines, who co-stars as the
Doctor’s companion Jamie, with Deborah Watling as Victoria. The guest cast includes Bernard
Bresslaw as the Ice Warrior Varga, Peter Barkworth as Leader Clent, and Peter Sallis as Penley.
Incidental music is by Dudley Simpson, and the familiar strains of the Doctor Who theme are
courtesy of the BBC Radiophonic Workshop.
The coloured LPs are presented in fully illustrated sleeves which, when assembled together, form
the cover image. Original episode billings, and full cast and credits, are included.
Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

Cardinal Fuzz (Europe) and Feeding Tube Records (N.America) present to you - A vinyl issue of the killer CD comp that SS Records released way back in 2004 with a couple of added treats. Brace yourself for some steller hair singeing full throttle wipe outs across 4 slabs of heavy black vinyl. Comes with a folded A3 double sided insert.

Monoshock was one of THE best bands of the 90s and if they were from Seattle and not Illa Vista & Oakland, California you would already know that. During their six years they released a handful of 7"s, served as a backing band for Von Lmo, and created one of the classic psych albums of all time, Walk to the Fire. In the last few years they received praise from around the globe, raved up by Julian Cope as one of the great unknown bands of the 90s and cited as an influence by current heavy faves, Comets on Fire, as well as a whole slew of Japanese psych bands. Monoshock is fuzz-fuel, wah-wah damaged, riff-crazed punk rock which draws in Hawkwind, the Stooges, Simply Saucer, and other psych-punk gods. This double LP collects all their 7"s and comp tracks together with 7 previously unreleased tunes and two songs from their ultra-rare 1989 demo tape and 2 added digi bonus Live tracks from their reunion shows. Fans will be overjoyed. Virgins will become fans.
The band's stellar Walk to the Fire has been acknowledged as one of the classic psych albums of all time.

This is the bands debut album originally released in 1995 on U2’s label Mother Records who
built their reputation as a live act
Highlights include the top 30 single ‘Bankrobber’ (cover of the Clash track) and the first single
‘Sleeper’, ‘Yeah?’ and ‘Faker’
Pressed on 180g heavyweight white vinyl with original artwork and printed inner sleeve

Fistful of Metal’ is the debut studio album by American thrash metal band Anthrax, released in January, 1984 by Megaforce Records in the US and Music for Nations internationally. It includes a cover of
Alice Cooper’s “I’m Eighteen”.
Critical reception to ‘Fistful of Metal’ was mixed. Xavier Russel of Kerrang! called it a great debut album, with songs played “at a hundred miles an hour” Canadian journalist Martin Popoff praised the well-produced sound and the “almost operatic anti-thrash vocals” from Turbin, considering the album responsible for “putting New York back on the US metal map, and quality back in the books of bruising and uncompromising underground metal.”
The term thrash metal was used for the first time in the music press by Kerrang!
journalist Malcolm Dome, referring to the song “Metal Thrashing Mad”. Guitar World magazine placed the album on their list of “New Sensations: 50 Iconic Albums That Defined 1984”.
In June 2019, Decibel inducted ‘Fistful of Metal’ in their Hall of Fame, due to its reputation as one of the best early examples of thrash metal.

• Showaddywaddy eventually had more UK hits in the 1970s than any other act…including Abba!
• From their winning appearance on an edition of ‘New Faces’, the ‘Britain’s Got Talent’ of the day, to become runners-up in
the series’ ‘All Winners Final’, it took just a matter of months until Showaddywaddy released, ‘Hey Rock And Roll’.
• The single reached #2 in the UK Singles Chart.
• The band are still lauded as one of the hardest working live bands in the UK, usually with more than 250 shows a year.
• This vinyl LP collection, showcases the band’s professionalism, in this no-nonsense 16 track rock ‘n’ roll set.
• The album includes their versions of ‘Sea Cruise’, ‘Blue Moon’, ‘The Girl From New York City’, ‘Multiplication’, ‘Doo Wah
Diddy’ and a blistering performance of the Vanda/Young classic, ‘Good Times’, taken from Showaddywadddy’s 1981 album
of the same name.
• The album is pressed on heavyweight 180g pink colour vinyl.

"Returning with their first new music in 8 years, Stubborn Heart have announced their anticipated new album ‘Made Of Static’, released on June 4th via One Little Independent Records.
Luca Santucci and Ben Fitzgerald, who have spent the last few years developing the ten brooding electro-soul tracks that make up the successor to their lauded 2012 self-titled debut, have once again struck a fine balance between ominous synth-soundscapes and introspective songwriting.
Balance is the key theme here. With Fitzgerald leading the production and manning the machines, the sound is rawer than on their previous album. Left-field pop with dark, icy edges, it finds a home somewhere in between r&b and cold wave. Santucci brings the heart and with it his aching, obsessive lyrics and a desire for something grittier in its presentation. The duo’s talents complement each other perfectly throughout."

