Suche:creative sound

The opening track to the Alan Parsons Project’s Eye in the Sky remains the most recognized instrumental in sports—fanfare inseparably tied with introducing NBA legend Michael Jordan and his six-time world-champion Chicago Bulls mates before games, and still used by many teams as an energy-raising prelude. Indeed, the subdued grandiosity, cosmic bluster, and lights-out wonder of “Sirius” sets the table for the band’s smash 1982 album, whose hallmark smoothness, lushness, and balance extend to the music’s exquisite song writing, dreamy emotions, and underlying orchestral scope. Credit for the record’s craft, cohesiveness, and accessibility also falls to Alan Parsons and creative partner Eric Woolfson’s knack for recruiting session pros that translate their visions with unquestioned feeling—particularly, vocalists who include former Zombie leader Colin Blunstone and soul singer Lenny Zakatek.

Mastered from the original master tapes, Mobile Fidelity’s RTI pressed 180g 45RPM 2LP version of Eye in the Sky features succulent warmth, magnificent balance, low-end heft, and see-through transparency that take you into the studio with Parsons at Abbey Road Studios. Each note seems perfectly placed, every sequence painstakingly considered. Boasting front-to- back depth, concert-hall-level separation, realistic presence, and bang-on accuracy. This release will test the capabilities of the world’s finest stereo systems. There’s more information, more texture, more nuance— more of everything to be experienced. British progressive rock would never again sound so sophisticated, suave, or steady.

Boxed set of five 7-inch vinyl records, 300 copies limited edition. Artwork poster included.

All tracks remastered from the original master tapes.

Alessandro Alessandroni is no longer remembered simply as 'the whistler' in Morricone's spaghetti western soundtracks – and rightly so, since he was the key figure behind much of Italian 'secret music' from the 60s and 70s, always there in the studio during recording sessions, whether as a multi-instrumentalist or as the leader of session vocal group I Cantori Moderni di Alessandroni. Today his pervasive presence and important role has been finally recognized by music professionals and enthusiasts alike, so much so that he is now considered the true father of Italian library music – a genre whose sound he shaped since 1968.


As a film composer, Alessandroni often worked for small productions that had very limited (and often regional-only) distribution, and whose budgets were worlds apart from those in the 'top league' where friends and colleagues like Morricone, Bacalov, Trovajoli or Piccioni thrived. Rarely released as a soundtrack, this music ended up, at best, forgotten inside dusty ¼-inch reels or, at worst, disappearing into thin air.

After a string of releases that have brought back to life forgotten or lost works by Alessandroni (Sangue di Sbirro, Afro Discoteca, Lost and Found, etc.), it was pretty natural for us at Four Flies to start delving into a little investigated area of his filmography: his scores for erotic films, the last genre to gain popularity in the flourishing Italian film industry of the 60s and 70s, and perhaps the most extreme too, the one that, by pushing things too far, eventually put an end to that industry and its genres.

So, we're now very proud to present Alessandroni Proibito, an exclusive boxed set of five 7-inch records. It contains a total of 14 previously unreleased tracks from the soundtracks of 4 soft-core erotic films that included hard-core sequences and, therefore, fell somewhere in-between normal commercial distribution and the underground scene of adult movie theatres.

Taking an artisanal approach to his musical craft, Alessandroni was not afraid of having to deal with spicy subject matter, wobbly productions, implausible plots, improvised actors, or cinematographers who were clearly no disciples of Storaro. And he was so good at making a virtue out of necessity, at turning budget constraints into creative advantages, that he created soundtracks that far surpass the films' quality, with music that at once captures and elevates the spirit of the erotic genre as if into a condensed symbol.

More specifically, the maestro recorded many of the pieces in a DIY fashion at home, using a 4-track Teac tape machine to arrange his compositions. The Teac allowed him to play different instruments on each track, which meant he could basically put an entire soundtrack together all by himself, or almost all by himself.

These recordings often feature drum machines – which provide that retro, early electronic music vibe – as well as funk guitars and exotic-sounding percussion in the rhythm tracks. In addition, there is an extensive, almost bewildering use of synthesizers to replace solo instruments that would have required a paid session player. On top this minimalist arrangement, Alessandroni layered what he could: some piano chords, a little flute and, most importantly, his signature 12-string guitar phrasing.

The result is just stunning: a unique mixture of electronic music and acoustic instruments, in a style that stops short of kitsch and ranges from cinematic ambient pieces like "Tensione erotica" to disco-funk tracks like "Snake Disco" and "One Sunday Morning", both of which feature vocals by Alessandroni himself.

Alessandroni Proibito comes with artwork by Eric Adrien Lee and a matching 30x70cm folded poster inspired to the insert-size posters which used to be hung outside movie theatres to attract cinema-goers.

The boxed set is being released in a limited edition of just 300 copies and will never be reissued. First come, first served.

Extra Soul Perception proudly unveils a new collaboration between two of the most captivating artists from the future soul and R&B scene. "Undercover Lover" is the culmination of three years of an organic creative partnership between Jamma-Dee and Qendresa - one that has manifested itself just in time to soundtrack summer in LA and London; their respective homes.

Following Jamma-Dee's celebrated debut album, "Perceptions," and Qendresa's recent midnight soul bomb, "2 Much", "Undercover Lover" is a highly anticipated release that emerges as an effortlessly smooth summer anthem.

The genesis of "Undercover Lover" was Jamma-Dee's irresistibly heavy beat, which underpins an intricate mirage of interlocking rhythms and textures, with the eclecticism that has cemented the producer as a mainstay of the West Coast soul-funk scene. Qendresa's songwriting prowess shines through in seamless hooks and vocal melodies that flow effortlessly over the production with bold and uncompromising energy. Gary Gritness's live bassline, introduced during an impromptu studio session, injects a deep groove into the track.

At the engineering helm, K15's expertise further elevates the record with a resonating richness and vitality. An instrumental version on the B-side allows listeners to experience the production and bassline on a deeper level.

The resulting sound is a collaborative effort that transcends borders and genres, delivering a record that is as heartfelt as it is infectious.

"Undercover Lover" stands as a testament to the power of collaboration and creativity, embodyingExtra Soul Perception's mission to facilitate transformative musical exchanges between artists worldwide.

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About Extra Soul Perception:

Extra Soul Perception is an artist development program that operates as a label, music agency, event curator, and producer of international musical residencies. With a mission to facilitate artistic collaboration across borders, Extra Soul Perception has garnered acclaim for its innovative approach to fostering creativity and diversity within the music industry.

WAR’s head-nodding mix of music and message started a revolution 50 years ago that continues to win over the hearts and hips of fans around the world. “Greatest Hits 2.0” will be available 29th October and is a new, career-spanning collection that expands on WAR’s platinum-certified 1976 greatest hits album, featuring the legendary songs “Spill The Wine,” “Low Rider,” “Galaxy,” and “Why Can’t We Be Friends?”

