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For the second release in our Re-Issue Series we've teamed up with London duo Euphonic for a cherry picked deep dive into their back catalogue exploring some of their finest works, fusing Jungle, Breaks, and Down Tempo with unique programming, bass lines and traditional jazz/blues instrumentation.

The "Low Orbit Archives" 12" features a number of artists whom they have collaborated with since the project's inception back in 1997, including dr. Israel, Soothsayer, Kirsty Rock and Neech. Euphonic is led by producer Rob Henry and former Graffiti artist turned DJ Nick Trimm.

Following Part 1 of the project, the recently released 10" vinyl "Jah Science", the full LP follows, featuring an additional 5 tracks with Part 2 offering a wide spectrum of music for audio lovers and record collectors. All tracks have been taken from CD, Vinyl and DAT, unearthed and newly remastered.

House anthem Slo Moshun “Bells Of NY” is one of the most iconic gems in the Network catalogue and gets a timely reissue.

The lovingly remastered 12” includes the epic nearly 9 minutes long “House To House Mix” which started the fuss in the first place, plus the much loved by DJs “Xen Mantra Beefy Bells Mix” which like fine wine seems to have matured with age.

It’s almost impossible to explain the hype that exploded when the first copies of this landed in 1993. Network pressed a limited run of the first copies on the Dansa label with
bogus New York producer credits in an attempt to create mystique.

The combination of that relentless uptempo house piano and the break where everythIng slows down underneath a hip hop sample hypnotic proved irresistible, and saturation radio plays from KISS in London turned the track into an instant anthem right away.

The the boss of a rival label boasted they had sourced the track and paid “a fortune” to licence it for UK release. He was making it up as a stampede by labels to locate and release the track began.

Network sensed an opportunity to create major mischief and create even more of a buzz. New York garage producer and Network ally Andrew Komis was enlisted and happily donned the bogus ID of a new kid on the block NYC producer to do phone interviews with UK dance music publications.

His pretend story that Bells Of NY was his homage to the UK House scene laced with Big Apple Hip-Hop was eagerly printed by the magazines.

They were left red faced when the truth emerged that former Nexus 21 and Altern 8 member Mark Archer and his new music making partner Danny Taurus had in fact come up with the gem in homely Staffordshire and not glamorous New York for Network.

All the PR spin in the World would not matter a not if the record didn’t live up to the hype.

Bells Of N.Y did and still does.
It gave Network a first chart hit on their six6 label and more importantly is an all time House Music Classic.

Lost Tapes is a monthly release of rare B-sides, exclusives - & even some previously unreleased tracks. Now the first 10 tracks from the series are released on limited heavyweight + numbered vinyl, CD and cassette for the first time. Röyksopp on the Lost Tapes series: Upon renovating our arctic chateau here in the desolate north, we came across an old sea chest containing an abundance of rare B-sides, exclusives - & even some previously unreleased tracks. We thought the only right thing would be to make these «hard-to-find» tracks available for those of you who prefer to stream music. So therefore we’ve created a playlist called ‘Lost Tapes’. The Playlist will be updated as we go, make sure you subscribe. All obscure tracks will eventually see the light of day.

Industrial Harcore flower.

This is a limited edition, golden vinyl of "Deep Shadows".

You are holding in your hands an album, which was never heard at the time it was recorded. For over 30 years it was stored in the archive of record producer and musician Dave Hamilton, one of the unsung heroes of the Detroit soul scene. The box of reels was marked simply "The Possible Little Ann Album".

Little Ann's songs, are timeless masterpieces of soul music. That is why we here at Timmion Records thought that they belong together on an album like they were originally intended to be heard. Sometimes possibility takes time to be fulfilled.

This album comes with authentic 60's style tip-on sleeve.

Black Vinyl LP with double-sided insert with historical information. Released in collaboration with the Alan Lomax Archive. First pressing 2011, second pressing 2021
These are the first recordings made of Fred McDowell—before the folk festivals and blues clubs, before “Mississippi” was inserted in front of his name, before the Rolling Stones covered his “You Got To Move.” They’re the sound of the music McDowell played on his porch, at picnics, and juke joints; with his friends and family; occasionally for money but always for pleasure. Remastered from 24-bit digital transfers of Alan Lomax’s original tapes, and annotated by Arhoolie Records’ Adam Machado and the Alan Lomax Archive’s Nathan Salsburg, they are an illustration of the mind-blowing revelation that was Fred McDowell.
On the first day of fall, 1959, in Como, Mississippi, a farmer named Fred McDowell emerged from the woods and ambled over to his neighbor Lonnie Young’s front porch with a guitar in hand. Alan Lomax and Shirley Collins were there recording the Young brothers’ fife and drum ensemble, as well as the raggy old country dance music of their neighbors, the Pratcher brothers, and they had no idea what to expect from this slight man in overalls. They certainly didn’t expect that Fred would soon become internationally known as one of the most original, talented, and affecting country bluesmen ever recorded.

CAVE Interactive CO., LTD., in collaboration with Limited Run Games and Brave Wave Productions, is proud to unveil the 19th entry in the Generation Series of video game soundtracks, DoDonPachi SaiDaiOuJou The Definitive Soundtrack for CD and vinyl. Originally released for Arcade (2012) and on Xbox 360 (2013) in Japan, DoDonPachi SaiDaiOuJou is the latest arcade release in the DoDonPachi series in the legendary hardcore bullet-hell shoot-’em-up franchise, long respected by dedicated players for its frantic action and rewarding gameplay. The soundtrack features 13 memorable songs by acclaimed Japanese game composer Manabu Namiki. Whether players are scrolling through a relatively simple section or fighting for survival as they’re assaulted by enemies on all sides, this gem of a soundtrack is seeing its first release outside of Japan for the first time on physical formats.

The second release on JD Twitch’s archival label.

“By 1993 I was saturated in Acid. Over saturated!. Since 1987 there had been an endless explosion of records from across the planet using the 303 and it seemed like the sonic possibilities offered by this little silver box had hit a dead end.

And then in 1993, from Germany, came the Blue label with mind-blowing releases by Air Liquide and friends. It felt like a new paradigm, paying homage to Germany’s Kosmische Musik past while paying respect to the Chicago Acid House originators while simultaneously looking ahead to a new form of transcendental music.

And then – BOOM! – the H.E.A.D. “EFS” double album drops. What is this music? Was it beamed in from the future? It ticked every box I loved. Endlessly hypnotic and expertly programmed with an effortless groove that sounds as if Jaki Liebezeit’s syncopations have been absorbed by the machines. It is Acid in ways my ears hadn’t heard before, the little silver box tweaked in new, exhilarating directions.

