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Post-minimalist American composer Rafael Anton Irisarri makes his Umor Rex debut with his new album, The Shameless Years. Inspired by a troubled socio-political climate, buried melodies punch their way through a bleak cover of noisy drones, periodically veering into some of Irisarri's most eerily pertinent music to date.

One of Rafael Anton Irisarri's most thematically and sonically cohesive records to date The Shameless Years came together in a relatively short burst of creativity starting at the end of 2016. Rediscovering some relatively older tools - namely Native Instruments' Reaktor, Absynth, and Kontakt software - Irisarri combined them with his collection of guitars, pedals, amps, and analogue processing gear, turning his Black Knoll Studio north of NYC into a powerful writing tool. Completed quickly by Irisarri's standards, let alone during a period of social upheaval in American society, the record faces down several key personal themes. The title, suggests Irisarri, could in fact be seen as a reflection of the era of shamelessness we're currently living in, a time of fake news and alternative facts.

Two tracks were completely remotely between Irisarri in New York and Umor Rex veteran Siavash Amini from his home in Tehran, Iran. This music came together at the peak of all the anti-Muslim and anti-immigrant rhetoric happening in the USA, not to mention the banning of Iranians from entering the country, explains Irisarri. The diptych with Amini, 'Karma Krama' and 'The Faithless', seems bathed in additional waves of sorrow and dread. The wash of symphonic stormclouds of synth drones and processed notes on the latter gradually appears and disappears over the course of thirteen mournful minutes.

'Rh Negative' marches gigantic guitars through towering valleys of scarred ambient noise dealing with Irisarri's own heritage, many of his ancestors having come to America to escape poverty and oppression. The refusal of modern America to extend similar sanctuary to refugees escaping turmoil weighs heavily on the composer. Elsewhere an emotional onslaught of notes buried in mounds of greyscale noise on 'Sky Burial' aims to deal with Irisarri's very own mortality - something he was recently confronted with following health scares, an accident, and a near-death experience in 2016. Pushing 40 as this album was being made, the composer is constantly aware that he's already outlived his own father, who died at the age of 32. Facing down both intolerance and the void, the epic soundscapes of The Shameless Years are a vast cry of emotion from Irisarri. The clock is ticking - gotta make the most out of it while you still can.

All songs written and performed by Rafael Anton Irisarri, except #5 & #6 written and performed with Siavash Amini. Design by Daniel Castrejón, photos by Camilo Christen. Mastered by James Plotkin.

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

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

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

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

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

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

Unity is Gordon’s eleventh full-length album and first to be recorded in Australia. It was produced by Stefan Blair and Liam Parsons of Melbourne lo-fi legends Good Morning, and features an ensemble cast of Australian performers. South Sudan and Y Dah are taken from the album, reimagined here by Andras and Sleep D. The remixes were a gift to Gordon and his family, with no fees paid or royalties due - all proceeds go directly to Gordon to help him reunite with his family.

This is Gianni and Erika third album, after two works released by Voodoo Rhythm Records and produced by Jim Diamond, musician and producer for two iconic bands from Detroit, The Dirtbombs and The White Stripes.

The record features former Screaming Trees vocalist - and acclaimed solo artist - Mark Lanegan and Chilean multi-instrumentalist Alain Johannes (Queens Of The Stone Age, Spinnerette, Ten Commandos, The Desert Sessions).

“The title track of the new album was born during our last day of re-cordings” - says Gianni Blacula and Switchblade Erika.. “Alain is an enthusiast of strings instruments, and on the last day he arrived at the studio with a Neapolitan mandola he bought in the historical centre of Naples. We were astonished about how a traditional instrument as the mandola can get a rock sound, so we followed up went to the recording room. Alain at the mandola and vocals and us on guitar and drums. There was suddenly the right atmosphere that to Alain reminded “ the Desert Sessions” , so much that the song came out at the first take. Then Alain wrote the lyrics and the last line “Beast Must Regret Nothing” affected us , we have chosen it as the title of the album because it totally reflects his mood, and it does taste of Devils!”

Gianni and Erika got in touch with Alain for the first time in September 2019, during a Spanish tour, while they were looking for inspirations for their new record.

In the same moment Alain was on a European tour which ended in Italy. The collaboration was born in a spontaneous way, for a mutual esteem between the Devils and the famous producer and musician. The album have been recorded in Naples, Italy, with a two weeks session in a historic studio equipped with a large tracking room with truly unique acoustics. Alain actively collaborated in the production of the album taking part to creative process and helping them with the arrangements.


The Devils formed in Naples in 2015 and their first two albums “Sin,You Sinners!” in 2016 and “Iron Butt” in 2017 were produced by Jim Diamond (The White Stripes, The Sonics and the Dirtbombs), pub-lished by Voodoo Rhythm Records. From 2016 the duo constantly tour, and has played everywhere doing over 400 shows between Europe and Canada. The Devils are the sound of desolation and chaos; their style is primitive, filled with sex, sin and rock’n’roll. They are wild, loud and sexy.

The name of the band was chosen has tribute to the movie “The Devils” by Ken Russell and they have been on tour with Jon Spencer, The Sonics, Boss Hog and The Monsters, and has open act around Europe for Mudhoney, Nashville Pussy, Guitar Wolf, Kid Congo and many more.

Mandatory Descendents live show recorded right after the release of their classic second album ‘I Don’t Want To Grow Up’. The tour marked the end of a two-year hiatus for the band, during which singer Milo Aukerman had attended college and drummer Bill Stevenson had joined Black Flag. I Don't Want to Grow Up was the first of two albums the Descendents recorded with guitarist Ray Cooper.

