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In 1988, on a break from his band the Rolling Stones, Keith Richards released his first ever solo album, Talk Is Cheap. This universally respected debut is an eleven track masterclass in everything that's good about rock 'n roll and features guest appearances from an all-star cast including Sarah Dash, Bootsy Collins, Maceo Parker, the Memphis Horns, Patti Sciafia and Mick Taylor.

Remastered from the original tapes by Richards' collaborator, Steve Jordan, the album's joyous swagger is re-energised and permeates through each and every song.

Talk Is Cheap sounds as good today as it did thirty years ago; in Keith's words: 'As fresh as the day it was made.

Kansas City trio BUMMER mirror the absurdity of
modern life with a balance of dark humour, dejected
nihilism and righteous fury. Their music spills out in
torrents of skull-crushing riffs, gargantuan bass and
caustic howls delivered at breakneck speed with
gleeful abandon.
Following their split 7” with long-time friends The Body,
which teased a more focused, lean sound for the
group, ‘Dead Horse’ hones BUMMER’s auditory
desolation and scathing gaze to laser-point precision.
In eleven short vignettes the quartet lay waste to
everything in their path, penning a vitriolic overview of
life in the American Midwest, a surprising blend of onestar Trip Advisor review and insightful cultural critique.
“BUMMER puts the ‘power’ in power trio as they play
a raw and primal form of aggressive music that splits
the difference between ‘Bleach’-era Nirvana and the
early, primitive thrash of Slayer. It’s aggressive and inyour-face, but doesn’t skimp on melody, making their
songs memorable. So, there is power and a bit of
precision to what they do. A whole lot of volume, too.” -
New Noise Magazine
CD in gatefold packaging with lyrics.
LP packaged with download code.
Available to independent retailers on grey / blue vinyl.
Artwork by painter Joan Lalucat Vehil.

Who could forget the BAMs, the BLAMs, and the BAOMMs?!

Ubisoft, Microids and Laced Records have conspired to bring the fabulously percussion-heavy music of XIII to vinyl.

Based on the graphic novel by Jean Van Hamme and William Vance, the 2003 cult first-person shooter adopted a cel-shaded look and visual onomatopoeia to set it apart. Mixing action, stealth, and exploration, XIII is chock full of conspiracy, assassination, and plot twists.

French composer Lionel Gaget created a superb spy-jazz soundtrack that fuses John Barry’s ‘60s James Bond musical blueprint with David Holmes’ Ocean’s Eleven instrumental funk. The 11 specially remastered tracks on the LP — featured in both the 2003 and 2020 versions of the game — are stuffed full of first-class percussion, deep bass and subtle jazz stings.

The audiophile-quality, heavyweight 180g black and white LP will be housed in a deluxe card sleeve.

Light Blue Vinyl

**Tracks 'Sixth Sequence' and 'Tenth Sequence' are bonus tracks & exclusive to the vinyl release only.** limited transparent green vinyl LP

Past Inside The Present is pleased to announce 'Wave Variations' which is a new mini-album by veteran ambient producer Dennis Huddleston AKA 36.

36 has often enjoyed exploring self-imposed restrictions, as it forces him to be creative, while allowing an inherently coherent sound between the different compositions. All the arrangements on Wave Variations use a limited pallete of mostly synth-based sounds, with particular focus on keys and melodies. Each track directly influenced the next one.

Dennis has kept almost every track around three minutes in length. He states, 'I feel like a lot of ambient music (including my own) is often unnecessarily long and these small vignettes work as a nice counter to that. Don't expect long build-ups or over-extended crescendos; These are short tracks that take you straight to Elysium and then dissolve into the ether.'

He further explains the output of Wave Variations, 'Ocean tides inspired the album. I think we've all felt that sense of longing and wonder while standing at the beach, staring at the waves and gazing into the endless horizon. I think it's something that transcends all generations of people. Like the waves, these tracks leave as quickly as they arrive. I feel it's one of the most minimal records I have made, with far fewer individual sound sources at my disposal. It keeps me on my toes and forces me to deeply explore the instruments I have available to me.'

This stripped-back sound gives the album a hypnotic quality to it. Like much of Dennis' work, there is a delicate balance between melancholic melodies and rich textures, resulting in an understated yet deeply exhilarating sound. Fans of emotional, melodic ambient music should find plenty to enjoy.

Originally from Philadelphia, invited to New York by Miles Davis, playing at Antibes in 1960 with Charles Mingus and Eric Dolphy, here is trumpeter Ted Curson in 1971... in Paris. With him, a legendary trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). A new transatlantic alliance in the service of jazz of all kinds: classic, modal, fusion and even free... Pop Wine is – between Coltrane and Miles with a nod to roots in the club the Caveau de la Huchette – an explosive cocktail but which leaves no stains!

In 1960, trumpeter Ted Curson played with Charles Mingus and Eric Dolphy on stage at the Antibes jazz festival. Eleven years later he was in Paris to record one of the gems of his discography, with a hard-hitting French trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums).

Arvanitas was also someone who had travelled widely. Originally from Marseille, he had accompanied visiting American musicians in Paris before moving to the States. It was when he came back that the charismatic trio was created with Samson and Saudrais and who recorded, in 1970 on Futura, the unforgettable In Concert and then, the following year, Pop Wine with Ted Curson.

Pop Wine: don’t be fooled into thinking you are going to hear jazz musicians trying to play pop after uncorking too many bottles. For, although the album occasionally tends toward fusion, it is first and foremost a wonderful jazz recording; and a recording with enough fizz to make your head spin!

