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Antonio L. Newton AKA Tony Newton (born 1948) is a multi-instrumentalist from Detroit, MI who began his professional career at the age of thirteen, playing bass guitar with blues legends like John Lee Hooker and T-Bone Walker. Discovered by Motown executive Hank Cosby while playing the Detroit blues circuit at the age of 18, he became the touring bassist with Smokey Robinson and the Miracles on the famed 1965 European ‘Motown Review’ tour. Within two years, Newton became the Miracles’ musical director.

Tony Newton also toured and recorded with other Motown artists such as The Supremes, Marvin Gaye, Stevie Wonder, The Jackson 5…and countless others. Earning the nickname “the Baby Funk Brother” he left his trademark of solid, hard-driving and deftly clever grooves on such timeless hits as “Where Did Our Love Go,” “Baby Love,” “Stop In The Name Of Love,” “Nowhere to Run,” “ABC,” “Never Can Say Goodbye,” “Don’t Leave Me This Way,” and many others. Next to his impressive body of work for Motown, Newton can be heard on several hit singles from labels like Invictus-Hotwax and Stax. Later, Newton gained recognition as a member of both the acclaimed jazz-rock fusion group: The New Tony Williams Lifetime (headed by Miles Davis’ drummer Tony Williams) and the British hard rock group: G-Force (with veteran guitarist Gary Moore).

Tony Newton also recorded several solo albums during his impressive career, including the two total classics: ‘Mysticism & Romance’ (1978) and ‘Novaphonia’ (1987).

On the album, we are presenting you today (Novaphonia from 1987) the listener is treated to something UNIQUE (and this is not an overstatement). Newton really puts the ‘multi’ into multi-instrumentalist, playing the synthesizers, the electric bass and the drum machine. Experimental is the keyword here, sounds vary from psych/trance (almost like a soundtrack from a space movie), to funk, fusion, rock, R&B, soul and jazz. Novaphonia has both elements of Tony Newton’s impressive musical past and his vision for the future.

Spacious synths, unusual instruments and an all-around cosmic approach make this an ‘out of this world’ and VERY intriguing album. Resonant, sonically rich, sonorous, colorful, mind-expanding sounds are what one should expect from the 20th century Novaphonic sound developed to its greatest extent. These harmonies are innately pleasing to the human ear, mind and nervous system.

Explore new musical frontiers intended to catapult the listener towards new dimensions…this is an album that just begs for a special place in your record collection!

Tidal Waves Music now proudly presents the first-ever vinyl reissue of ‘Novaphonia’ since its release in 1987. This rare & private-pressed album (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

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.

Blue Coloured Vinyl

JOAO SELVA returns with a second album, a true hymn to creoleness and tropicalism, embued with flavors of funk, jazz and disco. An exhuberant travelogue diary featuring some shiny souls such as the sprightly Flavia Coelho and the multiinstrumentalist producer Patchworks (Voilaaa, The Dynamics, David Walters, Mr President, Taggy Matcher). Cast off on a thrilling musical cruise with this Brazilian nomadic spirit, sailing freely on the mythical Black Atlantic.

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

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

Under exhausted lights of civil discontent the count has just began. What you parodied, what you scrutinised rears its pure gaze when punctured beyond performance. We cried for justice but instead found order, and now we face the chain. PC World comes through with a haunting EP on She Lost Kontrol to distort the view and warp the vision of industrial addicts and mutant punks with their second release “Order”, a discursive counterattack on four distinct forms of command. The South London duo disfigures the unconscious reduction of pleasure and fetish, the connective tissue between privatisation and violence, the seduction of societal norms, and the neurotic tendencies of self-defeat. Like the surrender to a future shock, these four interwoven tracks are produced for the recognition of restraint and the demand for wanting more. B-side remixes of the title track “Order” come from Physical Wash (former member of High-Functioning Flesh) and Aktion Mutante (featuring members of Violent Poison and Unhuman), two additional perversions of protocol from synth-punk veterans on both sides of the Atlantic. So initiate these six cries of havoc in solidarity with this wasted world, a world of precarious necessity and incessant definition. A world whose shape and conscience will forever be satisfied by order.

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.

Swirling layers of OST-style sound design, dreamy choir vocals andtraditional Chinese folk combine across eight dynamic and transportivetracks on Birdy Island, the latest album by Beijing-based producer/artist,Howie Lee, due out in April 2021 on Mais Um. Fresh off the back of several high impact, club-centring album releases on Maloca, SVBKVLT and his influential, Do Hits label, on top of remixes for artists includingLawfawndah, Charlie XCX & Sophie, Lee presents his most organic andexpansive project to date. Written, produced and recorded entirely by Leeat the back end of 2018 (with the exception of the album's resident four-piece choir made up of rising Beijing artist, Fishdoll, Shanghaisinger/producer, Yehaiyahan and West by West, with Lee himself alsoincluded), Birdy Island's almost exclusively acoustic yet broad soundpalette threads continuities between ceremonial Taoist music, early Buchla synth experiments, and FWD nights at London's Plastic People.

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.

Long out of print and highly anticipated repress of the Andrew Weatherall ‘anti-produced’ long player. The Twilight Sad’s third full-length, No One Can Ever Know, marked a sonic shift for the band



'No One Can Ever Know' was released across all formats on 6th February 2012 and was the follow-up to 2009's acclaimed break-through 'Forget The Night Ahead'. Already flagged by the widely leaked 'Kill It In The Morning' and forthcoming first single proper, 'Sick', 'No One Can Ever Know' marked a sonic shift for The Twilight Sad. Freshly inspired by a listening diet of Caberet Voltaire, Liars, Magazine, Autechre, Banshees, Fad Gadget, PiL and Can, a synth-heavy sound characterizes 'No One Can Ever Know', a record thematically akin to 'Holy Bible' era Manics, 'Violator'-era Depeche Mode and 'The Downward Spiral' -era Nine Inch Nails.