The Mental Traveller - A Soundtrack by Noa Erni

If music can take our mind to any imaginable place, on endless individual journeys, Noa Erni's "The Mental Traveller" is the infinite soundtrack. A soundtrack for mental wandering and soul searching, a blend of rap, jazz and hip-hop beats. "The Mental Traveller", an album assembled like a literary anthology, offers musical arrangements and unique narratives where epilogue and prologue of each track merge seamlessly. Far beyond the horizon of compiling single tracks, "The Mental Traveller" is a journey of sound and unity. Inspired by David Axelrod and William Blake, Ahmad Jamal and Flying Lotus - just to name a few - this work aims to be a tribute to these legends' legacies of past, present and future, detached from trends, norms and classical narrative structure.

Swiss-born producer and computer conductor Noa Erni has been crafting obscure jazz and hip-hop behind closed curtains (a.k.a. his flat in Berlin, Germany) for years - free from external pressure and as an adjunct to his day jobs as sommelier and co-owner of local fine wine store "Friedenauer Weinhandlung". On April 30th, 2021, Kommerz Records will release Noa Erni's debut album "The Mental Traveller" on 12" vinyl as well as on all digital platforms. The project features internationally renowned artists such as Count Bass D (alternative rap pioneer, who worked with Snoop Dogg, MF Doom (R.I.P.) and Retrogott), Miles Bonny (New Mexico-based singer and trumpeter), S. Fidelity (hip-hop producer signed to German tastemaker label Jakarta Records) and more. Erni's guests meld seamingly with this unapologetic and experimental album showcasing stand out performances on vocals, instruments and production.

While the album sounds like it was played by a jazz outfit with years of stage experience, the truth surprises and is even more exciting: Noa crafted the songs in countless hours of experimenting with a midi keyboard, various instrument plugins and perfected reverb settings. It was not one and the same band but one and the same person. Just a few tracks include actual live instruments: drums by Max von der Goltz on "The Mental Traveller Theme" and "Uncertainty", bass by Roman Klobe on "Longitude" and flugelhorn by Miles Bonny on "Train Ride".

Toronto’s infamous psychedelic multimedia collective, Intersystems, make a surprise return with a new full-length LP, #IV. Coming via Waveshaper Media, #IV is Intersystems’ first new material since 1968! Intersystems’ pioneering avant/electronic music sounded positively alien in the 1960s, and more than 50 years later, this latest body of work sounds just as otherworldly.

When they arrived on the scene in the late 1960s, Intersystems stood out from their peers. Comprised of architect Dik Zander, light sculptor Michael Hayden, poet Blake Parker, and musician John Mills-Cockell (of Syrinx, Kensington Market and more), the group mounted groundbreaking pan-sensory events and released a trilogy of defiantly disorienting records.

Where more conventional purveyors of sonic psychedelia were content with fuzztone guitar and orientalist tropes, Intersystems managed to approximate the full psychedelic experience in all its euphoric wonder and terror. Initially wrangling homespun gadgetry, feverishly spliced-together tapes, and mutant beat poetry, Intersystems were also among the very first to deploy a Moog Synthesizer; their Moog modular system was the first to be imported into Canada. Intersystems’ three vinyl LP recordings, meanwhile, justifiably became coveted collector's items given their scarce quantity and singular unsettling vision.

The reissue of Intersystems’ full discography in 2015 prompted acclaim from a number of major outlets. Among them, PopMatters hailed the set as "one of those great lost recordings (three of 'em actually) that comes from the lysergic era..." Mills-Cockell’s work in Syrinx has also been reissued to great acclaim in recent years.

Fifty-plus years after their 1968 album Free Psychedelic Poster Inside, Hayden and Mills-Cockell decided to revive the long-dormant project with a series of sessions at Hamilton's storied Grant Avenue Studio. The resultant music remains remarkably congruent with the project's original vision while clearly emerging from the present moment. With original poet/lyricist Blake Parker now deceased, Hayden and Mills-Cockell made the counterintuitive (yet strangely apt) decision to render Parker's words electronically. As the computer-synthesized voice alternates between an eerily life-like delivery and slurred cybernetic faltering, it brings a new dystopian tint to the group's anxious surrealism. Taking cues from its predecessor, Free Psychedelic Poster Inside, a modular Moog Synthesizer system is the primary instrument, yet here it offers a dynamic blend of different sonorities: barbed wire basslines, Subotnickesque chirping, gestural plumes of colour and percussive filigree.

While the group cut their teeth in the 1960s, make no mistake these new Intersystems recordings aren't a “comeback" or an attempt to rehash the "good old days". What one hears instead is the sound of Mills-Cockell and Hayden re-energizing the project, bringing with them the myriad experience they’ve accumulated in the intervening 50 years. These aural concoctions—no less perplexing than their 1960s predecessors—build upon the Intersystems foundation but very decidedly reside in the present moment, reminding listeners of just how forward-looking this group was in the first place.

Strapping Young Lad was a Canadian extreme metal band formed by Devin Townsend in Vancouver in 1994. The band started as a one-man studio project; Devin Townsend played most of the instruments on the 1995 debut album, Heavy as a Really Heavy Thing. By 1997, he had recruited permanent members; this line-up, which consisted of Townsend on vocals and guitar, Jed Simon on guitar, Byron Stroud on bass, and Gene Hoglan on drums, lasted until the band's dissolution. Strapping Young Lad's music was characterized by the use of polyrhythmic guitar riffing and drumming, blast beats and wall of sound production. band leader Devin Townsend was also noted for his eccentric appearance and on-stage behaviour, which greatly contributed to the band's intense live performances. The band gained critical success and a growing underground fan base from their 1997 album City. After a hiatus between 1999 and 2002, the band released three more albums, reaching their commercial peak with the 2006 effort, The New Black. Townsend disbanded Strapping Young Lad in May 2007, announcing his decision to retreat from public view while continuing to record solo albums. Listenable is now extremely delighted to be releasing All Strapping Young Lad beyond Legendary studio albums on De Luxe Limited Edition Vinyls. A brand new vinyl master has been made for each album. All albums include bonus tracks . Grab them now !.

