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

Blackened Blues with Doom and Punk influences, Black Totem’s Deathrock is overflowing with superstition, vice and horror. Up to no good since 2008, Black Totem are notorious road-dogs of the Finnish underground, cutting their teeth and scraping their raw knuckles in a slew of live shows through the years. The band has shown promise since the early days releasing two EP’s and a self-titled debut album, which won an award for Best Rock Album at the Turku Music Awards in 2016. With their new album “Shapeshifting,” Black Totem are downright lycanthropic, breaking out of their enigmatic origins and taking on a much more unadulterated form. Their catchy, raucous Blues songs, with wild, untamed backing vocals and horror-soundtrack keys, give a distinctly Finnish lizard-disco hysteria to their fortified sound, coming across like a blood-bath in a moonshine distillery. Howling at the moon, with lungs of bile, Danzig/Misfits/Samhain influences are fleshed out with the Doom-laden riff-war of Celtic Frost, Venom and Darkthrone. Together with the catchier urban song-craft of the Black Keys, this cauldron of Black Totem’s magic formula makes “Shapeshifting” a familiar, yet heavily enjoyable natural genre-clash of their own.

Well known for his tight, aggressively grooving brand of rhythm playing, whether in the service of the Grammy Award-winning band Snarky Puppy, the Fearless Flyers or on his six solo albums, guitarist Mark Lettieri has found the perfect algorithm for the funk.
Merging the influences of ‘70s and ‘80s rhythm and rock guitar icons like Prince and Eddie Van Halen, along with inspiration from George Clinton and P-Funk, Chuckii Booker, Periphery, Stevie Wonder, Steely Dan, and others. This Fort Worth, Texas resident has been insinuating his razor-sharp licks into the consciousness of funkateers since joining Snarky Puppy in 2008. Created during the pandemic, ‘Deep: The Baritone Sessions Vol. 2’ is a triumph of ingenuity built upon Lettieri’s life-long love of funk and rock and showcases the breadth and depth of Lettieri’s nasty, low-end brand of funk.
The guitarist’s Fearless Flyers bandmate, drummer Nate Smith, is also onboard for this cavalcade of groove, along with Bobby Sparks, Justin Stanton and such guests as vocal sensation Jacob Collier, former Prince drummer TaRon Lockett, Rascal Flatts pedal steel guitarist Travis Toy, French harmonica ace Frédéric Yonnet, Lettuce and former John Scofield drummer Adam Deitch, Ghost-Note drummer Robert “Sput” Searight, Snarky Puppy keyboardist Shaun Martin, tenor saxophonist Keith Anderson, and special guest guitar soloist Steve Lukather.

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

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

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

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

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

Soundclash or romance? Androo versus Bony Fly have composed six tracks finely balanced between the care given to sound experimentation and the explosive ardor of the dancefloor. Love Affair EP was born from this particular research, the fruit of a common passion for dub music, dancehall and its infinite variations. Radical and popular, the EP carries within it this generous and spontaneous quest for dance, naturally provoking body movements. It is also combined with a particular attention to sound textures, subtle and harmonious, whose multiple references (to jazz in particular) testify to an overflowing curiosity.

For it’s 4th release, Melodeum Records embarked on an epic quest in the search of a treasure which has remained hidden in the musical ether for many suns. After months of digging, a hidden gem emerged, a true diamond in the rough, a life form who only goes by the name of Roluce.
Roluce mastered the binding powers of enthralling House with the drawing influence of Minimal rhythms. Every frequency on the Rogustine EP was individually curated to forge this powerful composition. All 4 original tracks have the power to destroy dancefloors and cause mass euphoria - please play with the utmost care.


Support:
Dewalta, Arapu, Sascha Dive, Norm Talley, Herck, Cosmjn, Sublee, Andrea Ferlin, Barbara Preisinger, Pheek, Charliee, Matheiu, Dan Primaru,

Old school Minimal Hardtek Tribe...Material base for the dance and for the Mix. Dj tool... euh... DJ Weapon:)

The sound of MARTIN MERZ is a scenario of gloomy soundscapes and analogue bass figures, paired with elements from Industrial and EBM which takes the listener into the abyss of an urban future.
For his electronic compositions MARTIN MERZ isn’t only fishing in technowaters as he also lets his listeners glide through ambient landscapes which transform into pumping organic shapes of groove and synth melodies.
It’s those bubbly basslines making love to space-filling spheric sounds and tribal drums that turn everything into a timeless and dancy work of art.

More heat from the legendary EDIT & DUB! Featuring lost mixes of dancefloor classics "MOVIN ON" and "EXPRESS" performed by GINO DENTIE & THE FAMILY! The B side goes into another world with a rare euro disco cuts such as "VOODOO MAN" by BIDDU ORCHESTRA & "I'M GONNA DANCE" by SUNA YILDIZOGLU

Chris Liebing and Mathew Jonson remix Marco Faraone on ‘No Filter Remixes (Part I)’, landing March on Rekids.

Marking the first remix package from Marco Faraone’s 2020 ‘No Filter’ LP, Radio Slave recruits fellow dance music titans Chris Liebing and Mathew Jonson for a pair of remixes on one of dance music’s most essential imprints. Liebing steps up for the A-side, delivering a knockout take on the original. Creeping ambience and deep bass weight bubble throughout the track as additional percussion and synthesis unravel towards a climactic finish.