There are five tracks in total: Quartier Latin reminds us a little of Olé Coltrane (Curson, like the saxophonist, is originally from Philadelphia), Flip Top where the trumpet and piano play out a chase scene through the streets of Paris, Pop Wine where funk and cool jazz meet on the barricades of black and white, L.S.D. Takes A Holiday which breaks out in a style close to free jazz, and finally Lonely One, with the impression that ends this unclassifiable album. Unclassifiable, unless we decide to elevate Pop Wine to the rank of a great vintage.

3 + 3 is the eleventh studio album by American musical group The Isley Brothers, released under T-Neck/Epic Records. It marked the first time the group officially included six members instead of three: older brothers Ronald, Rudolph and O’Kelly Isley were joined by younger brothers Ernie and Marvin as well as their brother-in-law Chris Jasper. The album was very successful, which can be attributed to the successful singles “That Lady”, “What It Comes Down To” and “Summer Breeze”. 3 + 3 ultimately became the band’s first platinum album. The album was included in the book 1001 Albums You Must Hear Before You Die and was also ranked #464 in Rolling Stone’s 500 Greatest Albums of All Time list in 2020

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

seekers come back with special project consisting of a Various Artist 4-part vinyl set + 90 minutes tape cassette.
The cassette has 2 exclusive bonus tracks that do not appear on vinyl.

seekers come back with special project consisting of a Various Artist 4 parts vinyl set + a 90 minutes tape cassette.
This clear transparent 7” is part 1 of the four part vinyl set.

Since Grazed is either the 14th or 16th record depending on how you count them (but who’s counting?) by Eleventh Dream Day, a Chicago band with Kentucky roots.
After 2015’s blistering guitar blast Works For Tomorrow, Janet Beveridge Bean, Rick Rizzo, and Douglas McCombs return alongside James Elkington and Mark Greenberg.
The hour of music on this 2xLP takes the long road home, spacing out at the wheel and reveling in the journey - celebrating those along for the ride. This is not a record about what is lost, but what is still there, however nicked up and grazed it may be. Built from the bottom up, the 12 songs here start simply with acoustic guitar and a voice and layer a lush symphony of sound over the band’s most melodic tunes to-date.

Since 2017 FSOL have released whats called Calendar albums, which are digitally delivered monthly tracks that form a twelve track album by the end of the year.

This release picks the best tracks from the last 4 years and brings them together in a seamlessly mixed fifty minute journey - eleven songs from FSOL, Humanoid and Synth-a



Engineered and mixed by Yage at FSOL's 9Lwest Studios.

Frankenstein Girls Will Seem Strangely Sexy is the second album by the electropunk band Mindless Self Indulgence. The album contains 30 songs, all of which are ranked by their title, including “Bitches”, “Dicks Are For My Friends”, “Holy Shit” and “Royally Fucked”. Industrial madness mixed with hip hop and electronic rock (or, as the band like to call it: industrial jungle pussy punk) packed with crazy lyrics sang by falsetto singer Jimmy Urine. It’s a fascinating record where you’ll discover something new every time you listen to it.

Frankenstein Girls Will Seem Strangely Sexy is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl.

Hamburg's very own Christoph Kähler a.k.a. Zwanie Jonson has many names. He is, depending on your perspective, theee eternal drummer, who has toured with legions of seminal German bands of all genres, he is just as well theee eternal underdog, for whose solo debut album "It's Zwanietime" infamous DJ Koze invented his very first label Hoobert in 2007 - out of pure love and just to be able to release it. (Koze taken with it: "The sweetness and kindness that runs through all the songs makes you think Zwanie is on the verge of his enlightenment."). He's been called a fake Swede, JJ Cale from the Waterkant, taller than Jesus (sic!), but above all he's the man who makes Hamburg look like a sweet spot at the end of Laurel Canyon, Los Angeles.

In summer 2011, Zwanie's second album "I'm A Sunshine" was released by Staatsakt. The album track "Golden Song" became a late radio hit in 2015 through its use in the film "Victoria". In 2017 he released "Eleven Songs For A Girl", also on Staatsakt, and now his fourth album "We Like It" is scheduled for early august on Fun In The Church. Recorded virtually alone, just like any of Zwanie's

Release Me 2 is a new collection of ten previously unreleased studio performances from the legendary Barbra Streisand, spanning 1962 to 2014. The album showcases exquisite songs and sublime studio performances recorded over the course of Barbra's astounding career, but shelved for various reasons. In her notes for the album, Barbra says, "For me, the studio is a combination musical playground and laboratory…a private sanctuary, where the possibility of catching lightning in a bottle always exists. Whenever that kind of magic happens, it's extremely satisfying. Sometimes though, when the arrangement doesn't quite gel or the song no longer fits the tone of the album it was meant for, the tapes go into the vault for safekeeping. Working on this 2nd volume of Release Me has been a lovely walk down memory lane…a chance to revisit, and in some cases, add a finishing instrumental touch to songs that still resonate for me in meaningful ways.

Release Me 2 features songs penned by celebrated writers and tunesmiths including Burt Bacharach and Hal David, Barry Gibb, Randy Newman, Michel Legrand/Alan Bergman/Marilyn Bergman, Harold Arlen and "Yip" Harburg, Carole King, Steve Dorff, Paul Williams/Kenny Ascher, and Walter Afanasieff/John Bettis.

Widely recognized as an icon in multiple entertainment fields, Barbra Streisand has attained unprecedented achievements as a recording artist, actor, director, producer, screenwriter, author, songwriter and concert performer. Streisand has been awarded two Oscars, five Emmys, ten Grammys including the Legend Award and the Lifetime Achievement Award, a Tony Award, eleven Golden Globes including the Cecil B. DeMille Award, three Peabodys, and the Director's Guild Award for her concert special -- the only artist to receive honours in all of those areas.