"We wanted to be a lot more spontaneous, get outside our comfort zone - not to fall back into repeating what we've done previously", explains guitarist Andy MacFarlane. "So we moved to London for a month to record at The Pool and got Andrew Weatherall involved to bounce ideas off and to generally reassure us of the direction we were already progressing in - toward a sparser sound, with a colder, slightly militant feel."

Under the guidance of Weatherall the band experimented with vintage analogue synths - borrowed from Ben Hillier - to work on the core sounds they wanted, finding inspiration too in the distinctive production style of innovators like Martin Hannett and Conny Plank. For the first time the drums were also recorded separately utilising a lot of synthetic effects which allowed for the easy manipulation of the sounds and samples later in the process. Stylistically, the guitars tend to refract John McGeogh (Magazine/ Banshees) or Keith Levene (PiL) rather than the 'wall of sound' approach that defined The Twilight Sad's previous recordings.

Lyrically 'No One Can Ever Know' finds singer James Graham on typically ominous form, delivering lightning bolts of malevolent threat. "I'll find you - don't worry" he promises on forthcoming single, 'Another Bed' - The Twilight Sad's most radical and anthemic moment yet, it's driving disco motorik and glacial keys pushing a dizzy emotional uplift.

The amazon-naut is Bep Kororoti's second album, the LP arrives at Modern Obscure Music after his mid-2020 release “Love is the way", an EP in collaboration with African singer Akin that aimed to be one of the hits of the summer when the first restrictions were announced during the first wave of the COVID-19 pandemic, Clubs and festivals from half of the planet had to cancel plans for the rest of the year.
This second album inspired by the ancient space warrior who brought joy and new knowledge to this little community from the Amazon river is composed of clear ethnic influences, loaded with minimalist rhythms and fragments of film sequences. The LP goes hand in hand with the reinterpretation of the Brazilian Koyapos tribe myth by Marcio Matos, a visual artist in charge of giving face and image to the mesmerizing Portuguese label Principe Discos since its inception

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.

“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.

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

Afrikan Sciences carry the torch and grant the sight. This is his second offering for the ESP Institute. On the A side, 'The New Dun Language' shows us the meaning of loose. Literally everything about this masterpiece takes its time and operates in its own space, rhythms work together but stand apart, timbres inherently laidback are made aggressively present, like the diffused attack of a shaker that’s shook with such purpose it’s no longer granular but razor sharp. The soundstage drops all around you like percussion shrapnel, splitting your attention every which way, while the string lines remind you that no matter how deep inside your head you’ve gone, there is always a nearby exit to the comforts of familiarity.

Flip the record over, however, and the track 'In His Convenient Way' will even further discombobulate your sense of self. Do you have dreams you’re on a merry-go-round and with each revolution you try to hop off, but you can’t? Each time you cycle around, the tension grows and grows? Well, this is like that, menacing but not dark, a demented odyssey through an impossibly thick swamp where you swear the trees are whispering to you but can’t quite understand their language, yet still you manage to communicate. As the time passes, and you near end of the track, the impenetrable veil slowly lifts and you realize you’ve been in control all along. These two songs will two songs will help to contemplate, heal and transcend.

Italo Hiits is all about making truly indulgent, high energy disco. Classy, sleazy and very easy.

Fully inspired by the 80s home workout.

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.

The fifth album from Oklahoma-bred singer/songwriter Parker Millsap, Be Here Instead emerged from a wild alchemy of instinct, ingenuity, and joyfully determined rule-breaking. In a departure from the guitar-and-notebook-based approach to songwriting that shaped his earlier work, the Nashville-based artist followed his curiosity to countless other modes of expression, experimenting with everything from piano to effects pedals to old-school drum machines (a fascination partly inspired by the early-’70s innovations of Sly Stone and J.J. Cale). As those explorations deepened and broadened his musical vision, Millsap soon arrived at a body of work touched with both unbridled imagination and lucid insight into the search for presence in a chaotic world. Produced by John Agnello (Kurt Vile, Sonic Youth, Waxahatchee) and mainly recorded live with Millsap’s full band, Be Here Instead marks a stylistic shift from the gritty and high-energy folk of his previous output, including 2018’s acclaimed Other Arrangements and 2016’s The Very Last Day (an Americana Music Association Awards nominee for Album of the Year). With its adventurous yet immaculately detailed sonic palette, the album warps genres to glorious effect, at one point offering up what Millsap aptly refers to as a “disco-Americana showtune.” In another creative breakthrough, Be Here Instead forgoes the character-driven storytelling of his past in favor of a more introspective and endlessly revelatory form of lyricism, an element he traces back to the charmed nature of his songwriting process. “Because the lyrics were appearing seemingly out of nowhere and with no prior intent, some of them started to feel like transmissions from my subconscious, rather than the preconceived linear stories or waking thoughts of my earlier songs,” says Millsap. “They feel like words I needed to hear from myself, and not just things I wanted to say to someone else.”

“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relax- ation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei
Due for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, itcomes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.
Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequentLPs, Wallflower and Origin, came out on Ninja Tune, the former#2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:
As Jordan says,there’s so much more to the song selection on Late Night Tales’latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same ef- fect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.
Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collab- oration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collabo- rated with, and one of the first artists to be involved in mycareer,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.
Snowpoet’s ethereal ‘Evitenity’ is a “long mediative nar- rative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radio- head’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive,original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a familyaffair. Not theblood is thicker than water kind, but certainly musical kindred spirits.

Padre Himalaya first VA starting with P.Adrix(Principe discos) killer laser kuduro tool, Brazilian producer dj lima banging an old school funk and fast raves breaks from Rkeat.

B Side kicks off with slow lush tune from Dj Problemas, reaches the climax with the dreamy dub from Coletivo Vandalismo and finishes with Odete’s video-game like noise sound.