• When Lonnie Mack’s treatment of Chuck Berry’s ‘Memphis’ broke into the US Hot 100 on 8 June 1963 and peaked at #5 during its 13-week stay, he was initially pigeonholed as an instrumental artist. This perception was heightened by ‘Down In The Dumps’ on the flip, and furthered by his double-sided instrumental follow-up whose topside, ‘Wham!’, reached #28.

• Six months later the other side of Lonnie was revealed with his first vocal 45. The topside was a dynamic re-vamp of Jimmy Reed’s ‘Baby, What’s Wrong’, backed with a version of the gospel classic ‘Where There’s A Will’. Here you could hear him emoting in a way white singers never did – hollering, pleading and screaming in the very finest gospel tradition. The track was even picked up by some black radio stations in the south, but quietly dropped once it was realised that Lonnie was white.

• ‘Memphis’ was recorded at King Records Studio in Cincinnati on 12 March 1963. Carl Edmondson had been booked to produce a split session for Max Falcon, Kenny Smith and the Charmaines, but Edmondson’s band had recently broken up, so Lonnie and his crew were drafted in. With some time left at the end of the session, Lonnie was asked if he had anything he might like to record. ‘Memphis’ was the result. Edmondson thought the track had potential and suggested to Fraternity Records boss, Harry Carlson, that he should put it out. Within weeks it was climbing the charts, launching Lonnie’s long career.

• Post-Fraternity releases on Elektra, Capitol, Epic and Alligator cemented his reputation as the man who brought gospel, soul, blues, country and rock’n’roll together. He was one of the creators of blue-eyed soul, as well as the leading light for the legion of blues-based rock guitarists who plied their trade from the 60s onwards. It has to be said, though, that the bedrock of his legend rests on his Fraternity recordings, which highlighted both sides of Lonnie Mack – the vocalist and the guitarist.

Larry de Kat joins Alexis Raphael’s recently launched Paella Hair Sex imprint with his debut EP on the label entitled ‘Radio K-Nip 4.20 FM’.

Utrecht-based DJ and producer Larry de Kat is a rising talent with releases on Slapfunk Records, Lazare Hoche, Ruff and his own Katnip imprint. The artist has built a diverse underground following with his eclectic but distinctive sound gaining support from the likes of Bicep, Mark Farina, Ben UFO and Subb-An. 'Radio K-Nip 4.20FM' explores Jazz, Hip-Hop, House and Funk, adding another impressive release to his growing catalogue.

Alexis has established himself as a critical figure within the house scene since rising through the ranks in 2011. His illustrious career has seen his material land on prestigious labels like Hot Creations, Mad Tech, Moda Black, Get Physical and Nervous, whilst remixing Disciples, Kim English, Tiger Stripes and Miguel Campbell. The recently launched Paella Hair Sex imprint is the beginning of a new chapter in the long-standing Deep House artist’s musical story. A return to vinyl in 2016 sparked the inspiration behind the vinyl-only label, now welcoming a heavyweight release from Larry de Kat this coming March.
Brief ‘cut and paste’ opener 'Tune In Turn On' features immersive drum loops, spoken word vocals and a classic flute sample, laying the way for the rest of the package. The sensational ‘J’ provides a feel-good Deep House affair, as a slick bassline sequence fuses with rising synth lines and soulful vocals to guide listeners on a hypnotic journey. The charming vibe continues on interludes - ‘The Spoiler’, ‘LoPass’ and ‘Zoned Out’ which showcase another side to the artists’ unique style, providing three stripped-back modern jazz affairs.

On the flip, Larry de Kat’s rework of Vanity 6’s ‘Nxsty Girl’ combines funk-infused melodies with taut bass guitar-riffs and loose percussion arrangements to keep the energy flowing. ‘Criminally Understated’ is a harmonic slice of old skool gospel and soul - sensual chords, soft keys and fluttering modulations rise through the cosmos, whilst the B-side interludes 'Lonnies Tune', 'Interloot' and Tribulations round out proceedings in style.

Jack Nitzsche, a close collaborator of master producer Phil Spector, was an American musician, arranger and film music composer who worked extensively as keyboard player with high caliber rock stars like the Rolling Stones and Neil Young, among others. "The Lonely Surfer" originally released on Reprise records in 1963 was the first album under his own name. An all instrumental mix of Surf aesthetic and
eclectic orchestral arrangements featuring great West Coast based studio musicians such as guitarist Tommy Tedesco, drummer Hal Blaine and pianist Leon Russell. A golden summer classic full of surfing
sounds and vibes that can be easily summed up in one word: Timeless.

After years of wondering, the man behind the mystical and enchanting demos that reached the Rama Lama HQ some time ago was tracked down to Malmö, Sweden with good help from documentary filmer Djoana Djones. On April 23rd, Rama Lama will release his debut album which arrives alongside the trailer for the documentary that follows the search for Jo Yonderly.

‘Greatest Hits 1.0’ is the first collection of songs from an artist that isn’t afraid of experimenting with different styles, this resulting in an eclectic mix that straddles the line of control and chaos. The sound is something you’d imagine to be a classic, but hard to define from what decade, or could it even be from the future? The record will be out on both standard black vinyl and turquoise vinyl limited to just 100 copies.

After years of wondering, the man behind the mystical and enchanting demos that reached the Rama Lama HQ some time ago was tracked down to Malmö, Sweden with good help from documentary filmer Djoana Djones. On April 23rd, Rama Lama will release his debut album which arrives alongside the trailer for the documentary that follows the search for Jo Yonderly.