WAR’s “Greatest Hits 2.0” 2LP contains 20 tracks, 2CD contains 24 tracks recorded between 1970 and 1994, including the gold-certified singles “Slipping Into Darkness,” “The World Is A Ghetto,” “The Cisco Kid,” and “Summer.” Another gold single, “Why Can’t We Be Friends?” stayed on the charts for 31 weeks and became the soundtrack to the US-Soviet space mission where astronauts and cosmonauts linked up in the spirit of friendship. In the modern era, it has been streamed more than 100 million times. Also included is the #1 R&B smash “Low Rider,” which was inducted into the Grammy Hall of Fame in 2014.

In the collection’s liner notes, Los Angeles Times columnist Gustavo Arellano says GREATEST HITS 2.0 does more than capture WAR at its creative and commercial peaks. He writes: “All the big hits are here, of course, in chronological order from the Eric Burdon days up through cuts from 1982’s underrated Outlaw…But what I love about this collection is that it’s a symphonic suite for a perfect Southern California Sunday afternoon, the kind the rest of the world wants to experience but can only dream about. You can envision it by playing these albums from start to finish.”

Garden City Movement, the critically acclaimed Indie Pop/Rock duo who is celebrated for their

dynamic sound and experimental approach, is delighted to announce the release of three sets of

singles, paving the way for their highly anticipated sophomore album, "Never On Time",

scheduled for release on July 19 via Anova Music.

From their early days, Garden City Movement has captured hearts and minds across the globe,

earning acclaim from Pitchfork, FADER, and FACT, and gracing stages at Glastonbury, Primavera,

and Pukkelpop. Despite the challenges posed by cancer and the departure of a band member,

the duo has emerged stronger than ever, marking their territory in the music world with notable

achievements, including "Summer Night" being chosen by EA-Sports as the FIFA 22 official

soundtrack and a performance at the 2023 Formula 1 race in Singapore.


Garden City Movement, comprised of Roy Avital & Johnny Sharoni, is globally recognized for their

experimental soundscapes. They've drawn attention from prestigious platforms like Pitchfork and

FADER, and earned the title as the official soundtrack for EA Sports' FIFA 22, for "Summer Night".

Their resilience in the face of adversity, including a battle with cancer that put a temporary hold

on their music, only fueled their creative fire. In 2019, they made a triumphant return, further

solidifying their international presence with a successful tour in Japan, which earned them a spot

on the Top 100 "J-Wave" Japanese charts for "Miss You Under Shimokita Sky". A few years later in

2023, they were invited to perform at the renowned Formula 1 event in Singapore. Despite recent

changes, with Joe departing and the band transitioning to a duo, Garden City Movement

continues to evolve. Their upcoming album promises exciting collaborations across genres,

reflecting their diverse influences and the personal growth from their challenges. This next

chapter is not only a testament to their artistic innovation but also their enduring spirit.

Prolific Danish drummer Emil de Waal has come to be known for his unique and personal contributions to a wide variety of musical projects in jazz, pop, rock, and electronica, including Kalaha, Baghdad Dagblad, Maluba Orchestra, and his own quartet to name a few. Well versed in the art of collaboration, his new record is his first solo undertaking, combining his jazz musicianship with his affinity for the offoff-kilter and electronically manipulated. Comprised of seven original compositions, as well as creative reinterpretations of pieces by Charlie Haden, Duke Ellington, and Hans Henrik Ley/Jannik Hastrup, the record is a collection of intimate, interactive duo performances decorated with sounds and textures from the electronic world. The record s title translates to four eyes ", a double double-entendre alluding to the album s duo approach, under four eyes so to speak, as well as to the fact that de Waal wears glasses. Making a conscious effort to collaborate with more female instrumentalists as well as musicians de Waal hadn t played with before, Fire Ojne " features a wide spectrum of organic instrumental timbres on the prepared piano, clarinet, saxo-phone, pedal steel guitar, and bass flute. From sung melodies and winding improvisations to spacious, experimental textural approaches, each piece sees de Waal engage in a private conversation with a musician he s admired. From the bluesy New Orleans feel of Ellingtons Limbo Jazz "", to the glitchy, menacing, avant avant-garde groove of Halvfirs Fems "", to the spacious, twinkling, ethereal Diskurs "", the album showcases the staggering breadth of the drummer"s influences and ideas. Programmed drum beats, vast reverbs, foley recordings of flowing water, and ricocheting delays craft an expansive, surprising and inventive context for improvised music in the 21st Century.

"Clinamen" is the random and unpredictable movement of atoms, which inexplicably change direction during their fall and thus encounter each other. From this chance encounter, the divine does not arise but actually dies, since the atom is nothing more than the aggregation of infinitesimal parts of matter, converging into unity. From this one, from this singular, from this self, I want to escape. Having abandoned the vain glory and hope of passions, I strive towards the sacred, for the gods themselves are also made of atoms. In this sacred secularism of mine, in this exodus from myself, I finally recognize the truth: there is no difference between us and them. Everything converges into a single point, which is the whole. And I find peace. You will find the rhythmic and unpredictable chaotic tale of the atomic fall towards oneself. As the infinitesimally small and the infinitesimally large come to coincide in the creative moment, even time bends and adapts in the service of this imperceptible revelation. Through post-tribe sounds of ancient remiescence to the most contemporary clubbing subculture, passing through an exasperated minimalism that leaves no detail behind. Complex, elegant, profound. Open to any change

2024 Re Edition
French producer and DJ Nathan Melja returns with his debut album, "With Dan!", out via his own imprint Parodia, the follow-up to a series of breakthrough releases on cult labels Mister Saturday Night, Technicolour, Antinote, Kalahari Oyster Cult and more.

Produced and recorded over the past two years hand-in-hand with his father Dan, a seasoned guitarist and sound engineer, this album is his most personal project to date and holds a true feeling of spontaneity, juggling between genres and driven by Nathan's characteristic unrestrained creative approach.

Over the course of its ten tracks, Nathan gently steps away from his previous dance offerings in favor of exploring new paces and rhythms, while consistently delivering a refreshed take on his trademark hybrid sound palette and textures. On "With Dan!", he embarks an array of local and international friends on vocals, which bring yet another dimension to his rich, at times lush, at others challenging music.

Forget what you know! We don't know nothing!

LRK are excited to announce their next full album release LRKLP-08

'ALL I EVER WONDER' By Johnny Burgos

Available on LP/CD/DIGITAL

Singer, songwriter, and producer Johnny Burgos converges with veteran soul producer, Jeremy Page, (Kendra Morris, Czarface, MF Doom) to offer their first joint album together titled, 'All I Ever Wonder.' The album is a vividly vulnerable and honest effort by Burgos, lyrically and vocally, supported effortlessly by Page's masterful production. The pairing of the two seems meant to be, with a sound steeped in retro soul techniques, the album is equal parts novelty and nostalgia, equalling a timelessness that speaks to the humanity in all of us. All I Ever Wonder will be released on Vinyl, CD and all digital platforms on Friday, JUNE 28th, 2024 via UK-based Soul label LRK Records.