Made by future Optimo ally Khan, alongside uber talent, Kerosene and recorded in a Brooklyn kitchen, this double disc set became an eternal home listening and back room favourite. It is also a club favourite too, perhaps even more so now than it was then. It is endlessly mixable and playable at multiple speeds. A genuine classic long overdue a second life”.

This fully remastered 2021 edition of this 1993 gem comes with new artwork on a super fat double vinyl pressing.

Two years ago the Swedish band Mammoth Storm
debuted on Argonauta Records with the
impressive ‘Alruna’ album.
 Now the label reissue the band’s cast-in-stone
doomy and very sought after debut mini album
‘Rite Of Ascension’, originally released on Napalm
Records back in 2014.
 This 2021 edition is pressed on oxblood vinyl.
 “The oppressive and filthy atmosphere provided by
these two tracks are in the vein of Electric Wizard
and Sleep. A psychedelic mix of stoner, sludge and
doom, with very heavy, slow, continuous and
down-tuned mantra-alike riffs.” - Metal Archives

Forming off the back of contemporary jazz outfit Zeitgeist, Voronoi take the power and rhythmic complexity of heavier prog-metal and fuse it with the sophistication of classical music and jazz. A passion for science fiction thematically drives the band’s heaving and

chopping style, whereas artists such as Autechre, Car Bomb, Tigran Hamasyan and J.S. Bach help shape the rigid, experimental structure of The Last Three Seconds.

“Compositionally and stylistically we have moved into much heavier territory than our contemporary jazz foundations,” says Keyboardist Aleks Podraza. “It really shows. If you were to put this record against the first tunes we played together as Zeitgeist, it would be like introducing a much capable Thelonious Monk to a less hectic Dillinger Escape Plan.” 

As the first single off The Last Three Seconds, Gamma Signals serves as a toe in the water for the depth of things to come. The full-bodied riffwork captures the stop-start format of prog-metal heavyweights without being explicitly metal. Yet beyond this, glitchy, experimental electronics cut through the composition like a knife. The final product is something that captures the magic of the cosmos – a place where worlds orbit worlds, genres orbit genres. Each element remains different and unique, but still intrinsically tied to the other.

“Gamma Signals is about pulsars and how when Jocelyn Bell-Burnell first discovered them, the media thought they were aliens trying to contact us,” says Podraza. “Broadly, this song is about my love for and fascination with cosmology as a whole. That's a theme that runs through the veins of most of the album.” 

Those following Vorono’s career will need little convincing on the quality of The Last Three Seconds. Collectively, band members have performed and recorded with groups like The Cinematic Orchestra, KOYO, NJYO, Jenova Collective, The Often Herd, Mik Artistik’s Ego Trip, Wandering Monster and more. This in turn has garnered sizable attention at festivals such as Leeds and Reading Festival, Download Festival, Ronnie Scott’s Jazz Club - not to mention Voronoi’s thrashing set at 2019’s ArcTanGent.

The cool and collected chaos of The Last Three Seconds serves as a snapshot of this live energy, as passion and fury hum at the end of every complex composition. From start to finish, the record is nothing less than executed perfectly, undoubtedly appealing to even the most seasoned of prog-lovers

Digitmovies is proud to release on LP the OST by Ennio Morricone: "Noi lazzaroni" (aka "We Rascals”). Ennio Morricone has composed a very "rural" score with the sounds, that represent the life of the protagonist. Although integrated within modern society, the soul of this man is always directed to his past, to his land, to the teachings of his father which he could never leave behind. This adherence to the homeland is expressed through deliberately wild and almost enraged vocal performances of Edda Dell'Orso. Ennio Morricone has composed music which reflects the bucolic atmosphere of this tale through a series of archaically flavoured themes played by instruments like recorder and mandolin. Among the recurrent themes there are a mysterious motif, dramatic music for dissonant strings and a lounge theme with the typical Morricone sound. The main theme is reprised for recorder and guitar and there is Baroque music for the puppet theater played by woodwinds and percussions. Our LP contains two bonus tracks, unreleased alternate takes of the original album versions which will surely be quite attractive for fans and scholars of the music of Ennio Morricone.

Early support by: Laurent Garnier, AME, Marco Bailey, Jennifer Cardini, Terrence Fixmer, Kyle Geiger, Marcel Dettmann, Apparat, Richie Hawtin, Vril, Charlotte De Witte, Sasha, Benjamin Demage any many more..



Fresh off of a remix for Grimes’ “My Name is Dark”, producer Julien Bracht has been powering through CV19 studio seclusion on full-power, with a distinct vision for brighter days ahead. Bracht’s new album, “Now Forever One,” an emblem of dark analog synthwave, is set to drop June 11. Bracht’s first solo album under his own namesake is cut with surgical precision for the shoegazing astral sound travellers who long to break out of their pandemic quarantines, and reconvene for techno-induced ascension. The album’s first single, “Melancholia,” and it’s accompanying video, is already breaking hearts and charts. An exquisite sonic hybrid of communal revelry and profound introspection, “Now Forever One,” focuses Bracht’s multilayered craftsmanship on resolving this era’s angst with sensory exploration and optimism.



As a lifelong drummer, Bracht’s insatiable musical energy lead him to bang out his first 3 EPs within one year of first being signed in 2011-12. In 2015 he founded the band Lea Porcelain with Markus Nikolaus in London. Their hypnotic post-rock debut release in 2017, “Hymns to the Night,” gained instant acclaim from UK tastemakers Lauren Laverne, Steve Lamacq and Zane Lowe, to name a few. The lads broke back onto the international stage with dates on several major festivals around Europe, including the Leeds/Reading Festival, Great Escape Brighton and Latitude. Rich output combined with the inclusion of live drums in his solo live sets quickly gained Bracht recognition and slots on the global tour circuit.

“Now Forever One” forges Julien Bracht’s transition from techno djing, while continuing the explorations of texture and timbre over functional song structures from Lea Porcelain, to a more open-ended search for the aural sublime — the substrate on which music, life and light glide to create momentary nodes of meaning in an increasingly meaningless sociopolitical atmosphere. These are crucial themes to Bracht’s process and approach. “The intention in my music is to strengthen people’s awareness and minds… I want us all to gather in spirit and stick together.”