Das Schaffen von Kasper Bjørke hat sich im Laufe seiner Karriere ständig weiterentwickelt. Nach dem Debüt Album In Gumbo (2007) veröffentlichte er regelmäßig weitere Alben und EPs, beeinflusst von Post-Punk, Krautrock, Italo-Disco, Techno, House und Elektro sowie neuerdings auch Neoklassik und Ambient. Kasper hat mehr als 50 Künstler geremixt - als DJ ist er ausgiebig getourt und trat in einigen der legendärsten Clubs und Festivals auf. Nach The Fifty Eleven Project auf Kompakt (2018) und Nothing Gold Can Stay (2019) ist
das neue Album Sprinkles das achte Studioalbum von Kasper Bjørke.

Sprinkles klingt wie eine utopische Postkarte - abgeschickt in der Vergangenheit und mit Hoffnungen für die Zukunft. Verwurzelt in einem farbenfrohen Sound - gefüllt mit Licht und Wärme - verschmelzen die balearischen Vibes und Dream-House-Grooves mit Synth-Chören Gitarren, Fretless- und Acid-Basslinien und verflechten sich spielerisch zu einem klanglichen Bewusstseinsstrom; eine Fata Morgana der Vergangenheit und dessen, was sein wird. Die hypnotisierende Arbeit "Sprinkles" des bildenden Künstlers Luca Bjørnsten zeigt einen leeren, üppigen und bunten Garten mit einem großen, romantischen Springbrunnen und verkörpert perfekt das surreale Szenario, mit dem wir alle viel zu vertraut geworden sind. Das 13-Track-Instrumentalalbum folgt auf eine Reihe von Singles in diesem Frühjahr und Sommer und ist wie ein Hauch frischer Luft und ein dringend benötigter, warmer Sonnenstrahl.

In celebration of the 20th anniversary of the release legendary singer/ guitarist Thalia Zedek's Been Here and Gone, Thrill Jockey is proud to present the album unlike it has ever been heard before: on vinyl, re-mastered by Sarah Register. Thalia Zedek has been one of the most enduring rock musicians of the past four decades. From her auspicious beginnings in bands Uzi, Live Skull, and Dangerous Birds to her wider recognition in Come, Zedek established herself as a singular voice accruing accolades from critics and contemporaries including J. Mascis, Kurt Cobain, and Bob Mould. Been Here and Gone, her debut solo release originally released on Matador in 2001 on CD, marked a turning point in Zedek's music. As Come was coming to a close, Zedek began exploring writing and performing as a solo artist, eventually backed by violist David Curry, pianist Mel Lederman (both of which went on to perform with Zedek for two decades), as well as former Come bandmates Chris Brokaw and Daniel Coughlin. The idiosyncrasies of her voice were laid bare for the first time, revealing an even greater depth to her unique songwriting. The more spacious and rich arrangements sprawl and whisper with powerful vulnerability. "There was definitely something magical about the making of Been Here and Gone," says Zedek. "I'm not sure if it was because it was made at a studio called Higher Power in a recently desanctified church in Stuyvesant, NY, or if it was because it was the end of a century, not to mention a millennium, the end of a decade of being in Come, the longest running band I'd had up to that point, and the end of 5 years of unhappy breakups and tumultuous relationships in my personal life." The eleven tracks that comprise Been Here and Gone embody that tension of uncertainty with a hopeful edge of renewal. Zedek's indelible resilience lifts even the somberest laments into triumphs. Even on the album's three cover tunes, including a haunting rendition of Leonard Cohen's "Dance Me to the End of Love," Zedek's voice and guitar color every note with raw emotion, making each passing gesture personal. Been Here and Gone channels the thunder and roar of Zedek's past into a fragile magnificence.

John R. Miller is a true hyphenate artist: singer-songwriter-picker.
Every song on his thrilling debut solo album, ‘Depreciated’, is lush with
intricate wordplay and haunting imagery, as well as being backed by a band
that is on fire.
One of his biggest long-time fans is roots music favourite Tyler Childers, who
says he’s “a well-travelled wordsmith mapping out the world he’s seen, three
chords at a time.” Miller is somehow able to transport us to a shadowy honkytonk and get existential all in the same line with his tightly written compositions. Miller’s own guitar-playing is on fine display here along with vocals that
evoke the white-waters of the Potomac River rumbling below the high ridges
of his native Shenandoah Valley.
‘Depreciated’ is a collection of eleven gems that take us to John R. Miller’s
home place even while exploring the way we can’t go home again, no matter
how much we might ache for it. On the album, Miller says he was eager to combine elements of country, blues, and rock to make his own sound. He wanted
‘Depreciated’ to conjure references to recently lost heroes like Prine, Walker,
and Shaver without sounding derivative.
Miller has certainly achieved his own sound here with an album that is almost
novelistic in its journey not only to the complicated relationship Miller has with
the Shenandoah Valley but also into the mind of someone going through transitions. “I wrote most of these songs after finding myself single and without a
band for the first time in a long while,” Miller says. “I stumbled to Nashville and
started to figure things out, so a lot of these have the feel of closing a chapter.”

Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

Layton Giordani takes the next step in the evolution of his sound with ‘Hyper World’.

Despite the challenging year we all shared in 2020, Giordani continued to grow in leaps and bounds as a producer. His second studio album ‘New Generation’ was a critical success and showcased the breadth of his artistry over 11 tracks, with moods fit for both the dancefloor and afterhours alike.

His latest offering, however, flexes its raving muscle and ambles up for the summer. The title track is bad arse, with swirling pads, trippy arpeggios and subtle flourishes of acid and psychedelica that all combine for a stomping finish. Fresh in every sense. ‘Astro’ is heavy on drama, driven by a big synth lead that pierces the air with intensity, before a delicious mid-track key change pushes the energy up to eleven and shortly after drops down into a celestial break, before building back up again.