Johnny - "Jeremy and I have been ships passing in the night for years now. However, our first official collaboration was a 2021 remix of my song The Grey, which featured his long-time co-collaborator Kendra Morris. From the get-go, the musical chemistry was strong, so we took a shot at writing some original tunes. Since then, we've locked in on a creative groove and churned out a bunch of material. As we learned how to complement each other's musical strengths, the project took on more form and purpose, exploring heavier subject matter and expanding its range of genres. I'm pretty sure that's what makes this project so fun for us, and possibly what the early gatekeepers and listeners resonated with most. Neither of us expected such a reception to the music, which only made us more excited to hone in with more intention towards a goal. This also allowed me to bring more raw ideas to the table and have the confidence in Jeremy to hear the potential, then work his magic to extrapolate on my foundation. The teamwork in this effort was inspiring as we listened and referred to each other in every step of the process, and had a crew of killer musicians on deck for when we needed the extra feels on some joints.

We worked really hard on this record and hope it reconnects our listeners to being human in a visceral way. It's accessible, honest, and soulful because I wanted it to speak to anyone who still wants music to relate to. Music to help you through the valleys, to celebrate the peaks, and handle everything in between. It's a journey of the soul that explores ego, insecurity, love, loss, survival, enlightenment and trusting the process. It's truly 'All I Ever Wonder.' "

"All I Ever Wonder" will have its digital release through LRK Records on all platforms on Friday, JUNE 28th, 2024.

Johnny Burgos is a Brooklyn - born singer, songwriter, producer & engineer. His brand of future-soul embodies a raw uncompromising sound revealing beauty from pain, hope from despair, and the will to keep fighting. Especially influenced by his uncle and world-class percussionist, Andre Martinez, Johnny grew a fascination with the percussive rhythms of salsa and soul music, eventually manifesting into a devoted passion for Hip Hop production using an Akai MPC. With influences from Michael Jackson, OutKast, J Dilla, Lauryn Hill and D'Angelo, Johnny's music draws upon the core principles of R&B, while encompassing elements of Hip Hop, Funk, Pop, Salsa and Reggae.

Johnny has collaborated with DJ Skizz, for Mobb Deep & M.O.P., Marco Polo, Frans Mernick, Liza Colby (The Gold Setting) and led his band Bridge City Hustle, with whom he toured nationally.

As a solo artist Johnny debuted with back-to-back brand endorsements from French's Mustard and Samsung US, using them as a platform to launch his 2018 EP 'Love Through it All.' His debut album 'Gone Into The Grey' was released to critical acclaim in March of 2021 and has since been added to multiple editorial playlists by Spotify, Apple Music and Tidal, creating exponential growth. In 2022, Burgos' song 'Wild About You' was heard as the soundtrack to Neiman Marcus' "It's Your Moment" global streaming campaign. Johnny's currently amid promoting his latest album, The Tangent Tape, performing with his band The Butter, recording new collaborations and preparing his upcoming LP with Jeremy Page & LRK Records.

credits

releases June 28, 2024

The multifaceted Perth-based record label 823, founded by Australian producer and creative powerhouse Ta-ku, is gearing up for "All Things Considered Vol. 3." Committed to detail and a celebration of life's simple pleasures, this LP refuses to be confined to any single genre. Noteworthy releases from 823 include Cabu's "So Far To Go" EP, Ta-ku and Matt McWaters's collaboration "Black and White," featuring the Masego collaboration "Flight 99," and their debut project with Australian producer and instrumentalist Kuzich.

This time, The guest list includes Jakarta Records beat-veterans Alexander Flood, Lucid Green, and Cabu, bringing RnB with a soulful twist that's sure to warm the heart. Playfully melodic artists Makzo, falcxne & Seb Zellner blend jazz, soul, and sweetness creating a natural and playful sound for the LP. Den Brooks, Lovesome, and Tambala all contribute to the rhythmic neo-soul zest on the iconic 808 beat.

On the whole, "All Things Considered Vol. 3" embarks on a forward-thinking rhythmic journey into the creative minds behind the LP. It's as diverse and eclectic as those minds themselves and proudly follows up on its first and second volumes. Natural sounds blend seamlessly with electronic elements, from lush melodies to wintery vibes. Playful vocals adorn this 12-track gem, from Lucid Green's ethereal journey "Splash" twisted in UK garage vibes to the jazz-pop infused "Lost & Found" by Makzo & friends, echoing Jamiroquai-esque beats. The first single, "Babyslowdown" by MXXWLL, takes center stage with its strings, while Alexander Flood's James Bond-inspired melody receives a funky update.

“MARK” is the new solo record from acclaimed drummer and composer Mark Guiliana: an auditory manifestation of one of theworld’s most creative and innovative musical minds. Ever since the first day he picked up a pair of drum sticks, Mark Guiliana has been instinctively exploring and absorbing themusic and rhythms that have been ever-present in his life. Fast forward to the present day and he has earned a formidable reputation as a world-class drummer, composer and thinker at the forefront of contemporary jazz and beyond. Guiliana’sartistry defies convention, weaving together a musical output beyond jazz with the ultimate goal of creating compelling musical narratives.

His songs serve as a conduit for his relentless quest for creativity, striving to share his sonic visions withthe world in their most unadulterated form. Guiliana’s new album “MARK”, represents an introspective voyage into his creative depths. On the record, Mark performs soloon a wide array of devices; you can hear his quintessential grooves intermixed with intriguing percussive soundscapes,sublime tapestries of synthesisers and fragments of spoken word. “MARK” is an album that peels back the layers of Guiliana’sexperiences, reflections, and the wisdom gleaned from a life immersed in music. It transcends genres and defiescategorisation, floating in the boundless space of pure expression.

Through music and through life, Mark looks into the mirrorand asks eternal questions of identity and growth: who am I, where am I going and what do I stand for? This album invites listeners to share in Mark’s personal dialogue, offering a sanctuary where they can begin to untangle and examine themselves track by track. “MARK” is an exploration of new and uplifting musical territory, unrestricted by norms andfree from preconceived ideas or satisfying (but ultimately unfulfilling) genre expectations. It embodies the impact of Guiliana’sjourney, marking his evolution as an artist. This record echoes the spirit of freedom, the courage of inquiry, and the beauty of unfettered expression.

Pearlescent White Vinyl with A5 card inserts.

"1996-97? Yeah, that’s when New York was still NEW YORK!

That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!

There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.

When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...

Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!

And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!

