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'Gulliver', the latest Condor Gruppe album, is a nod to yet another spiritual journey in the band's ever-evolving saga. Released 23rd September via the groove-obsessed Sdban Ultra, the Antwerp-based nine-piece ensemble take you on a hypnotic trip, paying tribute to obscure Italian 70s film soundtracks, krautrock and psychedelic grooves. Fuse the melancholy of Pink Floyd, the heroism of Ennio Morricone and the world grooves of GOAT and you get an idea of what Condor Gruppe is.

Always looking to push musical boundaries, Condor Gruppe rely on the adventurous use of their instruments and their intriguing musical patter. Melancholic, exotic, surreal, the band's sound is enriched by instruments including the handpan, Jew's harp, darbouka and tanpura. Diverse sounds, rhythms and melodies build, exciting the listener whilst always remaining familiar. From the thunderous, spacious prog rock sounds of 'What Could Have Been', to the loose, laidback grooves of the mystical 'Farid' and groovy 'Rhymes On Our Mind', 'Gulliver' is a soundtrack for visits to far-flung places and a mesmerizing trip through the band's own record shelves.

Condor Gruppe released their debut album 'Latituds del Cavall' in 2014 with nine exotica fuelled songs that echo the sound of an intoxicated ride through the desert. This was followed up in 2016 with 'FROG BOG - A Tribute to Moondog' - an adaptation of the work of the legendary composer and outsider. Containing six Moondog interpertations, trumpet player Dirk Timmermans, saxophonist Matti Willems and baritone saxophonist Hanne De Backer joined the five original members of Condor Gruppe, with the results a spectacular mix between Moondog's jazzy compositions and Condor Gruppe's dreamy instrumental sound.

Second album proper 'Interplanetary Travels' (2018) - a nostalgic, melancholic soundtrack - saw the introduction of the Anoushka Shankar-trained Nicolas Mortelmans on sitar. The title hinting at Sun Ra is no coincidence. Condor Gruppe recorded 8 songs that give you the creepy feel of a horror scene, the heroism of the best film scores and the hypnotizing grooves of jungle tribes.

At this year's Ghent Film Festival, Condor Gruppe performed a live version of the score for the dark, hypnotic, surreal, erotic vampire film 'Daughters of Darkness' (1971), directed by Belgian cult director Harry Kümel. The score was originally recorded by François de Roubaix, a self-taught musician and jazz enthusiast, and he composed almost a hundred soundtracks, mostly for French films. In 1976, he won a César for best soundtrack with his work on 'Le Vieux Fusil' - awarded posthumously as de Roubaix had passed away just the year before. De Roubaix has always been a great source of inspiration for Condor Gruppe, so they were only too happy to sink their teeth into his scintillating score.

Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments. Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy. A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.

On his third album Blizz Munich-based drummer and producer Simon Popp further blurs the line between electronic and organic sounds. In carefully crafted, slow-growing tracks tuned metal percussions cut through searing synth pads, sucking the listener into a sonic vortex.
Informed by personal and spiritual themes, Popp's debut album Laya, as well as his 2021 follow-up Devi make use of rhythms as storytelling mechanisms. Contrasting light and dark, organic and synthetic sounds, his compositions engage in a dance of subtle complexities, enticing the listener into the practice of close listening.
Throughout Blizz, a panopticon of metallophones takes flight, floating freely over earth-bound counter rhythms, conjuring up call and response techniques inherent in polyrhythmic music. This technique favors experimentation over perfectionism, leaving space for happy accidents to unlock new melodic possibilities. According to Popp, "it's much more interesting to try to push the boundaries of an instrument to see what's possible."

The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.

Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.

Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?

The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.

We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.

The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.

Federico Madeddu Giuntoli is an italian multidisciplinary artist. Mostly autodidact, his art is based on groundedness and simplicity, and focused on the complexity of human journey in a non aggressive, warm and unfiltered way.

His works, ranging from contemporary art, music, writing and photography, are usually delicate and subtle, yet unequivocally tuned into a certain kind of pop communication, however essential and experimental it may be.

"The text and the form" is his first solo album, featuring german e-poetess AGF and japanese artist Moskitoo (12K).

The album is a collection of 11 minimal and intimate short songs, in which piano fragments, lonely guitar solos, spoken words and evocative vocals resonate with processed microsounds and lo-fi field recordings, creating a concise and very deep journey into romance and sense of mystery.

In the artist's words, "the album shaped itself according to a loose process of refinement and layering. A long, undisturbed assembling across more then a decade, often against my own will to reach a definitive form. If any relevance in this work can be found, I would say it resides in its capability to deliver a rare sense of vulnerability, longing and aliveness together, an aroma of improvisation and instability mixed with a unexplicable impression of perfection".

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Blue Vinyl

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Das ikonische belgische DJ-Duo 2ManyDJs, bestehend aus den Brüder Stephen und David Dewaele, feiert das 20-jährige Jubiläum ihres Albums 'As Heard on Radio Soulwax Pt. 2' mit einer besonderen Re-Issue. 2002 erschien es ursprünglich nach einer Reihe von Radioshows der beiden Brüder, damals vor allem bekannt als die Köpfe hinter der Electronic/Indie-Rock Band Soulwax. Die Re-Issue erscheint mit dem Foto von Richard Young auf dem Cover, das ursprünglich als Cover vorgesehen, aber nach Rechtsstreitigkeiten mit Tipp-Ex verfremdet wurde.