On the flip, Jonson turns in a distinctively delicate version, clocking in just shy of twelve minutes. Fluttering percussion swirl around off-kilter chords and vocals to craft a hypnotic, dream-like atmosphere.

Limited edition of 12′ vinyl release. Presents its sixth vinyl release with an interesting collaboration between a contemporary project such as Dot Product, the tandem formed by Adam Winchester and Christopher Jarman, and the Japanese legend of experimental rock and noise Kazuyuki Kishino. Known as KK Null, this artist had a first stage as a guitarist in several bands, it is worth remembering that at that time he collaborated with Merzbow in several albums and that years later he changed the guitar for electronic devices. 404 Not Found opens side A with a first cut by the English duo. Error Message combines grainy, strummed textures with a humanized sonic profile in which a beautiful melody makes its way in the face of bleak adversity. The second cut of this side is by KK Null, in this track the Japanese artist shows a high dose of metallic sounds that travel at the free will of the author to end up yielding in front of a complex and disorderly structured rhythm. Unlike side A, side B of this EP shows a work created jointly by Dot Product and KK Null. Pause Frames is an industrial cut, with hard percussion and numerous sound patterns such as pads, strong resonances and highly saturated components. 10-4-10-409-Conflict is the fourth and final track on the release, again employing a hard-hitting rhythm with a series of crunchy textures and a harmonic conjugation of dissonant chords. Picture: Stefan Alt / Salt (Ant-Zen) Mastered: Daniele Antezza / Dadub Written: Kazuyuki Kishino, Adam Winchester and Chris Jarman

Making Covid-19-references when writing about popular culture can feel tiresome, living in the midst of it but let “Taken From A Fixed Point” by In Fields console you in this age of pandemic. This album pierces through you like sunbeams through the blinders of your quarantine-ridden apartments’ windows.

This isn’t In Fields first appearance on the label. In 2019 the artist released a collaboration with Golden bug and the exiting dynamics of that album resounds in this one. Though a little easier on the disco influences and a turn towards ambient, In Fields’ music is still “tension and release” dance music produced to perfection. In Fields characteristic sound contain contrasting elements where soft airy synth pads meet more frightening sounds dug up from somewhere deep and dark like in “Ghostnights”.

The tracks are dynamic where growing crescendos fast and suddenly fades out and you realize your mind have been focusing on a completely different part of the sound. Underneath those surprising elements sits a skeleton of well-sounding bones keeping the songs together tight and steady.

“Taken From A Fixed Point” is dance music for a dance floor in your head and triggers the muscle memory in quarantinenauts tired of hard lock-down. Though produced in a dark place, this album gives a somewhat positive vision of the future and life on the other side.

Cardinal & Nun returns to L.I.E.S. now with his debut lp, 8 songs of full on rotten stripped back, fuzzed out, synth punk mayhem. Straight to the head beautifully thrashing anthems, Cardinal & Nun goes in with catchy basslines, dissonant guitar chop ups, and vocals that creep from the shadows throughout the affair. Don't gas out though, there are some somber cuts on the b-side's "Whats Goin On Tonite?", "Pandemonium" and "Day After Day". A true gem in the French scene, now get in the pit and slamjack! Recommended.

The first Azu Tiwaline's album, after been acclaimed by DJs like Lena Willikens, upsammy, Shanti Celeste and a bunch of electronic medias (Bandcamp, RA, Crack), is now remixed by a Lyon-Bristol-Berlin trifecta of similarly minded rhythmic innovators - twisting and warping her work into new shapes, featuring Don't DJ, Laksa & Flore reinterpretations.

Nothing happens overnight. Behind every emergence, there’s years of work, thought and preparation - both intentional and unconscious - that’s gone unseen.

So the past year might have been a ‘breakout’ year for Azu Tiwaline, but it was really built over two decades of experimentation, soul-searching - both creative and personal - and exploration. “A new name for a new spirit” as she likes to say, but with an unmistakable identity rooted in her history and ancestry.

On her debut album as Azu Tiwaline, Draw Me A Silence, a record released in two parts with her family at I.O.T. , she fused together two halves of her own heritage, inspired by a new home in the desert. Personal history collided with family heritage: half step rhythms from a career in bass music met the warm winds and wide open silence of El Djerid in Tunisia.

When music is sincere and honest, it tends to reverberate more widely, and deeply. The tracks written for the Magnetic Service EP were sent to one label and one label only, Livity Sound, who picked it up instantly. Something about the spacious, yet dense sonics - crafted with the help of percussionist Cinna Peyghamy - resonated with listeners starved of both the community of the dancefloor and the space of the outside world. The EP became one of the Bristol label’s most heralded releases of 2020, featuring in end of year coverage from Bandcamp to Resident Advisor.

Beneath the calm of her productions, a restless spirit inhabits Azu, born out of months and years spent on the road. In 2020, it was her music that took her places. She put together a series of podcast mixes that echoed the percussive, rhythmic curves of her own productions, for Boiler Room, Dekmantel and Crack Mag. She distilled Fazer Drums’ percussive experiments into dubby downtempo with a remix, and contributed her most rooted track yet - Violet Curves with Cinna Peyghamy - to On the Corner’s Door to The Cosmos compilation.

This will be followed by the Extended version of the album with a gorgeous ambient bonus track “Eyes of the Wind”, accompanied by a video clip directed by Azu Tiwaline, shot in her desert lands. This track will be appearing in a digital reupload reunifying Draw Me A Silence Part.I and II. As a sort of final chapter of this debut album.