A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"

- DJ Romain

Emerging from the shadows and plumes of smoke, Chicago, IL ensemble HUNTSMEN are set to make their return in 2024 with their third album, The Dry Land, set to be released via Prosthetic Records on June 7. On their first full-length in four years, HUNTSMEN’s The Dry Land traverses the liminal space between the living and the dead by lifting the veil of the abyss itself. Born of suffering and hardship, The Dry Land unifies the dark and light that resides in all of us through allegories of purgatorial strife and human spirit. Following the release of their sophomore full-length, Mandala of Fear, in 2020 and The Dying Pines EP in 2022 HUNTSMEN’s intervening years between studio albums were marked with devastatingly contrasting highs and lows. Whilst their body of studio work continued to garner acclaim from fans and critics alike, chronic illness would become a recurring uphill battle for the ensemble. As these jarring mixed fortunes reached their apex towards the end of 2022, the band reached towards each other outside of their craft as old friends. Taking stock of four years of tribulations led to a reevaluation of what it is to be creatives and, in turn, ushered in a collective rebirth. Writing sessions saw a number of artistic firsts for HUNTSMEN, most notably with the first full collaborative inclusion of vocalist Aimee Bueno-Knipe. The creative process soon saw HUNTSMEN adding more black metal influences into their Americana and folk tinged doom, evidenced most overtly on tracks such as This, Our Gospel and lead single In Time, All Things. Elsewhere, HUNTSMEN’s knack for finely crafted and richly layered melodies offer moments of resplendence on the slow burning Lean Times and closer The Herbsight. Mirroring the circumstances and environment that led to its creation, The Dry Land’s pacing is one rooted in the art of rise and fall dynamics both musically and lyrically. Tales of escaping religious violence, malevolent apparitions and death incarnate all play key roles throughout the album’s narrative thread. HUNTSMEN treat each tale as both exorcism and exaltation, adding a pervasively unsettling quality to The Dry Land that is sure to stick long after the runtime is over. The Dry Land was recorded and mixed by Pete Grossmann at Bricktop Studios before being placed in the hands of Brad Boatright for mastering, with the resulting sound adding a towering grandiosity to the album whilst simultaneously highlighting HUNTSMEN’s newfound corrosive qualities. The Dry Land’s striking cover art was created by Derek Setzer, depicting an immolating dancer in high contrast black and white amongst rusted gold. Through the fire, HUNTSMEN find themselves reborn on The Dry Land.

Ex-Here We Go Magic frontman Luke Temple emerges with a new project, Luke Temple and The Cascading Moms. Debut album, Certain Limitations. Lauded for his contributions to Here We Go Magic and Art Feynman, Luke Temple brings his signature off-kilter grooves and melodies to his new project's debut album Certain Limitations. The trio's sound takes influence from the likes of Dire Straits and The Velvet Underground, weaving together intricate guitar work, and a propulsive rhythm section, with a touch of jazz sensibility that recalls the ECM catalog. A product of serendipity, The Cascading Moms were formed when in need of a band for an upcoming show, Temple brought together Kosta Galanopolous, a collaborator from his Art Feynman project, and Stuart, a musician he already knew in LA. When these three came together to rehearse, a spark ignited, revealing a creative connection that transcended that first show that brought them together. The album's lead single, "I Can Dream," originally appeared on Art Feynman's Half Price At 3:30. However, aer reworking it with the Cascading Moms, the song took on a new life. This reinvention exemplifies Certain Limitations' core concept: a collection of songs honed and reshaped through the improvisations and collaborative spirit of three musicians creating and exploring a new sonic world.

Welcome to the " Triangle d'Or " by Nathan Melja. The first opus of a series to come out on his label Parodia, this record is an ode to those Parisian nights where the prestige and extravagance are prior.

Showing a strong willing to integrate elements from the mainstream world in his creative process, the EP opens with the contemplative and emotive 'Stargazing'. You're walking down Champs Elysées, looking at the sky. In a fraction of a second, everything starts to move in slow motion. You're passing out, your eyes stuck on moving stars. It was all a dream, they say.

As you wake up, you're sitting next to a glossy club. 'UnDcided' is blasting out of that neon door. You get lost in its colorful and trippy intro before your head starts to feel the vibrations of its wobbly baseline.

You need a cocktail to get your night started. You enter the restaurant next door. 'Welcome!' is playing in the background. That's Patrick Holland on the guitars you just tried to Shazam! Like the missing piece is not missing anymore.

One too many drinks - you got lost in the groove of the night. It's time to go home. As you leave the club, the sounds of 'Bblluurrryy' are floating in the air, every noise you hear melts into the music. Everything looks hazy. Nothing feels the same anymore.

German artist Martin Matiske’s start in music came at the hands of the legendary DJ Hell, who invited him to his first DJ gigs in 1999 at one of his Gigolo label nights in Munich. His own productions, inspired by early electronic pioneers like Kraftwerk and Jean Michel Jarre, soon followed on International Deejay Gigolo Records, as have many more since on Frustrated Funk, Bordello A Parigi, Moustache Records and Central Processing Unit. Matiske has had high-profile support from the likes of Dave Clarke and Helena Hauff, and this new EP for Brooklyn-based label Melodize is another one that will likely find wide acclaim.

The fantastic ‘Moments’ opens up with ice-cold snares and drum sounds that are backlit by celestial pads as retro-future synth work brings colour to this catchy and optimistic proto-electro groove. ‘Moments’ then gets a sublime remix treatment from the prolific and endlessly creative Legowelt, who has explored every different style possible under a myriad of aliases on a range of cult labels like Clone, LIES and Crème Organization. The Dutch maestro’s superb take on ‘Moments’ is an astral electro workout with killer acidic lines, squelchy bass and daubs of psychedelic colour.

On the flip, ‘Dimensional Space Travel’ is another cinematic electro journey that taps into the motorik tick of Kraftwerk with distinctive melodic phrasings, forming a playful call-and-response with the background chords. Closer ‘Analogue Being’ taps into early electro with lovably tinny rhythms and sugary, pixelated analogue chords that bring a sense of nostalgia and ruefulness.

LIMITED REPRINT .Introductions by David Fricke and Adrian Shaughnessy. 224 pages, comes in a tactile Geltex hardcover and is beautifully designed by Hiorthøy. Includes a 7" single with exclusive tracks from Fire! Orchestra, The Last Hurrah!! and Maja S. K. Ratkje. It´s no secret that Rune Grammofon founder Rune Kristoffersen is a big admirer of labels like Blue Note, Impulse, ECM, 4AD and Factory, to mention some labels with strong visual identities. But we can´t recall another label that has worked with one designer exclusively for 25 years and some 250 releases. A singular visual language that's as distinctive as Hipgnosis' 1970s surreal juxtapositions, or the brooding portraiture gracing ECM Records' output. Prog (UK) As well as being a piece of guaranteed coffee table eye-candy for music lovers, the book promises an insight into the fascinating process of bringing a record and its cover to life. Creative Review (UK) RG feels like a dream vision of a record label - fuelled by passion, irreverent in tone yet serious in execution, somehow miraculously buffered from corporate industry expectations. The sound and visuals here cover two decades of inspiration and unpredictability, but they also bristle with creative possibilities for a long time to come.Elephant (UK)