This wildly acclaimed Istanbul-based artist, delivers an unforgettable 4th album Anadolu Ejderi (Anatolian Dragon). Building upon her mélange of Turkish psychedelia, empowered commentary and retro-futurist sonics, her vision is more personal and uncompromising than ever before. Courage. Bravery. Daring. Those are the watch words that guided Turkey"s Gaye Su Akyol when she was making Anadolu Ejderi, her first full-length release in four years. Already lauded for her startling, innovative mix of Turkish psychedelia and folk song, surf music and ʼ90s Western rock, a global sweet spot where Anatolian music heroine Selda Bagcan rubbed shoulders with Kurt Cobain, Akyol was ready to expand her vision after a relentless period on the road. "I was tired of touring," she says. "I really needed a break, some fresh air." The Covid pandemic gave her that, even if it was for the wrong reasons. "With everything closed, we all had to sit at home. The isolation gave me time to write. I ended up with over 100 songs. I tried to broaden the palette: to start with Anatolian folk and pop, then see how to add African and Middle Eastern sounds, the soul revolution, disco, and rock from other cultures. The music is still quite psychedelic, but it connects to different areas, all the pop genres I love so much. The hard part was picking the right songs and the correct order." Everything on Anadolu Ejderi - the title translates as "Anatolian Dragon" - breathes fire. It takes chances, the lyrics offer an exploration of politics in today"s Turkey. The personal is very much part of that. "In a political climate where a woman"s commitment to her passion, to falling in love, to her sexual identity is revolutionary enough, she is deeply passionate and able to express her love freely," Akyol notes. "It would have been easy to sit in the comfort zone of the past."

"Have you ever had this endless feeling of unconditional love for someone or music, between virtuality and reality, which seems to be eternal for your own heart... " — Nicolas Masseyeff French DJ and producer Nicolas Masseyeff shares his first album in almost a decade on Marc Romboy’s label Systematic. The release brims with lush tones, electronica-flecked rhythms and rich soundscapes, suitable for a club-based audience and home listening. Celebrated visual artist Yann Masseyeff—Nicolas’s brother—is responsible for the artwork of the release.
Raised on the French Riviera, Nicolas Masseyeff started out as a local record dealer before purchasing his own shop, Limelight, establishing it as the most respected vinyl haunt in the South of France. Pursuing music production full-time since the late noughties allowed Nicolas to follow his true path, shaping him into the multi-genre artist he is today. Having released on Herzblut Recordings, Systematic, KD Music, Mobilee and several other esteemed imprints, Nicolas has worked relentlessly to craft a sound that transcends house, electronica, downtempo and afro house. Collaborations with Kittin, Oxia and Parallelle wind throughout his back catalogue, as well as remixes for Frankyeffe, Pig&Dan, Nikola Gala, Hot Since 82 and many more besides.
Endless offers an insight into Nicolas’ spiralling world, detailing the artist’s lithe production skills and consideration when collaborating with other talents, like the interdisciplinary singer Kittin. The collection sums up where Nicolas is at now in his career—a storied producer who continues to evolve, sharing an aesthetic rich in melody while retaining a dance-driven flavour. It’s the kind of sound that comes with years of practice, patience and perseverance.

One of the 'holy grails' of 1960s Cuban music was not recorded, produced or released in Havana or New York; in fact it was made in Lima, Peru under interesting if somewhat unexpected circumstances. Pianist Alfredo "Alfredito" Valdés Jr. (May 31, 1941, Havana - January 23, 2016, New York), one of the most important figures in Latin music, came from an illustrious musical family in Cuba. In 1956, he emigrated to New York with his family, making him one of the forerunners of Cuban-based salsa music in the US. Three years later at age 18 Alfredito joined Arsenio Rodríguez and his conjunto; then in 1961 Ray Barretto recruited him for his Charanga La Moderna. Alfredito kept himself very busy, studying music and literature during the day and playing at night with the bands of Tito Puente and Machito as well as Arsenio and Barretto. He was a quick reader and writer of music and displayed an impressive versatility and level of skill on the piano. It was precisely these qualities, combined with random chance, that saw Alfredito become substitute pianist for Machito and His Afro-Cubans for a tour that would take him to Colombia and Peru for a number of engagements in the winter of 1964 and into the new year. While in Lima, several problems arose with the Argentine businessman and tour promoter Mauricio Támara who took the Machito gang to the Peruvian capital but forfeited their pay and left them stranded and penniless to fend for themselves in December of 1964.

The prolific German musician Christian Schoppik is dropping his second solo album of 2022 under the moniker Läuten der Seele, following up his critically acclaimed self-titled debut album released at the start of the year.

Once again, “Die Mariengrotte als Trinkwasseraufbereitungsanlage” (The Mother Mary Grotto as a Drinking Water Treatment Plant) is a work based on a mix of sample collages and recorded instruments that are often used sparsely but as load-bearing elements. However, this time, Schoppik came up with two long tracks where the narrative evolves in multiple and intricate movements to tell mysterious stories that have to be imagined by the listeners as the music unfolds. If the title of the tracks “Opferkerzen weihen das Betonbecken” (Votive Candles consecrate the Concrete Pool) and “Der Heilige Geist aus der Leitung” (The Holy Ghost from the Water Tap) give a starting point to these stories, the ethereal, mystic and dreamy sounding minimal atmospheres presented in this record let each one of us contemplate our own soothing experience against the continuous chaos surrounding us.