As for the rest? We’ll see what 2021 has to offer for both the world and Azu Tiwaline. In the meantime, take inspiration from her music: keep the tempo steady, let some light in, and listen for the silence.

Carl Craig has announced Detroit native and hotlytipped selector DJ Holographic is next in-line for his prestigious 'Detroit Love' mix compilation series dropping on Planet E Communications. Following in the footsteps of predecessors like Stacey Pullen and Wajeed, being invited to mix vol.05 of the series is testament to DJ Holographic being one of Detroit's most anticipated breakthrough DJ's. Born and raised in the Motor City's deep musical legacy, Ariel Corley aka DJ Holographic is an ambassador for Detroit through and through. Having cut her teeth as a DJ in the local scene over the past decade DJ Holographic is admired for her versatility, eclecticism, and impeccable taste. Ariel has firmly established herself as a staple of Detroit's modern underground scene, a core member of the city's LGBQT+ community and a devoted activist for local humanitarian causes - love for Detroit underpins every element of Ariel Corley's life. Released 16th April via Planet E and K7!, Detroit Love Vol. 05 is packed to the brim with exclusive tracks handpicked by DJ Holographic who takes the listener through a vibrant and flawlessly-mixed showcase of breakthrough artists, ones to watch, and longestablished artists Ariel has a personal affiliation to. The mix was curated by DJ Holographic at the artist creative hub below Submerge Records in Detroit - home to labels such as Underground Resistance, Transmat, Red Planet, and Distorted Soul.

Deepology presents the final EP of the ‘Four Seasons’ series. Four releases, vinyl only, each corresponding to a specific season of the year. Quality deep and underground house gems from past and present.

Mr. Fedor Velyaminov aka Cossway, a Russian producer currently based in Paris kicks things off. ‘Raw Feelings’ is an ethereal journey exploring the depths of deep and tech house whilst firmly placing its sights on the dancefloor appropriate.

Next up Andrey Djackonda & Minube, our friends from Moldova. These guys have got groove and style in abundance. ‘Softly’ is a modern minimal interpretation of deep house, ranging from more traditional house vibes to somewhat abstract deep and dreamy moods.

On the flip side, Erefaan Pearce, a legend of Cape Town house music in collaboration with Perspektif let loose ‘H O U S E’. The track originally appeared digitally back in 2010, but this is the first time it has been pressed to vinyl. True classic deeeeep-house gem.

Finally, a lovely tune by Dance Chance Romance, a contemporary dance music project by Kyoto DJ and producer Yusuke Yamamoto. Having released more than 20 vinyl albums on various labels around the world his work is not influenced by trends and is highly valued for its unique sound.

Limited Edition of 300 copies. Pressed on black vinyl with white disco bag.

The Patchouli Brothers are best friends from small town Canada, who found themselves bonded by their affinity for the strange side of house, disco, soul & otherworldly sounds. They hold down a residency at Beam Me Up, a weekly disco night in Toronto & a monthly party in Montreal, and have had releases on some of their favourite labels like Defected, Soundway, GAMM, Star Creature, Pleasure of Love & Basic Fingers.

Before the world stopped spinning, they were touring Europe & beyond. They look forward to meeting freaks across the world and to dance together again soon.

Being a jack of trades has enabled Teyana Taylor to become a master of all. From her smoky melodic vocals to her dynamic dance moves, the R&B superstar entertainer dips ’n dives between her talents as singer, songwriter, producer, director, dancer/choreographer, actor, fitness guru, model, and mother. When it comes to describing herself, the Harlem native can only think of one word: Everything. In 2014, Teyana’s love for the arts and R&B earned her the title of the first woman signed to Kanye West’s G.O.O.D. Music imprint.



THE ALBUM, released June 19 2020, was tapped by Pitchfork as one of the “most anticipat­ed albums of the summer.” In addition to "Wake Up Love," Teyana’s masterpiece included her new graduation anthem "Made It," pegged by NPR as a “a triumphant, isolation-proof anthem for the Class of 2020.” In August, it was announced that "Made It" was picked by President Barack Obama as one of the tracks on his 2020 Summer Playlist.



Debuted at #1 on the Billboard R&B Charts, the album has spawned a number of standout creative moments, from her self directed video for “Lose Each Other” featuring Elton John. Following the release of her album, Taylor was awarded Video Director of the Year at the 2020 BET Awards.

As escapism from corporate banality turned the corner in the ’90s, a new generation of vibrant, software generated soundscapes emerged. Communal access to the internet propagated the new hive mind of ideas online, giving way to smoother, stress-free textures. The PC revolution opened the gateway to ray-traced playgrounds of color and light, allowing for visions of utopic proportions to manifest themselves on screensavers far and wide. Boot up your machine, load the software on this floppy diskette, and drop out of a reality bounded by the physical laws of the universe.

The eighth entry in Numero’s Cabinet of Curiosities series.

