Buscar:eve j

New double LP by new face Mandrake on ever-reliable Bunker. Emotive & gloomy synth-scapes that sound like a score to a movie that never was nor will be.

"Bastian Epple makes an eagerly anticipated return to marionette under his elusive MinaeMinae guise that imagines rich sonic architectures for the journeying spirit to voyage to. Räumlichkeit is Epple’s debut album and third release to date following Gestrüpp from 2020, venturing further into melodic electronic nostalgia and percussive beat oriented soundscapes.

Growing up in a small village in southern Germany, Bastian Epple was never interested in kitschy folk sounds, rather he took solace in the time he would spend meditating to repetitive and hypnotic patterns. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to tread on this self-taught path of developing his own musical language. This led him to start experimenting with a tape recorder and layering sounds with non-musical samples to eventually working with a DAW.

Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe and graduated with a diploma in film and documentary media - where he now works as a freelance filmmaker and lecturer at Stuttgart Media University. However, this never stopped him from creating and playing with wide-eyed sounds, eventually amassing a vast collection of tunes and finally emerging from this anonymity.

Utilizing modular synth, self made tape echos, synthetic sounds, recordings of ethnic percussion and guitar, MinaeMinae understands musical material similar to documentary footage which he would splice, repitch, and rearrange intuitively into captivating worlds."

2023 Repress

The ever-potent duo returns to Mechatronica with a fistful of murky electro bangers, following up on their Vapour Waves EP released on the Berlin label last year. Watch your bins!

The state51 Conspiracy is proud to announce Wacław Zimpel’s long-awaited fourth solo album, ‘Train Spotter’, due for release on 31 March 2023 on state51 Records.

In the seven years since the release of his debut solo album, ‘Lines’, Wacław Zimpel has developed from his idiosyncratic approach to jazz to growing into a potent and inventive force in the field of electronic music.

‘Train Spotter’ was created for a specific brief from The City of Warsaw: to capture the Sound of the City of Warsaw. But, as Zimpel soon found out, the sounds of a city don’t exist in isolation; they’re part of a wider environment that is itself undergoing upheaval against a background of internal and external forces.

“Train Spotter is about my experience of a city that recently went through a pandemic, endless anti-government demonstrations against human rights violations against women’s right to choose and the LGBTQ community, as well as waves of war refugees from Ukraine and the extraordinary solidarity of people willing to help and unite across political divides to help others in need.”

Spread over six tracks, the manipulated samples are blended with Zimpel’s own electronic production flourishes and playing to create a seamless blend that’s uniquely his. Recording a variety of mechanised and repetitive sounds including tramlines, baggage carousels and bouncing basketballs in municipal parks among many other found sources, Zimpel fed the results through a host electronic equipment including synthesisers, keyboards and plug-ins.

For all its production methods, ‘Train Spotter’ bears an organic warmth that reflects the city that inspired it. But what also adds to the sonic intrigue is a rise in intensity within each of the individual tracks that themselves become ever more forceful as the album continues.

Somewhere in the Lower-Franconian vineyards lies a hidden and mostly unknown canyon, a place that often returns to the thoughts and dreams of Läuten der Seele’s Christian Schoppik. Though a much rarer occurrence now as a consequence of environmental change, chance encounters upon the area in the past would sometimes reveal small ponds amongst the reeds, teeming with life and populated by colonies of newts and the now endangered yellow bellied toad. The transience of the water and the wildlife it hosts, dependent on season or climate, lends the area an almost fantastical, dream-like quality. Was it ever even there at all? A secret place that may or may not be present holds vast appeal to some enquiring minds… Ertrunken Im Seichtesten Gewässer, the third Läuten der Seele album in two years, is inspired directly by these experiences. Translating as ‘drowned in the shallowest stretch of water’, a title as pregnant with dread as it is wonder, the themes present speak both to personal memories and a wider understanding of place and time, and how we might interpret our own position within an ever-changing, sometimes disappearing world.

The record is presented as two long-form pieces divided into four separate movements, each titled so as to reflect this natural environment and its intersection with imagination, relying on processes of collage that draw from myriad indeterminable samples, field recordings and various recorded instruments. Those familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to.

We are super excited to present this third slice of exclusive and brand new music from friends and family of the label. We hope you love these big orange slabs of vinyl as much as we do.

Volume 3 takes another deep dive into the diverse range of styles that we love here at SB. Ranging from disco and soul tinged house, to some deeper goodness and on to raunchy acid and techy stompers. Everything you would expect to hear at any one of our parties.