To Move is a new project by the trio of Anna Rose Carter (Moon Ate the Dark), Ed Hamilton (Dead Light) and Alex Kozobolis. Four-handed piano meets analogue manipulations to absolute wondrous effect from the London based friends.

We´re carried into a time and place not afraid to embrace a sense of optimism - even if it comes wrapped in a certain distorted shape. Transporting, blissful tones emanate free of concerns from the unifying keys; at least until the melodies are pulled and dragged from purity to become something wholly else – their own lived life; fitted with obstructions and unpredictability. The intertwining pianos linger like lovers in unison, full of drift, rhythm and life; all while analogue electronics and tape manipulations degrade and move them from their original form and closer towards earth itself.

The album came to light while Anna and Ed were temporarily residing in the English countryside between 2016 and 2019. Musical weekend visits from Alex turned into the fruitful collaboration presented here. 'To Move' is a compelling musical storyboard with a name that captures the essence of their music better than any written essay could do. This is music to resonate to, music to dance to, music to engulf your being. As for fans of the Sonic Pieces sound – if there is one – this record hits as close to home as it could do.

THE TRANSPLANTS are Tim Armstrong (Rancid), Travis Barker (Blink 182) and Rob Aston. Their sound is a highly original mix of stylistic influences that never strays too far from the home base of Punk Rock while managing to incorporate such disparate elements as blistering Hardcore Guitars, Hip-Hop and Dance Hall beats, Rap rhymes, and an overall un-wavering dedication to the spirit of Rock "N" Roll. Newly reissued on Blueberry vinyl to celebrate the 20th anniversary of their debut album.

The nine songs that comprise You Become The Mountain are heavily
inspired by the landscapes of the Pacific Northwest, meditation, longdistance running and Silverstein's work as a special education teacher
Expanding on the minimalist approach heard on How on Earth, Silverstein invited
pedal- steelist Barry Walker Jr. (North Americans, Rose City Band) and bassist
Alex Chapman (Parson Redheads, Evan Thomas Way) to round- out an
increasingly meditative sound.
Led by the spirit of late Detroit musician Ted Lucas, Silverstein was moved to
create an album featuring both instrumental and lyric- based compositions.
Silverstein casts a wide net in 40 minutes, offering fans of both traditional and
experimental folk entry points into his universe. Primarily tracked live and void of
heavily processed sounds, the LP serves as a proper introduction to a songwriter
who celebrates patience and restraint in the highest regard.

On his second release for ECM New York-based saxophonist Oded Tzur
introduces a heightened sense of urgency and a conceptually augmented
approach to his distinctive voice, weaving one underlying musical idea
through a series of elaborate and impassioned designs
The quartet's lineup is unchanged from 2020's Here Be Dragons and the group's
interplay has grown even more expressive in the meantime. Throughout Isabela
the saxophonist and his collaborators - pianist Nitai Hershkovits, Petros
Klampanis on bass and rhythm conjurer Johnathan Blake - apply their subtle
dialect in a more intense space, exploring the nuances and colors of Oded's selffashioned raga in a suite- like sequence of quiet meditations and powerful
exclamations.
The remarkable session was captured in Lugano's Auditorio Stelio Molo in
September 2021 and produced by Manfred Eicher.
Oded Tzur: tenor saxophone
Nitai Hershkovits: piano
Petros Klampanis: double bass
Johnathan Blake: drums

"Her voice is a mesmerizing thing, deep and plummy enough to shake
trees and stir hearts" " PitchforkThis wildly acclaimed Istanbul-based
artist, delivers an unforgettable 4th album Anadolu Ejderi (Anatolian
Dragon)
Building upon her mellange of Turkish psychedelia, empowered commentary and
retro-futurist sonics, her vision is more personal and uncompromising than ever
before.Courage. Bravery. Daring. Those are the watch words that guided Turkey's
Gaye Su Akyol when she was making Anadolu Ejderi, her first full-length release in
four years. Already lauded for her startling, innovative mix of Turkish psychedelia
and folk song, surf music and E 90s Western rock, a global sweet spot where
Anatolian music heroine Selda Ba can rubbed shoulders with Kurt Cobain, Akyol
was ready to expand her vision after a relentless period on the road.
ONLINE. LondonJazz News - Album review due PRINT
Mojo magazine - Album review due (should be a half-page) + Album included with
a photo in the "Coming Next Month …" section at the end of their reviews pages
(December 2022) / Uncut magazine Album review due (January 2023 issue) +
Album mentioned in 'Coming next month' box in review section (December 2022)
+ pitched her for a 'I'm New Here' feature, is being considered / The Wire
magazine - Want her to do the 'Inner Sleeve' column + still considering her for a
feature at a later stage + might be included in a possible Istanbul feature + is
being considered for an album review / Songlines magazine - 'Spotlight' (1 page)
feature due (issue out December 2022) + album review due (issue out December
2022) / New Internationalist magazine - Considering her for a 'Spotlight' feature +
Might review the album / Hi-Fi Choice magazine Album review due (January 2023
issue, out 1 December 2022))

For Fans Of: Bacao Rhythm & Steel Band, Menahan Street Band, El Michels Affair, The Poets Of Rhythm. Debut LP from The Winston Brothers! Featuring members of Bacao Rhythm & Steel Band. Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. “DRIFT” is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre’s past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, “DRIFT” draws on the raw energy inherent to ‘60s / ‘70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift? Tracks: 1. Winston Theme 2. Boiling Pot 3. Hang On 4. Drift 5. Northern Light 6. Metering 7. One Thing 8. Free Ride 9. High Life 10. Think 11. Brother's Strut