‘Greatest Hits 1.0’ is the first collection of songs from an artist that isn’t afraid of experimenting with different styles, this resulting in an eclectic mix that straddles the line of control and chaos. The sound is something you’d imagine to be a classic, but hard to define from what decade, or could it even be from the future? The record will be out on both standard black vinyl and turquoise vinyl limited to just 100 copies.

Strapping Young Lad was a Canadian extreme metal band formed by Devin Townsend in Vancouver in 1994. The band started as a one-man studio project; Devin Townsend played most of the instruments on the 1995 debut album, Heavy as a Really Heavy Thing. By 1997, he had recruited permanent members; this line-up, which consisted of Townsend on vocals and guitar, Jed Simon on guitar, Byron Stroud on bass, and Gene Hoglan on drums, lasted until the band's dissolution. Strapping Young Lad's music was characterized by the use of polyrhythmic guitar riffing and drumming, blast beats and wall of sound production. band leader Devin Townsend was also noted for his eccentric appearance and on-stage behaviour, which greatly contributed to the band's intense live performances. The band gained critical success and a growing underground fan base from their 1997 album City. After a hiatus between 1999 and 2002, the band released three more albums, reaching their commercial peak with the 2006 effort, The New Black. Townsend disbanded Strapping Young Lad in May 2007, announcing his decision to retreat from public view while continuing to record solo albums. Listenable is now extremely delighted to be releasing All Strapping Young Lad beyond Legendary studio albums on De Luxe Limited Edition Vinyls. A brand new vinyl master has been made for each album. All albums include bonus tracks . Grab them now !.
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Recorded Live at The Forum, Darlington, 15th April 2006 999 are: Nick Cash - Vocals, Guitar Guy Days - Guitar, Vocals Pablo Labritain - Drums Arturo Bassick - Bass, Vocals Previously released on CD+DVD as Emergency in Darlington Cat No. SECDP188 in 2018.
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Released in 1983, Sandra Sá's 'Vale Tudo' is one of the essential Brazilian-boogie-funk records of the era. Pure class throughout, with a dream team of incredible musicians and producers behind the scenes. For some, this album is regarded as Sandra's magnum opus.

It is drenched in the essence of the Brazilian 80s boogie and funk sound. A driving force behind this is the writing, arrangement, and musicianship of Lincoln Olivetti, who was instrumental in forging this unique sound within Brazilian production at the time. It is heightened even further by the astonishing team that feature on the record. Brazilian icon and heavyweight Tim Maia, Robson Jorge, Serginho Trombone, Oberdan Magalhães, Claudio Stevenson and Jamil Joanes (of Banda Black Rio fame), Junior Mendes, the list goes on. This crew of musicians synergised perfectly with Sandra's vocal style, all complementing each other to create a classic.

One of our favourites from the album is the opening track 'Trem Da Central', an infectious groove that when paired with Sandra's cool and relaxed swaggering vocal resulted in an essential dancefloor jam! Equally delightful and dancefloor summoners are the catchy boogie funk of ‘Candura’, and the Earth, Wind & Fire sounding 'Pela Cidade'. Tim Maia features on the fast-paced duet 'Vale Tudo', which was written especially for Sandra to sing with Tim, who at the time was one of the biggest stars in Brazilian music. These boogie and funk compositions are balanced by fine slow jams giving the album a satisfyingly well-rounded feel.

Sandra had been working in music since the 70s and continues to do so to this day, but this period of the early 80s was a rich and prolific time for her. If you are a fan of Robson Jorge & Lincoln Olivetti's self-titled album from 1982 or Marcos Valle's 1983 album featuring the song 'Estrelar', then this one is definitely for you. 'Vale Tudo' is a must-have record from a talented artist at the top of her game and Sandra makes it all sound so effortless.

Liam Bailey follows up his 'Ekundayo' album with this heavy hitting remix 7" featuring two absolute legends. The A side is a remix of Champion featuring Black Thought of The Roots. Black Thought kills the first verse finding the pocket over the Leon Michels produced reggae banger designed to bust up woofers and blow out dance floors. Liam and Thought combine to sing praises to a woman worthy of all the admiration they can muster, and in doing so, they take what was already a classic to another level. The B side is straight from the far flung corners of outer space. Producer Leon Michels strips down and revamps the album cut Ugly Truth, making room for the most special of guests, the one and only, Mr. Lee "Scratch" Perry. The Upsetter switches between singing and talking, one minute proclaiming his powers and the next playing with the title of the original tune. Some proper Lee Perry business alongside the already unstoppable chemistry of Liam Bailey and Leon Michels...An absolute Big Crown Surehot.

Black Market Brass is a Minneapolis-based group performing their own brand of originally composed Afrobeat/Afrofunk music, as well as completing authentic renditions of the classic 1970's West African sound. Taking their cues from the godfathers, the band draws on complex polyrhythmic percussion, driving bass lines, dizzying guitar interplay, rolling keyboards, and room-commanding brass. The result? An eclectic blend of cool deep funk and driving Afrobeat grooves that will lure you to the dance floor and never let you leave.

SPECIAL ITEM - 4 records in a super limited Horror Disco tote bag - ONLY 100 MADE - black bag, red print, four Bottin rarities inside (complete with covers and inner sleeves)

On October 12, 1929, Kathryn Culp and Sammie Lee Brown had the idea to name their first-born baby Napoleon. With such a vital beginning, little Nappy was already predestined to hit the mark, so from a very young age he stood out for his vocal qualities, well cultivated in gospel, which he practiced assiduously in The First Mount Zion Baptist Church run by his father.

To Mr. Brown's chagrin, after his first forays into religious music participating in vocal gospel groups such as The Golden Crowns, Golden Bell Quintet and The Heavenly Lights, with whom he recorded his first single for Savoy in 1954, the young Napoleon decided to try his hand at secular music, convinced by Herman Lubinsky, the big boss man of the New Jersey label.