The album exemplifies Bracht’s hunt for elemental juxtaposition with the warm Prophet 6’s sawtooth howls and bright pads against chillingly indifferent pulsing basslines and percussion. Clocking in at just under 65 minutes, “Now Forever One’s” tracks are sequenced to take the listener through the full emotional arch of a 15-hour rave, with an emphasis on those moments of collective epiphany where heaving techno floors become the perfect microcosm for an idealistic and interconnected future. Interspersed with improvisational one-takes, the album submerges the listener in polyrhythmic meditations, of which “Streets” and “Nocturne” are standout examples, and soars on the vaulted synth melodies of future dance floor favourites “Melancholia” and “Dreams of Euphoria.” Sascha Ring of Apparat & Moderat puts it perfectly: “I played “Melancholia” the night I got it at Mutek Festival in Mexico City, and instantly knew it’ll shine on a big floor at the right time. It’s just the right balance of majestic melodic deepness.” The sounds are both triumphant and exploratory.

Greater than the sum of its parts, Bracht’s latest release hints at the artist’s emerging potential for nailing our moment’s zeitgeist; learning to live smaller while constantly seeking higher heights. Inhabiting the fertile ground between solitary rumination and dance-floor convenance, the launch of “Now Forever One’s” lunar expedition into the techno oblivion of pandemic lockdown is oddly fitting.

4LP & 2CD Genesis Hits package to coincide with the bands UK tour in September 2021 with 3 sold out shows at London’s 02 Arena. This will be Genesis’s first tour in over 13 years with the classic line up of Mike Rutherford, Tony Banks & Phil Collins. They have sold around 100 million albums worldwide with over 20 top 40 UK hits with songs such as Follow You Follow Me, Turn It On Again, Mama, I Can’t Dance and many more. Genesis have won awards over the years at the American Music Awards, Grammy Awards, Ivor Novello Awards and a Lifetime Achievement at the Progressive Music Awards. The track list is made up of the songs the band have been performing in rehearsals and will make up the majority of the setlist during the gigs, the title of the release is the same as the tour. 4LP set is to be housed in a hardback gatefold book-style package, this will include classic images of the band, rare and unseen images from their archive & images of the rehearsal and the stage used for the gigs.

Source Crossfire is a searing, brooding collection that documents the recorded output of Sofa one of Montreal's most shadowy, notorious, captivating underground art-rock ensembles of the mid-90s, and the first band to be released on Constellation charting the quartet’s febrile evolution through sonic palettes of North American post-hardcore and slowcore admixed with early UK post-punk, goth and dark lounge. In the words of one music writer of the era: "Like Slint and Big Black meeting for a Joy Division reunion."

Love returns with 'Lavender', the follow up to the Canadian crooner’s LP, 'Night Songs' (Taxi Gauche Records, February 2020).
A reflective timeline of dusty folk, 'Lavender' aims to capture the modern loneliness of the 21st century. A sorrowful soundtrack, inspired by the production of great crooners and folk artists of the 70s/80s like Cohen, Lightfoot, and Nick Drake, to name a few, Love achieves a similar quality on Lavender. Like a Chris Isaak trapped in a David Lynch film, Love’s haunted
vocals guide the listener through poetic verses on the archetypes of love and truth, posthumous poetry by his grandfather circa 1930s, and escapism, all melting and flowing into a pool of celestial wisdom.
Acoustic guitars sweep across desolate sonic landscapes of global narcissism, social media and the universal need for connection. Hypnotic bass grooves and lush 3D string ensembles, wrap the listener in a familiar cinematic romance, embraced and mystified. 'Lavender' explores the universal threads that make us feel and experience what we do, in a time when the need to peer into ourselves has never been more important. 'Lavender' draws you inwards, like staring up at the stars at night, or standing alone with the silence of the forest, 'Lavender' wants you to find your own meaning. Self-recorded in a variety of spaces through out Turtle Island (Canada & The USA). Specifically, Toronto Island, a basement in Edmonton, AB, various apartments and motels in Los Angeles and around the United States, on a road trip west via the Trans-Canada highway and ending at a cabin in the foothills of the Rocky Mountains.


“There’s a lonesome vibe to his brand of heartland rock, evoking late nights on a deserted road, or neon-lit streets just after a rainstorm.” (Brooklyn Vegan)

Back in stock

'Island Impressions' depicts the moments and visions of Australian house producer Sonny Ism's year living on an Island in Stockholms Archipelago during the Covid 19 Pandemic. Littered with Kitchy melancholic vocal house tracks to alternative ambient electronica, Island Impressions is a journey of movement and documented moodswings in the underground house music genre.

A Mountain Of One are set to return to the musical landscape with their brand new track “Custard’s Last Stand”, released 30th July through new label AMORE via Above Board distribution. It is the first new piece of music the band have released in over a decade.

”Custard’s Last Stand” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, it is a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

“Custard’s Last Stand” EP is out 27th August, and will come with an incredible Denis Bovell Dub Remix, as well as another new track “Stars, Planets, Dust, Me”. The full EP package will come with a dub remix from musical pioneer Dennis Bovell.

The forthcoming album will be released this autumn. The whole project has been mastered then remixed for a forthcoming album by the legendary Ricardo Villalobos.

When they first started performing, they quickly became one of the most-acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach, led by Mo and Zeben’s almost telepathic understanding.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal records that have stood the test of time, criss-crossing folk, jazz, dance, rock and psychedelia.

A Mountain Of One have collaborated to create a coming together of music and virtual reality. With NYX VX, the band have developed a virtual world, one that will help provide inspired opportunities for artists looking to identify, connect and engage with audiences on multiple levels. This is the first stage of a new world that people will be building out and inhabiting, as venue for performances, home for musical and visual archives, space for play and exploration. Welcome to 'Stars, Planets, Dust, Me'.

Portuguese experimental trio 10 000 Russos are gearing up for the release of their fifth album ‘Superinertia’, which is due out September 10th on Fuzz Club Records. Following on from 2019’s ‘Kompromat’ LP and tour dates around the UK, Europe and Mexico in support, the Porto-based band describe ‘Superinertia’ as a record addressing the “state of inertia that humans live in the West nowadays. It isn’t a record about the past or future. It’s about now.” For all that ‘Superinertia’ might take aim at a world without motion, however, the same cannot be said of 10 000 Russos themselves.

On the one hand, since their 2013 debut LP and the three that have followed on Fuzz Club since (2015’s self-titled, 2017’s ‘Distress Distress’ and ‘Kompromat’), 10 000 Russos’ music has always been about as kinetic as it gets: a truly unrelenting and motorik sonic force. On the other hand, ‘Superinertia’ also sees the band itself move into whole new musical territories – aided especially by the recent addition of synth player Nils Meisel to the line-up (who replaces former bassist André Couto.)

