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Spirit Fest is an underground avant-pop supergroup (for those of us that feel the weight of each member’s individual power), made up of Saya and Takashi (Tenniscoats), Markus Acher and Cico Beck (Notwist), and Mat Fowler (Jam Money). They have steadily been crafting and solidifying a beautifully surreal world since their inception in 2016. Their independent artistic selves have been stripped back to their rawest forms, and they then have become a centralized being. The building blocks used are made with materials that have already started to decompose. It’s familiar, but also “kind of off”. Their sounds become a part of our collective consciousness. Spirit Fest is more than a band. It’s an idea that we can all participate in. A spirit we can all conjure. The freedom and space they give is a gift. This is an invitation into a freedom we can all experience. But first, you have to follow suit, rid yourself of your preconceived ideas and become your rawest form.

Moone Records bring you Spirit Fest’s first live album entitled, “Live at Import Export”. Here are some words Markus Acher shared about this show and the tour surrounding it:

“In 2021 Spirit Fest went on a summer tour to Italy which ended at our favourite alternative venue in Munich, called Import Export. Italy had been like heaven, Through mountains and tunnels with a soundtrack by Morricone, Yo La Tengo and Teenage Fanclub we drove from Autogrill to Autogrill and played outdoor-concerts at welcoming places. Although our dear friend Mat, who is an important part of Spirit Fest couldn‘t come, we felt like a real band and there were many evenings, when the moment and the music, the heart and the hand became one. We visited the tower of Pisa and had the best ice-cream. And the food of course! Another drive + another tunnel and then a last concert in Munich. A new song by Saya about Fuchur from the „Never Ending Story“. Saya‘s singing on Takeda No Komoriuta stopped time. So moving. I will never forget this tour and I am happy, there is a recording of the Import-export concert and Caleb from Moone Records made this beautiful tape from it.” - Markus Acher

Recorded live at Import Export, Munich, on June 27, 2021 by Noel Riedel

Sympathetic Magic is an ecstatic, delirious, and deeply touching piece of music; a towering new work in Kim Myhr’s increasingly substantial output as an artist and composer. Sympathetic Magic is the follow-up to Kim Myhr’s 2017 album You | me, which was widely praised and received an honorary mention at the 2018 Nordic Music Prize. While the immersive warmth of You | me is still present, Sympathetic Magic is more expansive than its predecessor. A band of eight musicians playing a wide variety of instruments including electric 12-string guitars, drum machines, vocals, synthesizers, organs and lots of drums and percussion, has created a work of a grander scale. The shimmering, oceanic waves of You | me has been traded for cosmic currents in Sympathetic Magic. Put simply, Sympathetic Magic is a collection of song-like structures that has expanded into symphonic proportions. “With You | me, I wanted to create an ocean of sound, where the listener is surrounded by a myriad of elements that has equal importance in the music. I wanted to challenge this a bit, to push certain elements forward. The result is a more song-like kind of music than what I’ve done before.” – Kim Myhr Just before starting working on Sympathetic Magic, Kim bought an old 70s Yamaha organ (the YC45d), after falling in love with the sound of it on different recordings. At first, he thought the organ would be a subtle element on the new record, but it ended up becoming a focal point: “It’s a brilliant in-your-face sound that brought an ecstatic quality to the music. Playing around with this instrument, along with an 80s Roland Juno synth and a new drum machine took the music in new directions.” – Kim Myhr. Thematically, Sympathetic Magic circles around a longing for collectivity and togetherness. While the world was locked down in 2021, thanks to a commission from Oslo Jazz Festival, Kim had the opportunity to delve deeply into this project, working with the members of the band, one at a time: “The music created a situation of unexpected positivity. It felt like a social project even if I spent most of the time on it alone. And all this positive, joyful energy felt quite magical, arriving like out of thin air in this otherwise grim situation. It all felt like a hallucination, which fed back into the music. Sympathetic Magic is like a dream within a dream.” – Kim Myhr The title of the record is a term coined by James Frazer in The Golden Bough. He writes: “things which have once been in contact with each other continue to act on each other at a distance after the physical contact has been severed”. “In a closed down world where all our connections with the outside suddenly are remote or absent, the line between the real and imaginary is blurred. I felt that the term perfectly summed up the thoughts, processes and sentiments that went into the making of this record”, says Myhr. “Kim Myhr is a master of slow-morphing rhythms and sun-dappled textures that seem to glow from the inside”. The Guardian 1/And I Thought These Are My People 2/Gifting Senselessly In Endless Lavishness 3/Move The Rolling Sky 4/Iridescent 5/Up To The Sun Shall Go Your Heartache 6/I Wonder If I Shall Fall Right Through The Earth 7/Heart Streams

Wooohaaa! The figure 8 always meant more to us than just a symbol on your screen. For this very reason on our eighth vinyl release from Minor Notes Recordings we’re featuring non other than the legendary producer BMB SpaceKid. Stemming from St. Petersburg and from an early age, BMB proved himself to be an extraordinary musician. Able produces top quality compositions with ease, and in any style, but all with his unique twist.

To date BMB is best known in hip-hop circles as he made album beats for many key underground rap artists. He also went international and produced joint tracks with Dj Premier, Anderson Paak, Raekwon, GoldLink and many others.
BMB has also performed at the Fabric Club in London, the Outlook Origins festival, live on Boiler Room and BBC Radio 1. He also participated in the Red Bull Bass Camp and the Hip-Hop Academy.

On the record "Taste Booster" BMB SpaceKid showcases his taste and skills in the production of house style dance music. A tribute to the traditions of African-American music, the virtuoso mastery of MPC and sampling techniques, and an outstanding approach to melodic rhythms.
We are convinced that this record will appeal to everyone who loves true house music, acting as a breath of fresh air. To enhance the overall effect we invited one of our favorite French producers Art Of Tones, who for a long time, and just like us, has been promoting the organic sound of electronic music 4x4.