London-based record label Wisdom Teeth kicks off 2021 with something close to home: Blush - the playful, dynamic debut LP by label co-founder, Facta. Recorded unusually quickly over a short stint in early 2020, the record is the product of a period of refreshed and unfussy creativity. It’s an innovative and distinctly contemporary album that moves a good few steps beyond the artist’s work to date - loosely rooted in UK dance music but taking added influence from ambient, modern classical, dreampop, Balearic, folk music and beyond. The result is a lush, ornate record populated by aqueous pads, bleeping arps, wandering melodies and sparse broken rhythms; acoustic instruments that play out alongside FM synths, all processed with a pristine UV sheen inherited from modern pop music. The record opens with ‘Sistine (Plucks)’ - a crystalline synth piece with a stumbling, shifting metre revolving around an odd-ended MIDI harp loop, coloured through with washed-out pads and snatches of found sound. This breezy mood follows through to ‘On Deck’, where an FM vibraphone rings out on top of woozy, warping chords and a subby soca groove. Moving forward the record moves cohesively through a range of shifting moods and hues. The machine jazz of ‘Brushes’ is tense and coiled, with nods towards Burnt Friedman, Photek and Eli Keszler. ‘Iso Stream’ sees a rich, colourful sprawl of arpeggiated synths and dissociated vocal chops unspool slowly to form pooling, lowlit melodies. Title track ‘Blush’ is a forlorn Autonomic love song built from clicks-n-cuts - like dBridge & Instra:mental reduced and reinterpreted by SND. Throughout, bold, broad melodies take centre stage, and the tracks build like compositions rather than loops or club tools. There are echoes of the dancefloor - particularly in the slo-mo bruk of ‘Verge’ and the glacial subs underpinning ‘Diving Birds’ (a collaboration with friend and Trilogy Tapes regular Parris) - however the end results find us somewhere far off. ‘Blush’ is the second long-form release to come from Wisdom Teeth following K-LONE’s 2020 debut album, ‘Cape Cira’, which was widely ranked as one the best LPs of 2020.

“This is the time. And this is the record of the time.”

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25thanniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I travelled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I wasfascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization,shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

Dynamite cuts 45s series is proud to release another timeless classic. This is a rare groove dancer floor monster. Original LP sells for big money these days, TOMMY STEWART EP, which includes the classic iconic Love heart sleeve.

Breaking up South London soul man, Ashong’s vocals into a ghostly exchange with a mind-bending bass line and double-time rhythm, the 'Street Dub' is unmistakable Matthew Herbert quirkiness.

DJ, producer, songwriter & Femme Culture label founder, Elkka, brings her unmistakeable energy & power to Joyfulness. What was once a soothing, mellow-soul excursion is now a direct & inspiring dance-floor cut. Thumping kick drums, swirling hi-hat rhythms, jittery synth and robotic-steel-drum melodies reform Hector and Alexa's sublime production.

On the B-side, Broken Beat legend Daz I Kue delivers a squelchy sub-heavy workout, full of percussive punchiness and new orchestral dimensions.

Meanwhile south-London producer and DJ Shy One takes another Andrew Ashong collaboration, formerly playlisted on BBC Radio 6 Music, and goes deep, phasey and peculiar. Chopping outcuts of chat between Andrew and Hector, ethereal vocals and synths and delivering a heavy kick drum, with a touch of broken beat magic.

Cabaret Voltaire is Richard H. Kirk and ‘Shadow of
Fear’ was the band’s first studio album in 26 years,
released in 2020 to critical acclaim.
‘Dekadrone’ delves deeper into Cabaret Voltaire’s
arsenal of “harsh rhythms and threatening
detonations” (Classic Pop).
A brand-new drone album on CD packaged in a
gatefold card pack and white double vinyl in a
gatefold sleeve with full colour inner bags and high
definition audio download. (‘Dekadrone’ is
presented across the double LP as four ‘Phases’.)
“‘Shadow of Fear’ is a brash and confident
rebirth… Richard H. Kirk has chosen a good time to
revive the Cabs’ ominous industrial funk” - Uncut
(8*)
“Masterclass in shapeshifting disco… clinches these
industrial shadow-dwellers’ influence” - Mojo (4/5)
“Kirk is intent on pushing forward, ensuring that
the hints of familiarity never come with an
accompanying tang of comforting nostalgia.” - The
Guardian (4/5)
“A lot has changed in the past 26 years, but what
hasn’t altered is Cabaret Voltaire’s knack for eerie
but danceable post-punk.” - NME

Harry Wolfman has been a staple member of the Dirt Crew family since his debut collaboration with Loz Goddard in 2016. We’ve since seen considerable growth with EPs on Phonica’s “Karakul”, “Omena” and “Outplay” all lending a hand to the development of his signature sound into its now established lo-fi style, delving into a range of genres... ethereal ambience, electro and left-field rhythms, and of course deep, often break beat laden house grooves.
This new EP is no exception, Harry drops some irresistible dance tunes with “Walk With Me” and the banging title track “Sly Contrast” but also explores the boundaries of his palette with the vocal interludes “A21z” and the majestic “Courage” featuring the voice of “Mona Vale”, dipping a toe into the floaty world of lo-fi pop.
We also find ambient and Jazz elements cleverly combined in “Fhloston Paradise”. And the closing drum break joint “Wokit Shep” loops live drums, strings, piano and brass elements, twirling towards a majestic finale reminiscing dusty jazzy Trip Hop and instrumental Hip Hop pieces.
This record offers hope for better times... we are really glad to have Harry back with these strong tunes and can’t wait to hear these out again on a juicy sound system. Enjoy!

The Reverend Peyton's Big Damn Band are the greatest front-porch blues band in the world. They are led by Reverend Peyton, who most consider to be the premier finger picker playing today. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy, country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David “Honeyboy” Edwards. The band has built through their legendary live shows. Playing as many as 300 shows each year, the band has one of the most dedicated followings out there. This following is sure to eat up the band's latest offering, Dance Songs For Hard Times, a country blues record that was made the right way — two feet on the ground and both hands getting dirty.