As always a huge thank you to all the incredible artists who’ve contributed to this edition. These wouldn’t happen without you… Now grab your mates, stick these tunes on loud, and DANCE!

Cosmic afterburners dialled up to the max, Pamela Records voyage out to the ends of existence with their latest four track trip from Jo Sims. Taking the lead leap of faith is esteemed producer, remixer and DJ David Holmes, who provides a signature cinematic remix of the title track ‘Bass – The Final Frontier’. Like the climax of a sci fi space odyssey, Holmes molds the track into a synthtastic epic with otherworldly vocal refrains ringing around your brain and body. The original mix is up next, a new beat flexing stomper that will have any crowd begging for more.

Flip it for darker, twisted chugathon in the form of ‘Demons Of Dance’ before the trip hop tinged, downtempo delight with a distinctly space age touch ‘Mumbo Jumbo’, takes the final slot.

DJ Feedback:

AXEL BOMAN
Ouff amazing 12" !!!!!!! love love love it

JD TWITCH/ OPTIMO
Excellent stuff!

RON BASEJAM
Ruddy hell, Holmes with the spirit of weathers. love the hi-fi mixdown too, the music providing the power. epic.

JACQUES RENAULT / LETS PLAY HOUSE
Wow, demons of dance and the final frontier...killer 4 tracker

HOT TODDY/ CRAZY P
The David Holmes mix is superb!

EDDIE C/ RED MOTORBIKE
I love this!! The David Holmes Remix is outstanding!

JUSTIN ROBERTSON
Loving this very much

MAKE A DANCE
Huge yes from me. Loved the first release on this label so nice to see it back with more fire

PBR STREETGANG
Really feeling this e.p. every track is strong, and the DH remix is stunning. Can’t wait to play them out.

JKRIV / RAZOR-N-TAPE
I really like the machine boogie vibe of the original Bass and that remix really takes its time and builds to a beautiful peak. All winners here

SUB CLUB HARRI
Lovely stuff

LEO MAS/ AMNESIA
The Final Frontier (David Holmes Rmx) is great, love it

JAYE WARD
YES!!! Glad there’s another Pamela! David Holmes mix is deep and lustrous.. REALLY love the OG’s tougher more dance orientated version.. love the other two tracks too especially mumbo jumbo.. brilliant release!!!

It is with honour & pleasure that we present to you the return of one of the finest in game! Active since god-knows-when, and equally known as artist, label owner, event promoter and all-round champion of all that’s right and proper, Semtek has cast a long shadow in the electronic underground over the past two decades.

Ever the mercurial savant, Benji distils a wide range of influences that have shaped his various endeavours on his first 12” for us: from the darkside revivalism of DJ Persuasion through to the raw productions of L.M.Y.E, and even down to his earliest productions on DBA. RAD-SEM1 is two tracks of ice-cold club cuts that capture the chilly futurism of second wave Detroit Techno, the sparser fringes of UKG and the abyssal soundscapes of late 90s DnB. But as is characteristic of Semtek’s output, always far greater than the sum of its parts.

RNT welcomes Amy Douglas to their ever-growing lineup of illustrious talent with a double A-side 7" of pulsating, Rough-N-Tumble NYC Disco.

Known to the heads as a voice and pen behind Horse Meat Disco, Roisín Murphy, and as the face of HARD FEELINGS (her project with Hot Chip’s Joe Goddard), Amy’s distinctive vocal swagger and songwriting talent are on full display on this EP. Co-written with and produced by RNT co-honcho JKriv, both tracks are bass heavy instant earworms, and wickedly naughty party starters.

Grab this pair of future modern disco classics, conceived by a pair of experienced dance-floor auteurs.

Circles is the sixth and final studio album by Mac Miller. Conceived as a sister album to 2018's full length Swimming, the album was completed with the assistance of Jon Brion, with whom Miller worked on Swimming and had been working together on Circles at the time of his passing. While sonically distinctly different than its predecessor, Circles features many of the hallmarks for which Swimming was critically-acclaimed upon its release -- Miller further realizing his singing voice in addition to rapping, live instrumentation and earnest, confessional lyrical content. Listeners will hear shades of some of the album's influences in its songs, from the T-Rex guitar tone of "Surf" to the Plastic Ono Band-era John Lennon feel of its production and the inspired cover of Arthur Lee's 1972 single "Everybody's Gotta Live." It's a momentous final entry into the discography of an artist that remains at the centre of reimagining the limits of rap.