Following the »Minna Miteru« compilation, released in 2020, Morr Music announces a sequel, dedicated to Japanese indie music, overflowing with surprises and welcome discoveries. Like its predecessor, »Minna Miteru 2« is compiled by Saya of Tenniscoats, with the support of Markus Acher (The Notwist). It’s also another part of the Minna Miteru universe, alongside retrospective albums by The Andersens (»There Is A Sound«, 2020) and yumbo (»The Fruit Of Errata«, 2021). Taken together, these albums suggest a scene in rude health, sharing a unique vibration.

If its predecessor circled around Tenniscoats and their close friends, the second volume, though featuring a collaboration between Tenniscoats and Deerhoof as oneone, reaches far further afield, drawing from music old and new, far and wide. Consistent across »Minna Miteru 2« is a sense of wonder and a cheerful unpredictability: you never quite know what you’ll hear next. There are some gorgeous indie pop songs here, like Yuko Kono’s »Ginger« or HOSE’s »Baseball«, but there are other sounds too, like Kariu Kenji’s blue-hued electro-pop, or the wheezing pipe-organ ambient of FUJI||||||||||TA: »Minna Miteru 2« hints at new kinds of beauty.

Some of the more widely known names here contribute typically gorgeous melodies – Kama Aina’s »Wedding Song«, from 2005’s »Hawaii Hawaii« CD, is a reflective tune that combines a country-ish lilt with hints of slack-key guitar. Shugo Tokumaru’s »5 A.M.« is a delirious psychedelic pop mantra, drawn from his excellent 2005 album, »L.S.T.«. Many of the revelations, though, come from artists and groups relatively unknown outside Japan. The lovely, disorienting glitch-folk of Wasurerogusa features Aki Tsuyuko, perhaps best known for her albums on Thrill Jockey and Jim O’Rourke’s Moikai label, collaborating with psych-folk legends Eddie Marcon.

There’s also the delightful synth-pop of Jonathan Conditioner; the electronic dreamscape of Chaplin, whose opening »Out Cont« runs along several parallel paths at once; the twinkling, acoustic jangle at the heart of mmm’s luscious »Blue«; and a curious collection of miniatures, from acts like tenshinkun, Daisuke Tanabe and NNMIE, that embrace a childlike curiosity, essaying a kind of toytown pop-tronica.

The twenty-six songs on »Minna Miteru 2« repeatedly catch you unawares, upending your expectations and signaling both the breadth and depth of the Japanese indie underground. It’s a compilation of play and pleasure, but also of bold experiment smuggled into the everyday through pop music’s welcoming moods, magically creating a new world for the listener, spun out of the air and woven in between your ears.

The fifth full-length studio album from Vermont quartet Twiddle, Every Last Leaf is a bold exploration of the cyclical nature of life.

Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis vocals, guitar, Ryan Dempsey keys, organ, synth, Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” Mihali leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

Big Crown Records is proud to present another strong 7" offering from the legendary Sunny & The Sunliners. Pulling two very in demand tunes from Sunny's Keyloc Records catalog and making one unstoppable reissue 45 that will put these tunes back in the mix around the globe. Since we released the first Mr Brown Eyed Soul compilation in 2017 the price of Sunny's records have skyrocketed. We are sure a lot of people will be happy to be able to get their hands on these tunes and it will be great to see them getting spins in a whole world of new circles. The A side, "If I Could See You Now" is a classic dance floor burner from Mr Brown Eyed Soul. From the first note of the organ intro those in the know will be grinning ear to ear, as soon as the beat drops and Sunny starts singing anyone who never heard this tune before will be hooked. "Give Me Time" is a bit of a sleeper in Sunny's catalog. Not one of the flagship tunes that everyone knows but absolutely worthy of reissue and becoming one of the classics alongside "Should I Take You Home", "Smile Now, Cry Later", etc. The band is as sharp as the man himself on this one, running through the beautiful arrangement while Sunny pleads for time to get over his lost love.

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

Vinyl Packaging: Gatefold LP + download card. Indie Exclusive Transparent Orange vinyl in gatefold jacket Limited to 1000. CD 6 panel Digipak. Gnosis is the highly anticipated 8th full length from Russian Circles. Across the span of their previous seven studio albums, Chicago-based instrumental trio Russian Circles traversed a diverse topography of sounds, moods, and approaches with their limited armory of drums, bass, and guitar. It’s difficult to chart an evolution in their sound when their records have always felt like well-curated playlists. It wasn’t uncommon to hear drone-heavy meditations, dazzling prog exercises, knuckle-dragging riff-fests, haunting folk ballads, and tension-baiting noise rock all within the span of one album. Still, it’s difficult to ignore the progression from the pensive and intricate melodies of Enter (2006) to the layered distorted dirges of Blood Year (2019). It’s been a gradual sonic shift owing to the band’s rigorous tour schedule and a predilection towards playing their more authoritative material on stage. But with their latest album, Gnosis, Russian Circles eschew the varied terrain of their past work and bulldoze a path through the most tumultuous and harrowing territory of their sound. As was the case for so many artists in the age of COVID, the obstacles of geography and isolation forced Russian Circles to reevaluate their writing process. Rather than crafting songs out of fragmented ideas in the practice room, full songs were written and recorded independently before being shared with other members, so that their initial vision was retained. While these demos spanned the full breadth of the band’s varied styles, the more cinematic compositions were ultimately excised in favor of the physically cathartic pieces. Gnosis was engineered and mixed by Kurt Ballou. Drums and bass were tracked at Electrical Audio in Chicago to maximize the natural room sounds of the rhythm section. Guitar and synth overdubs were conducted at God City in Salem, MA to take advantage of Ballou’s vast inventory of amps and effects pedals. Despite the entirety of the album being written remotely, the songs were recorded with the full band playing together to retain the live feel of the material. Owing to the climate of the times and a new writing method, Russian Circles created their most fuming and focused work to date—an album that favors the exorcism of two years’ worth of tension over the melancholy and restraint that often colored their past endeavors. European Co-Headline tour with Cult of Luna slated for Marc 2023 (Dates TBA). Russian Circles have received coverage from most notable press including Pitchfork, Rolling Stone, Stereogum, FADER, AV Club, Consequence, Decibel, Revolver and much more.