In this way, between 1954 and 1962, Napoleon recorded a total of 28 singles at Savoy, clearly marking the transition from Rhythm & Blues to Rock’n’Roll, and also his subsequent jump to Soul, being the natural link between the late 40s southerners like Wynonie Harris or Big Joe Turner and artists like Jackie Wilson or James Brown, who cemented the black sounds of the 60s.

This LP includes a compilation of some of his best songs at Savoy, high class rock'n'roll, with a lot of dancefloor favourites like DON'T BE ANGRY, compiled in its two versions, or JUST A LITTLE LOVIN ', but also his more Bluesy sides, with songs like the fabulous DOWN IN THE ALLEY, which would be recorded years later by that certain singer born in Tupelo, Mississippi, that many times declared how much he dug Nappy Brown’s Rhythm & Blues.

In the same bluesy way Nappy wrote the iconic THE RIGHT TIME, one of the first stones of the Soul cathedral, originally recorded by Nappy on 1957, and revised one year before by Ray Charles. Ray’s version, renamed Night Time Is The Right Time, would be included as the main theme of the award-winning film IN THE HEAT OF THE NIGHT. We´ve also included Nappy’s own answer to this song, recorded in 1961 and titled as ANY TIME IS THE RIGHT TIME.

Finally can´t avoid to name some of the backing musicians you´ll hear in these tracks, Sam ‘The Man’ Taylor, Mickey Baker, Panama Francis… have a look on notes bellow, oh boy! the A-Team of the mid-century New York Rhythm & Blues!

Nappy disappeared from the music scene in 1962, remaining anonymous until 1969, when he would return to Rhythm & Blues on Elephant Records with an LP whose title could not be more eloquent: THANK YOU FOR NOTHING.

Since then, Nappy was very active until his death in 2008, alternating his love for gospel and Rhythm & Blues, touring the United States and Europe and releasing no less than a dozen LPs.

Heavyweight (180gm), double black LP.

Gatefold sleeve with 16 page booklet and download code insert.

On February 27, 2018, Chris Forsyth & The Solar Motel Band (comprised, in this iteration, of long-time SMB bassist Peter Kerlin and Kerlin’s Sunwatchers battery mate Jason Robira on drums) were close to wrapping up an 18-date tour of the EU and UK with a two-set, one hour and 45 minute show at Cafe OTO, London’s premier venue for adventurous music. Highlights of that show are included in this live release, RARE DREAMS: SOLAR LIVE 2.27.18, recorded before a packed house seated mere feet from the band’s amplifiers. These recordings reveal a band that is clearly in high spirits and high gear, operating with an expansive, improvisatory fleetness that allows them to stretch the material to almost ludicrous extremes and then let it to snap back to some semblance of form while somehow seemingly never wasting a note, a beat, a gesture. The four tracks included here comprise material culled from (at the time) the two most recent Solar Motel Band records DREAMING IN THE NON-DREAM (No Quarter, 2017) and THE RARITY OF EXPERIENCE (No Quarter, 2016) plus covers of two Neil Young songs - the autobiographical plaint “Don’t Be Denied,” lyrically relocated by Forsyth from Young's Canada and Hollywood to the more personally relevant geography of New Jersey and Philadelphia, and encore “Barstool Blues” (they’d run out of material to play, so another Neil Young tune it was). While the covers establish Forsyth’s basis, serving as an homage to Young and the quest for self-realization, the long tracks’ jams showcase the trance-inducing power of the Solar Motel Band as a performing entity. Kerlin’s gymnastically propulsive bass playing locks in with Robira’s relentless thud, each serving as counterpoint to some of the most blistering guitar work of Forsyth’s career. The telepathically dynamic interplay of the trio explodes with whiplash intensity across the 15-plus minute takes of “Dreaming In The Non-Dream” and “The First 10 Minutes of Cocksucker Blues,” each song’s structure serving as a framework for extended lava flows of energy. At one point late in the “Dreaming” jam, Forsyth unplugs the jack from his guitar, dragging it across the strings and lashing the body of his single-pickup “parts" Esquire, producing a desiccated barrage of percussive static. This is music beyond the notes; it is an expression of pure electric ecstasy, a simultaneous negation and celebration of rock music’s (indeed all musics’) essential energy. In contrast to the expansive but meticulously detailed guitar arrangements of his recordings, here Forsyth’s unhinged live guitar sound positively roars with a barely restrained vocal intensity, from liquid melodic lines to gnarled blasts of free jazz scree, to pulsating lead/rhythm vamping. I’ve had the pleasure of witnessing this band up close for a number of years now and I can authoritatively attest that while every show is different, when the SMB is running down a steep hill at full speed (as on these takes), they become a single leaderless vibrating sonic tornado, possibly beyond the control and logic of the players themselves, picking up listeners along the way and taking them along for the ride straight into a solar furnace of sound. - Jerome Onfront, Philadelphia

Vomito Negro is the mythical EBM-industrial act formed in Belgium in 1983. The band has a vast discography that started with a self-titled EP in 1985 and continued with diverse releases on renowned labels like KK Records, Antler-Subway and more recently on Out of Line and Scanner.

Vomito Negro’s musical approach, essentially based on the European “Industrialist” tradition, takes a different angle on every record with synthesized psychodramas that range from danceable to contemplative, from instrumental and ambient to voice-ridden and brutal.

The new album “Entitled” was created with unreleased tracks from the early 80’s. All songs were re-arranged and re-recorded by Gin Devo at his own studio, “The Lab”, with the use of original vintage hardware synthesizers, sequencers and drum machines.