In the last ten years Jon has carved out a niche as a recording artist and live performer supporting such acts as Damien Rice, Brian May, Seal and Dionne Warwick whom he supported at the Albert Hall. His songs and distinctive voice can be heard across films and TV both here and in America. In the UK he has appeared on the iconic Later With Jools Holland TV show and as part of the BBC’s coverage of Glastonbury. When not working on his own material Jon has written songs for Petula Clarke, Engelbert Humperdinck and Record producer Guy Chambers. “…meanwhile” is Jon’s new album, packed with radio friendly hits (CD format released 21/05)

British Grindcore pioneers NAPALM DEATH never slow down, but after their much lauded 16th studio album “Throes of Joy in the Jaws of Defeatism” (2020) and a total of by now 4 decades (!) of intense and restless activity, it’s time to look back and re-issue two of the outstanding albums from their ample and valuable back-catalogue: “Time Waits For No Slave” (2009) and “Utilitarian” (2012). Both albums are now finally available again as Jewelcase CD for Midprice and as LP on 180g vinyl. Look out for further NAPALM DEATH re-issues coming soon…

A vital moment in the resurgence of the London Jazz scene. This epoch-defining set captures all the power, energy and deftness of touch that became the thrilling, visceral experience of Binker and Moses' breakthrough performance at the now-legendary (and much missed) East London venue Total Refreshment Centre. Recorded on a sweltering night in the Summer of 2017. The palpable excitement of the crowd and its energetic, liberated response to the action on stage adds extra levels to the atmospherics, and elevates the pioneering duo's performance to a new high.

British Grindcore pioneers NAPALM DEATH never slow down, but after their much lauded 16th studio album “Throes of Joy in the Jaws of Defeatism” (2020) and a total of by now 4 decades (!) of intense and restless activity, it’s time to look back and re-issue two of the outstanding albums from their ample and valuable back-catalogue: “Time Waits For No Slave” (2009) and “Utilitarian” (2012). Both albums are now finally available again as Jewelcase CD for Midprice and as LP on 180g vinyl. Look out for further NAPALM DEATH re-issues coming soon…

Stand Atlantic are a female fronted band from Sydney, Australia. Their fresh blend of melodic hooks and power-driven instrumentals allow them to sit atop of the genre. With their honest lyrical nature and relentless ability to move an audience live, the band are being tipped to be the next to break through the Australian scene. At the end of 2016 Stand Atlantic entered Electric Sun studio to record their new EP 'Sidewinder' with producer Stevie Wright (With Confidence). The EP shows the band mixing accessible song writing and exceptional musicianship, balancing out both the 'pop' and 'rock' aspects of their sound.

Over the last three decades, singer, songwriter guitarist and composer Gary Louris has built a deeply compelling body of music whose artists and integrity has won the loyalty of an international audience and the respect of both critics and his peers. Best known for his seminal work with The Jayhawks, he is one of the most acclaimed musicians to come out of Minnesota's teeming rock scene. Along the way, Louris has produced records by various artists, contributed songs to Grammy Award-winning albums by Tedeschi/Trucks Band and The Dixie Chicks; and recored with acts as diverse as the Black Crowes, Uncle Tupelo, Lucinda Williams, Nickel Creek, Tift Merritt and more. Jump For Joy is Gary's long awaited 2nd solo album and follow up to the 2008 release of Vagabonds. Along

The rich sounds of Maloya and Séga music, originating from the Réunion island (as well as Mauritius and Seychelles for Séga), have recently been brought to the ears of the Northern hemisphere's music lovers. Hailing from the French Alps, where Réunion-natives and young "metropolitan" French youngsters have been sharing parties, food and music for years, Les Pythons De La Fournaise are a flavoursome electric "Séga" band and they have already put out a couple of albums over the last decade.

This time, they are interpreting Séga and Maloya songs under the form of a - nearly – all-acoustic orchestra : "L'Orchestre Du Piton" !

This Long-Player has got a particular sound and character, starting with a powerful four-woman choir (often sung in unison, in accordance with the Maloya tradition). The "lead" is a different singer on almost every song, which brings a variety of tone and vocal texture to the album.