35th Anniversary reissue of legendary
Canadian/American singer, composer and transgender
activist Beverly Glenn-Copeland’s beloved seminal
work, ‘Keyboard Fantasies’.
An ahead of its time synth exploration which somehow
combines the essence of new-age minimalism, early
Detroit techno and the warmth of traditional
songwriting.
Beverly Glenn-Copeland’s third album, ‘Keyboard
Fantasies’ was originally self-released on cassette in
1986. Initially overlooked by mainstream media, it
caught the ear of a Japanese collector who contacted
the artist in 2015 and asked for copies to sell. These
sold out instantly and led to more copies being
distributed and multiple offers from record labels.
Features stunning alternative cover artwork and liner
notes by Robyn.
This album is available on CD for the first time.
Digisleeve with spot gloss to the cover and 8-page
booklet.
This is only the second time the album has been
repressed (with the previous repress being extremely
limited). LP format is housed in a gatefold sleeve with
spot gloss to the cover, printed inner sleeve, 180g
black vinyl and digital download code.
Also available again on tape as a white cassette.

After the conclusion of the successful “Vampirate” trilogy (2015’s Courting the Widow, 2017’s The Bride Said No, and 2019’s The Regal Bastard), vocalist Nad Sylvan was considering a different approach for his next project. The new album, “Spiritus Mundi”, centers around the poems coming from Nobel Prize winning William Butler Yeats (1865-1939), who Sylvan calls ‘one of the finest poets to come out of Ireland.’ Not having to write the lyrics himself this time gave Nad the opportunity to solely focus on the music. And being off the road due to the pandemic allowed for more time to mix and perfect every aspect. The result is a collection that Sylvan calls his best work. The album marks a shift musically from Sylvan’s previous outing focusing more on the lyrics and vocals in tandem with gorgeous orchestration and timely melodies. Sylvan has always managed to cull together a notable cast of guest musicians for his album and this album follows suit. Tony Levin contributes his unique skills on bass to 4 tracks, while Jonas Reingold is also present on bass for one track. For drums, Sylvan targeted The Flower Kings drummer Mirkko DeMaio. And of course, Steve Hackett makes an appearance on one track titled “To a Child Dancing in the Wind.” Nad himself concludes: “I'm so excited about this release. Anyone whio has heard it just loves it. They think that this is my best album and I tend to agree. It’s a bit different than what I’ve done before and that’s a good thing.”

The Shapeshifters’ studio mastery and dedication to his craft has resulted in singles that stand up alongside golden era disco records as much as they sound fresh on dancefloors today. His rich relationship with Glitterbox has yielded instant classics that epitomise the label’s ethos for preserving disco’s mission to uplift and empower, especially with his latest release and debut collaboration with the Grammy, Tony and Emmy Award-winning Billy Porter, ‘Finally Ready’. Now this special 2 x 12” vinyl package includes an array of remixes from some of dance’s most esteemed artists. A real record box essential, the first disc features the original, as well as previously unheard versions from The Shapeshifters and two remixes from disco master and Glitterbox regular Dimitri From Paris. The second disc features housier, club-friendly versions from long standing friend of Defected David Penn and ubiquitous Polish duo Catz ’N Dogs, as well as Dimitri’s ‘The Sound of Paris Remix’ and the Acapella, an essential DJ tool. This is a stand-out package, with remixes you will want to keep hold of, securing ‘Finally Ready’ a position as a modern-day disco essential.

For Böser Herbst, Thomas Fehlmann returns to the sediment of ages, drawing from a similar lexicon of sounds to that used on 2018’s ‘1929 – Das Jahr Babylon’. Like that album, Böser Herbst was produced as the soundtrack to a documentary made by Volker Heise, ‘Herbst 1929, Schatten Über Babylon’, which offers historical insight to the third season of the television series Babylon Berlin. It adds yet another string to the bow of this most forward-thinking and creative artist, whose history takes in NDW (Palais Schaumburg), techno (3MB) and psychedelic ambience (The Orb), plus a clutch of gorgeous solo albums that explore wide terrain, from the dancefloor through supine home listening to compelling soundtrack work. Fehlmann’s approach here was to ‘capture’ samples of contemporaneous music, “picking up the dirt and dust of original 1920s archive sound and music excerpts and shaping the essence into this selection of tunes,” he recalls. After delivering the material to the editing room, Fehlmann “threw all the pieces up in the air, deliberately lost the overview in consequence, researched the atmospheric thread and assembled it for this album.” That explains the singular nature of the material here, and its ability to sit together so neatly and discretely, as its own entity. For Böser Herbst is a music box of possibilities, shadowed by its historical provenance, but never crudely beholden to it, rather “keeping the references only as a distant nod, a scent.”

It’s certainly an evocative listen, a cornucopia of textural pleasure and sensual, tactile assemblage. The spiralling, psychedelic cycle of “Karnickel” winds its way between the ears like thread to the needle; “Mit Ausblick” immerses the listener in deep, gaseous tones, only to be lifted into the air by the glassy drones of “Umarmt”. “Wunschwechsler” crackles with the unpredictability of weather systems while a guitar-like loop unspools across the horizon. Throughout, you can catch tiny tastes of the source material, but they’re pressed into greater service, Fehlmann using these sources for their evocative capacity and then saturating them with grain and rumble, abstracting outwards. It’s a music of temporal disjuncture and clairvoyant resonance, “speaking with the past – alert, distant and quixotic.”