On the Corner have taken a deep dive into the murky waters whereancient percussion are jolted through history with a high voltageshock of experimental electronics. Across the territory of 'When theWaters Refused Our History', Sunken Cages channels his ownjourney and that of the world of his ancestors and adroitly breachesthe porous frontiers being pushed by the cosmic adventures-led OntheCorner. Sunken Cages is the moniker for Ravish Momin, an Indian-borndrummer, electronic music producer and educator. For the pastdecade, Momin has been experimenting with enhancing his acousticdrum sounds with electronic ones, and has crafted a unique electro-acoustic approach. He triggers sounds and textures, layers live-loops and manipulates them 'on the fly', to blur the lines betweencomposition and improvisation. While rooted in Indian folk and BlackMusic traditions, Sunken Cages is also influenced by the streetsounds of South African G'com, Angolan Kuduro and Egyptian Mahraganat. He currently leads the electronic music focussed duo 'TurningJewels Into Water' with Haitian percussion virtuoso Val Jeanty.Ravish's unique approach quickly led him to work as a sideman witha diverse cast of musicians ranging from pop-star Shakira tolegendary avant-saxophonist Kalaparusha Maurice McIntyre (of theAACM).

A chirp, a wine and a gurgle are the sounds that make the song of swallow. You won't find any of them on here though. The third installment of this sampler series features well-rounded dance and prance material instead. Four artists, four hits. Berlin duo Cyrk pay tribute to their favorite Sunday parties with Italo Blade. Barely hidden by its name, it cuts right through any heart of stone with aural infatuation and elation. Portraying the best moment in someone's life after a gig at the infamous Papaya Playa Project, Smallville records associate Snad, delivers a skippy and irresistible MPC jam that makes one want to whistle along. The baroque effect and element of Voon's music is a given. The Italian duo made that clear with Rose in Japan and is able to repeat the trick with Brando. Like Rondo Veneziano at a rave, it's larger than life and happily jumping over the inhibition gate of restraint. Finally, Lukas Lehmann takes the boiling pot off the stove. Juno Cuts A Caper is an ode to synthesizer number six of the renowned Roland series and a masterclass in simmering down. All in all: fun, fun, fun.-

For volume 86 in the Brazil45 series, we return with a pair of stellar 1970s Brazilian-Funk / Black Rio nuggets by two of the greats of the genre, Toni Tornado & Zeca Do Trombone.

'Sou Negro' (I'm Black) is taken from Toni Tornado's (aka Antônio Viana Gomes) sought after 1970 four-track compacto EP on Odeon Records. Already having had some experience in show business as a dancer in the 1960s, Toni started his musical career in 1970 and adopted the stage name 'Toni Tornado'. The influence of James Brown flowed through his music, with Toni becoming one of the first Brazilian artists (alongside Tim Maia) to introduce the soul and funk sound into Brazilian music. Together with other contemporary musicians and bands such as Banda Black Rio, Gerson King Combo and Cassiano, this new sound led to DJ's throwing soul parties. This unique Brazilian take on soul and funk (and later on disco) became coined as 'Black Rio'. A movement that celebrated pride in its Black identity and consciousness.

Zeca Do Trombone has an impressive repertoire which has seen him releasing a handful of solo albums and working with some of the greats of Brazilian music, such as Tim Maia, Ivan Lins, Joyce, and Luis Vagner. The track 'Coluna Do Meio' is taken from his 1976 collaboration project 'Zé Do Trombone E Roberto Sax' with saxophonist Roberto Sax, which additionally features the heavyweight Wilson das Neves on percussion. This catchy Wah-Wah guitar-led dancer has become a favourite with DJ's over the years and will continue to be championed for years to come.

Hexvessel and Svart Records celebrate the 10 year anniversary of Hexvessel’s debut album Dawnbearer with a set of reissues, including CD, double vinyl. “Dawnbearer is a very important album for us, being our first album but also the first original album release for Svart Records. It’s also a very special record for our fans, and one that’s particularly close to my heart, in a world of its own when compared to the other records we have made. Considering that it’s been out of print now for some time, I’m delighted to be able to oversee a reissue of this album, together with original demos and out-takes, and liner notes showing the making of this album which carries the initial DNA of Hexvessel’s musical and spiritual journey”, says band leader Mat McNerney, “We haven’t touched a thing on the original layout, but added some bonus material for the limited edition, should you wish to own a luxury edition of this, our now classic debut.” Hexvessel band was founded by English singer/songwriter Mat McNerney (Beastmilk, Grave Pleasures, Carpenter Brut etc) after he moved to Finland in 2009. Their style of music has been referred to as “forest folk” or as Noisey/Vice puts it: “Weaving English folk, lilting Americana, and mushroom-induced psychedelia”. Their debut album 'Dawnbearer' was released worldwide in 2011 on Svart Records and is considered to be an influential classic record of the modern Occult Rock revival. Highly popular with Hexvessel fans and unique in their catalogue, featuring guitars by Andrew McIvor (Code), violin work of Daniel Pioro (who works on Paul Thomas Anderson’s soundtracks with Jonny Greenwood from Radiohead), the early production work of Jaime Gomez Arellano (Ghost, Paradise Lost), and guest vocals from Carl Michael Eide (Virus, Ved Buens Ende, Aura Noir). “Think Woven Hand, haunted ’60s/’70s pastoral folk, or a darker riff on Midlake. McNerney covers Clive Palmer’s post-Incredible String Band crew C.O.B. and successfully transforms and darkens Paul Simon’s “Diamonds On The Soles Of Her Shoes.” He quotes Crowley, Truman Capote, Isaac Babel, etc. Unlike black metal-ready folk, this is folk by a talented, ambitious black metal musician. But the energy’s there. As is the atmosphere.” - Stereogum “(Part of) a new wave of bands who share many of the original occult bands' musical and philosophical characteristics, spearheaded by Ghost, from Sweden, and the Devil's Blood, from Holland – have begun to lure in a new generation of fans, predominantly from the metal scene, their names alone – Ancient VVisdom, Hexvessel, Blood Ceremony– point to a focused step back to the age of Wheatley and Hammer. ” - The Guardian (2011)

“A Woman’s Heart” is a classic album by any standards and now available on vinyl.
Originally launched in 1992, this album has since gone on to become one of the best selling traditional albums of all time. 12 tracks that capture the varied vocal and musical talents of Maura O’Connell, Frances Black, Dolores Keane, Sharon Shannon, Eleanor McEvoy and Mary Black.