Mario Rusca is most probably the biggest living Italian jazzman. His major influences are Duke Ellingtons composing abilities and Hampton Hawes' brilliant sound. He immersed himself in the harmonic inventions of the incredible pianists of the 60s and 70s: from Bud Powell to Bobby Timmons, Wynton Kelly and Bill Evans. Mario Rusca has been the house pianist of Capolinea, the most important Italian jazz club of the 70s and 80s. He went on to perform in important national and international settings-representing Italy in the "Piano Solo'' category of the "International Festival of Varsavia" and participating with his quintet at the "International Festival of Montreal". He has collaborated with a multitude of prestigious names: Chet Baker, Tony Scott, Curtis Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Bob Berg, Lee Konitz, Dusko Gojkovic, Al Gray, Kay Winding, as well as Stefano Bagnoli, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Jimmy Owens, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy, Steve Grossman, Franco Ambrosetti, Woody Shaw, and Eddie "Lockjaw" Davis. With Gerry Mulligan, in particular, he toured in 1976 and with Lee Konitz, he recorded Wheres The Blues? at the end of the 90s. In this regard, Suspension in 1975 with Tullio De Piscopo and Recreations in 1976 with the phenomenal Larry Nocella playing saxophone are still very beautiful and modern recordings. As Mario says, "In jazz, you choose the companions that you can dialogue the most with.there needs to be an interplay, there needs a...a way of feeling, which is why you choose musicians because they feel like you, or, if nothing else, they follow you". The chemistry between the three of them is perfectly aligned, synergistic. Tonys drums and Riccardos bass create a soft and essential rhythmic tapestry that never hinder the creative prowess of the band leader. Here Mario Rusca is interpreting the most dynamic jazz standards. Blues for Gwen by McCoy Tyner, Blues Walk by Lou Donaldson, Blue Minor by Sonny Clark, Turnaround by Ornette Coleman, Bass Blues by John Coltrane or even Super Jet by Tadd Dameron. You cant help but imagine yourself on top of a convertible, smiling and carefree, while they travel through the soloist progressions of Turnaround and Super Jet. We need to underline the four originals included in this recording: Blue Dream (for Allerim), Tempo Blues, Double Horn e Monochrome Blues, extremely suggestive compositions, rich of intuitions and which well exhibit Mario Rusca composition skills and his ability to play the blues. MONOCHROME BLUES is a winning trio album which will deeply please the most demanding jazz hears. The musicians Mario Rusca (piano) Riccardo Fioravanti (bass) Tony Arco (drums)

For their fifth collaboration Marc Barreca and Kerry Leimer set aside their more abstract creative approaches to composition in favor of basing the music of Arrhythmian on beats. Using rhythm as texture, the tracks gravitate to concussive and bass voices, high bpm rates, and constantly evolving timbres shaped by granular synthesis, sampling, heavy processing, audio manipulation, rich distortion, with the maximum dynamic range vinyl can offer. “We’re always thinking about sound quality, about what’s possible in a recording for vinyl demands a very specific approach. Pitch, dynamics, layering, density all play a more significant role in analog recording and reproduction,” says Leimer, as Barreca continues, “Let’s just say it’s not music you can dance to...” Arrhythmian is released as a double disc vinyl set, produced to safely allow the grooves their maximum possible excursion while giving one’s stylus a rewarding and demanding workout. Marc Barreca and Kerry Leimer have worked on a nearly parallel musical course for more than forty years. Nearly parallel because their musical paths do occasionally cross. First in 1980 with “Four Pages From An Unfinished Novel” on K. Leimer’s first solo album Closed System Potentials. Again during the live performance of Music For Land And Water and for the massive loop piece “Heart Of Stillness” from The Neo-Realist (At Risk) by the virtual group Savant. K. Leimer founded Palace Of Lights in 1979 and has been actively producing music since the mid 1970s. Marc Barreca has created and performed electronic music since the mid-1970s. His 1980 vinyl album, Twilight, was among the first releases for Palace of Lights Records. Their work is part of the Collection of the British Library. With Steve Peters, Leimer and Barreca form the collaborative trio Three Point Circle

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.

A year ago, the Philharmonie de Paris invited French musician extraordinaire Christophe Chassol to write a musical piece as part of the Basquiat Soundtracks exhibition. Chassol took on this commission to offer a poetic and unique work around the painter and his creative gesture. From his research were born seven daring compositions, which we find here on a magnificent limited edition vinyl, as, captured live in the prestigious concert hall.

Richard Ashcroft"s fourth solo album "These People" became a fan-favourite in 2016, receiving great reviews and becoming a #3 album in the Official UK Albums Chart. His reunion with Wil Malone, who had previously worked on the string arrangements for The Verve"s seminal albums "A Northern Soul" and "Urban Hymns" added depth and emotional resonance to the album"s sound. Ashcroft demonstrated his continued relevance and creative prowess as a solo artist, reaffirming his status as one of Britain"s most enduring and influential musicians. Released on his Righteous Phonographic Association label via Cooking Vinyl, and now available on vinyl again in a 2LP special edition Clear and Blue Marble Vinyl effect, housed in a Gatefold sleeve.

Released in 1999 on Taylor Deupree’s 12k label, »optimal.lp« was the debut album by Dan Abrams under his Shuttle358 moniker. For its 25th anniversary, Keplar presents it on vinyl for the first time with three previously unreleased tracks—the digital version also includes a alternative version of »Tank«—as well as a new artwork recreated by Daniel Castrejón and a remaster by Andreas LUPO Lubich based on the original pre-masters that were been restored and cleaned up for the reissue project by Abrams. »optimal.lp« was inspired by the rich tradition of ambient music and the rhythmic complexity of 1990s electronica while also sharing many traits with the then-emerging clicks’n’cuts movement, making it a true sui generis piece of work—both informed by tradition and visionary, idiosyncratic and seminal for many artists after him.

Abrams developed an interest in ambient music when he was still a child, scouring through cassette tapes of environmental sounds, new age music, and world percussion. Discovering Brian Eno’s »Thursday Afternoon« as a young teenager marked a turning point for him. »It gave me the idea that ambient music could be an intentional creative act, that tone itself is a legitimate form of expression,« he says today. During the 1990s, he increasingly immersed himself in the electronica scene and the output of labels such as Instinct, where Deupree worked as an Art Director and released his first records as Human Mesh Dance. Abrams found a home on 12k after sending Deupree a demo tape that would later evolve into »optimal.lp,« released as the label’s fifth catalogue number.