Für “Böser Herbst“ schürft Thomas Fehlmann tief in den Sedimenten der Zeit und schöpft dabei aus ganz ähnlichen Klangquellen wie auf dem 2018 erschienenen Album “1929 - Das Jahr Babylon“. Auch “Böser Herbst“ wurde als Soundtrack zu der von Volker Heise gedrehten Dokumentation “Herbst 1929, Schatten über Babylon“ produziert, die den historischen Background der dritte Staffel der deutschen Fernsehserie “Babylon Berlin“ beleuchtet und dabei Archivmaterial mit Stimmen unterschiedlichster Zeitzeugen verknüpft. Das neue Album fügt eine weitere Saite zum Bogen dieses überaus voraus denkenden und kreativen Künstlers hinzu, dessen Geschichte NDW (Palais Schaumburg), Techno (3MB) und psychedelischen Ambient (The Orb) umfasst, plus eine Reihe von großartigen Soloalben, die ein weites Terrain erkunden, von der Tanzfläche über entspanntes Hören bis hin zu Soundtracks.

Fehlmanns Herangehensweise auf diesem Album war es, Samples aus jener Zeit "einzufangen", "den Schmutz und Staub der originalen 1920er Archiv-, Sound- und Musikaufnahmen zu sammeln und als Essenz in die einzelnen Tracks einfließen zu lassen", erinnert er sich. Nachdem Fehlmann das Material im Schnittraum abgegeben hatte, "warf er alle Teile in die Luft, verlor dabei absichtlich den Überblick, suchte sich dann einen atmosphärischen roten Faden und setzte alles wieder zusammen." Das erklärt die Einzigartigkeit des vorliegenden Materials und dessen Eigenschaft, sich fein säuberlich und gänzlich unangestrengt zu einer Einheit zusammenzufügen. “Böser Herbst“ ist eine Spieldose voll unbegrenzter musikalischer Möglichkeiten, umspielt von düsteren historischen Quellen ohne darin zu ertrinken – Fehlmann ging es stattdessen darum, "die Referenzen nur wie eine flüchtige Geste, wie eine Ahnung von etwas zu behandeln."

“Böser Herbst“ löst eine Vielzahl an unterschiedlichen Vorstellungen beim Hörer aus, es ist ein wahres Füllhorn an lustvollen Texturen und sinnlicher, taktiler Assemblage. Der spiralförmige, psychedelische Kreisel von "Karnickel" dreht sich in die Ohren wie ein Faden ins Nadelöhr; "Mit Ausblick" lässt den Hörer in tiefe, gasförmige Töne eintauchen, um anschließend von den transparenten Drones von "Umarmt" in die Luft gehoben zu werden. "Wunschwechsler" knistert mit der Unberechenbarkeit eines aufziehenden Unwetters, während sich ein gitarrenartiger Loop am Horizont abzeichnet. Überall kann man winzige Spurenelemente des Ausgangsmaterials erhaschen, aber sie werden in einen größeren Kontext gesetzt; Fehlmann benutzt seine Quellen nur als Mittel zum Zweck, um eine bestimmte Wirkung hervorzurufen, die einzelnen Teilchen werden angereichert mit Struktur und Körper und schließlich abstrahiert wieder ins Außen gesendet. Es ist Musik, an der die Zeit sich bricht und in die Zukunft schaut wie in einen Resonanzraum: Musik, "die mit der Vergangenheit spricht - hellwach, mit aller gebotenen Distanz und voller Rätsel".

Sed Blava is the Barcelona-based solo project of Daniel Boix, well known as Dj.Simplexia or also Ciutat Solitud, his ambient-industrial project. “Nit Sublim” is his first album as producer and without a doubt, this release is a mind-blowing and genuine composition which at first listen, may evoke the dark sounds from Valencia in the 80’s. But if you dive deeper, you will uncover a trove of intricate details elaborated with Sed’s touch. Ranging from catchy tunes and emotive passages to powerful dance-floor tracks, his vast music background and his long-time membership to the underground music scene should be highlighted. Both of these elements give rise to a broad spectrum of genres and influences in his music, bringing together a timeless mixture of old-school Electronic Body Music, New-Beat, Electro, Synth-Wave and even Ambient.

· First release of the Jagjaguwar 25th anniversary celebration happening in 2021. · Features production and composition accompaniment from Bon Iver, Mary Lattimore, Angel Bat Dawid, Gia Margaret, and Sam Gendel. · Limited edition Opaque Green vinyl. Over the last 12 years, Ross Gay's poems have given us indelible images and phrases of radical empathy and unabated gratitude; about community, collaboration, connectedness and hard work. They have crept into our hearts and made a home of all of us. And so we are launching our 25th Anniversary celebration with `Dilate Your Heart', our first spoken word album since titan Robert Creeley's self-titled release twenty years ago. "Catalog of Unabashed Gratitude" is given a gorgeous, slowly creeping bed of vines by Bon Iver, as Gay's unadorned voices speaks a lifetimes of Thank You's. On "Burial," harpist and composer Mary Lattimore's lunar landscape follows Gay's voice into space, telling of our endless energy exchange with nature. Chicago's Angel Bat Dawid dances with the frenetic, joyous scene Gay leads us through on "To the Fig Tree on 9th and Christian," in which a group of Philadelphia strangers scramble together to harvest the fruit of the titular urban fig tree. Songwriter Gia Margaret provides a mystical, amniotic environment for Gay's "Poem To My Child If Ever You Shall Be," a love letter to an imagined future child, treating Gay's voice like a message in a bottle to a far off idea made only of love and potential. Sam Gendel, a secret weapon collaborator, affects Gay's voice on "Sorrow Is Not My Name" to something glassy and almost singsongy. Throughout, Gay recites his poems with bright aliveness, his voice as warm and easy when he speaks about death as when he speaks about mercy, or love.