“The synths really opened up the sound of the band and gave more routes for the music to journey down. The most important thing on this album was to not repeat ourselves. A new arc in our sound is coming to life”, drummer and vocalist João Pimenta explains. On said arc, the Russos sound is expanded to include moments that invoke Ry Cooder’s ‘Paris, Texas’ soundtrack (‘Mexicali/Calexico’), dancey outbursts that transport you to the 90s Summer of Love (‘Super Inertia’), the closest thing Russos have ever done to a pop song (‘A House Full of Garbage’) and even a touch of banjo (albeit one that sounds like a country band on amphetamines playing over a feedback-blasted Stooges beat.)

“10 000 Russos are bizarre and excellent in equal measure.” - The Quietus

“Songs drip with heavy echo, relentless beats and bass and a sense of charging into the ultimate infinite.” - Bandcamp Daily

“Something unholy has indeed been summoned out of the ground, and it is a power trio from the Iberian Peninsula.” - Clash Magazine

Portuguese experimental trio 10 000 Russos are gearing up for the release of their fifth album ‘Superinertia’, which is due out September 10th on Fuzz Club Records. Following on from 2019’s ‘Kompromat’ LP and tour dates around the UK, Europe and Mexico in support, the Porto-based band describe ‘Superinertia’ as a record addressing the “state of inertia that humans live in the West nowadays. It isn’t a record about the past or future. It’s about now.” For all that ‘Superinertia’ might take aim at a world without motion, however, the same cannot be said of 10 000 Russos themselves.

On the one hand, since their 2013 debut LP and the three that have followed on Fuzz Club since (2015’s self-titled, 2017’s ‘Distress Distress’ and ‘Kompromat’), 10 000 Russos’ music has always been about as kinetic as it gets: a truly unrelenting and motorik sonic force. On the other hand, ‘Superinertia’ also sees the band itself move into whole new musical territories – aided especially by the recent addition of synth player Nils Meisel to the line-up (who replaces former bassist André Couto.)

“The synths really opened up the sound of the band and gave more routes for the music to journey down. The most important thing on this album was to not repeat ourselves. A new arc in our sound is coming to life”, drummer and vocalist João Pimenta explains. On said arc, the Russos sound is expanded to include moments that invoke Ry Cooder’s ‘Paris, Texas’ soundtrack (‘Mexicali/Calexico’), dancey outbursts that transport you to the 90s Summer of Love (‘Super Inertia’), the closest thing Russos have ever done to a pop song (‘A House Full of Garbage’) and even a touch of banjo (albeit one that sounds like a country band on amphetamines playing over a feedback-blasted Stooges beat.)

“10 000 Russos are bizarre and excellent in equal measure.” - The Quietus

“Songs drip with heavy echo, relentless beats and bass and a sense of charging into the ultimate infinite.” - Bandcamp Daily

“Something unholy has indeed been summoned out of the ground, and it is a power trio from the Iberian Peninsula.” - Clash Magazine

Kamana is a multiformat release inspired by and channeling the culture and traditions of the Aeta, an indigenous group from the Zambales region in the Philippines. One of the oldest inhabitants of the region the Aetas are also some of the most fascinating and ancient nomadic and hunter gathering cultures. The release goes from the realms of the
real to the imaginary, from transcription to syncretism, from concrete to abstract. An (un)real Sonic Exorcism filled with Ancestral Frequencies, Haunted Ghosts and other animistic spirits roaming the Pinatubo forests.
The release features a series of materials released in different formats from the Field recording digital only release, an LP and CD release to a special 7inch vinyl featuring an Interview with a bat hunter.
“Kamana is a long due homage to the Aeta community that hosted me a few years back, fascinated by the endurance of these people and their connection to their land, devastated by the eruption of the Pinatubo volcano in 1991, they continued to go back to their ancestral lands surviving on basic agriculture and hunting bats and wild pigs. Living with them for weeks, I managed to capture some essential field recordings and sounds that form and com- pose the basis for this release, from the more reprocessed and interpreted LP release to the pure field recording documentation of the digital release. It is meant to be accessible to all and provide a window to the livelihoods of these unique communities. For this reason, this release serves as both an archival document and a syncretic one, trying to channel memories and feelings of living in these jungles whilst listening to their stories as well as witnessing their lifestyles.”
Carlos Casas, 2021

'The Works and Days: The Black Sections' is a sound collage album that emerged out of the production material of the film, The Works and Days (of Tayoko Shiojiri in the Shiotani Basin). The film — winner of the Encounters Golden Bear for Best Film at the 2020 Berlinale — is the second feature of C.W. Winter & Anders Edström. It is an eight-hour fiction shot for a total of twenty-seven weeks, over a period of fourteen months, in a village population forty-seven in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer. A portrait, over five seasons, of a family, of a terrain, of a sound space, and of a duration. The film was named one of the Ten Best Films of the Year by critics at: Artforum, Cargo, Cinema Scope, Desistfilm, Filo, La Internacional Cinéfila, Mubi, Nobody, Senses of Cinema, and Sight & Sound.

The film is accompanied by this LP, TheWorks and Days: The Black Sections, by C.W. Winter, and the photo book, Shiotani, by Anders Edström. The album features musical excerpts from Tim Berne & Bill Frisell, Tony Conrad, Graham Lambkin, Mary Jane Leach, Alvin Lucier, Phill Niblock, Folke Rabe, Éliane Radigue, and Akio Suzuki. Producing, editing, and recordings by C.W. Winter. Mastered by Stephan Mathieu.

Winter & Edström’s first feature, The Anchorage, won a Golden Leopard at Locarno Film Festival and won the Douglas E. Edwards Independent/Experimental Film/Video Award from the Los Angeles Film Critics Association. It was named one of the Ten Best Films of the Year by critics at Cinema Scope, Film Comment, Senses of Cinema, Variety, and Indie Wire and was named Best First Film of the Year by The New York Times. Their first film, a documentary short called One Plus One 2 was made in collaboration with the late British guitarist, Derek Bailey. Their film/video work has shown at such venues as the Institute of Contemporary Art (Boston), Centre national de la photographie (Paris), Kunstmuseum Wolfsburg, Fotomuseum Winterthur, NRW-Forum (Düsseldorf), the Harvard Film Archive, Anthology Film Archives, the Wexner Center for the Arts (Columbus), Centre de cultura contemporània de Barcelona, the Tokyo Metropolitan Museum of Photography, and the National Museum of Modern Art (Kyoto).