After the relative success of The Bitter Springs' last album, The Odd Shower, Simon Rivers promptly disbanded the long-running group and began recording his first solo album, Like Yer Wounds Too, under the name Poor Performer. As Jim Wirth wrote of a recent Bitter Springs reissue, "Weaving the messy threads of suburban life into dense tapestries, he has something of the Go-Betweens' gift for melody, something of Mark E Smith’s ear for language, something of Vic Godard’s common touch, and almost none of the acclaim that should have been his due." This holds true for Poor Performer's debut album, though the songs seem based around a loose concept of issues dealing with middle-age self-reflection . . . though nothing nearly as navel-gazing as that statement might imply! Rivers: "For as long as I can remember, I've been either making records or planning to make them. But for once, this is a record I didn't really plan to make. The strange circumstances of the Covid lockdown led to its coming together. I'd lost my Dad to a demential-related death, retired from work due to mental stress, and was shielded for seven months . . . I took my banjo, my Dad's Yamaha keyboard and a few of my guitars, and booked a month of studio days at One Cat with the brilliant Jon Clayton at the controls . . . after a week or so of recording backing tracks, Jon said, "I think 57 songs is a bit ambitious, Si", so together made the decisions that shaped this record and its accompanying EP." With 7" 45s now nearly as expensive to make as a full vinyl LP, a decision was made to include likely contenders on a bonus CD EP, which certainly rivals the album in quality and perhaps generally exceeds it in immediacy, but Like Yer Wounds Too is more of a grower than anything yet released by Tiny Global Productions, and one of the releases we're most proud to present to the public. Humour, insight and brilliance abound. Album tracks: Golden London Leaves / Kempton Park / Life U Chose / Hard To Be Happy / Lil' Bro / Sleepy Little Town / No Escape From Me And You / Right As Rain / The Point / Our Souls / The Frog's Tale / Can You Whistle? / Something's Gonna Kill Ya ep tracks: The World Has Had Enough / 2 Hard 2B Happy / For A While / Get Up Them Stairs / Daylight Robbery

Formed approximately three years ago, before the world changed (temporarily?), Odd Men Out are something of a garage-psych international super-group, with members originally hailing from Italy, Spain and the UK, brought together in the sprawling megalopolis of London in the sticky heat of summer 2019. Lois (drums) and Alessandro (guitar, organ, vocals) had already been playing together in legendary freakbeat trio The Embrooks since '96 (with a 10-year hiatus between 2005 and '15), while bassman Bruno had served time with moody-psych-turned-spiky-British-Beat exponents The Liquorice Experiment and Looking Glass Alice. The untried 'x' factor in this equation is frontman, guitarist, songwriter Nicolino whose love of moody 12-string folk rock and florid psychedelia shapes the overall sound of the band. Late in 2019, the quartet gathered at North Down Sound Studios in south east Kent to record the material presented here. Engineer and State Records mogul Mole was at the controls, manipulating the analogue 8-track recorder to capture the best and most exciting vibes they could offer, in a swirling sea of reverb and audio compression. Tracked predominantly live with a bare minimum of overdubs, this is classic 60s-inspired garage-psych, with elements of The Lemon Drops, Basement Wall and The Baroques to name but a few, yet the four never let their influences get in the way of producing quality original material. The pandemic caused many cancellations and postponements, but Dirty Water Records and Odd Men Out are finally ready to unleash this almighty beast!

Track list:
1. Summer 2. Magic Fudge 3. Mary B 4. Can’t Get Over 5. Big Worries (Big Troubles) 6. Look At Her 7. No 8. Knock On My Door

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

repress!

ØEN Records is back with a special two track EP from up and coming Copenhagen based producer Fruit. Originally from Iceland, but based in Denmark Fruit has been making waves in the Copenhagen club scene with his eloquent DJ and live-sets. Following up his acclaimed 2019 Drømmeland EP for Coastal Haze he is finally back with two epic, fast-paced and euphoric tracks to light up the summer dance floors.

Drawing inspiration from myths and legends and particularly the Epic of Gilgamesh – a 4000 year old poem from ancient Mesopotamia – “Gilgamesh” is a hypnotic and trancey trip destined for the peak hours of the post-corona parties.

Created during the peak of the pandemic on an old half broken borrowed MacBook, the two distinct but kindred tracks are testament to Fruits unique production style, effortlessly navigating between euphoric fast-paced house, ambient soundcapes, hypnotic percussion and haunting atmospheres. Skillfully crafted and executed “Gilgamesh” is primed for both floor and mind.

Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular. Her new album Miss Colombia takes her ecstatic hybridity to a new level, building on the “nu” intersection of electronica and cumbia established by her 2016 Polaris Prize-winning La Papessa as Canadian album of the year. Produced with Matt Smith, a/k/a Prince Nifty, Miss Colombia overflows with the kind of understated genius that promises yet another breakthrough. TOURING EUROPE IN 2020. Already confirmed: May 22 - London Calling (Paradiso), Amsterdam (NL).

Excellent mini-LP filled with tripping electronics by Reykjavik based Johann Omarsson a.k.a. Skurken. Limited to 300 copies.

Especial Specials and Chillmountain Recordings present the 2nd EP in the Enjoy Your Self EP, diving deeper into the Osaka based labels music to showcase their roster in detail.