‘Cuba: Music and Revolution’ is a new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that explores the many new styles that emerged in Cuba in the 1970s as Jazz, Funk, Brazilian Tropicalia and even Disco mixed together with Latin and Salsa on the island as Cuban artists experimented with new musical forms created in the unique socialist state of Cuba.
The album comes as a deluxe double CD and heavyweight triple vinyl, complete with extensive sleeve notes, jam-packed with heavy basslines, synth and WahWah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known throughout the world.
The album is released to coincide with the massive new deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, which is also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) and which features the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.
The music on this album features legendary Cuban groups such as Irakere, Los Van Van and Pablo Milanés, as well as a host of lesser known artists such as the radical Grupo De Experimentación, Juan Pablo Torres and Algo Nuevo, Grupo Monumental and Orquesta Ritmo Oriental, groups whose names remain largely unknown outside of Cuba owing to the now 60-year old US trade embargo which remains in place today and which prevents trade with Cuba - and thus most Cuban records were only ever available in Cuba or in ex-Soviet Union states.
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s - who were all searching for a new Cuban identity and new musical forms that reflected both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music - and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades - Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records.
Press - Reviews & features in Mojo, The Wire, The Guardian, The Times, The Telegraph, Pitchfork, Irish Times, The Observer, Clash, Vice, Metro, Record Collector, Uncut, Independent, Q.

The Black Bones story is born out of a shared obsession for crate digging, collecting, and the playing of weird and wonderful music. Their releases so far have manifested in a highly-sought series of seven psychedelic disco 12"s - picking up numerous Record of the Week plaudits on the way. This considered curation and skill for pulling together far-flung sounds fully informs their first original material. These four bold and adventurous club cuts are a thrilling mix of straight-up house sounds, new beat, industrial, dub, sleaze and all the other good shit that comes with low-lighting and a heavy sound system. Kicking off with the full throttle 120 bpm of 'ABTS' - the duo take you straight to the 'floor with one of the wildest rides we've heard in some time. 'Denied' pulls us in to darker territory - chest pummelling bass, ominous high-pitched warnings and a chuggy acid throw-down finding us once again lost in that 5am dance floor fog. Over on the flip and 'Punghi' combines a hypnotic groove, dubbed out FX, percussion and a tripped-out Eastern breakdown. One for the more adventurous DJs and dance floor! The EP is closed by 'Gabi' which sounds like minimal gone maximal with an insane industrial switch-up. Enough words! As always, Black Bones let the music do the talking and this ambitious debut can quickly find itself shelved alongside the records that have fuelled their lifelong obsession.

There’s something new under the sun. If you look at it closely,
something new is only (and always) created at crossroads –
when different and signi¦cant traditions are connected and
combined. On their own, these traditions have often existed
for a while. However, in this new form they have never
appeared together. The latest manifestation of something
new can now be found on the album “No Future Dubs”, the
interpretations of “No Future Days” – the most recent album
by German band Messer – by Finnish producer and old
friend of the group Kimmo Saastamoinen aka Toto Belmont.
The intentional traditions that merge on this grand and
digni¦ed album are post-punk, dub and techno. A new
chapter in the culturally constant narrative of dub is written
here. Through their past and parallel activities in hardcore
and post-punk bands, Messer drummer Philipp Wulf met and
befriended Kimmo, originally a drummer too. In their
continuous dialogue discussing their musical journey, Philipp
and Kimmo over the years more and more immersed
themselves in the aesthetic possibilities of dub and reggae.
Indeed, lots of musicians do not listen to the type of music at
home that they write and play in their respective projects
(Take me as an example: House is the music that I produce
and put on as a DJ. On my own, I listen to various stuff,
music by Monk and Messer for example). The same applies
to the protagonists involved here. By discussing dub und
through Toto Belmont’s steadily increasing producingexpertise, the idea of creating dub versions of selected
Messer tracks was born. The Messer album “No Future
Days”, released in 2020, proved to contain the perfect raw
material as the songs on this album are already produced in
a much more transparent way than on previous LPs – and
are hence more suitable for dub. Still, it’s a giant leap from
the originals to the dubs. These add a third dimension to the
described character of the post-punk/dub amalgam: techno.
The result is a sound that hasn’t existed before, especially
not with German lyrics (which scarcely, however, carry
meaning or messages here. Hendrik Otremba’s voice is used
more like an instrument, as if he was the ghostly ¦gure which
he often sings about and which now §oats and screams
through the sound space). The history of mutual contact and
in§uence of (post-)punk and dub (reggae), which Messer
have kept on writing, is glorious and reaches back far in
musical history. Still, it has always been a rather marginal
chapter not only in punk but also in dub history. But already
in the beginnings of punk (the British version, less the
American one), the presence and in§uence of reggae was
obvious in many places as both are united in their resolute
attitude as rebel music. This is how the two genres
recognized each other – especially the punks regarded
reggae as rebellious. As is known, already Johnny Rotten
mainly listened to dub in private. By using the name John
Lydon, he then – together with bass player Jah Wobble –
established the group PiL as one of the most exemplary
bands at the crossroads of dub and punk. The Slits, Pop
Group, Killing Joke, The Ruts and last but not least The Clash
along with the Mick Jones offshoot Big Audio Dynamite –
the thriving British music scene in the early 80s was full of
dub-in§uenced acts. The echoes meandered everywhere. In
the USA, it took longer until the in§uence of dub became
noticeable and it has never been as distinctive as in the UK.
The history of US hardcore, however, cannot be told without
bands like Bad Brains from Washington D.C. who on their
albums occasionally inserted conscious reggae and dub
tracks between breakneck hardcore tracks. Another
important group is Blind Idiot God who similarly included
dub tracks on their LPs – the contrast between densely
droning rock tunes and widely breathing dub versions can be
experienced very vividly here. In the 90s, dub’s in§uence on
post-punk decreased while turning up even more distinctively
somewhere else: Techno was in many respects susceptible
to dub, to say nothing of the music from the so-called British
hardcore continuum (jungle, drum & bass etc.), which directlydeveloped from dub and reggae. But also “pure” techno –
meaning techno without breakbeats – discovered its a¨nity
for the possibilities of dub at an early stage, in England for
instance in projects like Left¦eld or The Orb. In addition, the
project Rhythm & Sound was established in Berlin with close
ties to the Hardwax record store. With regard to this project,
you can’t really say where dub ends and where techno begins
(or vice versa) because of the interconnection of the two
genres here – everything is based on the steppers pulse
which links the two styles like a common DNA. With dub
techno a new genre was created. Until the present day, there
are producers who don’t produce anything else and DJs who
don’t put on any other music. The Messer dubs are
characterized by a grand majestic manner and force that
presumably someone like Mad Professor is able to produce
and that is also inherent in many Scandinavian productions
of the last 15 years; a crystal-clear aesthetic which locates
itself far away from Kingston or Brixton, but features a pulse
referring clearly to Berlin and Helsinki. The songs appear in a
completely new and deconstructed form, the instruments are
exclusively used as particles and raw material, not as riffs;
merely glaring guitar textures ¦ll the wide dub space. There
are many new elements that were added by Toto Belmont,
especially synthesizer sounds and drums. The ¦nal result
creates an enormous aesthetic power and dignity, and an
atmosphere you don’t want to leave anymore. “No Future” is
a well-chosen title as a reference to the protagonists’ punk
association; as a main thrust of the album, however, a
comma between these two words is imaginable as well.