Instead of keys, organ or synth, Les Pythons went for accordion ; they also brought into the studio an array of percussion, ranging from classic bongos and bells to typical instruments of the Indian Ocean : theKayamb, the Pikeur, the Sati and most notably the Roulèr– the king of them all, majestic barrel-shelled bass drum.

On songs like "Anon Manz Demiel" (Let's go and eat honey), two crazy electric guitars with intertwined riffs add a fresh element to the sound – somewhat echoeing with Esquivel's exotica and Congolese rumba at the same time !

And the most unusual fact on this record : there is no bass guitar. Perhaps the band had a statement to make; in our modern music culture where bass plays a central role, they prove that one can move to other sounds – and appreciate the more organic deepness of percussion.

Whether or not you look into the meaning of the songs (mostly from the Réunion repertoire with a couple of Mauritian exceptions and one original "Pythons" composition), you will feel the mood of the Creole lyrics – a deep love story in "Maloya Tantine", an hymn to slowness and indolence in "Tou Dou", a clumsy chat-up scene in "Malbaraise"...

And overall, a joyful, fresh and sparkly energy emanates from this "Orchestre" sound, from this exceptionally talented crew. Oté !

The group Magizter formed in Malmö, Sweden in the early 90s, and mainly consisted of former members of the Hungarian industrial band Das Kapital, of which some managed to flee to Sweden from the communist regime before the fall of the Soviet Union.

Gyula Szilagyi, who was the first to make his escape via train through Berlin in 1987, recalls: “it was a few weeks before mandatory military service would begin, and our passports should have been turned over to the authorities”. Risking deportation and prison, he was granted asylum in Sweden after some months in Stockholm.

Szilagyi and the rest of the band were all part of the underground scene in Budapest, of which some had been under surveillance by the secret police since their teens. It was a tight knit community where anti-communist and illegal literature was distributed, and many bands shared mutual members.

The track “Das Kapital” was produced in Malmö in 1993 by Szilagyi and fellow Magizter member Zoltan Lengyel, in a home studio overlooking the Möllevång Square, were Szilagyi had moved after some years working at the glass factory in Orrefors. He had managed to save a few performances by Das Kapital recorded on cassette, of which one served as sample material for the Magizter track; an homage of sorts to a group involuntarily disbanded.

The cassette sampled here was recorded in 1986 during a live concert at the university-affiliated venue Ráday Klub, where Das Kapital performed alongside the British industrial act Left Hand Right Hand (who had formed from the Sheffield band Zahgurim).

On the eve in question, Szilagyi remarks: “we used a guitar that we had made ourselves to resemble a Kalachnikov rifle. During the concert at Ráday Klub the guitar was destroyed using a drill machine. It made a powerful sound effect”

A remix of the remix is offered by Vienna-based Heap, who with his own productions as well as his work with the Neubau label is building a bridge towards the new era of European industrial music.

The first ever release of Ed Banger records, this is ED001
To celebrate its 18th anniversary, we're happy to announce a limited edition re-press of this 12''.
I'm not going to repeat the story of how I ended up launching a record label while Napster was scaring the whole music industry…
Now I realize Radar Rider sounds like the perfect soundtrack of a disaster movie, in which record stores are closing, distributors are disappearing, a world without music, without life!
We didn't want this! Of course we'll release music from French producers, newcomers and put all our hearts into this new adventure. By accident Ed Banger records was born, 18 years ago. Mr Flash stopped by the office to play me some his beats. He was the French El-P to me, an MPC 3000 genius! I was blow away immediately, his music was talking to me.
I wanted this sound to be the beginning of something I will create with my friends.

Renowned Jazz musician Ulf Kleiner lands on Ian Pooley’s Pooled Music this April with ‘Tubes’Grande’ featuring three remixes from the label boss.

A long term collaborator of Pooley, lending rich keyboard work to the legendary producer’s records over the years, Ulf Kleiner is better known outside of electronic music. Taken from his 2020 LP, ‘Pianoskop’, ’Tubes Grande’ is a light but immersive piece of acoustic modern Jazz that, at just 3.36 minutes, begs repeat listens. Pooley’s interpretations, a ‘Main Version’, ‘Dub’ and ‘Analog Piano Dub Mix’ lead Kleiner’s work to the dancefloor in distinct ways, showing off the producers deft touch and studio experience across the package. From the decidedly organic, mid-paced house of the ‘Analog Piano Dub’ to the dense, electronic melodies of the ‘Main Version’ to the blissed out ‘Ian Pooley Dub’ this Pooley in the form of his career.

Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.
1978's No Accommodation for Lagos, Tony Allen's third solo album, is an effortless Afrobeat masterpiece. The Afrika 70 band floats through two of Tony's heaviest and most churning compositions.
With this album, we start to hear Tony Allen's unique style of Afro-Funk that he would explore for decades to come as a solo artist - it is groove-focused, a rolling meditation on rhythm.
The first track, "No Accommodation for Lagos" is one of Tony's most pointed and churning songs, recorded in a chaotic period following the army raid of Fela's compound. There is a seriousness to the funk, a real burning purpose in the performance of every instrument, from the horns to the shekere. Tony's performance is supercharged - he clearly showed up to the studio that day with a fire in his heart. The followup track, "African Message," is an Afrobeat compositional staple. Tony sits back in the cut through most of the supremely funky track until about seven minutes in, when he steps into the spotlight to express himself fully - his emotions, his frustrations, his convictions - in a fiery duet between his drumkit and his voice. The percussionists coalesce around him in support, lifting Tony up as he gives it his all.
Tony Allen was a musical and compositional visionary, and this album finds him beginning to explore that vision outside of Fela's immense gravitational pull. They are the start of a new era in Tony's fruitful career as a solo artist, opening the floodgates for his distinctive Afro-Funk sound and laying the foundation for the next generation of Afrobeat musicians to come.

It all starts with a great song and “You Baby” has it all! Penned by husband and wife team Barry Mann and Cynthia Weil with the magic touch of Phil Spector – what an awesome trio – and the bedrock of a future classic.
The song was originally produced by Spector for the Ronettes, signed to his Philles label, and appeared on their 1964 breakthrough album ‘Presenting The Fabulous Ronettes’ featuring, of course, his wife to be Veronica Bennett. The song was also recorded in the U.S. by pop/rock band the Lovin’ Spoonful for their 1965 debut album ‘Do You Believe In Magic’.
However, in January 1966 Pye Records unleashed JACKIE TRENT’s epic Northern Soul version produced by her husband Tony Hatch. Heralded by a pounding drum beat and trumpet blast it is no wonder that Jackie’s definitive cover shook the walls at Wigan Casino a decade later. And its popularity has never gone away, hence its current price tag of £300-400! Check out Jackie’s performance on the Morecambe and Wise Show on YouTube, what an intro!
“You Baby” was also recorded in May ’66 by Cameo Parkway’s Lovenotes in a very similar vein and in November ’66 by the legendary Len Barry. Other notable cover’s include Sonny & Cher, the Bubblegum pop group Salt Water Taffy and, in 1975, John Holt’s reggae version.
“Lost Summer Love” was originally recorded in 1964 by U.S. actress Shelley Fabares known for her long-running role as Mary Stone in the sitcom ‘The Donna Reed Show’ and as Elvis Presley’s leading lady in ‘Girl Happy’, ‘Spinout’ and ‘Clambake’. She also scored a No.1 pop hit in 1962 with the teen anthem “Johnny Angel”. But, as with our ‘A-side’, it was reborn as a Northern Soul classic when Pye Records picked the song up in 1965 and recorded it on their latest signing, teenager LORRIANE SILVER. Once again the stomping drum track, percussion and handclaps propel you to the dancefloor where you’re greated with an unforgettably catchy tune, a bevvy of backing vocals and Lorraine’s effervescent vocal.
Two fabulous reasons to make this one of the top reissue 45s of 2020!

Toronto’s Ducks Ltd. will release their debut EP, Get Bleak on May 21, 2021 via Carpark Records. Composed of friends Evan Lewis, on lead guitar, and Tom Mcgreevy, on vocals and rhythm guitar, the band built a reputation in their hometown for their bright, sinewy, guitar sound while sharing bills with artists like Rolling Blackouts Coastal Fever, Weyes Blood, The Goon Sax and Juan Wauters. They have earned accolades from Pitchfork who praised the band’s “lilting, throwback jangle pop,” and acclaim from outlets like NPR, Paste, NME, Apple Music 1, and more.

The opening track, “Get Bleak” sets a thematic tone for the EP, one of cultural self-awareness and satiric critiques of society’s pressures and the often ridiculous demands – and prices we pay – to exist. Chiming with breezy indie guitar sounds akin to those of Flying Nun and Sarah Records acts, the track, that features a contribution from Laura Hermiston of Twist, pokes fun at the idea that moving from city to city will fix the problems in your life. Following suit is “Gleaming Spires”, a track that zeroes in on the cities we live in and the push-pull relationships that we so often share with them. “Anhedonia”, via it’s tightly-wound rhythm and nostalgia-inked guitars, shifts focus to the times when one is unable to wring any joy out of the things that they find important in life.