C.W. Winter was born in California. In 2020, he completed his DPhil in Art Practice & Theory at The Ruskin School of Art at the University of Oxford. He received his MFA from California Institute of the Arts where he studied closely under Thom Andersen, James Benning, and Allan Sekula. His writing has appeared in Cinema Scope, Moving Image Source, Purple, and Too Much. He lives in the United Kingdom where he is currently a Visiting Professor at the Royal College of Art and a Lecturer at the University of Oxford.

Side A excerpts:
“Thursday, May 5, 1977 & Friday, May 6, 1977: Part 4” Performed by Tony Conrad. Used by arrangement with The Tony Conrad Estate
“Sethwork” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“Pipe Dreams” Performed by Mary Jane Leach. Used by arrangement with Mary Jane Leach
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“2011” Performed by Tim Berne & Bill Frisell. Written by Tim Berne. Published by Party Time Music BMI. Recording courtesy of Minor Music Records/Screwgun Records

Side B excerpts:
“Ceremoniolose” Recorded by Graham Lambkin. Used by arrangement with Graham Lambkin
“Kugiuchi” Performed by Akio Suzuki. Recorded live for TheWorks and Days Used by arrangement with Akio Suzuki
“Music on a Long Thin Wire (Side A)” Performed by Alvin Lucier. Used by arrangement with Alvin Lucier
“A Third Trombone” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“Triptych: Part 1” Performed by Éliane Radigue. Used by arrangement with Éliane Radigue

Debut solo album from leader of legendary psych band Föllakzoid, Available on white color vinyl! RIYL: Föllakzoid, Beatrice Dillon, Huerco S., Arca, Amnesia Scanner, SOPHIE, Kaitlyn Aurelia Smith. Musician and filmmaker Domingæ is probably best known as the founder of experimental psych band Föllakzoid. Written whilst stranded in Mexico and Tokyo on her way to a world tour with Föllakzoid, her new debut solo album Æ has taken the decompositional system she devised for the band and added the depth of inner exploration and a symbiotic relationship with musical craft. The resulting sound is as groovy and hypnotic as the best Föllakzoid tracks but with a seductive and darkening electronic texture. She has become a channel in which the shadows inhabit. Domingæ's sounds and formats are articulated via depuration, expanding in time and space via the subtraction of shifting elements. The process of unlearning and uninstalling previously established creative softwares in order to achieve dissolution has always been a central focus in her creative pursuit. Æ is a result of said experimentation, the dissolution of preconceived notions to create a minimal sound yet rich in textures.

Avant-garde cosmic sounds from Senegal, Wau Wau Collectif's "Yaral Sa Doom" is a groundbreaking album spanning borders and musical scenes. Inspired from West African tradition, Sufi praise songs, spiritual jazz, and dub rhythms, the effect is a genre defying entry in outernational sound. Hypnotic percussion loops across sweeping pads, call and response chants echoes layer over electronic beats, and children's voices sing out to recordings of crashing waves. In 2018, Swedish music archeologist and leftfield musician Karl Jonas Winqvist traveled to Toubab Dialaw, Senegal, a small fishing village turned hub of Senegal's bohemian art scene. Over the next weeks, local musicians, percussionists, poets, and beat makers came together, sketching out ideas and recording free improvisation. Winqvist returned to Sweden, trading recordings back and forth over WhatsApp with Senegal based collaborator and studio engineer Arouna Kane. "Yaral Sa Doom" is a Wolof phrase that means "educate the young." Central to the album is this theme of education, with songs that directly address social issues facing contemporary Senegal, education, and immigration. "Today you must educate children with an instrument and art, when you teach them an instrument you teach them to use their spirit," says Djiby Ly. With over 20 contributing performers from Senegal and Sweden, Wau Wau Collectif's debut is layered and complex, yet maintains a central vision. "It's like diving into the sea," explains Kane. "There are all different species of fish swimming around, but together they make the ocean." Nonetheless, it's also a geographic anomaly, made possible only by exchange of the internet age. An exceptional recording on its own, "Yaral Sa Doom" is a visionary entry in the future of transglobal collaboration

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

Audio premiere for Povratak na Parni Pogon on Monday 24th of May via Music is my sanctury

Video premiere via Clash or Twisted Soul

Airplay - dom servini (soho radio), WYEP Pittsburg (dubmission), WKDU Philadelphia (eavesdrop radio), Jocks & nerds (soho radio), Basic Soul Show, Bondfire Radio NYC + many smaller stations across EU, UK & US

LP review - Mojo, Songlines agreed so far

Key selling points:

Kozmodrum are pioneers of the Croatian nu-jazz scene
Kozmodrum's second albumGravitywon the highest award in Croatia, Porin

Individual members of Kozmodrum as well as Kozmodrum as a collective are acclaimed musicians in the Balkans and have won numerous prestigious awards for their work

Their music is like a DJ set played live - as all the music is played live with 'traditional' instruments by the Kozmodrum ensemble


numerous great reviews, but not many in English - we're looking to introduce the band to UK audiences with this release -- this is one review in english for their album Gravity:https://exclaim.ca/music/article/kozmodrum-gravity
Our PR for this 3rd album by Kozmodrum is done by Francesco Soragna (Jus Like Music) with specific focus on UK market.
BIO:

Kozmodrumhave been pioneering a new approach to electronic music in Croatia, often described by the band as Organic Dance Music. Techno, House and Dub styles intertwine through a continuous set, played by a live band on guitars, drums and keyboards.Simultaneously, the tradition of jazz ensemble performance is stitched into the architecture of music itself.

Kozmodrum have released 2 albums, 'Na Tragu Satelita' in 2016, and 'Gravity' the following year, receiving a Porin Award for the latter (the Croatian Grammy). Individual band members also received numerous awards for their accomplishments and are considered by many to be pioneers in the Croatian nu-jazz scene. Kozmodrum's main influences are Tycho and Elektro Guzzi, as well as Jaga Jazzist with whom they performed live. The band have played numerous festivals and concerts, with Kozmodrum's members performing with Hans Joachim Roedelius, noise/art/sound figure Sunao Inami, as well as jazz masters Reggie Washington, Peter Erskine, David Liebman, Alan Broadbent, David Murray and Saskia Laroo.