In Post-Heretic Dracula X Chronicles II the Dracula figure functions as a part fictive and part autobiographical metaphor. Dracula mirrors certain systematic (therefore also internal) conditionings and attributes in its whole ambivalent fluctuations. This character represents the complex relationships of a loving/living person in a neo-liberal capitalist system while oscillating between melancholia & rage, facing the preservation or loss of his love and standing in an alienated position towards the ruling order. The eleven featured compositions and their respective song names (both of them are riddled with references) playfully touch on conflicts between love, life and system-critique, without being too upfront about the subject-matter.

Nicola Kazimir (*28.05.1990 in Zürich, Schweiz)

A DJ, producer, musician, artist, space-owner, record label owner and party organizer, Nicola Kazimir works freely across platforms and communities. For Kazimir, these numerous positions are not static, and they can actfluidly and reciprocally as a whole, or as separate entities. His artistic and acoustic productions are mostly based on topics that include the institutionalization of techno, copyright, dividualism and the human perception of repetitive rhythm patterns mixed with aesthetic codes of b-movie horror movies or occultism. He is one of the founders and still part of the labels Les Points/ Gentrified Underground / Infoline and the offspace Mikro Zürich. Other projects include a supporting role in the organization of Zentralwäscherei Zürich and being part of the Clubbüro-team at Rote Fabrik.

Surfdog Records and Brian Setzer have announced that for the first time, Setzer’s classic 2003 album Nitro Burnin’ Funny Daddy will be issued on vinyl. It will be released on limited edition 180 gram, red transparent vinyl on 25th June 2021.
Only Brian Setzer could cut an album with more lyrical honesty and musical diversity than anything he's ever done and then title it Nitro Burnin' Funny Daddy. Not that the name is misleading; Nitro is in fact packed with explosive performances. There's more than enough volatile picking and singing to mark this as a highlight of a catalog already crowded with great albums he's delivered as leader of the history-making Stray Cats and on his own too.

But there's more: street-corner doo-wop, heartbreak balladry, a foot-stomp hoedown, several lyrics that will shock and stun longtime fans, and always, somewhere in the mix, the blues. Every track is distinctive, none sounds like any of the others, yet all of them are pure Setzer. And it's all compressed into a tight trio format -- Setzer and his big band colleagues, standup slap-bass powerhouse Johnny Hatton and rhythm dynamo Bernie Dresel on snare and cymbals -- whose sound evokes Les Paul, Junior Parker, and even Earl Scruggs as much as Louis Prima or Eddie Cochran.
Originally released in 2003, Nitro Burnin’ Funny Daddy was Brian Setzer’s eleventh solo album and when it was released he said it was the most personal record he had ever done. The album followed his big-band release Boogie Woogie Christmas from the previous year and saw him back to his rockabilly best, taking in doo-wop (“To Be Loved”), bluegrass (“When The Bells Don’t Chime”), rootsy-rock (“Don’t Trust A Woman (In A Black Cadillac)”) and going on a cinematic Wild-West romp (“Wild Wind”).

The Scientists’ powerful brand of deranged swamp-rock returns with
a vengeance as In the Red Records unleashes Negativity, an allnew
magnum opus featuring the first new full length album by the
Australian band’s penultimate line-up in thirty-five years.
The bruising eleven-track collection features a Scientists
configuration much beloved by connoisseurs of the band’s work:
singer-guitarist Kim Salmon, lead guitarist Tony Thewlis, and bassist
Boris Sujdovic, all veterans of the group’s defining 1981-85 outfit,
and drummer Leanne Cowie, who replaced drummer Brett Rixon on
the storming 1986 release Weird Love.
A solid crop of fresh originals is highlighted by the opening
statement of purpose “Outside”; the offbeat, yowling waltz “Naysayer”;
the hilarious, self-mocking “Suave,” which Salmon says was inspired
by the work of his countrymen the Moodists; and the utterly surprising
“Moth-Eaten Velvet,” a Velvet Underground homage in ballad form
that features a three-piece string section. Instrumental guests on the
album include producer Mumford, who contributes trombone on
“Make It Go Away,” and Salmon’s daughter Emma, who essays piano
and background vocals.
Negativity is the third Scientists release and the first fulllength
album for In the Red. The current quartet cut the single
“Braindead”/“SurvivalsKills” in 2018 and the five-song 2019 EP
9H2O SiO2, the title of which translates (in a hat tip to the lyrics of
the group’s classic “Swampland”) as Nine Parts Water, One Part Sand.
Those recordings were issued in conjunction with the group’s first two
U.S. tours during that period.
Raw, freewheeling, and spattered with the high-voltage sound, the
Scientists have drawn from such influences as the Stooges, Suicide,
the Gun Club, and the Cramps, Negativity is jubilant, unpredictable
listening.

Magda Drozd is deeply concerned with listening in her artistic practice. Her second album, 18 Floors, Drozd focused on the apartment building she called home for several years, compiling a corpus of field recordings in and of the building, which she approached as a living organism rather than static material. The result challenges current assumptions about living together in urban settings. The field recordings were woven into eleven speculative tracks consisting of sounds including violins, guitars, synthesizers, drum machines, and Drozd’s voice. The music moves between sound art, ambient, indie rock, and R&B.
18 Floors presciently emphasizes the importance of the home, which has become glaringly obvious in the age of Corona. Her foresight constitutes her avant-gardism as much as her preference for documenting what might be over what actually is. The result is an album that creates a space for what is transient, uncertain, and unstable. And it creates a space for opportunities, which we need now more than ever.