Columbia, South Carolina’s Chaz Bundick (aka Toro y Moi) rose to the fore of the music blogosphere in sum- mer 2009 when he and a few peers made their hazy bedroom recordings the most talked-about sound of the season. Critics across the board took notice of the range of his compositions, and his debut album, Causers of This, showcased his ability to make elements of Brian Wilson’s pop, 80s R&B, and Stone’s Throw hip hop coalesce into a distinct sound that’s as suitable for a dancefloor as it is a pair of headphones.
When Chaz first signed to Carpark Records, the plan was to release two records in 2010 — one electronic and one with live instrumentation — and although it didn’t quite fit into the same calendar year as his debut, Underneath the Pine is that latter offering. This release sees him following the same creative urges to com- pletely different ends. Having spent the year listening to film composers like Ennio Morricone and François de Roubaix, Bundick returned to his home in Columbia, the birthplace of many Toro tracks of yore, to bring his new ideas to fruition. The result of these sessions is an album evocative of R. Stevie Moore’s homespun rumi- nations, David Axelrod’s sonic scope, Steve Reich-ian piano phrasing, and the pervasive funk of his first record. Underneath the Pine announces a new phase for an art- ist whose talent defies classification.

Demon Records presents Distortion: The Best Of 1989-2019, the first career spanning
compilation of solo recordings by legendary American musician Bob Mould.
• Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming
the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. At
the vanguard of his field for over four decades, Mould’s music has inspired generations of musicians.
• Compiled by Bob Mould himself, this new collection gathers together 24 essential recordings across
two LPs. Highlights include classic recordings such as ‘See A Little Light’, ‘If I Can’t Change Your Mind’,
‘A Good Idea’, and ‘The Descent.
• Mastered by Jeff Lipton and Maria Rice at Peerless Mastering and pressed on two 140g vinyl. Housed in
printed inner sleeves and a deluxe gatefold sleeve with artwork from illustrator Simon Marchner.

Demon Records presents Distortion: 2008-2019, the third in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume three in this new series covers the period 2008-2019 and contains many of Bob Mould’s most celebrated recordings including Silver Age (2012), Patch The Sky (2016), and Sunshine Rock (2019).

Scorpion is the second studio album by Eve. It was by Ruff Ryders Entertainment and Interscope Records on released 6th March, 2001. The album’s title is a reference to Eve’s zodiac sign, Scorpio. It features the Grammy-winning hit single, “Let Me Blow Ya Mind”, a duet with Gwen Stefani, winning their first Grammy Award for Best Rap/Sung Collaboration, a new category at the time.

Scorpion was a critical and commercial success, debuting at number four on the US Billboard 200 and became her second consecutive number-one album on the Top R&B/Hip-Hop Albums chart. Scorpion was later certified Platinum by the RIAA on 10th May, 2001. Scorpion was also nominated for Best Rap Album at the 44th Grammy Awards in 2002

Scorpion will release on 16th April in 2LP 180 gram black vinyl.

Having become one of the premier German death metal bands - and rapidly rising the ranks of the genre as a whole - Endseeker storm back into the fray with Mount Carcass. Building on the groundwork laid down on 2017’s Flesh Hammer Prophecy and having the difficult task of besting 2019’s stunning The Harvest they have returned with a streamlined, powerful collection that further raises the bar. To keep the genre sounding fresh in 2021 Endseeker focused on the production, having just a touch of the old school vibe to remain rooted, and they did not limit themselves too hard to the Swedish death metal style of songwriting they previously embraced, but also let other influences into their songs. “You can hear all kinds of stuff that is inspired by bands like Morbid Angel, Bolt Thrower, Slayer, Dissection, Gorefest, etc. We listen to so many different bands and somehow a bit from all of this keeps adding to our music.”

Violence Unimagined. The title tells you everything you need to know about Cannibal Corpse's fifteenth hellish opus. Comprised of eleven tracks, it is state of the art death metal played with passion and breathless precision, making for another flawless addition to what is inarguably one of the premier catalogues the genre has thrown up. Ever improving on the genre they helped define, 2017's Red Before Black stands as one of the highlights of their career. Following it up wasn't exactly easy, but Cannibal Corpse have somehow managed to raise the bar yet again. Already well known for the level of extreme technicality they bring to every record, on Violence Unimagined, Cannibal Corpse have further upped their game.

ESCAPE THE FATE is a three-word phrase synonymous with heavy rock n’ roll and hooks, post-hardcore with weight, and unrelenting genre-redefining anthems built for diverse audiences. Over a decade into their young career, they have proven to move crowds equally at major rock radio festivals, the legendary Vans Warped Tour, or on the road with Five Finger Death Punch. CHEMICAL WARFARE is the sound of a band that’s more comfortable in their own skin than ever, recharged for the next era of their career, reinvigorated, and redefined, without losing any edge. The vinyl version of the album comes coloured in Translucent Yellow with black splatter.

Master craftsman James Welburn’s new LP, Sleeper in the Void, marks the 50th Miasmah release.The six years after his monumental debut have bred six tracks Welburn brings to fruition with the help of past co-conspirators from the Norwegian underground scene - Tomas Järmyr (Motorpsycho, Zu, Barchan), Hilde Marie Holsen (Hubro Records), and vocal artist Juliana Venter (W/V, Phil Winter).