The EP starts with label head, Ground's mesmerising Beatdown meets Trance inducing Utau Narukoyuri. A slow burning, late night trip out for deep parties or 'afters'.

Next, Especial 'favourite' Akio Nagase appears for the first time in the series with the heavy, tribal percussives of Arauma (Kobato Dub). The original link between the Chillmountain and Especial, Akio's name is on the rise and here the heavyweight dub basslines and ethereal, new age flute is perfect for late night dark room, psychedelic adventures.

The label's collaborative approach shines as Equador duo Josefina Gandara and Juan Diego Illescas are welcomed. Members of electronic cumbia project, Categal, his backgrounds in film and sound composition, sound design and visual media, highlights Illescas' mastery of the conscious sounds of the pueblos, working with Ground's dub minimalism, all elevated with the awe and lanquitidy of Gandara's natural vocals.

To end Akira Arasawa returns, here with Kun and Franky-Ch, and a meandering Balearic journey of hazy beats, guitar, Hoomii (Mongolian) throat singing, found sound, bird song and folkloric strings, beautifully together for the perfect come down.

Eddie Piller & Dean Rudland present Acid Jazz (Not Jazz)

Back in the early 1990s as Acid Jazz began a period of extraordinary commercial success where acts like the Brand New Heavies and Jamiroquai sold millions of records, and US groups such as A Tribe Called Quest, The Roots and Digable Planets were actively influenced by what was being played in London, the whole scene was being fuelled by a small number of clubs, led by Gilles Peterson’s Sunday afternoons at Dingwalls but taking in nights in Leeds, Bari, Munich, Tokyo, Stockholm and New York. In those clubs funky jazz, latin boogaloo and 70s soul soundracks competed for time on the dance floor with import records from New York, and the latest sounds coming out of bedrooms and makeshift basement studios that created contemporary sounds out of the past.

Acid Jazz’s Eddie Piller and Dean Rudland have put together this compilation of the sort of sounds that we were playing at the time. They are releases on Acid Jazz and other label’s that surrounded the scene and they were mainly made by people we knew from either around the club scene, behind the counters of our favourite record shops, or from trips to New York or Europe. They range from The Ballistic Brother anthem ‘Blacker’ to the jazz house of A-Zel - a Roger Sanchez mix that still sounds fresh today. We have the Humble Soul’s instrumental version of ‘Beads Things And Flowers’ which at the time was only available as a DJ special on Acetate. There is the presence of A Man Called Adam before they went to Ibiza, and the early Mo’ Wax (before they went Trip Hop) single by Marden Hill ‘Come On’.

These records could fill a dance floor in seconds and we feel that they are today largely forgotten, as they were non-album, underground club records. It’s time to celebrate them!

Isaac Prieto is Mexico-born but Detroit based and that is presumably where he hooked up with the Motor City's assured house auteur Javonette. The pair take a trip through scuffed-up deep house brilliance here with the chattery claps and blurting bass of spaced-out opener 'One Take' before 'Brothers In Rhythm' is a more dance-y cut with pinging kicks and detuned synths stumbling about the mix to make for a brilliant sense of mechanical funk. 'High Energy' brings edgy chord stabs over busted beats and bass and 'Lost & Found' is more kinetic analogue madness with hurried techno hi-hats, spangled pads and punchy kicks all bringing an utterly fresh type of sound.

Hailing from Bristol and based in London, Ashley Thomas routinely passes the storied music heritage of both cities through his own singular, prismatic filter. As Otik he produces brilliant and complex hues, forming compositions from weightless neon-tinged trails, richly layered melodic webs and inky, subaqueous bass lines.

The prolific artist recently created his own imprint, Solar Body, to accommodate the expanse and volume of his unfettered productions; now with his !K7 Record debut, Otik deepens his sonic explorations for the label he credits as a crucial discovery portal.

“CRYSTAL CLEAR” is inspired by a personal epiphany, and it shines through with sparkling clarity. With the unmistakable signifiers of dancehall in its bassline and drum programming, Thomas turns these references outwards and upwards, finding a new expression with glistening drops of cosmic colour, gauzy pads, and soft crescendos of cymbals.

Despite coming in hard and fast with a bruising 130BPM bass rhythm “RAINBOW RHYTHM'' evokes a positively disorienting kaleidoscope for Thomas, courtesy of its sugary, euphoric synth sounds. It is a balance of hard and soft, leading heavily with drums throughout, contrasted with the track’s delicate and sweetly warped melody.

Bad Colours is back with his sophomore album, "Always With U," out on Bastard Jazz Recordings in November, 2022. The London-born, Maryland-raised, Brooklyn-based DJ, songwriter, producer, and multi-instrumentalist - aka Ibe Soliman - continues to build on the well-deserved acclaim from his 2021 debut LP, "PINK," as well as a slew of standalone singles and collaborations with the likes of Shabazz Palaces, Jarv Dee, and Stas THEE Boss.

"Always With U" sees Ibe further develop his talents as a songwriter and producer, while maintaining the signature balance of banging dance music and dense bars that he's quickly becoming known for. The album expands Ibe's role to a collaborator, band leader, and all-around star-of-the-show; it's certainly still a dance record, but there's also so much more. Live instrumentation accompanies every track, with the notable contributions of Nigerian bassist Akin-Alade Ogo heard across the album, as well as the NY-based saxophonist Carras Paton on the jazzy, upbeat house number, "Heartache + U."