Nicky Night Time and Ali Love have collaborated for a hypnotising new single ‘Ubiquity feat. Breakbot’. Filled with classic disco flair, funk riffs, and infectious vocals the track instantly encapsulates a dreamy dance-floor moment and comes complete with remixes from The Magician, Eric Duncan and Lubelski who all add their signature spark.

With each artist living in a different country, ‘Ubiquity’ has already made its way around the globe, Ali Love explains how the track came together, “‘Ubiquity’ started its life in Australia with Nicky Night Time as a drum and guitar track. Then made its way to London where I added electric bass and vocals very early in the morning. I recall there were about 8 Japanese girls in my flat for some reason, so you could say that really added to the song’s vibe. You can feel there’s a party happening. The tune then travelled to LA where, by chance, Nicky drafted in Breakbot, who wrote the amazing string and horn parts, and sent the song into the stratosphere. The stars have aligned and the vibe is ubiquitous." Nicky Night Time adds “It was a love project really and I think we felt it was a cool thing just to put out into the world between the 3 of us amigos.”

For the remixes, globally renowned producer The Magician adds his signature touch highlighting the original’s funk elements and punchy drums while maintaining the driving bassline from the original. Merging disco with French touch, The Magician accentuates the cut-off and phaser effects for a playful and energetic remix. Next up, Eric Duncan hits with a synth heavy cosmic remix as Lubelski closes out proceedings going for a stripped down, late night shuffler.

Die GRAMMY-nominierte Band CHA WA veröffentlicht mit ,My People" eine neue Song-Kollektion, die aus der reichen und lebendigen Straßenkultur von New Orleans schöpft. ,My People" vereint zeitgenössische Klänge mit der Musik von Straßenparaden und der Mardi Gras Indianer-Gemeinschaft - einer Gruppe schwarzer New Orleaner, die mit ihrer Kleidung, ihrer Musik und ihrem Dialekt den indianischen Stämmen Respekt zollen. Vollgepackt mit einer lebendigen Ansammlung von New Orleans-Klängen und -Geschichten, schöpft diese Sammlung neuer Originalsongs aus den Grooves von New Orleans-Funkbands der 70er Jahre wie The Meters (besonders bei Stücken wie ,Wildman" und ,Bow Down") und nimmt deutliche Einflüsse aus der Geschichte der Stadt mit Brass-Band-Musik, Jazz, R&B, Hip-Hop, Rock, Soul und afrikanisch inspirierten Arrangements (einschließlich einer relaxten Coverversion von Bob Dylans ,Masters Of War" in diesem Stil). Cha Wa wurde von Bandleader Joe Gelini kurz vor der Veröffentlichung des 2018 erschienenen Debütalbums ,Spyboy" gegründet, das 2020 bei den GRAMMYs mit einer Nominierung für das beste regionale Roots-Album ausgezeichnet wurde. ENG The next generation of New Orleans music shares a bold vision for the future with a reverence for the past. It builds upon tradition to bring something unique to the world. The future of New Orleans music is Cha Wa, a Mardi Gras Indian funk band that takes the music of the streets into the 21st century, with guests like Alvin Youngblood Hart and Anjelika Jelly Joseph. On "My People", the band tries to "take the influence of Monk and Bo and Willie Tee [from the original Wild Magnolias] back in the day, when they were interpreting the music of their time - the deep funk, disco, Afrobeat and tinges of reggae," says drummer & bandleader Joe Gelini. "And we're also trying to interpret and write new music that we're inspired to play that's relevant to our generation, and our current social environment." "My People" feels like pure joy, a distillation of generations of New Orleans expression, but it also never fails to remind us how hard-won that joy was and still is: not least in the tense, funky and explosive title track, with its declaration "My people, we're still here." "Mardi Gras Indian songs are inherently songs about freedom," Gelini says. "And that struggle is as relevant today as it's ever been."

Digital Introversion is the first studio album of Aboukir, the new project of multi-instrumentalist and songwriter Ralph Maruani, also known as Flabaire for his electronic music pieces.

Throughout the 8 tracks of the LP, psychedelic guitars and dreamy vocals lie down on bluesy bass lines and subtle rhodes keys, putting great emphasis on instrumental sequences in every song.