Liz Phair announces ‘Soberish’, her highly-anticipated new album and first collection of original
material in eleven years. Produced by Phair’s longtime collaborator Brad Wood - known for helming
Phair’s seminal albums ‘Exile In Guyville’, ‘Whip-Smart’ and ‘whitechocolatespaceegg’ - ‘Soberish’ is
released via Chrysalis Records.
Almost thirty years since her peerless debut album ‘Exile In Guyville’ was released (voted #56 in
Rolling Stone’s 2020 list of the 500 Greatest albums Of All Time), Phair returns with a new record that
will both intrigue and satisfy her long-standing fans and introduce her to a smart young audience
whose contemporary heroes have been reading from Phair’s playbook since they first picked up a
guitar.
Liz Phair has achieved the kind of status in her industry rarely bestowed on recording artists. Her
albums in the 1990s were central to the indie rock canon of the day. Her image was featured in
countless magazines, early Apple commercials and Gap ads. Her eponymous album for Capitol
Records in 2003 took Phair in a pop direction that ruffled some critics’ feathers but nonetheless went
gold, galvanizing a host of new fans, particularly among young women who fell in love with hits like
‘Why Can’t I’ and ‘Extraordinary’, tracks that were featured in several major films and TV shows,
including 13 Going On 30, Raising Helen and How To Deal. Liz has picked up two Grammy
nominations and a spot in Pitchfork’s Greatest Albums Of The 90s, with over five million record sales
to date (including three US gold albums). She sang ‘God Bless America’ at the opening game of the
Chicago White Sox World Series victory in her hometown in 2005.
‘Soberish’ is a portrait of Phair in the present tense, taking all of the facets of her melodic output over
the years and synthesizing them into a beautiful, perfect whole. She’s at the top of her game in the
recording studio, drawing upon years of experience in television composition to weave through the
songs daring and unexpected sound design. With Brad Wood’s exquisite engineering and masterful
production, the result is a wholly fresh yet satisfyingly familiar sound that challenges on the first listen
and seduces with each subsequent play through. The earworms are strong with this one.
Phair says, “I found my inspiration for ‘Soberish’ by delving into an early era of my music development,
my art school years spent listening to Art Rock and New Wave music non-stop on my Walkman. The
English Beat, The Specials, Madness, R.E.M.s Automatic for the People, Yazoo, The Psychedelic
Furs, Talking Heads, Velvet Underground, Laurie Anderson, and the Cars. The city came alive for me
as a young person, the bands in my headphones lending me the courage to explore.”
None of the arrangements on Soberish are traditional songwriting standards but the hooks are so
catchy, the imagery so compelling, that the listener is drawn effortlessly along with the music. There
are the off-kilter, unexpected guitar chords listeners will recognize as her signature style, a mainstay
from her earliest work; the instantly knowable choruses of her most pop-friendly songs of the early
2000s; the frank lyricism and storytelling that has opened doors for countless women picking up
guitars and attempting to speak about their experiences.
Phair shares insight into the meaning of her title: “‘Soberish’ can be about partying. It can be about
self-delusion. It can be a about chasing that first flush of love or, in fact, any state of mind that allows
you to escape reality for a while and exist on a happier plane. It’s not self-destructive or out of control;
it’s as simple as the cycle of dreaming and waking up. That’s why I chose to symbolize ‘Soberish’ with
a crossroads, with a street sign. It’s best described as a simple pivot of perspective. When you meet
your ‘ish’ self again after a period of sobriety, there’s a deep recognition and emotional relief that
floods you, reminding you that there is more to life, more to reality and to your own soul than you are
consciously aware of. But if you reach for too much of a good thing, or starve yourself with too little,
you’ll lose that critical balance.”

Shura announces a deluxe version of her acclaimed 2019 album
‘forevher’, released via Secretly Canadian.
‘forevher: Deluxe Edition’ is released on cassette and features the
eleven original album tracks with nine extras. These include acoustic
versions of five album tracks recorded and produced with Sam Evian
and featuring Hannah Cohen on backing vocals, previous Bandcamp
single ‘magazine launch (demo)’, last year’s collaborative single
‘elevator girl’ featuring Ivy Sole and two unreleased tracks including
‘obsession’.
On ‘obsession’, Shura explains: “‘obsession’ was one of the songs I
wrote whilst I was writing ‘forevher’. I always wanted it to be a duet
between two women but it never came to fruition during the recording
process. Then, when I toured ‘forevher’ in Europe, Rosie Lowe came
with us and we’d always spoken about wanting to collaborate on
something together and I suddenly remembered this song, which I loved
but had somehow never finished. I sent the track across to Ro and when
she sent back her rough take I was like ‘YES. this is it.’”
With ‘forevher’, Shura’s immediately identifiable way with love, touch and
how we talk about it reached even greater creative heights. Having
moved from West London to New York following her adored 2016 debut,
,Nothing’s Real,, it’s all mirrored in a lyrical journey from rejection and
loss to desire, long-distance love and the prospect of how we make
something real actually work.
In 2020, Shura emerged as one of contemporary pop’s accidental
trailblazers. A frank, funny voice in the LGBTQ+ community whose
contribution to the paradigm-shift in the cultural landscape cannot be
underestimated.
Written primarily about Shura’s relationship with her girlfriend and their
long-distance conception, ‘forevher’ traces everything from the initial pull
of desire to that first real life meeting (‘the stage’), before recognising
when the connection develops into something scarily meaningful. It’s a
classic NYC-to-London love story but one told through the totally modern
filter of dating apps, unanswered texts, Skype chats and MUNA gigs.
And whilst how to live - and love - as a queer woman has always been
integral to Shura, it’s remarkable to hear these stories twisted through
such a gorgeous amalgam of influences: Joni Mitchell and Minnie
Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through
these inspirations, Shura’s own modern, outlier perspective found a
newer, more daring approach to sound and song.