The lead single, "Maybe I Should Move to LA," sees the proudly Brooklyn-based Bad Colours contemplate a move out West – an idea that came about following a trip to LA for the 20 Years of Bastard Jazz anniversary party (which he DJed) in November last year. Bright pads, a thumping four-on-the-floor beat, and a catchy vocal line make it the perfect accompaniment to a top-down joy-ride up PCH. The album's second single, "You Don't Know," features frequent collaborator and PNW darling Jarv Dee, as well as KAS and JVDE who have both been making waves in the Brooklyn scene (KAS for his work with Grammy- nominated producer Harmony Samuels featured on BET, and JVDE as the lead-singer of alternative band Blind Benny). "You Don't Know" turns up the heat with Jarv and KAS trading dense, rapid-fire verses over a high-tempo beat and detuned vocal; the kick cuts out for the bridge, replaced by syncopated keyboard stabs and JVDE's stacked vocals. "You Don't Know" is high-energy hip house at its finest: Super catchy and irresistibly dancey.

The two singles are emblematic of the rest of the album, which largely alternates between vocal and hip house, sometimes jazzy, other times touching on R&B or dancefloor influenced pop. Dave Giles II and Cor.Ece (who recently both contributed to Beyoncé's chart-topping "Renaissance" LP and Honey Dijon's "Work" single) feature on "Flow," while Toribio (of the acclaimed Brooklyn band Conclaves) provides vocals for "Do Better;" both tracks are on the mellower side, reminiscent of late-90s New York mid-tempo garage. Rising artist N.O.V. features on the second track, "Ready," rapping over a bass-heavy beat; MarcusHarmon makes a return after appearing on "PINK," with smooth vocals on the romantic "Come Closer." Aforementioned JVDE can be heard throughout the album, contributing to "You Don't Know," "Flirtation Avenue," and "Easy Come, Easy Go."

While Ibe's career has spanned nearly two decades - as both a DJ (alongside the likes of James Murphy, Mark Ronson, and Q-Tip) and producer (for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others) - the Bad Colours name only came into being in early 2020, with the debut LP, "PINK," being released in February, 2021 on the Brooklyn tastemaker label Bastard Jazz. By tapping into his deep network of artist friends, Ibe compiled a treasure-trove of vocal samples, snippets, sketches, and fresh instrumental loops into a beautiful debut record that touches on hip-hop, house, and left-field electronic, while remaining danceable.

A slew of singles throughout 2020 and 2021 included "Feelin' Like," featuring the Seattle rapper Jarv Dee, has become an underground hit, popping up everywhere from Best Buy ads, Hulu's "Woke," celebrity Peloton instructor Emma Lovewell's playlist, and even as a soundtrack to the Mayor of Madrid's TikTok video. Most recently, "Feelin' Like" had a prominent placement in the #1 Netflix film "Spiderhead," directed by Joseph Kosinski ("Tron: Legacy;" "Top Gun: Maverick") and starring Chris Hemsworth, Miles Teller, and Jurnee Smollett. The breakout success of "Feelin' Like" further led to a collaborative EP with Jarv Dee, titled "BLAKHOUSE," which saw additional features from fellow PNW natives Shabazz Palaces ("Clouds," featured in Hulu's "Shoresy") and Stas THEE Boss ("Black Skin"). This year, Bad Colours dropped the early Summer banger "Hit The Breaks," and served as the musical director for the influential MADE New York festival, a two-day fashion, music, and arts event presented by Public School NYC and Paypal, that saw performances by Nas, Heron Preston, and Bearcat among others.

"Always With U" is a testament to Bad Colours' versatility as a producer and artist, which has allowed him to bring together such a diverse group of friends and collaborators. Yes, the house and hip-hop roots remain, but "Always With U" shows an evolution of the Bad Colours sound into masterfully crafted dancefloor sounds. It's a truly stunning follow-up from an artist undoubtedly on the rise. The album is out on all platforms, via Bastard Jazz Recordings, November 11th, 2022.

Tehran-born, Manchester-based artist Parham Ghalamdar provides a suite of raw & candid amateur-performed Persian folk, pop songs and poetry - all pulled from the audio on his parents archive of homemade VHS recordings documenting intimate, joyous & illicit gatherings in turn-of-the-century Iran.

"Beautiful Apparitions is a collection of audio excerpts from digitized VHS tapes recorded by my parents in early-noughties Iran. The footage depicts the secret double lives of Iranians drinking, dancing, and singing to celebrate life when owning a VHS player was illegal in the Islamic Republic. The footage is an amateur performance of pop and folklore songs about love, loss and life. Although many Iranians must have recorded such vivid moments, they are rarely made available publicly. Such tapes would usually have been well hidden, lost, or purposefully destroyed."

— Parham Ghalamdar

Wah Wah 45s are proud to present a new set of remixes, as well as originals released on vinyl for the very first time, from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

Featured vocalist on both original tracks, and remixes, is the aforementioned Dele Sosimi - keyboard player and musical director for Fela's Egypt 80 as well as Wah Wah 45s recording artist on both his solo material and the recent collaboration with house music producer, Medlar.

The rest of the group comprises of bandleader ofAfrik Bawantuand percussionist for Ibibio Sound Machine and Keleketla,Afla Sackey; highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Obsorn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

From London To Lagoswas inspired by a talk given by writerRoberto Savianoat the Hay Book Festival in 2016, just before the Brexit referendum. In it he described the UK as the "most corrupt country in the world". This was a reminder of how the leaders of so-called developed countries, conveniently suffering from colonial amnesia, still point disparagingly at the rest of the world and talk of "endemic corruption" and "Banana Republics". All the while the ill-gotten gains of organised crime syndicates, corrupt multinationals and military juntas across the globe are funnelled through financial centres such as London. Same trouble, different methods, greater scale. Of course the best way to divert the population from all this is to find distractions such as populist leaders who declare their countries "world beating" and scapegoats such as refugees, immigrants and other members of the underclasses. It has always been thus but it doesn't always have to be so.