Inspired by the sound of the 60s and 70s rock, the album conjures references to bands like Crosby, Stills & Nash, prog-rock pioneers Pink Floyd and more modern musicians such as Khruanghbin or Air. Recorded in 2018 and 2019 in his home studio, every instrument is played and arranged by Maruani himself except for the drums, performed by friends and family on several tracks. No samples here, just pure talent from an experienced producer and a lifelong vinyl collector. 


Aboukir’s Digital Introversion will be available in April 2021 on Rotary Phono Lab in limited edition vinyl and digital.

RIYL: Depeche Mode, New Order, Naked Eyes, Lust for Youth, Black Marble. 2020 has been one rough ride for everyone, forcing us all to review what we thought was normal and maybe, one would argue, even our priorities. Two years have passed since their previous Inflict LP and we don't really know how what recently happened impacted on the band's mastermind Michael but what's sure is that Veil Of Light are now a fully grown-up band. Landslide is their fifth full-length (and their third on Avant!) and it's definitely their most elaborated album. Ten new songs, rather than the usual eight, with a perfect balance of Coldwave-inspired intimate atmosphere and synthpop catchy melodies. Musically speaking it's still clear where the Swiss duo draws their influences from, right in between New Order's moodiness and The Klinik trying one softer, less brutal approach to their Electro. But a new sense of privacy is reflected all through these new tracks, enhanced by lyrics now more personal than ever. The Prayer Wheel is a page torn out of a private diary, Love And Money is a mechanical mantra for a no-way-out situation; Suburban War is a confession of defeat whispered at night, No Return is the last dance before reaching the point of. This is the kind of record that takes its time, and takes its toll, we just need to sit down and listen because there's much to discover.

Bad Colours is the moniker of London-born, Maryland-raised, Brooklyn-based DJ and producer Ibe Soliman. With influences of garage from both sides of the Atlantic as well as funk, post-disco, proto-house and rap samples; his debut album 'PINK' is set for release by Bastard Jazz on 26th February 2021.

The drive to record an album came about while isolating at home in Flatbush during the COVID-19 pandemic. Inspired by some rough ideas and samples that friends sent him, Ibe focussed his attention on making music. From time well spent soaking up and storing sounds from clubs around the world, Ibe found, now with the time to dedicate towards it, the tracks flooding out. Taking cues from early Trax records and Larry Heard, the UKG musicality of MJ Cole, Todd Edwards' vocal sampling techniques, the brashness of Bmore, and an encyclopedia of disco, funk and soul knowledge; Ibe got to work and quickly compiled more than enough tracks for a full-length release.

Flowing from the album intro 'PINK!', first single 'Cookin' vibes over a Chris Faust sample and saxophone from south California virtuoso Carras Paton. 'Feelin' Like' was originally built around a short vocal sample by Jarv Dee, but grew to include additional lyrics on black power from the Seattle rapper after he heard it: "Dancey stuff with a message" says Ibe.

Slow jam 'Heyyy', with its preemptive lyrical synths, bridges to the album's next single 'Get You Off'. Ibe had been listening to a lot of Marvin Gaye - particularly 'I Want You' - during lockdown, getting into the production and vocals. After writing the "I just wanna get you off" hooks, he handed the track over to talented singer, actor and playwright Marcus Harmon who wrote the verses and provided the stunning vocal performance.

Keeping the sensual vibe, 'Skin To Skin' samples vocals from 'Private Play' by Wash 'N' Set, also produced by Ibe, with the Chris Isaak-esque guitar lines by Lex from Foreign Tapes. Made late at night, CMYK reminded Ibe of driving at night in the rain in NYC, where the colors bleed together on the wet road while 'Boss', the first track made for the album, is based around a Sunny Jones sample. The closing track 'Feel' was made at the peak of Black Lives Matter protests. "I just wanted something hard sounding," says Ibe.

Known for his residencies at some of New York's top venues, Ibe has been rocking crowds as a DJ for over a decade, and has shared the decks with the likes of James Murphy, Mark Ronson, and Q-Tip. He's performed alongside Wiz Khalifa, Snoop Dogg, Pusha T, and Young Thug, to name a few. In high demand as a private party curator, he's helped set the tone for Jeff Koons, FKA Twigs, Justin Timberlake, Travis Scott, and Usher. When Ibe's not behind the decks, he's in the lab, where he's produced for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others.

Nur wenige Bands haben den französischen Pop im letzten Jahrzehnt so belebt wie La Femme, und 2021 kommen sie, um unser aller Leben besser zu machen. Paradigmes, ihr mit Spannung erwartetes drittes Album, bietet eine Verschiebung in der Art, wie wir die Welt sehen, einen kaleidoskopischen Wirbel in eine andere, lebendigere Dimension. Nach Psycho Tropical Berlin (2013) und Mystère (2016), die beide in Frankreich Goldstatus erreichten und ihnen hunderte von Shows auf der ganzen Welt einbrachten, verblüfft die in Paris und Biarritz ansässige Band auch mit ihrem neuen Album. Auf diesem Album hört man alles von Coldwave bis Yéyé, von Kraftwerk bis Velvet Underground, alles destilliert, sequenziert und psychedelisch aufbereitet, so dass es unverwechselbar nach La Femme klingt. Der Titeltrack ist ein fetziger, knisternder Elektro-Song, der den Geist von Flappern und Philosophen, Cabaret und Art Deco und Fritz Langs Meisterwerk Metropolis einfließen lässt, unterlegt mit einem Hauch lyrischer Melancholie. Paradigmes ist ein Album, das im Moment lebt, auch wenn dieser Moment gerade eine Herausforderung ist. Seine fantastischen Reisen werden zweifellos eine Flucht in eine Welt jenseits unserer eigenen ermöglichen

10Questions is a record label by Dam Swindle's Lars Dales and graphic designer Bas Koopmans. The first release promises a lot for the coming series with signing the first EP with Demi Requisimo. Demi is one of the rising stars in dance music due to his energetic tracks and signature style, combining italo and electro with chopped up disco samples from around the globe.