Good vs. Evil is the third studio album by American rapper KXNG CROOKED (formerly known as Crooked I). The album was released on November 11, 2016 and features cameo appearances from notable rappers such as Eminem, RZA, Xzibit, Tech N9ne among other guests The album was well received by critics, who praised its direction, dark beats and narrative skills.
After the most controversial Presidential election in this country’s history, one that has not only created further divisiveness amongst the people residing in it, but one that now includes handful of cities across our nation protesting in the streets it has become evident we are living in a complicated and dangerous time. The societal divide widens so deeply with every passing day that it seems as if at any moment the pendulum could shift. KXNG CROOKED's Good Vs Evil could not appear at a more needed time.

Wenn die Grenzen zwischen Oldschool Death Metal und den schwarzen Künsten geradezu ineinander fließen, dann ist meist eine ziegenhafte Gestalt mit involviert. So auch bei der Nürnberger Formation Goath, die uns seit ihrer Gründung 2015 quasi im Jahrestakt eine Veröffentlichung nach der anderen spendiert hat. Nachdem nun aber eine etwas längere Zeit zwischen dem letzten Longplayer „II: Opposition“ vergangen ist, präsentieren uns die Jungs nun ihr neues Werk „III: Shaped by the Unlight“. "III: Shaped by the Unligh“ kann durch ein abwechslungsreiches Programm mit viel traditionellen Oldschool-Abschnitten einen mehr als guten Eindruck hinterlassen. Währen der Titeltrack auch sehr Death Metal-lastig ausgeprägt ist, erinnert Letzterer eher an schwarzmetallische Perlen von Inquisition oder Immortal. Vor allem durch Gesang und die Riffstrukturen schaffen Goath hier klare Unterschiede, die aber eine willkommene Abwechslung darstellen.

Available again on vinyl for the first time in seven years, ‘The Fact Facer’ is
now pressed on jaundice vinyl (clear with hi-melt green and yellow).
Holy Sons is Emil Amos, a musician whose chameleonic tendencies and
technical versatility has lead to him becoming an in demand multiinstrumentalist as a founding member of Grails and Lilacs & Champagne, as
well as a member of Om and a hired gun for Jandek, to name a few.
Holy Sons is at the centre of his many musical personalities and is his
longest standing project, acting as an outlet for some of his most personal
and direct songs. In Holy Sons, Amos puts his restless imagination to work
using a variety of inventive home recording methods to turn melodic slowburners into multi-layered, atmospheric missives.
While his methods and prolificacy provide a kinship with Sebadoh, Ariel Pink
and other musicians who have offered countless transmissions from their
bedroom floor, Holy Sons comes from the mind of someone who has
internalized the minutia of 70s rock music and eschews the stereotypical lofi sound for a much deeper and more varied palate.
‘The Fact Facer’, his Thrill Jockey debut, bathes Amos’ thoughtful and even
at times philosophical, songs in Technicolor darkness and reinforces Holy
Sons as his musical centrepiece. The album is a collection of home recorded
atmospheric slow-burners steeped in 70s rock with an experimentalist edge.
The songs on ‘The Fact Facer’ creep up on the listener, their fiercely
addictive melodies unravelling slowly and purposefully. Jumping smoothly
between many facets of Amos’ songwriting, the album does much to
establish him as a talented multi-instrumentalist.
From the lysergic leads of ‘Selfish Thoughts’ to the Danny Kirwan
referencing solos of ‘Transparent Powers’ and the skilful acoustic flourishes
of ‘The Fact Facer’, Amos proves himself as adept and creative a guitarist as
he is a drummer.
It is telling that Amos has built up two Holy Sons bands simultaneously: one
based in Portland and one based in New York. Wherever the wind takes
him, there are musicians willing to pick up their instruments and follow his
lead.
“The most admirable thing about Amos’s songwriting is his willingness to
leave empty space in his songs, even though multiple tracks of vocals and
instruments go into each composition” - Pop Matters
“‘The Fact Facer’ is easily Amos’ most focused offering yet, and a perfect
entry point into a back catalogue that’s sure to have listeners drinking the
Kool-Aid again and again.” - Exclaim

Here's another piece of music history. The Temptations, one of the greatest and influential vocal groups in the history of "Soul" are well represented here through a selection of their early singles. The group's immaculate vocal harmonies stand as a unique sound monument in American music culture and this disc shows us the origins of such a myth.

I met SUGAI KEN a few years ago in Tokyo, outside the Dommune radio studios. His personality and music, a very special brand, touched me. His music is a coded vision of a dream world. A trade that is progressive yet traditional - in the most positive sense of the word.

Recently out of the blue, Sugai San sent me a collection of personal field recordings he made of folklore groups and public performances in Tokyo, Toyama, Kanagawa, Kyoto, Tottori, … The close listener already knows that Sugai San’s aesthetics speak of a great knowledge of these performing arts.