This track was once more recorded remotely during lockdown and features an all star lineup of world class musicians from the UK Afrobeat and jazz scenes. Members of the Dele Sosimi Afrobeat Orchestra, Keleketla, Sons of Kemet and beyond have come together to create this powerhouse of a band. They encapsulate the meaning of "eparapo" and "join forces'' to fight a common enemy in the shape of corrupt and divisive ideologies.

Its remix comes fromWheelUP- the moniker of West London broken beat revivalist Danny Wheeler, who here delivers something of a smoother straight up Afro flavoured house workout that's sure to be heard across dance floors and festivals this summer. The Tru Thoughts signed artist adds gliding synths and tight drums that ride the original's hypnotic melody perfectly and make for a future club classic.

Black Lives Matterwas obviously inspired by the movement of the same name and was the first track to be released by Eparapo in late 2020. Dele's voice tell the story slave ships leaving West Africa in the fifteenth century, the brutal conditions that were experienced on board, and the continued suffering of the African diaspora today. As always, half of the artist's income for this song will be donated to the NAACP - a civil rights organisation in the United States, created for the advancement of black people by means of following judicial policies.


The remix here comes from Birmingham based producer signed to Jalapeno Records,Sam Redmore. Sam's love for breaks and beats comes into play well here, subtly chopping up the original to create a bass worrying version that still sends that very important message of justice and equality - Black Lives Matter!

a 01: From London to Lagos (WheelUP Remix) feat. Dele Sosimi

[c] 03: Black Lives Matter (Sam Redmore Remix) [feat. Dele Sosimi]

The Mannheim-based event series "Intermission" launches its record label with this 12" designed by Adrian Zorzano. IR001 is a split EP by Cuthead (Uncanny Valley, Dresden), who also played the first Intermission night in 2017, and LSW (Intermission, Mannheim). You can expect six tracks from Disco to (Acid) House – we hope you love this music as much as we do!


Egg Meat is a new project from London based artists Tooth Rust aka Laurel Uziell and Georgie McVicar, their self-titled EP features poems spoken by Danny Hayward.

The EP features speech-jammed text skittering across insistent rhythms, clipped signals and buzzing, saturated grains. You hear the racket of gunshots, mechanical clutter and punctuating tones that ring out impatiently like an unanswered phone call. Hayward's words at times surfacing as meaningful utterances, at others buried under this dense sonic matter.

The manipulations of voice are also at times so extreme as to render them indistinguishable from the clattering electronics that engulf them. The speech shapeshifts, shudders, and shatters in the way a violin glides and trills above an orchestra. The EP ends with an ambiguous promise: "Don't worry", Hayward assures us, "we'll be back."

Born Hovhannes Sargsyan, D.zúk (”dzook” = fish) is a Yerevan-based producer influenced by the delicate qualities of nature, juxtaposed against the concrete imprint of human existence. His debut, Ishkhan (“eesh-khan” = prince; also refers to an endemic trout found in Lake Sevan) is a pensive journey through ethereal, underwater landscapes. He calls his music “fishwave”; a swinging mélange of dub, house, bass and ambient sounds. “Ishkhan to me is at its strongest when it gets deepest into its reveries and abstractions... Wobbly electronic weirdness collides with duduks and whatnot - and maybe reach maximum fish-ness with ”Poghpatits Sarer”. Reserved grooves strolling astride plenty of great musicianship. As a debut, it shows great promise of things to come, too, and I hope creator D.zúk continues to plumb to watery depths soon.” - Peter Kirn for CDM.link

TRACKLIST: 1. Mutq 2. Impulse 3. Punge 4. Reverse 5. Anush 6. Nane 7. Tses 8. Sa 9. Poghpatits Sarer 10. Elq

Heralding the release of Memoirs of Hi-Tech Jazz, the forthcoming album by Detroit-born-and-based artist, Waajeed, the 12” features further examinations of the track’s motifs by the vaunted Detroit collective, Underground Resistance, Zambian producer SHE Spells Doom, and a special reimagining by Waajeed himself featuring live drums.

Alongside the LP version the three remixes further explore the links between Techno and Jazz, styles both founded on African traditions that make commentary on the present but are always oriented to potential hereafter.

On the People Mover Remix, Waajeed enlists the talents of Zo!, Tall Black Guy, Michele Manzo, and more to explore one extreme of the track’s musical heritage. Syncopated drums, driven by a full and bright snare drum, firmly place this version in the sphere of contemporary Jazz emanating from Detroit and cities across the US.

Coming from an album inspired by revolutionary efforts against oppression in Detroit and in Black locales around the world it is entirely fitting that Underground Resistance should provide their take on Motor City Madness. UR’s Mike Banks follows the lead of the original’s melange of genres. By thickening the bassline, peppering the mix with extra brass from the Mad Brass Horn Section, and adding strings courtesy of Six Mile Strings, UR further explore the dynamic intersection of music, history, and geography.