The EP starts of with it's namesake track. 'Dictionary of fools' is a great example of Demi's knack for creating dancefloor bombs. The razor sharp bassline cuts through the track like a knife through butter but it's the female vocal that covers the track like a warm blanket. This track will get anyone's blood pumping and makes you wish you heard it first on a sunny festival.

'Noisey Cricket' ventures more into the 80's proto-house territory with it's distinctive drum programming and italo style bassline. The pads and vocal chops elevate the track to another level and underscore Demi's nose for finding just the right balance between electronic sounds and samples.

The final track of the EP, 'Atomic' is one of those tracks that sneak up on you. Demi takes a ballsy approach and let's you wait a full 3 minutes before the bassline comes in but lord it has never sounded sweeter. This is a party starter if you ever heard one and a beautiful example of how well Demi understands crafting a deceptively simple track with maximum impact. A master of his craft.

10Questions is a label build on the concept that the record and record sleeve are an integral part of the full experience of an EP. The artist is given a questionnaire and depending on his/her answers the artwork is made. This way the music and art co-exist in the same creative universe, that of the artist and the label alike.

10 track compilation of obscure, quirky and irreverent 90s Europop/dance music from the ever-reliable Born Bad Records crew.
”Real” house music emerges in early 80’s Chicago (where the Warehouse club, which allegedly gave its name to the genre, closes down in 1983). England’s acid house and Belgium’s new beat, its European offshoots, fed the cravings of tabloids in 1988 and 1989. The house music we’re interested in though, the type bound to soon overwhelm European charts, is already pretty far away from the Afro-American music born in Chicago. So far away it inherited a new name: dance music.
Just like it had been the case with disco a few years back, house and techno aren’t exactly in the good books - acid house and new beat even less so. And it’s precisely the genre’s mainstream iteration this compilation focuses on; the house en Fran ais, which strives to get on board the running train in 1990.
The house which sports the all-over jean look, bandana, cap, chewing gum, Peugeot 205 complete with snazzy beats on the radio. The big deal big fuss type, miles away from the original, underground house. It might not have been born in the nineties, but that’s clearly when house music became mainstream.

This highly collectible LP from 1974 is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique sound and joyful vibe. Includes the anthems 'Mi Nuevo Ritmo' and 'Alma y Sentimiento/ Soul and Feeling' recorded at different sessions in Colombia and Peru. Presented in its original artwork and pressed on 180g vinyl. The highly collectible LP Alfredo Linares Y Su Salsa Star "Mi Nuevo Ritmo" (1974) is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique swinging sound and bright, crisp, joyful vibe. There are plenty of straight up Cuban-roots based salsa tunes, plus some Latin jazz and Latin soul and a bolero. Trumpets, hand claps, loud cowbell, and vigorous vocals all make for a great listen and an even better dance experience. As the track 'La Música Brava' proclaims, "Yo no quiero que pare la música brava!" (I don't want the badass music to stop!). The record is actually a patchwork of different recording sessions made in Peru and Colombia, featuring differing studio sound and musician lineups. Linares had just returned to his adopted home of Medellín from a period spent in Peru and was looking for a record deal. He had brought master tapes with four songs recorded in Lima and was shopping them around in the hopes of securing an album contract. Linares also cut some Colombian sessions which feature Roy "Tayrona" Betancourt as well as Henry Castro and Enrique Fabián. Unfortunately, neither Discos Fuentes nor Sonolux or Codiscos were interested. At that time, vinyl for making records was scarce and over-priced due to the petroleum crisis and hence the labels were reluctant to try out a new artist. "There was nothing to be done. The only company that had vinyl stock was INS. So I did the business with them even though they didn't have a known name in Colombia. The strength of that album made them rather famous." The song 'Mambo Rock' (with 'Estricto Guaguancó' on the B side) came out on a 45rpm record in 1974, and, as Linares recounts it, "two months later the sale was at a very high level. So, partly out of gratitude, I started producing for them. It is from there that my other records and the AfroINS albums came." Unfortunately the master tapes to the LP were lost or destroyed, as with all INS releases, so the best possible vinyl sources and audio restoration has been used for this deluxe reissue.

On "Neon Genesis: Soul Into Matter²" Meemo Comma (a.k.a. Lara Rix-Martin) takes Kabbalistic text and Jewish prayer and guides them through twinkling ambient synths, breakbeats and cranking industrial noise, full of strange wonder and drama. You can hear soft synths transmuted into choirs of seraphim and moments of occulted dancefloor rapture, from Aramaic chanting and ravey breakbeats to readings from the Zohar. It is quite beautiful at times. Jewish mysticism is at the root of Western esoteric beliefs and therefore has formed the structure of many films and books that explore the question of humanity. Inspired by the visuals of Evangelion and nineties anime soundtracks such as Ghost In The Shell (and its later Stand Alone Complex series), the new Meemo Comma album is a soundtrack to an imaginary anime that, like its real counterparts (e.g. Full Metal Alchemist), takes the beautiful parts of Kabbalah and sets them to science fiction stories. When asked about the themes that inform her new album, Lara Rix-Martin says "Judaism is filled with many tales and teachings that prevail in science fiction to this day - whether consciously or not. Sci-Fi is the genre best equipped to explore the immensity and challenges of human experience. Something that Judaism has also been attempting for over three thousand years." "I watched Ghost in the Shell when I was 14 and it was so striking, visually and sonically. The soundtrack has acted as a backdrop to explore my Jewish identity. I have been reading the Talmud since last year, discovering a deeper love for Jewish stories and teachings. There are some beautiful, hopeful ideas in Kabbalah too, which were a central inspiration to this album such as the idea that the first human was non-gendered and just this form made up from the qualities of HaShem (God) who performed 'Tzimtzum', contracted their form using their Ein Sof (eternal light) to create 'Adam Kadmon' whose form split into all human souls." Lara playfully subheads her album: "In the year 5781 humanity is ever closer to becoming a singular consciousness. A team of humans are forming an android, Adam Kadmon (CODENAME: UNIT KADMON). First, humans have to gain higher consciousness guided by the Sefirot." While you don't have to know about these influences to enjoy the music, it stands true that the intention is an irreverent love letter to the way grand myths are birthed into the future through new forms, retaining their beauty and elegance.