A truly incredible collection of foundation Jungle / Drum & Bass from these ground-breaking labels. Splash aka Undercover Agent aka Daz has been with SubBase since the start, having signed to Suburban Base Publishing (including the iconic track Babylon) back in the 90's and remained with us ever since. As part of the SubBase Family we’ve collaborated once again to deliver a perfect package of in-demand classics and unearthed dubplate specials.
Daz Ellis, most commonly known as Undercover Agent, was a true pioneer of the emerging jungle scene back in the early 90’s. He was heavily involved in the pirate radio scene, setting up the infamous Cyndicut FM to transmit breakbeats & basslines across the airwaves of the South East of England, noted for having one of the strongest and widest reaching broadcast signals of the period.

Under various aliases he produced music that defined the sound of the dancefloor. Early releases featured on the genre-defining Suburban Base & Lucky Spin labels.

As Splash his seminal track Babylon set the standard for how amens and ragga infused samples should sound, a format that has stood the test of time and can still be heard today regularly getting played by the world’s biggest drum & bass DJ Andy C! This compilation includes the 2 most in demand versions of this foundation anthem.

In 1994 off the back of his success he launched Splash Recordings, then the year after Juice Records came into fruition. Under the guises of DAZ, M.T.S. and various releases as Splash Collective, all on his own Juice & Splash imprints he gained an army of dedicated fans, demand from whom has led to the creation of this special vinyl box set!

For this exclusive compilation project Undercover Agent went searching back through his original studio master tapes from his impressive back catalogue to find both the original recordings, and some of the alternative edits that never made it to vinyl back in the day. There were also a handful of special versions made exclusively for DJ’s to play on dubplate that are now available for the first time ever.

Exclusive to this collectors box set are 6 never before released versions of classics such as Oh Gosh, Five Tones, Jah Works, an alternative mix of DJ Zinc’s remix of Hard Disk & Bass Kick that were unearthed from the original session DAT’s!

This album features 16 of his most legendary tracks, remastered & pressed across 4 slices of vinyl.



c B1. Undercover Agent - Oh Gosh! (Daz '95 Dubplate) Unreleased

e C1. M.T.S - Baad Boy Sound ('95 VIP) Unreleased


h D2. M.T.S. - Hard Disk (DJ Zinc Remix VIP Dubplate) Unreleased

j E2. Undercover Agent - Five Tones (97 Daz VIP Mix) Unreleased

l F2. Undercover Agent & The Kriminal - Jah Works (Exclusive '95 Alternative Studio Mix) Unreleased



[c] B1. Undercover Agent - Oh Gosh! (Daz '95 Dubplate) [Unreleased]

[e] C1. M.T.S - Baad Boy Sound ('95 VIP) [Unreleased]


[h] D2. M.T.S. - Hard Disk (DJ Zinc Remix VIP Dubplate) [Unreleased]

[j] E2. Undercover Agent - Five Tones (97 Daz VIP Mix) [Unreleased]

[l] F2. Undercover Agent & The Kriminal - Jah Works (Exclusive '95 Alternative Studio Mix) [Unreleased]

The garage -psychedelic French duo The Liminanas straddles since 2009 the boundary between psychedelic ,shoegaze,garage & French yé-yé up to cool vocals . Quintessentially French but first known at the start in the US before hitting homeland France. 7 studio albums so far, 2 rare tracks compilations, many Eps,some OST, collabs such as L’Epée with Anton Newcombe & Emmanuelle Seigner : time for a first time Best of, and actually more than a Best of : Double Cd , Ltd Triple Vinyl& Digital editions offer 12 exclusive bonus tracks -new songs + rare songs when they called themselves les Bellas, before The Liminanas-.
“Electrified” also includes 23 classics songs , with featurings such as Peter Hook, Anton Newcombe and French pionners Laurent Garnier, Etienne Daho & Pascal Comelade.
Features liner notes written by Iggy Pop, Peter Hook & Keith Streng (Fleshtones) : because it’s only rock’n’roll.

Ein Symposium of Sickness, das keine Ader unberührt lässt, Gastvocals von Jeff Walker (Carcass)! Klassischer Grinding Death Metal der alten Schule!

Grinding Death Metal ist noch nicht tot und seine Zukunft ist hier in Form der schwedischen Band Consumption. Sie gaben uns allen einen netten Vorgeschmack auf ihr Debüt "Recursive Definitions of Suppuration", das weltweit gute Kritiken erhielt, aber niemand konnte erwarten, was noch kommen würde. Consumption ist eine neue schwedische Band, die zermalmenden, von Carcass beeinflussten Grind/Death produziert, und auf "Necrotic Lust" haben sie das Album gemacht, das Carcass nie gemacht haben "Necroticism - Descanting the Insalubrious". Dieses Projekt ist die Idee des Multi-Instrumentalisten Håkan Stuvemark, der für seine Arbeit mit einer ganzen Reihe von extremen Metal-Bands bekannt ist (und die
bekannteste davon ist Wombbath). Und er lud den erfahrenen Schlagzeuger Jon Skäre ein, seine Band zu vervollständigen und das nächste Level zu erreichen.

Consumption's knirschender Death Metal mit unheimlichen Melodien klingt wie Carcass in ihren 90er Jahren, hat aber auch eine ganz eigene Note. Und auf "Necrotic Lust" haben sie Jeff Walker (von Carcass) als Gastsänger eingeladen, der einen tollen Job gemacht hat. Der Gesamtsound des Albums ist nun aufgewertet, ungeschliffen und doch gut produziert, so wie es sein sollte, wenn man hohe Qualität liefert.