Bringing the band’s characteristic restless bounce, thoughtful lyricism and penchant for orchestration, the tracks explore topics like troubled friendships (“It’s Easy”), self-destructive desires (“Oblivion”), and living with decline (“As Big As All Outside”) while maintaining the balance of earnest self-reflection and humor that endeared audiences to the original release.

Full of the unbridled radiance of jangle-pop, the debut EP from Ducks Ltd.’s Get Bleak celebrates their strengths while expanding their thematic and compositional horizons, and providing an intriguing glimpse of what’s to come.

Forest Green Vinyl

Toronto’s Ducks Ltd. will release their debut EP, Get Bleak on May 21, 2021 via Carpark Records. Composed of friends Evan Lewis, on lead guitar, and Tom Mcgreevy, on vocals and rhythm guitar, the band built a reputation in their hometown for their bright, sinewy, guitar sound while sharing bills with artists like Rolling Blackouts Coastal Fever, Weyes Blood, The Goon Sax and Juan Wauters. They have earned accolades from Pitchfork who praised the band’s “lilting, throwback jangle pop,” and acclaim from outlets like NPR, Paste, NME, Apple Music 1, and more.

The opening track, “Get Bleak” sets a thematic tone for the EP, one of cultural self-awareness and satiric critiques of society’s pressures and the often ridiculous demands – and prices we pay – to exist. Chiming with breezy indie guitar sounds akin to those of Flying Nun and Sarah Records acts, the track, that features a contribution from Laura Hermiston of Twist, pokes fun at the idea that moving from city to city will fix the problems in your life. Following suit is “Gleaming Spires”, a track that zeroes in on the cities we live in and the push-pull relationships that we so often share with them. “Anhedonia”, via it’s tightly-wound rhythm and nostalgia-inked guitars, shifts focus to the times when one is unable to wring any joy out of the things that they find important in life.

Bringing the band’s characteristic restless bounce, thoughtful lyricism and penchant for orchestration, the tracks explore topics like troubled friendships (“It’s Easy”), self-destructive desires (“Oblivion”), and living with decline (“As Big As All Outside”) while maintaining the balance of earnest self-reflection and humor that endeared audiences to the original release.

Full of the unbridled radiance of jangle-pop, the debut EP from Ducks Ltd.’s Get Bleak celebrates their strengths while expanding their thematic and compositional horizons, and providing an intriguing glimpse of what’s to come.

Freshly started label blickwinkel (Dauw sister label) announces the release "Balts" by Schreel Van De Velde. It’s the first outing of the duo Lucas Schreel and Casper Van De Velde under this new moniker and can be seen as the follow-up album of Schreel's acclaimed debut album which was released last year.

As the album titles suggest, love in all its glory formed a major inspiration in the making of this album. The duo, however, didn’t restrain themselves to a sole conceptualization of this theme but instead explored it more widely and free. The result is a consistent collection of compositions reflecting on human encounters, relationships, sexuality and more. It’s love and broken love. It’s attraction and repulsion.

With Balts, the duo created a set of animal miniatures evoking feelings of melancholy while also joy and happiness have their place. Given the instrumental nature of the songs, the music remains kind of mythical and never really shows its true meaning. As such, these little miniatures form the duo’s own unique wildlife and is open for the listeners interpretation and own narrative. Dolfijn is the first single from the album and will be released on all digital platforms alongside a video by Jelle Martens.

Lucas Schreel is a classically trained guitarist based in Brussels. His first solo album We're Never Afraid of Getting Up Every Morning was released through Sentimental Records in 2020 and was well-received both in written-press (Humo, Enola & Indiestyle) and radio (Duyster, Radio 1 & Klara). Besides his solo work, Schreel is also a member of the lo-fi indierockband Kloothommel.
Acclaimed Brussels percussionist Casper Van De Velde made quite a name for himself through his bands like SCHNTZL, Bombataz, Donder among others. His work received prices at International Jazz Contest d’Avignon and Storm! Contest (Jazzlab). Casper is currently also a member of the recently formed An Pierlé Quartet.

Blickwinkel is a freshly born label based in Ghent and Brussels. It’s founded by Pieter Dudal (Dauw) and visual artist Jelle Martens (Nicolas Jaar, Vinyl on Demand, W.E.R.F.). After working in the music scene separately for almost a decade, they found common ground in both their admiration for sound, image and especially its dialogue. Unfettered by place or genre.