Abrams was still in college when he started experimenting with a sound module, his laptop and a mixer as well as a MIDI card and a small controller. »Each note was composed in MIDI and played back when I was ready to record,« he explains his working process at the time. »The tracks could be replayed, but the sound interactions with glitches and noise would be a little different each time. I decided to base the concept of the album on these interactions.« Each piece started with a single sound or tone that, as Abrams puts it, already contained the entire composition: »I let these interactions guide me, and tried to complement them as I added sounds. It’s a conversation of sorts with the medium.«

While refining this technique that he would go on to use on every album until 2004’s »Chessa,« reissued by Keplar in 2021, he also used the first-ever Native Instrument product, the Generator soft synth, to write the record’s title track—possibly making it the first album on which it was being used. »optimal.lp« is marked by this curious interplay of cutting-edge technology, the limitations with which every college student with a small budget is faced, and boundless creativity. »I’ve talked with other artists about how we feel about our early work,« Abrams says today. »We all agreed that there were elements that remain a part of us in a timeless way, despite our techniques—or lack thereof—at the time. ›optimal.lp‹ has a lot of things that will always be with me, that are me. I think I left some clues in there for my future self.«

This sense of timelessness remains tangible after a quarter of a century after the album’s original CD release and is even being expanded upon by the vinyl reissue, which is complemented by three pieces that were made while Abrams was working on the album. The digital release even features an entirely new take on the original album’s final piece, »Tank.« While Abrams let one of the masters go through his customised reverb unit when preparing the reissue, he started recording the results of this accidental dialogue between past and present. It’s a fitting tribute to an album whose delicate circular rhythms, rich textures, and ethereal melodies are precisely so exhilarating because their interplay seems to suspend the passing of time altogether.

“The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”

As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light.

The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act.

From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence.

Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore.


Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming.

“The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”

As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light.

The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act.

From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence.

Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore.


Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming.

After the resounding success of their last album "Garden Island," released in 2021, the octet hailing from Tenerife is back with a new album titled "Ganzfeld."
While "Garden Island" drew inspiration from the philosophy of César Manrique and his groundbreaking ecological work on the island of Lanzarote, for this new album, Gaf & The Love Supreme Arkestra turn their creative gaze to the lowland areas of northern Tenerife aka Isla Baja (the low island). Here, they envision a retro-futuristic soundtrack for a misty coastal drive, filled with humid atmospherics and expansive jams featuring their trademark blend of avant-jazz, psychedelia, and freestyle rock.
Evoking a natural synergy to the proceedings, this new work presents the octet in a more ethereal tip than its predecessor. Saxophones, trumpet, bass, guitar, synths and marimba come together with added winds (Herreño and Vietnamese flutes) to create a wide spectrum of auditory escapism that, were it not for the band’s aforementioned natural instincts could result into a nightmarish vision. Instead they create an holistic esoteric sound where sea and earth come together in ecstatic ways conjuring images of peace and menace whilst never letting their raw, explosive energy go unchecked.
Another standalone work from a band that rejects banality, constant in their pursue of experimentation at the edge of the Atlantic ocean. Drive on!

"In partnership with WaterTower Music, Waxwork Records is thrilled to release GODZILLA x KONG: THE NEW EMPIRE Original Motion Picture Soundtrack by Tom Holkenborg! The epic monster-battle continues with an all-new adventure that pits the almighty Kong and the fearsome Godzilla against a colossal undiscovered threat hidden within our world. Godzilla x Kong: The New Empire (Original Motion Picture Soundtrack) features 23 new tracks created for the film by Grammy-nominated composer Tom Holkenborg, aka Junkie XL (Mad Max: Fury Road, Deadpool, Zack Snyder’s Justice League) as well as composer Antonio Di lorio. Composer, Tom Holkenborg says, “I’m a huge Godzilla and Kong fan, and loved working with director Adam Wingard on 2021's GODZILLA VS. KONG, so returning to these monsters to score their biggest adventure yet was a dream come true. These are two of the most enduring names in Hollywood and Adam has done an amazing job implementing his vision for these icons. I was also delighted to be able to name Antonio Di Iorio, an incredibly talented composer, who has worked with me for many years, as my co-composer on this movie. I couldn’t be more enthusiastic to continue my adventures with Adam and expand our creative relationship in the Monsterverse.” Waxwork Records is excited to present GODZILLA x KONG: THE NEW EMPIRE as a deluxe double LP featuring the original soundtrack by Tom Holkenborg pressed to 180 Gram colored vinyl, housed in heavyweight gatefold jackets with matte satin coating, a 12x12 heavyweight art print insert, and design and layout by Matt Needle."

Godzilla X Kong: The New Empire by Tom Holkenborg & Antonio Di Iorio, released 21 June 2024, includes the following tracks: "Monarch Base - Red Dream", "Leaving Colosseum - New Dossier", "Friendship", "Approaching the Lake" and more.
This version of Godzilla X Kong: The New Empire comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

The vinyl is pressed as a swirl splatter, neon & pink & blue etc. disc. Another vinyl is pressed as a swirl splatter, neon & pink & blue etc. disc.

Above & Beyond release yoga and mindfulness-inspired ambient LP: “Flow State” Above & Beyond today announced ‘Flow State’, a49-minute panoramic journey of ambient compositions and warm, neo-classicalsoundscapes that offer moments of meditative calm in these busy and often overwhelming times. A break from the anthemic dance sound that swept Above &Beyond’s ‘Common Ground’ LP to #3 in the Billboard Album Charts in 2018, ‘Flow State’ is the culmination of a journey which began at Burning Man in 2014. A chance encounter on the Playa led to a spontaneous sunset yoga set on the infamous Robot Heart stage, guided by renowned yogi Elena Brower. A magical and spiritual experience for those present, it inspired Above & Beyond to begin opening their biggest global gigs with yoga sets, creating transformative experiences for 25,000 strong crowds at The Gorge Amphitheatre in Washington and Huntington Beach, California. The original Burning Man yoga set has subsequently gone on to amass over 2 million streams on Soundcloud. As the band began writing more original music for these yoga sessions, the seed for “Flow State” was sown. “Our music has always been about getting in touch with, and understanding and accepting our emotions. After those amazing yoga sets, we realised thatthere is a bigger place for this more reflective music within our little universe,” explains Above &Beyond’sPaavoSiljamaki. “With the Flow State project, we want to help bring people's attention and focus towards helping themselves find better mental fitness and overall happiness in life,” adds Siljamaki. “Through raised awareness, being more present, one can reach a state of flow: a creative and free state of mind where time, fear and stress dissipate.” To long-time fans of Above & Beyond, this new album will come as no surprise; quieter moments have always been essential components of their chart-topping electronic albums.