Acclaimed composer, artist, and producer Kaitlyn Aurelia Smith returns to Ghostly International with Let’s Turn it Into Sound, her most ambitious, intuitive, and inviting work to date. Though ambient and modern new age circles have embraced Smith’s catalog, Let’s Turn it Into Sound favors a more baroque and robust form of avant-pop. The music bursts with vertiginous vocal harmonies and detailed sound design, forming a truly unique sonic vision.

Acclaimed composer, artist, and producer Kaitlyn Aurelia Smith returns to Ghostly International with Let’s Turn it Into Sound, her most ambitious, intuitive, and inviting work to date. Though ambient and modern new age circles have embraced Smith’s catalog, Let’s Turn it Into Sound favors a more baroque and robust form of avant-pop. The music bursts with vertiginous vocal harmonies and detailed sound design, forming a truly unique sonic vision.

Retro house sounds from Italy on this release... tunes that still go down well with some of the big name festival dj's during their summer tour! A track that remained unpublished for 33 years until Devil Dee decided to make it public and bring his own voice to the spotlight joined by jazz-blues singer Joan Faulkner, (former supporting voice of Boney M and Milli Vanilli, also known by her stage name 'Dee-Vah'). Devil Dee is Davide Mancori - a cinematograph with a flattering career as a club-dj from 80s-90s onwards - who lovingly produced this release which differs from most of the releases on Best Record by its housey vibe. 'And The Beat Goes On', was written in Germany in 1989 by Leonie Gane and Ryan Paris. Laying the crucial foundations for an evolutionary step of the italian disco music. A step forward for the 'Italo' movement which at the end of the 80s was been considered obsolete and defunct. In fact, the track is also referring to the latest Italo-Disco which entirely covered the scene of the 1980s with furious activity, If the meeting between Devil Dee and the famous interpreter of 'Dolce Vita' - Mister Ryan Paris - creates the alchemy, the explosive mix is completed with the precious work of Marco Magrini. The arrangement by Pierluigi Cerin and the executive work of Claudio Casalini close the magic circle. Five friends and a great singer from Indiana to fill the dance floors all over Europe, while the images of the provocative and surreal video-clip capture the audience by splitting in two. There are those who do not want to see certain issues publicized and those who appreciate their cheekiness, such as Best Record which by publishing the vinyl printed at 180 grams celebrates the 40 years of activity.

Back in stock !

Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

Big Crown Records is proud to present another strong 7" offering from the legendary Sunny & The Sunliners. Pulling two very in demand tunes from Sunny's Keyloc Records catalog and making one unstoppable reissue 45 that will put these tunes back in the mix around the globe. Since we released the first Mr Brown Eyed Soul compilation in 2017 the price of Sunny's records have skyrocketed. We are sure a lot of people will be happy to be able to get their hands on these tunes and it will be great to see them getting spins in a whole world of new circles. The A side, "If I Could See You Now" is a classic dance floor burner from Mr Brown Eyed Soul. From the first note of the organ intro those in the know will be grinning ear to ear, as soon as the beat drops and Sunny starts singing anyone who never heard this tune before will be hooked. "Give Me Time" is a bit of a sleeper in Sunny's catalog. Not one of the flagship tunes that everyone knows but absolutely worthy of reissue and becoming one of the classics alongside "Should I Take You Home", "Smile Now, Cry Later", etc. The band is as sharp as the man himself on this one, running through the beautiful arrangement while Sunny pleads for time to get over his lost love.

Solemn Lament present a limited edition of their debut recording. 4 tracks of somber yet heavy, crushing and melodic doom metal. Solemn Lament ‘s doom metal is rooted in tradition, influenced by both the UK and American canon of doom metal. With Phil Swanson (Hour of 13, Seamount etc) on vocals, Justin DeTore (Dream Unending, Magic Circle) on drums, Drew Wardlaw (Blind Dead) on bass plus Adam Jacino (Blind Dead) and Eric Wenstrom on guitars.

Pulselovers is the recording moniker of Doncaster's electronic music polymath - Mat Handley. In recent times, Mat's restless enthusiasm and boundless talent has seen him excel in a variety of related fields: as a much-loved broadcaster (presenting 'You, the Night and the Music'); dispensing his electronic magic as a member of the bands Floodlights and Vert:x; and founding the essential Woodford Halse tape label. While recording as Pulselovers, he has produced a string of impressive releases, including titles on Castles in Space, Sensory Leakage, Polytechnic Youth, Misophonia, Russian Library, Do It Thissen, as well as regular contributions to the iconic A Year In The Country album series. Mat explains how reviewing these AYITC contributions gave rise to the possibility of compiling a retrospective collection as a stand alone album: "Circles Within Circles contains tracks that have previously appeared on albums released by A Year in the Country between 2017 and 2020. Each collection had a particular theme which gave me an opportunity to experiment and develop the way I work by incorporating field recordings, tape loops and enrichments from additional instrumentation played by friends and kindred souls (guitar, bass, saxophone, flute, violin, vocals etc). For example, the track “Brodsworth” is built around a four track tape loop of different synth tones to create a rudimentary (and very lo-fi) Mellotron, played using the sliders on the Tascam 414 in place of keys. For “Fuggles”, my partner and I broke into an abandoned brewery in Sheffield and made recordings of the empty space and crumbling concrete. For “Beat Her Down” I assembled a virtual choir lead by Katje Janisch to sing a simple but disturbing folk nursery rhyme. It was my friend (and Floodlights main man) John Alexander who suggested collecting the AYITC tracks into a single volume and after several different permutations (around 5 pieces were excluded from this compilation), I think we’ve managed to put together something that feels like a coherent stand alone album. I’ve enjoyed revisiting these works, some of which I’ve not listened to in 5 years. Thanks to Steve Prince of AYITC for his inspirational concepts and to Dan at Subexotic for giving these pieces a second home.” Circles Within Circles will be released on 12th August, via digital platforms and limited edition pressed vinyl.