On Sleeper in the Void, Welburn expands the domain of his sound, unveiling surprises until the very end of the album’s 36 minute playtime. While the character of the record is unmistakably his own, the tracks veer into many different territories, including a banging foray to the dancefloor.

The LP begins slowly with Raze, where Järmyr’s ritualistic cymbals introduce layers of Welburn’s signature sculpted bass drones and noise, building into a heart-wrenching epic of a track. This is perhaps the closest we ever get to Hold - Welburn’s previous LP. Falling from Time immediately surprises with it’s subdued mechanical techno beat, stark and cold as a glacier. Welburn’s texture-work is the star of the show, creating curious nooks and crannies of drone adorned with eerie melodies straight out of oblivion. This sense of wonder shines through to the album’s title track as well, where Welburn and Järmyr build another patient, echoing, and deeply cinematic piece, the drum patterns slowly shifting around a metallic hum that evokes the vision of church bells, ringing out under tonnes of seawater.

Sleeper in the Void feels like a story in two parts, rising lethargically, but with gargantuan power. The second begins with the momentous In and out of Blue, where Juliana Venter’s disembodied, spectral dirge takes center stage among the furious drums and bassy riffs, reaching a full crescendo with seconds to go. Parallel marks a release - Hilde Marie Holsen’s nostalgic soundscapes, pristine as glass, meeting the distant thunder of Welburn’s strings on the horizon. And finally, Fast Moon ends the record in a most surprising way - a tribal industrialized banger, complete with vile distorted beats and every other spice in demand on a blackened dancefloor.

Welburn’s Sleeper in the Void is a generous shapeshifter. Every inch of its soundwave breathes emotion and imagery - an invitation to take a dive and linger.

11001 Records is a Berlin-based record label focused on techno, ambient, experimental and other forms of abstract visions. Co-founder of Teufelsberg Domecast, a sound installation podcast series with ambient experimental live performances using the dome at the top of Teufelsberg as a natural parabolic reverb. In ‘Dimensional Perception’, each song revolves around an object in outer space: A1 RYUGU Ryugu is the name of an asteroid. In June 2018, a Japanese spacecraft called ‘Hayabusa2’ landed on it, took some measurements and samples. After a long journey it landed successfully in the desert of Australia early December 2020. The goal is to discover what asteroids carry with them across the universe. If they carry water this could explain how life is spreading in the cosmos. A2 QUASAR A Quasar also known as a quasi-stellar object, is an extremely luminous active galactic nucleus, in which a supermassive black hole with mass ranging from millions to billions of times the mass of the Sun is surrounded by a gaseous accretion disk. They are capable of emitting hundreds or even thousands of times the entire energy output of our galaxy, making them some of the most luminous and energetic objects in the entire universe. B1 SEDNA Sedna is a large planetoid and possible dwarf planet in the outer reaches of our solar system. Its surface is one of the reddest among Solar System objects. It is a possible dwarf planet. It has an exceptionally long and elongated orbit, taking approximately 11,400 years to complete and a distant point of closest approach to the Sun at 76 AU. Understanding its unusual orbit is likely to yield valuable information regarding the origin and early evolution of the Solar System. Scientists continue speculations on its origins of this trans-Neptunian object. B2 NAMAKA Namaka is the smaller, inner moon of the dwarf planet Haumea at a distance of 25,600 kilometres. It takes 18 Earth-days for the moon to complete one orbit around the dwarf planet. Discovered on 30 June 2005 it was named after Nāmaka, the goddess of the sea in Hawaiian mythology and one of the daughters of Haumea. Photometric observations indicate that its surface is made of water ice.

The NE-21 return to She Lost Kontrol after their first pitch-perfect 80s dark wave release in 2016. After releasing a collaboration with Donato Dozzy with the project ‘Men with Secrets’ at the beginning of the year, the duo lands on the label with their new work “In The Realm of Electricity”. The album is a collection of 8 tracks composed and recorded between 2012 and 2020 at the Sy6 studio in Boscoreale. The outcome is a perfect blend of synth pop and minimal wave, filled with icy synths, shuddering bass, and anthemic vocals, ranging from mumbled vocoder to arch talk-singing. While diverse in atmospheric scope, swells of ghostly synths circle the driving beat throughout, producing a haunting totality drenched in an ethereal midnight trance; the submerge of cold, spectral vocals sing within the darkest depths of a starry soundscape – the gloomy romanticism of low, distant vocals bursting with post-punk melancholia. The track’s unease between purpose and utility create a discrete synthesis, and, like a piece of speculative fiction, the memory of the body and its coalescence with the future become prime motives for this liquid age. Akin to Ballard or Philipp K. Dick, the workis not only dreamlike and surreal, but vocally sinister, as if this spectrum of lush new wave ‘80s pop and Almond-style weirdness hides a truth waiting to be grasped. The album in essence sounds unashamedly distinctive, unique and charming. Whether you fall in love with the whole act or you’re just stunned by the bizarreness of it all, one thing’s for sure – you’ll be compelled and gripped right to the infectiously smutty end. Composed, recorded and mixed by Nicola Buono & Lino Monaco at Sy6 Studio. Vocals and lyrics by Lino Monaco. Mastering by Joshua Eustis, Los Angeles. Design By Michelangelo Greco She Lost Kontrol Records 2021

Metamorphic is happy to announce a new artist to the label family! MirrorTouch is a new project from London-based producer Tim Van Zandyke. The sound of Mirror Touch can best be described by a moment in time when mid 90's trax records from the US Midwest combined techno's brutalist grooves with layers of emotive harmonies harking back to Detroit's funk, soul and jazz legacy. Then techno sound hurtled forward, blazing new paths of experimentation, minimalism and hypnosis. MirrorTouch points back to that magic moment when Techno emerged from Detroit, with a series of hardware tracks that combine emotional rawness with the flow of 21st century techno.