Sam Gendel’s new album, DRM, is the follow-up to his Nonesuch debut, Satin Doll, released earlier this year. DRM features Gendel’s solo musical experiments with vintage instruments such as a forty-year-old Electro Harmonix DRM32 drum machine, antique synthesizers, and a sixty-year-old nylon-string guitar — accompanied by his voice. While Satin Doll was a futuristic homage to classic jazz, DRM includes just one cover song: Lil Nas X’s ‘Old Town Road’, which Gendel interprets as an instrumental, playing the melody on an old German analogue synthesizer. The album’s accompanying short films were directed by Marcella Cytrynowicz and filmed at various locations around Gendel’s home state of California during COVID lockdown.



“I’m imagining people listening to DRM and thinking, ‘What the hell is this?’, like they’d just encountered some sailing ship in the sky,” Gendel says of the new work. “I imagine it as if someone many years into the future listened to the popular music of today and then tried to recreate it, without any of the tools or the understanding. Stylistically, it’s not too far from so much contemporary pop-rap music that you hear on the radio. A lot of those electronic backgrounds and instrumentals you hear today are tending towards something really out-there and experimental. It’s rhythmic and pointillistic, collaging different, seemingly unfitting elements together in cool ways. The visuals aren’t necessarily dictated by the music, but they both share the same slightly surreal feel, like I’m a video game character, inhabiting all these different backgrounds,” says Gendel.



Gendel is best known as a world-class saxophonist — it’s the instrument with which he’s led most of his bands, as well as the instrument on which he’s guested with the likes of Vampire Weekend, Ry Cooder, Moses Sumney, Sam Amidon, and Louis Cole’s Knower — but DRM is saxophone-free. “There was no active effort on my part not to include it; it just wasn’t part of the equation when I started recording it,” he says. “I just found a formula, working around this DRM32 drum machine, and rolled with it. I don’t consider myself just a saxophonist, I’m just someone who works in music.”



DRM was recorded in one sixteen-hour session, and then manipulated by Gendel with electronic percussionist Philippe Melanson. It was mixed by Blake Mills, and mastered by Grammy-nominated engineer Mike Bozzi. Gendel’s previous discography includes 2018’s Music for Saxofone & Bass Guitar with bassist Sam Wilkes, 4444, and Satin Doll, which the Los Angeles Times called “a woozy, blissfully twisted album.” He also performs on two other Nonesuch releases this month: Joachim Cooder’s Over That Road I’m Bound and Sam Amidon’s new self-titled album.

This one is a double first for Shall Not Fade - the launch of the new Killer Cuts series focused on groove-heavy dancefloor fillers, and Marc Brauner’s debut on the Bristol label. The born-and-raised Berliner has previously released on German labels Midnight Snacks and Pentagonik, and joins the Shall Not Fade roster with a collection of classic house tracks to make you miss the clubs. Brauner covers a breadth of moods on the record, the A-side filling you up with euphoria; opener ‘Too Real’ is a gorgeous bit of lofi house tinged with funky guitar inflections and a retro feel that sweeps across the whole release. ‘Things I Did’ and ‘Tool For Lovers’ drag you out of winter and into a 90s Ibiza summer, utilising a 303 bassline and classic house stabs to warm up your dancing feet. In comparison to the warmth of the first half of the record, the B-side gets more haunting in tone, first by introducing rolling breaks in ‘I Know You Would’ and especially in ‘Tears of a Fallen Angel’. This is the emotional core of Brauner’s offering, euphoria tinged with sadness over a punchy rhythm that juxtaposes the subtle vocals woven throughout. The record closes with a hint of post-disco; ‘Neptun’ is a real groover of squelchy electro synths that is reminiscent of Patrick Cowley and the early, smoky nightclubs of New York. The bonus digital track ‘Out of Time’ carries on a similar energy - it’s a piece that doesn’t keep still, glittering with playful synth melodies and a surging cacophony of vocal samples.

Hannah Peel’s latest work "Fir Wave" contains re-interpretations of the original music of the 1972 KPM series featuring Delia Derbyshire and the Radiophonic Workshop.



The new album, a sonic shimmer of textures and pulses that switches between raw atmospheric edges and environments, arrives with a fascinating history. As Peel explains, “The specialist library label KPM, gave me permission to reinterpret the original music of the celebrated 1972 KPM 1000 series: Electrosonic, the music of Delia Derbyshire and the Radiophonic Workshop.” This process of re-generation and finding fresh inspiration in pioneering, experimental electronics from the early 1970s is at the core of the album. Peel has made connections and new patterns that mirror the Earth’s ecological cycles through music. Peel explains, “I’m drawn to the patterns around us and the cycles in life that will keep on evolving and transforming forever. Fir Wave is defined by its continuous environmental changes and there are so many connections to those patterns echoed in electronic music - it’s always an organic discovery of old and new.” As Delia Derbyshire revealed in 2000 to BBC sound engineer, journalist and academic Jo Hutton: “I like new things that don’t seem new . . . as though they’ve always been there.” Known more recently for curating and presenting on BBC Radio 3’s Night Tracks, the Northern Irish Emmy-nominated composer and producer’s work is ambitious and forward-looking, adapting and re-inventing new genres and hybrid musical forms.



Recent albums include the solo electronic and pop work of Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; the electronic ruralism of Chalk Hill Blue, an album recorded with the poet Will Burns; and the space and the unparalleled vastness of Mary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band. In 2019 she composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’.