An open invitation: “the traditional local performing arts in the 21st century intrinsically conceive “fragility” as they are vulnerable to extinction. The Japanese local performing arts that appear in this recording is no exception, endangered by the declining birth rate and aging population which are typical to the country. (SUGAI KEN)”

I bring the original recordings into conversation with new elements like a ‘monomane’ - tr. imitating – sound game. But when i throw these old and new figurines together on the podium, the objects immediately disappear in the cracks of the stage wood. Thus only the understament of the suggestion remains. And relentlessly the significance of every movement now becomes a question.

Furthermore, what’s in focus? The manipulation? Or the content? Or are we zooming in on the aspect of archiving ~ preserving? Dubious.

In KAGIROI – tr. heat haze - people coexist for a moment severely carved in time like a high contrast still of dancing flames. When you bring this composition home, it will never boil yet merely evaporate. And when you gaze at the clouds of condensed droplets inside your own darkness, on a soft volume, You complete our puzzle."

December 4th, 2020 -- THE LICKERISH QUARTET — Band members of Noel Gallagher's High Flying Birds, Slash’s Snake Pit, Finn Brothers, Alice Cooper, Air Beck – and all formerly of Jellyfish – reunite for 2 nd EP with their first official UK release. Roger Joseph Manning Jr., Tim Smith and Eric Dover are excited to announce their highly anticipated THREESOME VOL.2 EP, to be released 8 th January 2021, will be their first on British indie label Lojinx. The first single, “Snollygoster Goon,” is out now. Of “Snollygoster Goon” Eric Dover says “The music is Adderall-based, in theory, to reflect the absolute breakneck speed at which the corruption flourishes. A frenetic forensic foray into classic old-as-civilization themes involving greed, graft and corruption as applied to any political sphere. The snake oil salesman kissing babies, the saccharine unimaginative public image.” The new release is, naturally, the follow-up to their debut EP, THREESOME VOL.1 - lauded by critics as “a masterpiece” - which was released in May 2020 in the US. With song titles “Snollygoster Goon,” “The Dream That Took Me Over,” “Sovereignty Blues,” and “Do You Feel Better?” Manning, Smith, and Dover’s undeniable chemistry can once again be found throughout THREESOME VOL.2. The songs formed from the same sessions that begun in 2017 offer a slinky and feisty landscape of temptation, freedom of thought, hope and dreams, and a shout out to all who game the systems. An edgy second round of soaring vocals, angular guitars, and pulsing drums, enveloped by timeless keyboard arrangements requires multiple listens to appreciate fully. Manning, Dover and Smith ruminate on the other 3 new songs: “Do You Feel Better?” as told by Tim Smith: A romp along the primrose path of temptations, internal and external, real or imagined, the tiny demons we dance with throughout our lives. A pulsing bass and hypnotic guitar rhythm plays like the backing band to a striptease you’ve sneaked into, and don’t know where to sit, but all are welcome! Some things are more dangerous than others, of course, but this song is sort of a combination of letting your guard down, because of preconceived notions of what’s right or wrong, and justification of actions you think you understand to have under control. Who knows? Experiences do give us perspective, and this song tries to play between the id and superego - a Screwtape letter demon, and an Angel of Mercy. “Sovereignty Blues” as told by Roger Joseph Manning Jr.: “Fears fire’s all they’re fanning, but I won’t light up their fuse.” A tale as old as humanity. Group control over another through the tried and true tactic of fear. And always partnered with a fatal dose of “divide and conquer.” But who’s actually pulling the levers and pushing the buttons of the propaganda machine behind the Wizard of Oz’ curtain of crowd control, so to speak? “THREESOME VOL.2 finds our threesome in fine form, with four new songs to get you through COVID times and beyond!”

KingUnderground releases Other Mirror’s debut record. The album is mixed by legendary engineer ‘No Sleep’ Nigel, who has worked with a plethora of the UK Hip-Hop scene since the late ‘80s.
Other Mirror are James Tilley, Amelie Chevalier and Jonny Cuba. The 3 formed the band in 2018. They had talked for many years about starting a project together and after several years of pursuing their own creative endeavors, the school friends found themselves reunited and finally creating music with one another. Although the Self Titled LP is Other Mirror’s band debut, they’re far from newcomers. Jonny Cuba has been an active musician since the late 90s, with other collaborative highlights including The Herbaliser, Mike James Kirkland, and production for legendary British Library labels KPM, Bruton, and Cavendish. Tilley has had multiple releases with his first band, Fabric, from the early, to late 90s, and has collaborations with DJ Food, and recording sessions with John Peel. Chevalier is an accomplished vocal coach, dancer, and choreographer with various session work, including live shows at Glastonbury Festival, and Bestival. Rounding out the trio with her mystical vocal delivery and groovy bass lines.

The results of the band’s initial collaborations feel reminiscent of a Quintin Taratino movie, cinematic and groovy in nature. Other Mirror are particularly drawn to the power of music within film and TV. It’s ability to support and affect the narrative is similar to how the band taps into direct emotions.

“The music can be partially improvised with unexpected sections. Like films are made in the edit, we follow a similar approach when we are composing.” - Amelie Chevalier

The Other Mirror debut reflects the bands long standing rapport together. It often feels like there is a conversation happening within the music between the old friends. Their unconventional approach to composing adds a familiar flavor in each track on their self-titled LP.