1970 was a time for heady experimentation in popular music, but very few records—and even fewer on major labels—come close to matching the stylistic ground covered by William S. Fischer’s album
Circles.
African American composer/arranger/keyboardist/saxophonist Fischer grew up woodshedding with the likes of Ray Charles, Fats Domino,
Muddy Waters, and Percy Mayfield…and then took a sudden left turn by studying electronic music in Vienna during the mid-‘60s. There, he met Joe Zawinul, and ended up penning five of the six tunes on Zawinul’s groundbreaking 1968 album The Rise and Fall of the Third Stream. Fischer went on to arrange for Herbie Mann, who signed him to his Embryo imprint for Atlantic Records; Circles was Fischer’s one and only release for the label. And he didn’t waste the opportunity; an utterly mindblowing mix of Sly Stone funk, heavy Hendrix-y metal, Southern soul, jazz fusion, and Stockhausen-esque explorations on the Moog synthesizer, Circles enlisted the same band (bassist Ron Carter, guitarists Eric Weissberg and Hugh McCracken) that Fischer had worked with while acting as Musical Director on Eugene Daniels’ underground classic Outlaw, complemented by drummer Billy Cobham and a five-piece cello section. With a line-up like that, it’s little wonder that the artistic reach of Circles is breathtaking, but it somehow manages to cohere according to its own internal, crazy logic; it remains one of the most adventuresome and collectible releases of its day. For this, its first-ever vinyl reissue, we’ve pressed 2000 copies in “black ice” vinyl, preserved the original “circle” cut-out stencil cover, and added liner notes by Peter Relic that feature quotes from Fischer himself. For the intrepid listener!

Mondo, in conjunction with Back Lot Music, are proud to present the final chapter of the Jurassic saga: Michael Giacchino’s score to JURASSIC WORLD DOMINION.

Giacchino started his early career at Disney Interactive Division where he had the opportunity to write music for video games. After moving to DreamWorks Interactive, he was asked to score the temp track for the video game adaptation of The Lost World: Jurassic Park. Subsequently, franchise creator Steven Spielberg hired him as the game’s composer and it became the first PlayStation game to have a live orchestral score, recorded with members of the Seattle Symphony. Now, 25 years later, Giacchino comes full circle with this soundtrack to the epic conclusion of the Jurassic era, recorded with 87 orchestra members and 30 choir members at Abbey Road Studios in London. Fans can expect Giacchino’s usual tongue-in-cheek track titles that highlight the action of the score cues.

Mondo has released all Jurassic World franchise series albums on vinyl to date, so complete the trilogy with the Jurassic World Dominion release. Custom artwork was designed by artist Justin Erickson of Phantom City Creative. The package will include liner notes from Jurassic World architect and director of Dominion, Colin Trevorrow, and pressed onto 180-gram webstore exclusive color vinyl.

Composed by Michael Giacchino
Artwork by Phantom City Creative
Manufactured in Czech Republic

: Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022.

All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press

: Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022.

All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press

This was the first album from Experimental Audio Research (aka E.A.R) an experimental music collective formed around Sonic Boom (Pete Kember), founding member of Spacemen 3 (along with Jason Pierce), who, on this project works closely with Eddie Prevost (AMM), Kevin Shields (My Bloody Valentine) and Kevin Martin (God). Although not released until 1996, Beyond The Pale was originally recorded in Northampton, back in 1992 at Angus Wallace’s Far Heath Studios. This is the limited edition heavy weight, 180g transparent vinyl LP that was produced and mixed by Sonic and has been pressed in a limited run for 2022. The original artwork, created by long time E.A.R. collaborator - artist Anthony Ausgang, looks brighter and crisper than ever in this sturdy 300gsm sleeve. This is the first vinyl in a series of E.A.R. releases, all in heavy weight and coloured vinyl, throughout 2022 and it sounds incredible.

Having announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s catalogue continue to be rolled out throughout 2021.

The concept for ‘The Incident’ (the band’s much lauded 10th and most recent studio album from 2009) emerged as Porcupine Tree’s creator Steven Wilson, was caught in a motorway traffic jam whilst driving past a road accident.
“There was a sign saying ‘POLICE - INCIDENT’ and everyone was slowing down to see what had happened... Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news, I wrote about the evacuation of teenage girls from a religious cult in Texas, a
family terrorising its neighbours, a body found floating in a river by some people on a fishing trip, and more.

Consisting of 18 tracks, each song is written in the first person, attempting to humanise the detached media reportage of each associated event. The first 14 tracks form part of a 55-minute song cycle, with the last 4 having been recorded later (and originally released as a second disc to stress their independence from the song cycle).

The album was nominated for a Grammy Award for Best Surround Sound Album and reached the Top 25 in the US and UK album charts. It was awarded “Album Of The Year” in Classic Rock and German magazine Eclipsed.

‘The Incident’ marked another step forward in the incredible journey of the band that began as a solo studio project and grew to a multi-Grammy nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.

This new Transmission 2021 reissue of ‘The Incident’ remains faithful to the original artwork and all 18 album tracks are presented on one disc housed in a digipack with 8-page booklet or as a gatefold double LP on 140g black vinyl.