Jacken Elswyth is a London-based folk musician, banjo player, and instrument builder. At Fargrounds is her third solo album, her first for the Wrong Speed label and the latest in a rich catalogue that repositions the spectral, vulnerable sound of the banjo away from its familiar role as signifier of the past and onto lands brave, new and unexplored. “The living wood is imbued with qualities that require engagement and understanding. Working with cherry, oak or walnut involves naming it an equal partner. The parallel, synchronous transformations of wood into instrument, of growing tree into resonating sound, musical tradition into musical flourishing, lie at the heart of Jacken Elswyth’s practices both as an instrument builder and as a creative musician. One might consider her primarily as a worker in wood, but whose craft and fields of expression are absorbed by those transitional and interim processes that manifest change. The traditional tunes included here have been cultivated and maintained by generations of players and collectors, pruned, grafted, and shaped over time. However, in this setting, their long-established forms seem to morph and shift. They audibly accrue unique qualities, blossoming and swelling into new modes of being, bright-stepping arrangements unfolding with a liveliness hinting at practices of ritual and community. Meanwhile, other pieces, creative cornerstones of this collection, appear fluid, partially formed. They suggest not the cultivation of new growth from established stock, but instead the actions of something on the verge of taking form. Working with raw elements of melodic and tonal abstraction, they illuminate the process of emergence and evolution. In this context, the title At Fargrounds is telling. It suggests a point set at some distance from any centre of human concerns, a liminal space in which the cultivated world encounters the world of other living things in their living state. Here, the innate strangeness of the maintained environment–vast lawns, sculpted hedges, vacant playing fields–encounters sprawling vistas of driftwood, dense thickets of brambles, stony hillsides. Across a full century-and-a-quarter, long-standing rural and pastoral musical traditions, at some distance from their origins, have been preserved, nurtured and re-shaped under the folk revival. Placed here, these artefacts now sit in alignment with unvarnished documents featuring the raw elements of sound-making. Their working-together is achieved through a universally-applied interest in musical growth and development. The juxtaposition and combination of these elements gives evidence of new, emerging approaches to community and social music: familiar, known, yet charged with an alien vitality”–CWK Joynes. “...she knows how to knit atmospheres, and does so to especially powerful effect during Scene 4b’s three minutes of stunning bowed banjo, yearning with longing and dread, while showing off her talent, curiosity and range”–Jude Rogers review of Six Static Scenes (Guardian Folk Album Of The Month July 2022) "Jacken is an emotive player with high technical ability. Further, she builds banjos and other instruments, and that intimate knowledge of the bones and fibres holding everything together means that her playing has very few cracks" - Foxy Digitalis

Unveiling an unheard scene: Glossy Mistakes presents "Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993"
Glossy Mistakes is proud to announce the upcoming release of "Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993," a groundbreaking double LP compilation that offers a unique glimpse into the vibrant landscape of Portuguese experimental music. Set to launch on June 10th, this monumental release showcases the evolution and innovation of the Portuguese music scene during a transformative decade marked by political upheaval and artistic experimentation.
Compiled by Glossy Mario and featuring liner notes by Rui Miguel Abreu, "Atlantic Mavericks" captures the essence of a generation of artists who dared to challenge conventions and push the boundaries of what was possible in music.
The compilation stands as a testament to the eclecticism of the Portuguese music scene during this period, featuring a diverse range of genres and styles. From ambient and new age to electro, rock, and synth-pop, "Atlantic Mavericks" offers something for every listener, inviting them to explore the rich tapestry of sounds that defined the era.
The 1980s in Portugal were a time of profound transformation, marked by the aftermath of a peaceful revolution and a burgeoning desire for artistic expression. As the country emerged from political turbulence, a new generation of musicians began to explore uncharted territories, paving the way for a wave of experimentation and innovation.
From the emergence of artists like Rui Veloso and bands like UHF, who ushered in a new era of Portuguese rock, to the founding of independent record labels like Fundação Atlântica and Ama Romanta, the 1980s saw a surge in creativity and a desire for independence within the music industry.
"Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993" offers a comprehensive overview of this dynamic period, featuring tracks that span the spectrum of experimental music. Each song tells a story of artistic evolution and creative risk-taking, reflecting the diverse influences and eclectic tastes of the Portuguese music scene during this transformative decade.
Spanning from 1982 to 1993, the compilation includes contributions from a wide range of artists, including SPQR, Croix Sainte, Linha Geral, Balladium, Ban, Santa Maria, Gasolina Em Teu Ventre!, Fé de Sábio, and Telectu, among others. With each track carefully curated to showcase the breadth and depth of Portuguese experimental music, "Atlantic Mavericks" promises to be a must-have for music enthusiasts and adventurous listeners alike.
"Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993" will be available on June 10th as a double LP release, offering listeners a chance to immerse themselves in the sonic landscapes of 1980s Portugal. Whether experienced on vinyl or through digital channels, this monumental compilation is sure to leave a lasting impression on all who encounter it.

My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."

Blue Vinyl - After releasing two brilliant albums in 1986 (Born Sandy Devotional and In The Pines, which both were critically acclaimed), The Triffids were finally snapped up by a major label, Island. The Triffids set out to make their most epic sounding album yet, working again with producer Gil Norton (known for his for with Pixies, Echo and The Bunnymen and many others). The result was Calenture, one of the best albums made by anyone, ever! Abandoning the lo-fi sound of their last album, In The Pines, and instead returning and expanding on the lush and majestic sound heard on Born Sandy Devotional, Calenture captures The Triffids on their creative peak, and is also probably their most accessible album, since it really has no weak songs.

When Man Man released its last album, "Dream Hunting in the Valley of the In Between," frontman Honus Honus (née Ryan Kattner) was in a state of unrest, oscillating between hope and cynicism. Perhaps fittingly, the album dropped during the pandemic, a time at which we could all relate. But, much like that bizarre turn of events, the ennui now seems so distant to Man Man. A revived sense of purpose washes through Man Man's new album, Carrot on Strings, radiating a mix of calm and confidence. Kattner always embodied a wild-man pied-piper vibe: his melodic, unhinged art-rock was at once intriguing and angsty. He was so alluringly creative that you went along with it, even if you were never sure where Man Man would take you. Carrot on Strings is no less inventive, but its ethos is radical in context of the band's two-decade career. "When I was younger, I would feed off of chaos. I would, you know, be upset and get drunk and smash chairs," Kattner explains. "Now those chairs are in my head: It's less of an outward projection, more of an interior monologue." The name "Carrot on Strings" came to Kattner while experimenting with the sound of someone munching on the vegetable, which you can hear in the cacophonous, similarly named song. It alludes to how success always seemed to dangle uncertainly before him, often just out of reach. But listen intently and you'll hear a more content Kattner finding an uneasy peace: "Life, as far as I've known it, has always been side hustles. Would it be great if I could go into a studio and record for a year without figuring out how to finance it? Yeah, it would be," he says. "But ultimately, I need to keep making music because art is an extension of my psyche. It's how I have learned to translate the palpitations of my heart. Simply put, I'd go insane without it." Growing up as a multiracial Hapa kid (half Filipino, half white) with a father in the U.S. Air Force, Kattner lived an itinerant childhood that included a few pivotal years in Germany, where he honed in on an appreciation for out there German cinema and art. His film obsessions and screenwriting background were crucial to Carrot on Strings. The album nods to the films of Werner Herzog and Rainer Werner Fassbinder as much as Italo-disco, Randy Newman, goth rock, and avant pop. (Kattner continues to work in the film industry with an acting role in the upcoming horror-comedy movie Destroy All Neighbors, for which he also served as composer; music supervising season 1 & 2 of the Interview With The Vampire AMC TV series; and shopping around, with director Matthew Goodhue, a script he wrote that he describes as a Wim Wenders road movie on acid.) In a bid to not overthink anything - his last album took seven years to make - he recorded the bulk of Carrot On Strings in five days in Mant Sounds studio in Glassell Park, Los Angeles with "very chill" producer Matt Schuessler, who had worked on Man Man's cover of Neu!'s "Super" for the seminal Krautrock band's box set. The resulting album represents a newfound sense of self for Kattner, who finds himself inspired and at peace both personally and artistically in ways that eluded him for most of his first 15 years playing music. When, on Carrot On Strings, you hear Kattner croon humbly, or sing of the tension between his outsize stage persona and the thoughtful, soulful guy he actually is, you're hearing Kattner liberate himself. "I first got into music to escape from myself," he says. "And now, it sounds so corny, but I have zero doubt that music ended up saving my life."