SHE Spells Doom closes the remix package with his second release on Tresor after his contribution to 2021’s Tresor30 compilation. The Zambian artist trims Motor City Madness down to the bones of the brass section and infuses them with a gqom beat, simultaneously referring to Jazz and Techno’s deepest roots in Africa, as well as suggesting where they might be headed in the future.

PUBLISHED: 6TH OCTOBER 2022

Fantasy Life boss Alinka readies ‘Numbers EP’ for Rekids this November. Following releases on Permanent Vacation, NeedWant, and HE.SHE.THEY, Ukraine-born, Chicago-raised and Berlin-based DJ/producer Alinka returns to Radio Slave’s Rekids with ‘Numbers EP’, bringing three tracks of inspired and colourful house tracks for her second release on the imprint.

Leading the release, the title track ‘Numbers’ brings robotic vocals, bright leads, and bouncing basslines together for a sharp and energetic opener. ‘Better Days’ follows with chunky drum machines and dubbed-out chords before ‘80’s Baby’ closes the EP in fine style with soaring leads atop pumping kicks.

TAUMEL - the third studio album by the internationally acclaimed brass techno phenomenon MEUTE: Hamburg-based techno marching band MEUTE will release their third studio album: TAUMEL will be out on Friday, 18 November 2022 on the band's own label TUMULT. With their unique blend of hypnotic techno and energetic live performance, the 11-member band has made a globally acclaimed career start.
Tracklisting

Special 10th Anniversary Edition In Brown Card Artboard Sleeve With Additional Lyric Print Insert

Slowdive singer and songwriter’s third solo album, which was originally released in November 2012. It is a stunning record and one which, upon its release, underlined the claims that Neil was one of the finest and most underrated British songwriters of recent times. It’s also a very special release in the Sonic Cathedral catalogue; the shoegaze label licensed the record from Jack Johnson’s Brushfire imprint for the UK and Europe and it was the start of a relationship that also gave us the Black Hearted Brother album in 2013 and, ultimately, brought about the reformation of Slowdive in 2014. But Palindrome Hunches is a very different beast. Both stately and understated, this moody and mesmerising collection of peculiarly British folk songs was made with the Band of Hope, a Wallingford, Oxfordshire based collective consisting of Ben Smith (violin), Drew Milloy (double bass), Paul Whitty (piano) and Tom Crook (guitar). Together with producer Nick Holton, banjo player Kevin Wells and backing singer Aimee Craddock, they recorded the album to tape over a few weekends in the music room of their local junior school. “At first we were going to record in a studio, but everything seemed too clean,” said Neil at the time. “We just went through the songs and recorded them live without very much rehearsal. We wanted to be spontaneous and simple and to keep the little mistakes that sneaked in.” This goes a long way to explaining the album’s humanity and intimacy, and also why it has had a quiet life of its own over the past decade, gradually growing in stature alongside Neil’s more high-profile activities with Slowdive; copies of the 2012 original and even the 2017 repress currently fetch up to triple figures on Discogs. The stunning opener ‘Digging Shelters’ was used to devastating effect in the posthumously released James Gandolfini movie Enough Said – a fitting home for a song that rubs shoulders here with ruminations about love and loss such as ‘Tied To You’ and ‘Spin The Bottle’ and, on ‘Wittgenstein’s Arm’, an Austrian pianist who had his right arm amputated in World War I and lost three of his brothers to suicide. The wordplay of the title track is almost light-hearted in comparison; “I wanted to write a song that was the same forwards and backwards, but it didn’t quite work out,” explained Neil, adding that he also chose ‘Palindrome Hunches’ for the album’s title because “I like the idea of things being reversible”. A couple years later, by reforming his old band, he proved that. And now, ten years on, it’s the perfect time to rewind to this understated, underrated classic. Side A 1 Digging Shelters 2 Bad Drugs and Minor Chords 3 Wittgenstein’s Arm 4 Spin The Bottle 5 Tied to You Side B 1 Love Is a Beast 2 Palindrome Hunches 3 Full Moon Rising 4 Sandy 5 Hey Daydreamer 6 Loose Change. Praise for Palindrome Hunches on its original release: ““Nope, it ain’t shoegaze as it's been codified and re-codified. But why be disappointed in someone following his muse to a logical conclusion when that path was always the one he walked on?” – Pitchfork An exquisite set of dark folk music” – The Times “Draws from the same understated, reflective well as John Martyn” – MOJO “‘Tied To You’ doesn’t merely evoke Nick Drake but withstands the comparison – evidence of the songs’ quality” – Financial Times “Halstead’s songs breathe the sort of honesty and goodness that’s harder and harder to find in the iTunes age” – The Independent “Given the chance, they could be songs that continue to enchant for many years to come” – The Line Of Best Fit

16 years on from its deliverance, Killing Joke release the deluxe version of arguably one of their darkest albums to date, ‘Hosannas From The Basements of Hell’. In addition to the 9 bludgeoning tracks featured on the original incarnation of ‘Hosannas…’ the deluxe version has three deep cuts - ‘Afterburner’, ‘Afterburner (alternative version)’ and ‘Universe B’ - all regarded as some of the best and most powerful Killing Joke songs ever.

Transparent Double LP

Sixteen years on from its deliverance, Killing Joke release the deluxe version of arguably their darkest album to date, "Hosannas From The Basements of Hell". In addition to the nine bludgeoning tracks featured on the original incarnation of "Hosannas..." the deluxe version has three deep cuts - "Afterburner", "Afterburner (alternative version)" and "Universe B" - all regarded as some of the best and most powerful Killing Joke songs ever.