This limited vinyl-only and single-sided 12" gem of a jam by Tetzlaff, an originally well-kept secret Rico Puestel project from 1995, had it coming for over 20 years now...

The mystical inscription "Angliziskuss" appeared on the original audio tape cassette as well as the magnetic tape that carried several drum machine and bass guitar recordings from the mid and late 1990s until the early 2000s - totally forgotten until they emerged in 2011 when everything slowly started coming together.

"Angliziskuss" is a combination of the German word for "Anglicism" (vocabulary borrowed from English from another language) and "kiss", like one language kisses the other one throughout some kind of symbiotic and overriding act.

That initial naming gave a deeper meaning to the whole development of the production and triggered the gathering of all creative amendments to the track over the years that led to one final and closing addition to it about seven years ago: The dynamic meeting of an infamous, emotionally charged English vocal snippet and its more rational counterpoint German translation, delivering a subtle tension overall and within.

All embedded into one charming housier journey of over 14 minutes, the „Angliziskuss“ establishes an unique recipe of balearic-like piano playings, a disco-and-funk-styled live bass guitar theme, both futuristic and nostalgic synth lines based on one unadulterated 1980s drum machine foundation.

HIGHLIGHTS New pieces by Spanish pioneers from the 80's and before in Experimental rock, Electronica, Industrial, Avant-Garde, etc. Inspired by the mysterious and disturbing anti-Franco illustrator OPS, nowadays well known as El Roto. Second part of the Erizonte trilogy on drawing as a transmitter of progressive ideas, first part being Suite Los Caprichos by Francisco de Goya. Available only in vinyl gatefold edition. TRACKLIST: SIDE A A1. ERIZONTE - Obertura A2. MECANICA POPULAR and Erizonte - Dos veces en la vida A3. LA FURA DELS BAUS and Erizonte - ¡Mierda de guerra! A4. MACROMASSA with Erizonte - Tonsura A5. PELAYO ARRIZABALAGA, ELI GRAS & ERIZONTE-Miedo a la verdad A6. ERIZONTE - Tres piezas para teclados SIDE B B1. ERIZONTE - (Des) educación B2. ESPLENDOR GEOMÉTRICO & Erizonte - Clerecía B3. MAR OTRA VEZ - Calma B4. ERIZONTE - Difracción B5. ERIZONTE with JESUS ALONSO - En el país del silencio B6. SCUD HERO with Erizonte - Hipnosis colectiva B7. CORCOBADO and Erizonte - Sol sotnemurtsni es nacot B8. ERIZONTE - Coda More Details: In this collective creation directed by Erizonte well-known artists sharing ethics and aesthetics come together over the mysterious and disturbing drawings that appeared in some newspapers, books and magazines in the mid 1960's to mid 1980's, such as Hermano Lobo, Triunfo or Cuadernos para el Diálogo, signed OPS - later better known by the heteronym of El Roto. Musicians or sound artists, representatives of avant-garde music that emerged in the Spain of OPS, have composed a piece for this album on a given, recurring theme: repression, censorship, informative manipulation, induced or obligatory oblivion, the vices of clericalism, the horrors of war, imperialism, bad education or the lack thereof and gender violence. These are themes that coincide with those already undertaken by Goya in etchings, and of whom we can consider Andrés Rábago, the painter behind these two pseudonyms, as the legitimate heir, at least in this field. He himself has chosen the drawings that illustrate each of the covers corresponding to the individual editions of each piece as they appeared. The covers are all gathered here, along with a new cover. This album is part II of Erizonte's trilogy inspired by drawings in the media c. After the first part, the "Suite Los Caprichos de Goya", where 19th century ideals of the Enlightenment can be seen through the etchings of Francisco de Goya, while this second album corresponds to the OPS cartoons, anti-Francoism and its environment, as it was when they appeared in newspapers and magazines, the media of the 20th century. The artist and the graphic medium for the third and last part, corresponding to this 21st century, is yet to be discovered ...

Autopsia is a cult art project dealing with music and visual production.
Its art practice began in London in the late 1970s and continued during the 1980s in the art centers of the former Yugoslavia.
Since 1990, Autopsia has acted from Prague, Czech Republic.
Above all Autopsia is not concerned with music. What is Autopsia? Art? Theory? Framing? Projection? Gaze? Autopsia is
language is image is sound. Autopsia is a tombstone on the grave of time. Autopsia is archaeology. The discourse of the
beginning and about the beginning. At the beginning is Death and the pity of Death. The music is in the pity.
The music of Autopsia oscillates from romanticism to avantgarde, from industrial rhythms and dark ambient drones to relentless
choral swells and academic minimalism.
Autopsia Archive 1982-1995
Engineered & Mastered at Mustakillah Studio Prague, 2017
Released by Other Voices Records VOX 35 LP
Marketed and distributed by Kontakt Audio

Rarely does an artist pay homage to the classics quite like Dimitri From Paris, whose illustrious repertoire of original productions and remixes effortlessly capture the essence of the disco greats. After releasing his acclaimed collection of CHIC remixes on Glitterbox Recordings in 2019, Dimitri now partners with NYC singer-songwriter Fiorious, an artist who represents the dawning of a new era in dance music talent, to release ‘Music Saved My Life’ on the label.

With Fiorious’ previous Glitterbox releases including powerful call-to-resistance anthem ‘I’m Not Defeated’ and re-work of Aly-Us’ 90s classic ‘Follow Me’, his impassioned vocal paired with Dimitri’s meticulous production make for a perfect match. A celebration of music’s ability to provide sanctuary and liberate, ‘Music Saved My Life’ encapsulates the ethos of the disco golden era and its modern-day equivalent, Glitterbox. Beautifully brought to life by an international ensemble of over twenty world-class musicians, this is a truly exceptional release from a pioneer of dance, and a future star of the scene, that stands up alongside the disco greats.