Onstage, Kozmodrum is a five-piece ensemble that adds a third dimension to their music, written and produced by the band's founder Janko Novoselić. Using the framework of a DJ set, the compositions are made to be played openly, where the beat is 'looped' until a cue is given to make a change or switch to another part. The pieces are often minimalistic to start with, but evolve over the performance into more complex patterns, harmonies and melodies. With constant shifts between the natural and the artificial, organized and improvised, quiet and loud - Kozmodrum create an unforgettable, mantric performance.

The music that would become Conversation Peace began with a trip to KPM’s London HQ in late January of 2020. I had just finished wrapping up post production on my album Ocean Bridges with Archie Shepp and Raw Poetic. I actually received the invitation during the summer of 2019 during studio sessions for Ocean Bridges and scheduling for the top of 2020 made the most sense. So I packed up a few records and a few drum machines then embarked on my first trip to England. We had a quick meeting about expectations, then it was time to see the archive. As a record collector, I’m very familiar with the legacy of the KPM brand. I had been lucky enough to find a few over the past decade during my digging trips up and down the east coast, but looking at the complete vinyl catalogue was a great privilege. I anxiously began combing through records from morning to night looking for the right sounds. The whole experience was surreal.



Listening to the entire catalogue was a history lesson and the amount of great composers and compositions in the recordings was endless. I’d be lying if I said it wasn’t somewhat overwhelming. As a producer looking for textures, inspiration and grooves, the abundance of those things made it extremely difficult to narrow down what I wanted to use. From drums to sound fx to orchestras to small rhythm sections to ambient noises, I heard a wide variety of things and they were all so well produced and recorded. Every instrument you can think of was there! I spent a little over a week capturing sounds knowing that my work was cut out for me when I returned to my home in DC. Once I got home, I got to work. I captured so much, that it took me about a month just to organize all those ideas. Little did I know the world would drastically change in the next month following my return. My flight to and from London would indefinitely be my last time traveling for a while. I worked diligently with the material and took my time making sure I had strong ideas. The history of KPM and the opportunity to collaborate with the prestigious lineage made the stakes very high for me and I knew I needed to deliver a quality product. It’s an honor to be the first artist to release a KPM Crate Diggers title. - Earl Davis (Damu the Fudgemunk)

The second release in the Slavonic Trilogy reissue series. Sventevith (Storming Near the Baltic) is the debut studio album by Polish extreme metal band Behemoth; originally released in April 1995. The 2021 reissue is beautifully packaged and is available on the following formats: Digital, 2 CD media book, and a gatefold 2 LP. Physical formats include bonus audio material and booklets containing exclusive archival content.

The second release in the Slavonic Trilogy reissue series. Sventevith (Storming Near the Baltic) is the debut studio album by Polish extreme metal band Behemoth; originally released in April 1995. The 2021 reissue is beautifully packaged and is available on the following formats: Digital, 2 CD media book, and a gatefold 2 LP. Physical formats include bonus audio material and booklets containing exclusive archival content.

In the Company of Serpents traffic in sonic catharsis. Their music inhabits the strange fringes between sludge metal and sprawling spaghetti western scores, constantly striving for visceral power and raw intensity, contrasted with eerie, spare instrumental passages. Founded in Denver, Colorado in 2011 the band quickly managed to establish a name for themselves. Several releases followed in the years to come and In the Company of Serpents managed to impress the masses on stage as well. Late 2019/early 2020 the band started to work on their album ‘Lux’. It turned out to be one of the most impressive Doom/Sludge Metal albums ever recorded. The band self-released the album in limited edition during 2020 but soon afterwards Petrichor noticed their supreme musical qualities and decided to offer the band a chance to release the album worldwide. A deal was made, hands were shaken and you now all have to face the impending doom before you. The music of In the Company of Serpents is so intense it mimics the gravitational pull of a black hole.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint, further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

The music that would become Conversation Peace began with a trip to KPM’s London HQ in late January of 2020. I had just finished wrapping up post production on my album Ocean Bridges with Archie Shepp and Raw Poetic. I actually received the invitation during the summer of 2019 during studio sessions for Ocean Bridges and scheduling for the top of 2020 made the most sense. So I packed up a few records and a few drum machines then embarked on my first trip to England. We had a quick meeting about expectations, then it was time to see the archive. As a record collector, I’m very familiar with the legacy of the KPM brand. I had been lucky enough to find a few over the past decade during my digging trips up and down the east coast, but looking at the complete vinyl catalogue was a great privilege. I anxiously began combing through records from morning to night looking for the right sounds. The whole experience was surreal.



Listening to the entire catalogue was a history lesson and the amount of great composers and compositions in the recordings was endless. I’d be lying if I said it wasn’t somewhat overwhelming. As a producer looking for textures, inspiration and grooves, the abundance of those things made it extremely difficult to narrow down what I wanted to use. From drums to sound fx to orchestras to small rhythm sections to ambient noises, I heard a wide variety of things and they were all so well produced and recorded. Every instrument you can think of was there! I spent a little over a week capturing sounds knowing that my work was cut out for me when I returned to my home in DC. Once I got home, I got to work. I captured so much, that it took me about a month just to organize all those ideas. Little did I know the world would drastically change in the next month following my return. My flight to and from London would indefinitely be my last time traveling for a while. I worked diligently with the material and took my time making sure I had strong ideas. The history of KPM and the opportunity to collaborate with the prestigious lineage made the stakes very high for me and I knew I needed to deliver a quality product. It’s an honor to be the first artist to release a KPM Crate Diggers title. - Earl Davis (Damu the Fudgemunk)

THE NIGHT FLIGHT ORCHESTRA is back! The band that formed as an idea of friends from several well known rock/metal bands (SOILWORK, ARCH ENEMY, MEAN STREAK) back almost a decade ago and has been dropping jaws ever since. With 5 albums already under their belt, 2 nominations for the Swedish Grammies, countless live shows and praises from fans and media alike, TNFO have steadily upped their game when it comes to paying tribute to a decade that influences all sorts of people and even industries to this day - the 80s. With hits like ‘Domino’, ‘Lovers In The Rain’, ‘West Ruth Ave’, ‘Divinyls’ or ‘This Time’, the band manages to maintain a variety of vibes and emotions within every album. From hard rockers, poppy digressions to progressive epics, disco-esque songs and almost cheesy yet loveable ballads.

Enter 2020, TNFO had just released their recent record, ‘Aeromantic’, and kicked off their European tour in support of it, when the Covid-19 pandemic hit. Björn Strid, the AOR dictator helming this exceptional collective called NFO, recalls “We made it one week into the tour after some absolutely amazing shows and then it all went south and we had to go home. Just about everyone on the tour got sick when they came home, with varied conditions.”
The band didn’t step back and accept the situation but decided to do what they do best instead: “It was pretty clear after some months into the Covid madness, that it was here to stay and that we weren’t gonna be able to tour for quite some time. So we made the best out of it. The remedy was simply to hit the studio again as soon as everybody was well again. It ended up being an incredibly creative 1,5 years and so many amazing songs came out of it.”