For our 7th release we are delighted to be reissuing a single that has brought us a lot of joy in recent times. We first came to hear Delores Fuller’s beautiful single One More Chance Lord in the same way we have heard a lot of new music over the last year and a half – through a friend’s lockdown recommendation. Ever since, the single has been a staple in our collection and permanently on our turntable.Perfectly transcending the genres of gospel, modern soul and disco. One More Chance Lord kicks it off with a piano riff that’ll be stuck in your head for days, building to a soaring chorus with lyrics that would fit any uplifting category. My Greatest Desire on the flip, is a ballad reflecting Delores’ vocal talents. Stripped back with only the piano for accompaniment. Delores singing about values of life - “not searching for riches, not hungry for fame”. Perhaps inadvertently explaining why this single has never had the prominence it so deserves.

The single was originally released in 1983 on Intro Records, a US based label predominately active throughout the 1980s. After a little diggin’ we reached out to Dwain Jones who duly licensed us the both sides and informed us that the single features a truly amazing arrange of musicians. Stanley Banks; bassist on classics albums such as George Benson’s Breezin’, Jonathan DuBose, guitarist with renowned gospel group The Clark Sisters and not to mention Pee Wee Ellis; James Browns band leader in the late 1960s who’s sax can be found peppered throughout Delores’ album God’s Love.Remastered and now available again on the teal green label of Miles Away. Limited 500 pressing and set for release on 21st May. Get one quick!

Helsinki-based US bassist Nathan Francis steps up as a bandleader with his debut project Nathan Francis Quartet. Together with a grade-A cast of Finnish musicians, the four-piece presents some of Nathan's favorite tunes from the standard repertoire (J.Hicks, C. McBee & J. Coltrane) as well as original compositions from members of the group. As Nathan puts it, "in terms of compositions, the group acts somewhat like a collective. We play compositions of each member but with an energy and interpretation that belongs completely to the moment."

Francis' debut album features the Finnish jazz legend Eero Koivistoinen on tenor saxophone. "Eero has given immensely to the jazz scene here in Finland and abroad. He carries a sound that is so deep and intense. I feel he is the perfect fit for this band", the young bassist explains. Koivistoinen has also composed two songs for the album, the soulful opening track Minor Solution and the bluesy track entitled Late Show. Markus Niittynen plays the piano and drummer Aleksi Heinola mans the drum seat. The former has also composed the album's third track Crystal Clear and the latter is well known as the inspired leader of his own quintet.

Now settled in Helsinki, and matriculating at the Sibelius Academy, Nathan is ready to release his debut LP. Nathan's primary wish was to form a "cross generational band as a tribute to his musical ancestors", a testament to the character of this young jazz musician. In his own words, Nathan says "meeting Finnish jazz legend, Eero
Koivistoinen, sealed the deal", and this eloquent musical project came to its fruition at the studios of the Sibelius Academy.

Known for the soulful jazz-grooves of their self-titled 2020 debut album, Matti Klein’s Soul Trio actually began as an idea rather than a group.
However, in early 2018 three master musicians met in Berlin’s Lovelite Studio with producer/engineer Jochen Str h (Tony Allen, Ebo Taylor, Pat Thomas, Jimi Tenor) and recorded a set of well-planned and even better executed live sessions, each finding their desired space live and direct, locking into the immediacy of the groove. ‘Soul Trio Live On Tape’ contains these very first sessions of the Matti Klein Soul Trio and comprises new arrangements of songs that had primarily been composed for Klein’s band Mo’ Blow; favourites already back then, timeless classics now thanks to these exciting ‘deep-fried contemporary soul jazz’ versions.
Their leader, known for his work as musical director for the Brazilian superstar Ed Motta as well as Mo ‘Blow, can be heard on Wurlitzer and Rhodes Bass; Lars Zander (The Ruffcats, El Cartel, Lucasonic, STEREOFYSH) not only proves he is the most soulful tenor saxophonist in Berlin, but also why he has earned kudos for a bass clarinet sound that is enhanced with analog tape delays, Wah-Wah and Harmonizer-sweetenings; and drummer Andr Seidel also shows his chops, incorporating elements of rock, hip-hop, odd meter fusion and the sound of New Orleans into his own unique groove jazz style.
As for the music, ‘Rocket Swing’ is a tenor sax feature in which a hip-hop vibe meets a jazzy fifth fall, while ‘Ray’ (dedicated to Mr. Charles) is a Meters-inspired shuffle in 7/8 time. ‘No Particular Way’ showcases the funky side of the band, with singer Pat Appleton in top form over a wonderfully creaky Rhodes bass. ‘Sunsqueezed’ is created in a wide compositional arc, evoking a ray of sunshine peeking through the clouds during a long and grey 10-month Berlin winter, giving hope for the next two months.
‘Eleven Feels Like Heaven’ is a joyful, uproarious gospel blues with a brilliant odd meter drum solo. ‘Grandpa’s Fairytale’ is a hitherto unreleased piece that is dedicated to the bandleader’s grandfather, a former school headmaster who loved to read him stories and is a Wurlitzer-warmth meets bass clarinet groove in an atypical dynamic arc. Summarising their efforts, Klein states somewhat cryptically that “the band rolls in a warm, soft couch whenever there is a risk of having to sit between the chairs.”
Initially available as a limited fan item only at live shows, this document is now being released officially with the addition of ‘Grandpa’s Fairytale’. It is a journey through time, absolutely contemporary and yet wonderfully back to the future.