“An intriguing and truly inspiring album” - Rock Sound
“The title suite is the Tree’s finest hour: a mounting drama of memoir and realnews trauma, animated with slicing guitars, ghost-song electronics, mile-high harmonies and smart pop bait - Rolling Stone

Her debut LP, Banshee, was released on Wax Poetics. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris’s Nine Lives, to be released on Karma Chief Records (a division of Colemine Records) in early 2022, marks not only the culmination of the decade since the release of her first LP Banshee, but also a turning point in Kendra’s life. Nine Lives heralds the beginning of a new chapter; label, and an evolution to the next level of adulthood. This collection of her original songs encapsulates moments from what could be nine lifetimes. Kendra, while very much a New Yorker and veteran of almost 2 decades on the NYC scene, hails from Florida and aesthetically embodies the broader sense of American culture, bringing to her contemporary sound influences found in music and cinema dating back to the mid 20th century. Her music conjures imagery evocative of road trips to weird and wonderful places. Concurrently a visual artist, filmmaker and animator, Kendra harnesses the feline nine lives metaphor repeatedly. In the context of the chapters of her musical trajectory alone, we see at least 9 lives. From discovering multi-tracking on a karaoke machine as a child, to playing in bands in Florida, moving to NYC and creating music alone on an 8 track, releasing her first 2 LPs on Wax Poetics, releasing her 2016 EP Babble and collaborating with DJ Premier, 9th Wonder, MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and David Sitek, to name a few. The life of this multi-disciplinarian artist contains units of time and story lines through which we can all relate to universal themes of love, loss and overcoming one's fears. Kendra, never ceasing to heed her spiritual calling to continue creating music and art, no matter what, has no plans of slowing down but a belief in only evolving, eager to begin experiencing her next nine lives.

Occultists is proud to present the first vinyl record release in the history of the label. To kick start this new exciting journey, we’ve decided to tap into the more ethereal side of the label with the stunning “Technicolor” EP by Slumber. The duo of Slumber consists of Öona Dahl and Amber Cox, who both have appeared previously in the early days of the label, one as a remixer and one as a featured artist. Now together in unison, they join our circle of artists with three tracks that will transcend the listener to a strange but beautiful new world. Each track is masterly crafted to work in different moments in a set. From the mystical and psychedelic deep techno vibes of “Technicolor” to the ethereal club stomper “Venom” and the surprising tripped-out vibes on the B-side with “Cat Got Your Tongue”, the release creates a tightly woven cohesive package of tracks that are perfect for the summer season and beyond.

Repress

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque ‘Eta, Samba Bom’, replacing Roberta Flack’s hit ‘Feel Like Making Love’, Ana Mazzotti (1977) delivers Mazzotti’s refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl Ana Mazzotti (1977) will be available on vinyl LP, CD and digitally from 13th September.

Circles ist LÉONs drittes Studioalbum nach Apart (2020) und erscheint jetzt endlich auch als Vinyl-Version. Von PopMatters wurde es als "deutlich persönlicher als ihr bisheriges Werk" beschrieben, während American Songwriter die Platte als "fruchtbaren Schritt vorwärts in
ihrer Beziehung zu den Fans, selbst aus den entferntesten Ecken der Welt" bezeichnete.

Die von der Kritik gefeierte schwedische Künstlerin, die 2019 ihr selbstbetiteltes Debütalbum veröffentlicht, hat sich seit der Veröffentlichung ihrer Debütsingle im Jahr 2015 eine treue Fangemeinde erarbeitet. Mit jeder Veröffentlichung stellt LÉON ihr Talent für gefühlvolle, zarte und unvergessliche Popsongs unter Beweis. Neben ihrem Debüt im Spätfernsehen in der Late Late Show mit James Corden hat sie weltweit ausverkaufte Headline-Shows und Auftritte auf US-Festivals wie Coachella, Bonnaroo und Lollapalooza bestritten.

Who are the spirit fakers? What do they want? These are just two of the many questions posed by The Difference Machine on their 3rd full length album, 'Unmasking the Spirit Fakers'.

Loosely based on an essay by the master magician himself, Harry Houdini, 'Unmasking the Spirit Fakers' finds the Atlanta-based psychedelic hip hop outfit examining the motives and practices of those who attempt to provide cure-alls and treatments for spiritual ills. Are they gurus or snake oil salesmen? Though abstract in their approach, The Difference Machine attempts to pin down these answers for the listener via a vast backdrop rich with dense lyricism and mind-bending production. Songs like 'Repeater' and 'Flat Circles' place them in the role of shaman whereas songs like 'Car Key' and 'It Ain't' venture to ask if they themselves are the spirit fakers in question.

Regardless of what role the ensemble assumes, the album was crafted with the human psyche in mind. Poignant guest appearances from hip hop heavyweights such as Sa-Roc (Rhymesayers), Quelle Chris (Mello Music Group), Homeboy Sandman, Denmark Vessey, Dillon & Sum add more colors to the canvas. The only wish of The Difference Machine is that the listener is both entertained and enlightened by this auditory adventure. They hope whatever conclusion you come to will be through honesty and sincerity.

Perhaps one day we will all be unmasked.

In 1994, Sator released the cover album "Barbie-Q-Killers" where the band made their own versions of "obscure" punk songs!
The album quickly became a favorite among the band's fans and the demand for a sequel have followed the band ever since.

Now, the wait is over! We proudly present the album "Return of The Barbie-Q-Killers" the long-awaited sequel, which is the band's tribute to bands like Redd, Kross, Devo, Blitzkrieg Bop, 999, The Waves, Pointed Sticks, The Undertones, The Boys, Zero boys, The Last, Unnatural Ax, White Flag, Screamers, The Go-Go's, The Young Lords, Darby Crash Band, The Normals and many more!

Saturday Night pogo rules OK!

Sound Like: the nomads, wilmer x, docenterna, ksmb, dundertåget, mimikry, the scams, union carbide productions

Throughout Grace After a Party we hear Jemima Coulter reaching beyond themselves toward a tender yet magical universality. What results is a pastiche of remembered, dreamed and imagined fragments, a debut album that feels as visual as it does auditory. “I created somewhere I could escape to,” says Coulter. “I imagined people in my mind, had conversations I’d never had. It seems to have created an album that’s a hallucination where I’m half me, half someone else.” But there’s a sense of coming full-circle in these songs, a reminder that as much as we try to reach beyond, we remain invariably ourselves. “They were all stories I was telling myself,” Coulter says, “and then I realized that there was something I needed to say, that it wasn’t just a story, but something about me as well.” Grace After a Party will be released 29th July via Hand In Hive.