That being said, the second part of the ‘Aeromantic’ saga really captures what this band is all about: being in motion and romanticizing traveling, sometimes even with a broken heart - accompanied by the good things in life. Namely with songs like ‘White Jeans’, yet another jaw dropping classic rock gem about hot young love, cramped with nostalgia, or ‘Change’, which encompasses all the vibes you know from your favorite decade: Urgency, emotion, warmth and excitement. But also groovy danceable songs like ‘Chardonnay Nights’, a groovy, dreamy, yet uplifting homage to parties and hot love, or ‘Burn For Me’, a true feel good anthem for the summer - driving people to dance in the streets, all worries aside, to a brighter future.

On the other hand there are tracks like the almost progressive ‘Amber Through A Window’. A little throwback (at least titular) to the NFO’s epic 2017 album ‘Amber Galactic’: “Amber is with us wherever we go and I think she’ll keep coming back. She’s our mascot of escapism. The song was very interesting to compose. It takes you on quite a journey with key changes and goes from minor to major when you least expect it and throws you between different set of emotions. At the same time it feels pretty direct and operates like a mini epos. Really happy with how it turned out“, cites Strid.

Besides all this, the band has also stepped up their game when it comes to music videos for their timeless anthems. “White Jeans” for instance features Swedish TV personality Fredrik Lexfors and is a sweet little homage to the LGBTQIA+ community. “Fredrik is a good friend of mine and has loads of experience in the musical/theatre world and is super creative. He created this character called ”Kantorn” (The Cantor) some years ago and became a hit on YouTube. He has a very twisted and unique way of singing and acting, which is very funny. He was a part of Sweden’s Got Talent TV Show and went really far and became a crowd favorite. Fredrik has a lot of friends in the LGBTQIA+ community and I also have quite a few. We saw it as a joyful tribute and we’ve only gotten really good response. It’s of course also humorous but has a very nice balance and a very positive message.”

The bold and jovial video for “Burn For Me” on the other hand maybe among the biggest and best productions, the NFO ever recorded for the depths of the internet: “I’ve had this idea to film a ”Dancing in the Streets” video, where curious people come out of the woodworks and join the party in the streets. It’s a very classic 80’s scenario and very common in videos back then. Sort of the video to IRENE CARA’s ”Fame”. You don’t see it very often these days. We felt that it was needed and after “Burn For Me” was done I immediately envisoned it being the perfect ”post corona dancing celebration in the streets-song”.”

Those two videos are by far not everything the band will have to offer visually, but we won’t tell any more just for now. To be continued…

With all that new greatness up their sleeves, NFO are ready to take the world by storm – again! Even though coming up with a setlist for their scheduled tour starting in September may prove to become problematic according to the AOR Dictator: “Making a setlist might end up being a nightmare haha… I would be up for doing only songs off »Aeromantic I« and »Aeromantic II« since that’s really where we’re at right now, but I think most of our the Midnight Flyers would like to hear some old stuff, too. Maybe we could get away with it as long as we play “West Ruth Ave” as the ending song and create the good old conga train?”

‘Concordance’ is Susan Howe’s and David Grubbs’s fifth album in the
fifteen years of their unexpected and richly satisfying collaboration. Here
they’ve pared down their materials to voice and piano, aspiring to the
hushed intensity of their live performances. What had previously resulted
from Grubbs’s recomposition of recorded materials now arrives as
unadorned duo performance.
“Howe is a poet who has spent her career reminding us that our
experiences of meaning and sound are synchronous.” - Tess Taylor, The
New York Times
‘Concordance’ is Susan Howe’s and David Grubbs’s fifth album in the
unexpected and richly satisfying collaboration that began with ‘Thiefth’
and includes ‘Souls of the Labadie Tract’, ‘Frolic Architecture’ and
‘WOODSLIPPERCOUNTERCLATTER’. Where these works feature the
fragmentation and multiplication of Howe’s recorded voice - in a style
akin to her celebrated text collages - with ‘Concordance’ they’ve pared
down their materials to voice and piano, aspiring to the hushed intensity
of their live performances. After fifteen years of working together, the
subtleties of inflection and interaction that previously resulted from
Howe’s nuanced delivery and Grubbs’s composition using recorded
materials now arrives as unadorned duo performance.
One of America's greatest living artists, Bollingen Prize-winning poet
Susan Howe’s text for ‘Concordance’ originates in a collage poem of the
same name published by Grenfell Press, which then became the title
work in her most recent book, published to acclaim by New Directions in
2020. She has continued to rework the text for this performed version,
incorporating material from her 2015 book of essays, ‘The Quarry’. Her
source material is scissored from print concordances of the poetry of
Milton, Herbert, Arnold, Browning, Dickinson and Coleridge, as well as
old field guides to birds, rocks, trees, moths and mushrooms; Howe’s
fiery commitment to placing these echoes of the past in dialogue with the
present speaks to her position as one of America’s essential artists.
David Grubbs is Professor Of Music at Brooklyn College and The
Graduate Center, CUNY. He is the author of ‘The Voice in the
Headphones’, ‘Now that the audience is assembled’ and ‘Records Ruin
the Landscape: John Cage, the Sixties, and Sound Recording’ (all
published by Duke University Press) and, with Anthony McCall,
Simultaneous Soloists (Pioneer Works Press). Grubbs has played in
Gastr del Sol, The Red Krayola and Squirrel Bait and performed with
Tony Conrad, Pauline Oliveros and Will Oldham, among many others.