England, 1884 - a world on the brink of change. On the morning of her 16th birthday, Enola Holmes (Millie Bobby Brown) wakes to find that her mother (Helena Bonham Carter) has disappeared, leaving behind an odd assortment of gifts but no apparent clue as to where she’s gone or why. After a free-spirited childhood, Enola suddenly finds herself under the care of her brothers Sherlock (Henry Cavill) and Mycroft (Sam Claflin), both set on sending her away to a finishing school for “proper” young ladies. Refusing to follow their wishes, Enola escapes to search for her mother in London. But when her journey finds her entangled in a mystery surrounding a young runaway Lord (Louis Partridge), Enola becomes a super-sleuth in her own right, outwitting her famous brother as she unravels a conspiracy that threatens to set back the course of history.

Enola Holmes was released on September 23, 2020. The film received positive reviews from critics, who praised Brown’s performance. Daniel Pemberton composed the film’s score. Pemberton described it as “unashamedly melodic and emotional orchestral music” with some “messy quirky oddness thrown in as well”.




RELEASE: 4-6-2021




• 180 GRAM AUDIOPHILE VINYL
• PVC PROTECTIVE SLEEVE
• CRITICALLY ACCLAIMED 2020 MOVIE ABOUT THE TEENAGE SISTER OF THE ALREADY-FAMOUS SHERLOCK HOLMES
• STARRING MILLIE BOBBY BROWN (STRANGER THINGS “ELEVEN”), HENRY CAVILL, SAM CLAFLIN & HELENA BONHAM CARTER
• MUSIC BY DANIEL PEMBERTON
• INCLUDES INSERT WITH PICTURES AND LINER NOTES BY DIRECTOR HARRY BRADBEER (KILLING EVE)
• LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON SOLID TURQUOISE VINYL

This is a limited edition contains of 500 individually numbered copies on solid turquoise vinyl. The package includes an insert with pictures and liner notes by director Harry Bradbeer (Killing Eve).

Known for the soulful jazz-grooves of their self-titled 2020 debut album, Matti Klein’s Soul Trio actually began as an idea rather than a group.
However, in early 2018 three master musicians met in Berlin’s Lovelite Studio with producer/engineer Jochen Str h (Tony Allen, Ebo Taylor, Pat Thomas, Jimi Tenor) and recorded a set of well-planned and even better executed live sessions, each finding their desired space live and direct, locking into the immediacy of the groove. ‘Soul Trio Live On Tape’ contains these very first sessions of the Matti Klein Soul Trio and comprises new arrangements of songs that had primarily been composed for Klein’s band Mo’ Blow; favourites already back then, timeless classics now thanks to these exciting ‘deep-fried contemporary soul jazz’ versions.
Their leader, known for his work as musical director for the Brazilian superstar Ed Motta as well as Mo ‘Blow, can be heard on Wurlitzer and Rhodes Bass; Lars Zander (The Ruffcats, El Cartel, Lucasonic, STEREOFYSH) not only proves he is the most soulful tenor saxophonist in Berlin, but also why he has earned kudos for a bass clarinet sound that is enhanced with analog tape delays, Wah-Wah and Harmonizer-sweetenings; and drummer Andr Seidel also shows his chops, incorporating elements of rock, hip-hop, odd meter fusion and the sound of New Orleans into his own unique groove jazz style.
As for the music, ‘Rocket Swing’ is a tenor sax feature in which a hip-hop vibe meets a jazzy fifth fall, while ‘Ray’ (dedicated to Mr. Charles) is a Meters-inspired shuffle in 7/8 time. ‘No Particular Way’ showcases the funky side of the band, with singer Pat Appleton in top form over a wonderfully creaky Rhodes bass. ‘Sunsqueezed’ is created in a wide compositional arc, evoking a ray of sunshine peeking through the clouds during a long and grey 10-month Berlin winter, giving hope for the next two months.
‘Eleven Feels Like Heaven’ is a joyful, uproarious gospel blues with a brilliant odd meter drum solo. ‘Grandpa’s Fairytale’ is a hitherto unreleased piece that is dedicated to the bandleader’s grandfather, a former school headmaster who loved to read him stories and is a Wurlitzer-warmth meets bass clarinet groove in an atypical dynamic arc. Summarising their efforts, Klein states somewhat cryptically that “the band rolls in a warm, soft couch whenever there is a risk of having to sit between the chairs.”
Initially available as a limited fan item only at live shows, this document is now being released officially with the addition of ‘Grandpa’s Fairytale’. It is a journey through time, absolutely contemporary and yet wonderfully back to the future.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
• First released in 2006, Fast Man Raider Man is the eleventh studio album by Frank Black. Recorded as a follow up to 2005’s
Honeycomb, Black returned to Nashville to work with a team of all star musicians including Al Kooper, Bob Babbitt, Levon Helm,
Lyle Workman, Steve Cropper, Jim Keltner, Rich Gilbert, Simon Kirke, Ian McClagan, Chester Thomspon, Dave Phillips and
Spooner Oldham.
• Album highlights include ‘Johnny Barleycorn’, ‘In The Time Of My Ruin’ and ‘If Your Poison Gets You’.
• Now available on vinyl for the very first time, this reissue features the complete album pressed on two 140g translucent vinyl.

The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

Carney concurs, “The session was planned only days in advance and nothing was rehearsed. We recorded the entire album in about ten hours, over two afternoons, at the end of the “Let’s Rock” tour.”

Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard John Lee Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

‘Archive Series Volume no. 5: Tallahassee Recordings’ is the lost-in-time debut
album from Iron & Wine. A collection of songs recorded three years prior to his
official Sub Pop debut, ‘The Creek Drank the Cradle’ (2002). A period before the
concept of Iron & Wine existed and principal songwriter Sam Beam was studying
at Florida State University with the intent of pursuing a career in film.
‘Archive Series Volume no. 5’ documents the very first steps on a journey that
would lead to a career as one of America’s most original and distinctive singersongwriters. ‘The Creek Drank the Cradle’ arrived like a thief in the night with its
lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee
comes with a strange sense of confidence. Perhaps an almost youthful discretion
that likely comes from being too young to know better and too naïve to give a
shit.
The recordings themselves are more polished than ‘The Creek Drank the Cradle’
and give a peak into what a studio version of that record might have offered up.
‘Archive Series Volume no. 5’ was recorded over the course of 1998-1999 when
Beam and future bandmate EJ Holowicki moved into a house together. Beam
had not been performing publicly however, he was known for playing an original
song or two in the early morning glow of a long night. Holowicki - also in the film
program and who would go onto a career as a sound designer at Skywalker
Sound - had a mobile recording device and after some prodding convinced his
friend to record these late-night meditations.
Together they would record close to twenty-four songs, ideas and sketches, with
EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings -
all captured in the house where they lived - have a ‘live in the room’ feel akin to
say Neil Young’s ‘Harvest’ or Nick Drake’s ‘Five Leaves Left’, rather than the
homespun lo-fi 4-track home recording experiment taking place at the time.
These recordings, minus one track, have never been made available and were
instead left preserved on a hard drive for the last twenty years. The one track
that floated out there, called ‘In Your Own Time’ was shared without a title to
childhood friend Ben Bridwell (Band of Horses) at some point. The song became
known as the ‘Fuck Like A Dog’ song and Ben shared it with more than a few
folks during the golden era of mix CDs. Two of those folks were Jonathan
Poneman from Sub Pop and journalist Mike McGonigal, who included it on his
best songs of 2001 mix CD, passed out to friends and acquaintances. And for
many that is where the Iron & Wine story begins, until now.
‘Archive Series Volume no. 5’ is the foreword to your favourite book that you’ve
somehow skipped over time and time again. It’s an alternative history mixed with
some revisionist history told over the course of eleven songs. It’s also the debut
record by Iron & Wine some twenty years after the fact.

Sci-Fi and library funk specialists Eleven76 return with an otherworldly breakdance double-sider. Their debut album 'Space Voyage' for Warner's music library covered extra-terrestrial spheres and found its way into many films, TV programmes and documentaries. The scarce promo vinyl copies on Mocambo Records are already priced collector's items among DJs. This 45s contains two hot slices of insect-themed outernational grooves with tropical and arabian flavours. Vintage synthesizers and hot tape-recorded drums continue to lead Eleven76's mystique travels through unknown funk territories, all while frenzied percussion-heavy break beats keep b-girls and b-boys moving on the floor.

Goldlettered label & brown paper sleeve.

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

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

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

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

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

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

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

Rich in musical associations yet utterly singular in its voice, joyous with an inner tranquility, the music of Natural Information Society is unlike any other being made today. Their sixth album in eleven years for eremite records, descension (Out of Our Constrictions) is the first to be recorded live, featuring a set from London’s Cafe OTO with veteran English free-improv great Evan Parker, & the first to feature just one extended composition. The 75-minute performance, inspired by the galvanizing presence of Parker, is a sustained bacchanalia of collective ecstasy. You could call it their party album.

This was the second time Parker played with NIS. Joshua Abrams: “Both times we played compositions with Evan in mind. I don’t tell Evan anything. He’s a free agent.”

The music is focused & malleable, energized & even-keeled, drawing on concepts of ensemble playing common to musics from many locations & eras without any one specific aesthetic realization completely defining it.

“The rhythms that Mikel plays are not an exact reference to Chicago house, but that’s in there,” Abrams says. “I like to take a cyclic view of music history, can we take that four-on-the-floor, & consider how it connects to swing-era music? Can we articulate a through line? I dee-jayed for years in Chicago & lessons I learned from playing records for dancing inform how I think about the group’s music. The listener can make connections to aspects of soul music, electronic music, minimalism, traditional folk musics, & other musics of the diaspora as well. It’s about these aspects coming together. I don’t need to mimic something, I need to embody it to get to the spirit, to get to the living thing.”

For jazz fans, the sound of Parker’s soprano & Jason Stein’s bass clarinet might evoke Coltrane & Dolphy, even though they didn’t necessarily set out to do that & they play with complete individuality. Abrams sees a bridge to the historical precedent, too. “Since we first met in the 1990s, one of the things that Evan and I connected on was Coltrane’s music,” he says. “I hoped that we would tap into that sound world intuitively. In this case, I think that level of evocation adds another layer of depth, versus a layer of reference.”

Indeed, this is a performance in which the connections among the ensemble & the creative tension between improvisation and composition build into a complex mesh of associations & interactions. While the band confines itself to the territory mapped out by Abrams’ composition, they are remarkably attentive & responsive, making adjustments to Parker’s improvisations. When Parker’s intricate patterns of notes interweave with the band, the parts reinforce one another & the music rockets upward. Sometimes, Parker’s lines are cradled by the group’s gentle pulse & an unearthly lyrical balance is struck.

Drummer Mikel Patrick Avery is locked-in, playing with hellacious long-form discipline, feel & responsiveness. Jason Stein’s animated, vocalized bass clarinet weaves in & out with Lisa Alvarado’s harmonium to state the piece’s thematic material; the pulsing tremolo on the harmonium brings a Spacemen 3 vibe to the party. Abrams ties together melody & rhythm on guimbri, a presence that leads without seeming to. Like his bandmates, he shifts modes of playing frequently, improvising & then returning to the composed structure.