[g] 7. [flowers]

Carter Family meets Addams Family in Easy Listening for Jerks, two new covers EPs by gold-certified prairie pickers The Dead South. Rich with quality finger picking and replete with harmonies, Easy Listening for Jerks offers many new moods of songs we think we know so well. Under a title that recalls the songwriting humour of Roger Miller and Steve Martin’s comedy stylings alike, the EPs offer a surprising and compelling mix of gravity and levity. Foggy Mountain Boys, but make it Beetlejuice. Easy Listening for Jerks Parts 1 & 2 are pressed separately on 10" black vinyl.

We all make mistakes. We all have regrets. We all look back on the loves and losses life brings and lament on how things might have been different. In these deeply personal moments of reflection our emotions can run wild as we contemplate our choices and come to terms with what’s next. Hindsight is a powerful and complex thing, and a phenomenon whose intricacies are explored in captivating fashion on The Greatest Mistake Of My Life, the second album from Cardiff’s Holding Absence.

Building on the excellent foundations laid down by the band’s eponymous debut record, released in 2019, and following standalone singles ‘Gravity’ and ‘Birdcage’, the four-piece have returned with a group of songs that, in the view of vocalist Lucas Woodland, are the truest representation of Holding Absence to date.

Inspired by a song of the same name that was recorded in the 1930s by actor and singer Dame Gracie Fields, The Greatest Mistake Of My Life is rooted in a time long before Holding Absence even existed. Lucas’ great uncle covered the song during the 1950s – something the frontman repeats on this album – and after finding this out from his grandmother, the singer decided the poignancy of its words were worthy of titling Holding Absence’s next record.

Holding Absence – the band completed by bassist James Joseph and drummer Ashley Green – carry the The Greatest Mistake Of My Life’s contemplative and thoughtful spirit throughout their second album. Whereas their debut was a concept record about the subject of love, The Greatest Mistake Of My Life’s inspirations are more complex, as Holding Absence stare down love in the face of death, all the while musing on the vast array of emotions we as humans experience throughout our lives.

Lead single ‘Beyond Belief’ is a soaring epic about the risk of loving someone forever, when their definition of ‘Forever’ might be different to yours, and a song that, Lucas says, argues how “love is something worth taking a risk on.” Holding Absence’s unique approach to romance is also present on atmospheric tracks like ‘Curse Me With Your Kiss’ and ‘Afterlife’, but for every display of affection, The Greatest Mistake Of My Life counters with despondency. ‘Die Alone (In Your Lover’s Arms)’ tells of the loneliness two people feel within a relationship long-turned sour, while ‘In Circles’ speaks to the monotony of everyday life and the crushing of dreams.

The Greatest Mistake Of My Life soundtracks the journey of our lives via all of its despair, elation, joy and pain, but never once tells the listener how they should be feeling.


Shedding their skins and emerging into a bright new phase for their band, with The Greatest Mistake Of My Life, Holding Absence are embracing change whilst holding onto the things that make them special. Aesthetic, for instance, remains important to Lucas and his bandmates, but as seen in the video for ‘Beyond Belief’, no longer do they exist in a world of purely black and white colour. Ushering in a colourful new era for Holding Absence, Lucas speaks of a desire “to bring warmth to people’s lives.”

Armed with a stellar new album and an unflinching belief in their craft, this new incarnation of Holding Absence promises to excite and impress like never before. An enthralling collection of songs and stories that tell of love, life, death and everything in between, The Greatest Mistake Of My Life is a thrilling record, and one its creators were born to make.

As Holding Absence have proved, the greatest mistakes can sometimes open the door to even greater triumphs.

Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets

Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.

The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.

Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal.

Official re-issue of Javier Segura's album from 1986. Exciting tribal, ambient and experimental sonorities brought back in a newly remastered release.

Originally released in 1986, 'Nostalgia De Lo Humano' is almost unclassifiable. For Segura, styles are another form of repression, something that serves to label and keep track of those who sees, listens, buys or plays, and especially who sells. Despite the fact that Segura has been producing music continuously since the 1970s, his recognition as a musician was for a long time limited to experimental music circles. He had always controlled his career on his own, on the fringes of the industry. As Javier Segura himself says, his head is full of textures, rhythms and melodies. Through his textured productions, Segura opened up new dimensions to experimental music, using guitars, drum machines, trumpets, synths, or pedals.

Sounds like supergroup. Rarely have outstanding figures of such a variety of musical styles collaborated on one album to pay homage to a nearly forgotten artist, one of the few black Beatnik poets, Bob Kaufman.

"All Those Streets I Must Find Cities For" by The Plastik Beatniks is an attempt to acoustically reanimate Bob Kaufman, to return the Beat to him in a transatlantic collaboration. It is a shimmering psychedelic, at times jazzy concept album, sometimes reminiscent of Krautrock or hip hop, about a Beat-era poet who was as great as he was forgotten. It takes spoken word to a new level, as a transatlantic showcase of musical avant-gardes and a joyful "sound archaeology" of modernity, in which the tracks of the "Plastik Beatniks" meet the best voices of America.

The 12 wildly different songs and audi collages, on the transatlantically-produced album, "All the Streets I Must Find Cities For," is based on lyrics by Beat author Bob Kaufman. They were originally part of the radio play "Thank God for Beatniks," for which author Andreas Ammer ("Ammer & Einheit"), Notwist‘s Markus Acher and Micha Acher and loop maker Leo Hopfinger ("LeRoy") formed "The Plastik Beatniks." On the eastern side of the Atlantic they composed music and crafted soundscapes. On the west side of the ocean, they asked three of the most renowned singers, activists and producers in the U.S. to recite or sing Bob Kaufman's poetry.