Batov's Middle Eastern Grooves series has a new, funky, double-sided 7" addition titled ‘Big Baglama’ by Satellites: a fun release that gives vintage Turkish beats a new spin.

‘Big Baglama’ is a beautiful instrumental piece that captures the sound of an acoustic diwan saz - known as a baglama - integrating it in a series of riffs connected by a funky groove. The baglama gives off a fresh and lively feeling, despite the vintage flavour provided via the spacey synth and rippling drums. This track channels the energy and style of old school fuzzy vibe of Arif Sag’s saz recording of the ’70s but makes it new and entertaining to the ear, pulling the listener in for a fun ride.

The B-side ‘Deli Deli’ opens with a groovy bass riff and ululating synth, followed by a nifty melodic lead on the baglama and then Yuli’s enchanting vocals. The song is a new interpretation of an old piece by beloved 70’s Turkish folk singer Sakir Öner. This new version differs from the original in the more bright and poppy feel, conveyed by the 6/8 rhythm, and the addition of a whole new section by the band.

Satellites are another exciting act from the celebrated Tel Aviv music scene, and here at Batov Records we love them! Formed earlier this year, the group comprises talented vocalist Yuli Shafriri on the synth; Itamar Klüger on the baglama & bouzouki; Ariel Harrosh on the bass and Azriel ‘Raz’ Man on the drums. The band plays anything from Anatolian rock to vintage psych and spacey grooves. Satellites describe their sound as retro-fresh psych à la Turk, a musical "laboratory" lost somewhere between the mysterious alleys of 70’s Istanbul and the scorching sun and crystal blue sea of Jaffa-Tel Aviv, 2020.

Repress on purple vinyl!

Batov's Middle Eastern Grooves series has a new, funky, double-sided 7" addition titled ‘Big Baglama’ by Satellites: a fun release that gives vintage Turkish beats a new spin.

‘Big Baglama’ is a beautiful instrumental piece that captures the sound of an acoustic diwan saz - known as a baglama - integrating it in a series of riffs connected by a funky groove. The baglama gives off a fresh and lively feeling, despite the vintage flavour provided via the spacey synth and rippling drums. This track channels the energy and style of old school fuzzy vibe of Arif Sag’s saz recording of the ’70s but makes it new and entertaining to the ear, pulling the listener in for a fun ride.

The B-side ‘Deli Deli’ opens with a groovy bass riff and ululating synth, followed by a nifty melodic lead on the baglama and then Yuli’s enchanting vocals. The song is a new interpretation of an old piece by beloved 70’s Turkish folk singer Sakir Öner. This new version differs from the original in the more bright and poppy feel, conveyed by the 6/8 rhythm, and the addition of a whole new section by the band.

Satellites are another exciting act from the celebrated Tel Aviv music scene, and here at Batov Records we love them! Formed earlier this year, the group comprises talented vocalist Yuli Shafriri on the synth; Itamar Klüger on the baglama & bouzouki; Ariel Harrosh on the bass and Azriel ‘Raz’ Man on the drums. The band plays anything from Anatolian rock to vintage psych and spacey grooves. Satellites describe their sound as retro-fresh psych à la Turk, a musical "laboratory" lost somewhere between the mysterious alleys of 70’s Istanbul and the scorching sun and crystal blue sea of Jaffa-Tel Aviv, 2020.

Spindle Ensemble’s highly anticipated sophomore album is scheduled for a release on Thursday 27th May 2021 on vinyl, CD and digital download via Hidden Notes Records. The vinyl version will be accompanied by a special 12 page booklet which also includes liner notes written by celebrated DJ and Broadcaster Nick Luscombe (BBC3’s Late Junction/Musicity/Flomotion Radio).