The Kaiju Project is a Japanese inspired jazz group formed by the half Japanese-Austrian pianist Aseo Friesacher. Their initial idea was to bring old folk songs into a new modern context, but in addition to their compositions, this group has found their very own musical direction: a perfect blend of traditional Japanese music and meditative-creative jazz.

Aseo’s composition style is clearly rooted in Jazz, but with the use of traditional Japanese melodic elements and sounds, the music becomes very storytelling and gets a beautiful and mystic character. Also some famous soundtracks from the Ghibli movies and songs by the Japanese singer Hibari Misora, that Aseo has arranged for the band, are included in their repertoire.

The bandleader has had the vision for a long time to create this unique fusion of traditional Japanese music and Jazz in order to bring together the eastern and the western world. In fact, the meaning lies his name A-se-o, “亜為欧“: living for Asia and Europe.

The band went through a couple of changes in their formation but finally resulted in a dream team, featuring two Japanese musicians who bring the authentic sound to the band: Waka Otsu as the vocalist and Fuefuki Kana on Japanese flutes and silver flute. Furthermore there is the highly accomplished and respected ECM artist, drummer and percussionist Joost Lijbaart and the virtuosic and talented bassist Johannes Fend, who make the group complete. So far the Kaiju Project has toured in the Netherlands where most of the band members are based, they have performed in Germany and recorded their first album.

As part of the series - Blockhead presents his new album, Luminous Rubble, where the artist dives deep into KPM’s iconic music and sound design library. Blockhead has released 15 albums over the past 15 years and is regarded as one of the modern masters of instrumental hip-hop. It’s a producer’s dream: Being given access to a vast library of material to construct something completely new and exciting out of all of it and when Blockhead’s at the controls, the results are a listener’s paradise, too. The New York City-based hip-hop production legend’s Luminous Rubble is the latest missive in a particularly busy period for the underground hip-hop veteran, who’s spent the last decades lending his considerable talents to work from artists like Armand Hammer, billy woods, Murs, and Open Mike Eagle; in 2021, he released the critically acclaimed collab LP Garbology with rap legend and longtime collaborator Aesop Rock, just last year he unleashed his twelfth solo album, The Aux. “For me, as a producer who uses samples, there’s nothing better than free rein. That was so exciting for me. Their vault is the one I’m most familiar with,” he says with a laugh. “Back when I used to go record shopping a lot, I would pretty much buy any KPM record on sight. They were always a huge find at record stores. So to be able to tap into these records with no limitations was really nice. Having no boundaries can be overwhelming when it comes to the creative process. Working with these samples forced me to find middle ground in cases where I’d typically just walk away and look elsewhere.” After hearing Luminous Rubble, you’ll be happy he stuck around.

The bleak and foreboding landscape surrounding Keeley's North Yorkshire home seems to inhabit her third LP, 'The Hollow'. The moors, visible from her studio window, impact upon a music that feels made of these places: windswept, rain-soaked and blinking through the low-lit landscape. The album's title derives from discovering a long-abandoned mining shaft whilst out walking - the past lurking within and haunting the present we now occupy. A connection to time that places us within it, facing what is gone and what may come. But also, perhaps that time has no concern as to whether we're here or not.

Keeley's unique elemental voice again sits centrally within this world-building. Her cathartic reflections are exorcisms in song. We hear an artist making sense of her life, willing to expose vulnerability without ever appearing weak. Working again with producer Ross Downes, the LP features Matthew Bourne and Colin Stetson, Forsyth sought to expand both her voice and music. Taking aspects of sacred music, minimalist post-classical, dark ambient, film and theatre soundtracks, she layers her vocals into chamber choirs, applies pitch shifts and other digital processing, moves from clear articulate intention to mumbled numb utterances.

Composer Mihály Vig's score to Bela Tarr’s film 'The Turin Horse' is reimagined as a pressurised outpouring, recasting the everyday within a mythical light of survival and hope. On ‘A Shift’, Mal Finch's protest song ‘We Are Women, We Are Strong ‘, originally sung by wives and daughters in support of the '80s miner’s strikes, is recontextualised in solidarity for an experience of creative labour.

Named "one of Europe"s most versatile and curious players" by Downbeat Magazine, Polish trumpeter Tomasz Dabrowski returns with the sophomore album from his internationally acclaimed septet. Following their eponymous 2022 debut, the ensemble proudly presents "Better",set to release on March 29th on April Records. With an atypical lineup featuring the cream of the crop of the Polish and Scandinavian contemporary improvisation scenes,"Better" captures the edge and energy of a live performance extended and elevated by the use of electronic instruments and textures. Drawing the listener in with its refined sense of space and pace, the record sees the septet navigate their way through Dabroski"s open compositional ideas, passing melodic structures around the ensemble and evolving through ethereal ambient soundscapes, scorching solos and adventurous cacophonies of collective improvisation. Drawing on a year"s worth of experience performing extensively together as an ensemble, the level of intensive listening, interactivity and trust within the group enables each instrumentalist to fearlessly contribute their voice. "Every track has a unique twist. "Upright" plays with form. "Bonzer", the use of instrumentation. "Hale & Hearty" explores textures." A testament to the ensemble"s commitment to artistic growth and creative evolution, "Better"reminds us to consider what we all can and should strive for. It"s an inspiring message that manifests in the music and radiates through every aspect of life. "We should all strive to do better. To be better versions of ourselves and observe how it resonates within and in those around us," Dabrowski says.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.

Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code.
Limited to 40 copies.

Tot Onyx is a solo project of Tommi Tokyo, who loves to work with sound and body. As the founder
of the experimental live act group A, Tommi has explored her ideas of breaking the preconceptions
of live performance by incorporating use of the body, live-painting, noise and poetry. Adept at
bending expectations, the band’s formative early work echoes the experiential vocabulary in which
Tommi continues to develop today. A practice in the rejection of tradition and cliché, which in Greil
Marcus's words, "Share the principles of negation, rebellion, destruction and détournement”.
Her rst self-released EP T.O.1 is a collection of fragments of Onyx's live performances from recent
years, recorded in her studio as part of her creative process during the preparations. While her
albums (1st album Senno I released in 2022 on iDEAL Recordings, and the forthcoming album in
2024, info tba) are highly conceptual and revolve around specic subjects, this EP serves more as her
diary, in which she aims to share with the public how her thoughts are shaped by time through the
practice of performing live.