“This is another new one off the greatest album ever made. It’s called ‘My Kingdom.’” Rock and roll arrogance has never hemmed so close to the truth as this Ian McCulloch introduction to “My Kingdom” during the 1983 A Crystal Day concert special. Not only were Echo & the Bunnymen aware of the instant classic status of their latest LP, but the grand, majestic and fluid nature of Ocean Rain made it clear that the band had indeed set out to make “the greatest album ever made.” Ironically, despite all of their work and focus, this masterpiece sounds like it was simply handed down from the gods. Following the more rock-oriented material on their first albums, the songs on Ocean Rain were a departure. The aim was to make something “conceptual with lush orchestration, but with a twist.” With their success using strings on tracks like “The Back of Love” and “Never Stop” providing confidence, the band employed a 35-piece orchestra for Ocean Rain. Guitarist Will Sergeant would later describe the finished recording as “windswept; dark and stormy.” The Scott Walker / Love inspired string arrangements, unusual instrumentation, inventive recording techniques and McCulloch’s abstract and bewildering mysticism all added to the unique and timeless quality of the album. A statement of purpose by one of the elite bands from the ’80s underground, Ocean Rain includes several of the Echo & the Bunnymen’s most adored recordings and some of the best songs from the era. “The Killing Moon,” “Silver,” “Seven Seas,” “Crystal Days” and the aforementioned “My Kingdom” continue to mesmerize a new generation of post-punk romantics, and the band’s influence can be heard in the grandiose spectacle of groups such as Arcade Fire and British Sea Power.

In 2006 ARPANET returned with new LP "Inertial Frame".

Linked with both Drexcyia and Dopplereffekt camps, no one really knows for sure who ARPANET is.
Following on from their mighty "Wireless Internet" on Record Makers set a couple of years back and 2d "Quantum Transposition" on Rephlex in 2005, this album for Record makers develops their conceptual electronic fragmentation into yet another evocative and mysterious strand of sub-marine electro.

Though Inertial Frame serves the usual amount of killer loops, mysterious percussive treads and midnight melodies, Arpanet returns here for our greatest joy with BEATS and - please note the issue held in such an assessment- a whole bunch of fully SUNG tracks.

An instantly recognizable tapestry of Motor City soundscaping updated from the most seminal of archives, Inertial Frame TALKS the listener into derivative reflections on quantic physics and pays tribute to the works of 20th century great scientists.

MOTOR CITY addicts: this is your new holy grail..

‘IIUII’ is essentially a re-imagining, a reminiscence
and a unique take on the Best Of format, with the
band re-recording key Fink tracks from 2006-2016
- “that whole arc, from my bedroom to having a
proper hit, playing the big festival stages with big
production, and all the rest,” according to Fin
Greenall aka Fink.
In 2019, after heavy band touring for three years,
Fin did a solo acoustic tour which took him full
circle back to the simplicity of those early days.
Making an album that reflected this seemed like a
beautiful way to tie the whole story together.
Fink has previously collaborated with artists such
as Bonobo, Amy Winehouse, John Legend,
Professor Green and more.
For fans of Bon Iver, The National, Nick Mulvey,
Jose Gonzalez, Iron & Wine.
CD in a gatefold sleeve. Comes protected by
recyclable bio-based shrinkwrap.
Gatefold 140gram black double vinyl in a printed
inner sleeve. Comes protected by recyclable biobased shrinkwrap.

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

Mali Hayes has been simmering to the surface for a while now. Emerging from a Manchester jazz community that's enjoying its own renaissance away from the much-reported on London scene, the vocalist and songwriter's bittersweet neo-soul sound is trans-Atlantic – think initial progenitors such as Erkyah Badu, D'Angelo and Jill Scott – but is rooted in Manchester's mixed communities and the different walks of life she encounters.

Forgive You / Come Closer – owes itself to Gilles Peterson and Brownswood Music's Future Bubblers programme, when Hayes met producers Cult Architect and Medikul while part of the mentorship scheme. Airplay from Gemma Bradley, Victoria Jane & Mo Ayoub on Radio 1, Jamz Supernova & Gilles Peterson on BBC Radio 6, Victoria Jane on BBC Introducing, Jamz Supernova on Selector Radio. Features in Clash Magazines 'Next Wave' playlist and Spotify's 'Rhythm & Groove by DJ Taro' playlist.

The two tracks come out as part of a new series of 7" releases from Manchester institution Band on the Wall and their new label Band on the Wall Recordings. Based out of the iconic music venue, charity and cultural hub, the label builds on a successful compilation released to raise funds during the Covid-19 pandemic

DEEWEE ‘s new releases now worked with Because Music. Formed in 2012, Asa Moto purvey non-standard body music from their Ghent outpost, Studio Martino. Closely affiliated with famed Soulwax imprint, DEEWEE, the Belgian duo’s recorded offerings carefully juxtapose expert synth-work with aesthetic imperfection. Charming melodies and throbbing rhythms come courtesy of archaic tone generators and acoustic instrumentation alike, landing Asa Moto in a zone of confident sonic idiosyncrasy. Their studio prowess has hardly gone unnoticed and during their breakout year of 2018, Resident Advisor, Redbull and the BBC were quick to take note of the group’s steady ascent. Via their ever-changing live performances, Asa Moto have become regular fixtures on the European touring circuit, touching down for club nights and festival appearances across the continent. As astute selectors, they operate a bi-monthly radio show in Brussels, digging into their sprawling collection, ranging from obscure jazz records to contemporary electronic cuts. Asa Moto have re-adapted their unmistakable strain of body music into a live show, which premiered on the Mainstage of the Lokerse Feesten 2019 and at the 40th anniversary of Ancienne Belgique in Brussels. In 2020, they co-produced and mixed the Turkish band, Altin Gün album 'Yol' marking the first time that the band has collaborated with outsiders.

The magnificent and incomparable Marianne Faithfull has performed five legendary concerts at the Montreux Jazz Festival between 1995 and 2009. Each of these historic concerts were recorded.
Marianne Faithfull’s name is synonymous with the authenticity, artistry and individuality of the festival and this collection is a celebration of her unique talent.

The Montreux Years collection will bring together, for the first time, some of the finest moments from Marianne’s most celebrated performances.

Expertly curated by the Montreux Jazz Festival and BMG, restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital.


Montreux Media Ventures (MMV) in partnership with BMG are working together to produce and release a premium series of albums and activities, curated from the unique Montreux Jazz festival archive; one of the finest music collections in the world. As part of this exciting new joint venture MMV and BMG have commenced work to establish a new series of deluxe artist collections under the new official Montreux Jazz records imprint. These initial collections; The Montreux Years will bring together the most iconic performances from the most significant artists to perform in the festival’s impressive five decade history.

The collaboration is an unprecedented curation project. The most extensive exploration of the official archive in the festival’s history. Expertly curated by the MJF and BMG teams and overseen by Claude Nobs’ partner and president of the Claude Nobs foundation, Thierry Amsallem, who will act as executive producer across the series.

The Montreux Years series is a celebration of Claude’s love of the artists and passion for the festival and are a fitting tribute to his legacy.

The BMG and Montreux Jazz music festival design teams will work in partnership to produce new and authentic creative, faithful to the festival’s reputation for iconic artwork.