“As specific as the composition is, the goal is to internalize it & mix it up,” Abrams says. “The idea is to get so comfortable that we can make spontaneous changes, find new routes of activity, stasis & byways every gig. It’s like a web we’re spinning. If someone makes a move, we all aim to be aware of it, make room for it. Experiencing & listening is what it’s about, & Evan supercharges that.”

& “supercharged” is the word for this album. With Parker further opening up their music, descension (Out of Our Constrictions) is the sound of Natural Information Society growing both more disciplined and freer, one of the great bands of its time on a deep run.

Aguirre edition: Mastered by Helge Sten, Audio Virus, Oslo. Lacquers by Dubplates & Mastering. Liner Notes by Theaster Gates. LPs pressed on premium audiophile-quality vinyl at Pallas Records. US 2xLP edition available thru Eremite records.

About:
As the first album from the legendary, Busta Rhymes in eleven years, Extinction Level Event 2: The Wrath of God, Rhymes enlisted Chris Rock to tease the album announcement. The art, done by world renowned contemporary artist, Chanelle Rose.

With 2 singles released so far; "The Don & The Boss" which features legendary Jamaican artist, Vybz Kartel; and YUUUU which features, and is produced ed by the musical savant, Anderson .Paak. The album also features many other heavyweight features that have not yet been revealed.

Extinction Level Event 2: The Wrath of God marks Rhymes' return with his star-studded follow up to the seminal 1998 three-time Grammy nominated, RIAA Certified Platinum album E.L.E. (Extinction Level Event): The Final World Front.

The MUSHROOM HOUSE compilation is a collection of balearic, afro and cosmic disco tracks that have been released on several Toy Tonics EPs over the last 5 years. Toy Tonics now releases some of these EPs on a double vinyl together. This is the second part. Featuring eleven tracks. (Vol 1 was released in 2020.)

Original tracks and remixes by friends of the label: Kiwi, Red Axes, Karl Hector, Hugo Capablanca, Harry Wolfman. Very special contributions by New York's legendary Joe Claussell and fashion designer Marcelo Burlon, who contributed the vocals to a song by Milan’s Barking Dogs. Art Alfie from Studio Barnhus is featured also with an exclusive track and legendary DJ Sprinkles with a magic rework of a Hard Ton song.

A few of the tracks had been already released on Gomma records. The now sleeping indie-electronica label that was the „mother“ of Toy Tonics records. Some were made exclusively for Toy Tonics.

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

Fortunately for us, Dmytro Nikolaienko agreed to open up the jewellery boxes of his tape-loop archive for his debut album on Faitiche. What came to light was a collection of dreamy glittering gems, masterfully presented using the compositional possibilities of analogue tape machines. Some may consider a tape machine to be limited as a musical instrument, but Rings makes a convincing case with its sure-handed use of the available parameters – moving tape over the tape head mechanically and manually, cutting loops, manipulating timbre and creating noise by means of saturation. The results are eleven blurred, repetitive, rhythmic patterns that can be understood as an intervention against digital precision, as mechanical irregularities and background noise become musical events.

For those familiar with Nikolaienko’s work, his nostalgic approach here will come as no surprise: born in Ukraine and now based in Estonia, he has chosen a historical medium (that has been enjoying a renaissance for some years now) to record historical-sounding sequences. The way he manages his own back catalogue is similarly archival, documenting the chronology of his tape loops in such a way as to leave no doubt as to their advanced age. And then there are his two wonderful labels Muscut and Shukai, the latter being an archival project releasing electroacoustic obscurities from the Soviet past. Which brings us back full circle …

Dojo Cuts were one of the first groups to release a 45 on Colemine Records back in 2009 and eleven years later, they represent the 89th 45 in the label's history. As perhaps the most soulful outfit to come out of Australia the last few decades Dojo Cuts with the help of leader singer Roxie Ray and producer Nathan Aust are back to cranking out new tunes like they haven't since 2012. "Rome" and "Falling In Love Again" are from the most recent LP Tomorrow's Gonna Come.

At the end of the '60s in Italy - but also abroad, especially in France and England - a very particular trend began to spread, that one known as 'Library music' or 'sonorization': as suggested by its name, those were real music libraries intended for the accompaniment of audiovisual productions such as

television programs, advertisements, documentaries and films. Since they were created in total artistic freedom condition, they are often difficult if not impossible to catalog, as they're not anchored to a specific musical genre; this freedom also allowed the authors to compose, sometimes in the most complete anonymity, experimental and avant-garde music, capable of anticipating the sounds that only many years later would have been widespread on a larger scale.

Egisto Macchi (1928-1992) was one of the most active composers of the sonorization and soundtrack genres together with artists such as Piero Umiliani, Alessandro Alessandroni and Ennio Morricone; he also collaborated with the latter in the experimental music project Gruppo di Improvvisazione Nuova Consonanza. "Fauna Marina" is among his most popular and sought-after by collectors titles: a set of eleven compositions intended to accompany the images of a hypothetical fish fauna documentary, an abstract hybrid of classical, contemporary and jazz music that is still fresh and surprising today.

"Fauna Marina" is part of a reissues series, made in collaboration with Edizioni Leonardi (Milan, Italy), of extremely rare library music LP's published between late '60s and early '70s, most of which have never been released again until today, and that are finally made available again for

collectors and sonorization music lovers.

Cinthie’s we_r house returns with its eleventh release this December, courtesy of Elgo Blanco who delivers four stripped-back house cuts across the
EP.