In conjunction with the announcement a brand new single Caligo - with B side Menilmontant - was released via Bandcamp on Friday 5th February 2021 together with a unique music video that combines super 8 footage and scratched 16mm film visual artist Narna Hue (watch the video below).

A special socially distanced album launch concert is due to take place at St George’s Bristol on Thursday 27th May depending on COVID guidelines and restrictions at that time.

Since their formation in Bristol in 2016 contemporary chamber quartet Spindle Ensemble led by composer and pianist Daniel Inzani (Yola, Alabaster dePlume, Tezeta) which also features tuned percussionist Harriet Riley (Charles Hazelwood’s Paraorchestra, Bristol Symphony Orchestra), cellist Jo Silverston (Mesadorm) and violinist Caelia Lunniss (Edward Penfold) have garnered much praise for their innovative take on contemporary classical music, rooted in spontaneity and improvisation performed with deft musicianship and unique instrumental pairing all resulting in truly captivating sonic soundscapes.

Equally at home performing in concert halls such as the Union Chapel, Southbank Centre, Bristol Beacon, St George’s Bristol and festivals including Shambala and Hidden Notes to churches, art centres, record shops and independent venues across the UK they continue to bring their music to a diverse and ever growing audience.

Listeners may hear influences from composers such as Satie, Pärt, Ravel, Reich, Glass and Moondog in their music but might also find the soundtracks of Morricone and the minimalist aesthetics of the Penguin Cafe Orchestra nestled alongside the more experimental leanings of groups such as Rachel’s, Esmerine, Bell Orchestre and Amiina.

The quartet’s forthcoming album Inkling was recorded at various venues across Bristol, capturing their performances as unique 3D sound images enabling the listener to hear each instruments position mimicking the audible experience as a live audience member. Unlike their debut BEA, some of the compositions on Inkling also features a collection of guest musicians expanding their sound to an orchestral scale, featuring the addition of brass and percussion instruments.

In September 2019 the group released a double A-side single of Chase and Okemah Sundown from the album with accompanying videos by acclaimed Director/Cinematographer Fred Reed and stop-motion animator Marie Lechevallier.

Spindle Ensemble’s highly anticipated sophomore album is scheduled for a release on Thursday 27th May 2021 on vinyl, CD and digital download via Hidden Notes Records. The vinyl version will be accompanied by a special 12 page booklet which also includes liner notes written by celebrated DJ and Broadcaster Nick Luscombe (BBC3’s Late Junction/Musicity/Flomotion Radio).

In conjunction with the announcement a brand new single Caligo - with B side Menilmontant - was released via Bandcamp on Friday 5th February 2021 together with a unique music video that combines super 8 footage and scratched 16mm film visual artist Narna Hue (watch the video below).

A special socially distanced album launch concert is due to take place at St George’s Bristol on Thursday 27th May depending on COVID guidelines and restrictions at that time.

Since their formation in Bristol in 2016 contemporary chamber quartet Spindle Ensemble led by composer and pianist Daniel Inzani (Yola, Alabaster dePlume, Tezeta) which also features tuned percussionist Harriet Riley (Charles Hazelwood’s Paraorchestra, Bristol Symphony Orchestra), cellist Jo Silverston (Mesadorm) and violinist Caelia Lunniss (Edward Penfold) have garnered much praise for their innovative take on contemporary classical music, rooted in spontaneity and improvisation performed with deft musicianship and unique instrumental pairing all resulting in truly captivating sonic soundscapes.

Equally at home performing in concert halls such as the Union Chapel, Southbank Centre, Bristol Beacon, St George’s Bristol and festivals including Shambala and Hidden Notes to churches, art centres, record shops and independent venues across the UK they continue to bring their music to a diverse and ever growing audience.

Listeners may hear influences from composers such as Satie, Pärt, Ravel, Reich, Glass and Moondog in their music but might also find the soundtracks of Morricone and the minimalist aesthetics of the Penguin Cafe Orchestra nestled alongside the more experimental leanings of groups such as Rachel’s, Esmerine, Bell Orchestre and Amiina.

The quartet’s forthcoming album Inkling was recorded at various venues across Bristol, capturing their performances as unique 3D sound images enabling the listener to hear each instruments position mimicking the audible experience as a live audience member. Unlike their debut BEA, some of the compositions on Inkling also features a collection of guest musicians expanding their sound to an orchestral scale, featuring the addition of brass and percussion instruments.

In September 2019 the group released a double A-side single of Chase and Okemah Sundown from the album with accompanying videos by acclaimed Director/Cinematographer Fred Reed and stop-motion animator Marie Lechevallier.