Punk-pop icon Patti Smith immediately signed on to read Kaufman's poem "Ginsberg (For Allen)". Free jazz vocalist Moor Mother passionately performed Bob Kaufman's "War Memoir". American jazz clarinetist, composer, singer and “International Anthem” labelmate Angel Bat Dawid, a legitimate successor to Sun Ra, polyphonically read and sang such poems as "The Sun is a Negroe" and "West Coast Sound 1956" and included some clarinet solos on top. Also on the album, Bob Kaufman himself recites his previously unknown poems "Hollywood Beat", "Would You Wear My Eyes", and the "Jail Poem" "All Those Streets I Must Find Cities For". Beat chronicler Raymond Foye, who still lives at the Chelsea Hotel in New York, contributed an interview he conducted with late beatnik Allen Ginsberg about Bob Kaufman. Completing the circle was hip-hop artist Adam "DoseOne" ("13&God"), who once gave Markus Acher a well-thumbed volume of Bob Kaufman, whom he admired. He contributed some raps. Thus 12 tracks emerged, as diverse as the artists, poets and musicians who contributed to it. More than an album. An epitaph. A work for the eternity of Beat.

Regarding Bob Kaufman - of course the FBI kept a file on him – first as a sailor, then a communist, and finally a Beat poet. As one of the mainstays of the movement, he edited the literary magazine "Beatitude" in San Francisco and defined "Beatnik" to Allen Ginsberg: half rhythm, half sputnik. Bob recited his poetry loudly on the streets (when he wasn't sunk into years of silence in protest of the Vietnam War) and in the bars and bagel shops of North Beach. Once, he almost landed a pop hit ("Green Green Rocky Road"), which then made Dylan's companion Dave van Ronk famous. That Kaufman is today less known than his friend Allen Ginsberg may be because he was a black Beat poet, and also a Jew. This was not compatible with fame in the US of the 1950s. Though Kaufman had the same publisher, City Lights, as Ginsberg, he was frequently arrested and jailed, and was treated with electric shocks until he developed serious mental heath issues. There he wrote his "Jail Poems". The seventh of these lent this album its name:

"Someone whom I am is no one / Something I have done is nothing Someplace I have been is nowhere / I am not me What of the answers / I must find questions for? All these strange streets I must find cities for, Thank god for beatniks."

Organic sounds, eclectic compositions and infinite grooves – we’re proud to present our very first label compilation BEATS LIKE SUMMER, Vol. 1. Composed of 17 instrumental tracks that circle HipHop, Jazz, RnB and Soul, this project is a journey through different soundscapes. It unites some of the finest beat makers and instrumentalists from around the world, including Kiefer, K, Le Maestro, DAO, Saltyyyy V, Shuko, agajon and many more. Artwork by GABE and Alex Plesovskich. Creative Direction by Robert Winter.

Limited edition LP release with inside out sleeve, main artwork embossed, sticker on the back!

Singer-songwriter Bob Lind will forever be immortalized by his 1965 hit, »Elusive Butterfly«, but his career is so much more interesting than the fading wonder of that one hit. Once a hard-partying buddy of Charles Bukowski, Lind was the inspiration for the character »Dinky Summers«, a down-on-his-luck folk singer in Bukowski's 1978 novel Women. Lind also doubled as a writer, penning a number of novels and plays as well as serving as a long-time staff writer at the lowbrow tabloid Weekly World News.

If that wasn't enough, Lind is also responsible for one of the greatest major-label 'loner' albums of all time, 1971's Since There Were Circles. After several years languishing without a second hit for the World Pacific label, Lind signed to Capitol and went into the studio with some of the biggest names in the LA country-rock scene including Doug Dillard, Gene Clark, Bernie Leadon and legendary session bassist Carol Kaye. While the record was well-received critically, it sold poorly and marked Lind's bitter departure from the music business for several decades.

The intervening half-century has been incredibly kind to »Since There Were Circles«, and it is now regarded as a cult masterpiece that pairs perfectly with Gene Clark's No Other, Bobby Charles' self-titled Bearsville album and Lee Hazlewood's Cowboy in Sweden. Lind's songwriting here is vastly darker and more self-reflective than anything from his folk-pop period, and the production is simultaneously loose and rootsy, yet lushly orchestrated and occasionally bombastic. Lind somehow manages to bring it all together with wry delivery and literate detail.

The seductive first full-length from electronic composer and multi-disciplinary visual artist Amosphère. Born in China, partly educated in Japan and now residing in Paris, her work came to the attention of a wider circle of listeners when she was invited by Laurel Halo to perform as part of a 10-hour durational ambient concert at London's Mode Exchange in 2019. Amosphère uses a careful selection of vintage electronics, sophisticated harmonic sense, and keen compositional intelligence to invite listeners into a meditative sonic space. Time expands and contracts, simplicity reveals complexity, and repetition becomes patient transformation. Spreading out over six expansive yet self-contained tracks, more die of heartbreak serves as a perfect introduction to Amosphère's warmly enveloping approach to analogue sound. Developed from scores (contained in the accompanying booklet) using techniques from concrete poetry and graphic notation as well as fragments of traditionally notated material, these six pieces take in a broad sweep of moods and approaches, from the gently burbling layered monophonic patterns of the opening 'circuit of unconsciousness', reminiscent of the sun-drenched synth figures of 70s Alvin Curran, to the haunted gliding tones and reverberating pops of the closing 'melting a piece of cadmium'. At times starkly minimal and making bold use of the stereo field, Amosphère's production approach keeps the grit and grain of her analogue gear intact, at times calling to mind the work of pioneers like Delia Derbyshire and Eliane Radigue.