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

Reissue of Terrence Parker's fantastic EP from 95' on his own Intangible label remastered and sounding fresh as ever.

Classic Detroit house music that is both timeless and essential!

'BATSUMI’s 1974 classic. Repressed at Pallas in Germany on 180g black vinyl. Cover printed on reverse board and includes printed inner sleeve with liner notes from Francis Gooding. Initial copies shipped with exclusive 30cm x 30cm print of Batsumi performing in 1974.

Batsumi is a masterpiece of spiritualised afro-jazz, and a prodigious singularity in the South African jazz canon. There is nothing else on record from the period that has the deep, resonant urgency of the Batsumi sound, a reverb-drenched, formidably focused pulse, underpinned by the tight-locked interplay of traditional and trap drums, and pushed on by the throb of Zulu Bidi’s mesmeric bass figures. The warm notes of Johnny Mothopeng’s guitar complete a soundscape that is at once closely packed with sonic texture and simultaneously vibrating with open space, and in whose shimmer and haze Themba Koyana and Tom Masemola soar. A sonorous echo emanating from an ancient well, reverberant with jazz ghosts and warmed by the heat of soul and pop, Batsumi is nothing short of revelatory.

Many groups from this period did not issue recordings at all, and Batsumi are unusual in even having left an official recorded legacy. Out of print since the 1970s, and never issued outside of South African in its entirety, Batsumi is a landmark South African jazz recording, and a key musical document of its time.'

Toronto-based Soul/R&B artist Aphrose is back and ready to release her soulful,long-anticipated single, "Good Love" from her upcoming 7" vinyl release on LRK Records.

A dreamy, evocative slow jam that is sure to make you feel like you've been transported back to the heyday of the 70s, "Good Love" features Aphrose's undeniable vocal prowess supported by layers of bass, drums, string synths,percussion, and luxurious vocal harmonies.Drawing inspiration from the late Teddy Pendergrass, early MJ, and the sounds of the 70s Soul era, Aphrose and her production team SafeSpaceship Music (Scott McCannell, Chino DeVilla & Ben Macdonald) crafted this deep-cut soul classic that drenches you in lush vocals and string synths, met by undulating bass and drum sounds.Aphrose was inspired to write about experiencing that "good love" that surpasses all barriers, even theself-sabotaging ones we put up to protect ourselves. "Good Love" also features Kyla Charter-one of Toronto's most brilliant artists- on background vocals,as well as Ben Macdonald on tenor saxophone, which is the cherry on top.

Yaya to be announced soon..

Releases July 7, 2023
Currently in the UK soul chart at number 14

Got to number one on The Grenada Soul Chart

Played on all the soul stations , starpoint radio, solar radio, misoul etc Played on national Italian Radio Capital by Massimo OldaniNational Spanish radio show "Como Lo Oyes" on Radio 3,

"Sounds So beautiful" blog featured "Good Love" by Aphrose on the front page

PREMIERED in "Canadian Beats"

Spun on cbc on afterdark by Odario Williams

R&B SOUL STEPPER THAT HAS FEEL GOOD SUMMER VIBES
IN EVERY NOTE. WILL BEE DOES AN OUTSTANDING
PERFORMANCE ON VOCALS AND TIGHT PRODUCTION FROM
LEE AND MATT MAKE THIS A ESSENTIAL.

The legendary Ultramagnetic MC touches down in London for a one-away collab with We Are The Horsemen, featuring the one and only Kaidi Tatham.


What you sayin’, Kool Keith...? Enter your spaceship for a transatlantic meeting of minds as the legendary Kool Keith links up with We Are The Horsemen (Outernational Sounds head honcho Harvinder Singh Nagi and producer Sub One) and the great Kaidi Tatham for a future-jazz flavoured trip through the great MC’s London adventures.

Kool Keith needs no introduction to hip-hop heads worldwide. As one of the greatest MCs ever to touch the mic, Keith has never stopped innovating and progressing. From his days in the seminal 1980s Bronx unit Ultramagnetic MCs, through his pioneering development of new conceptual characters and styles in the 1990s (Big Willie Smith, Dr. Octagon, Dr. Dooom, Black Elvis), to his continuous run of radically independent recordings in the 2000s and beyond, Kool Keith defines rap longevity and artistic originality. No one else in hip hop has a comparable record of continuous reinvention, conceptual boldness, and stylistic panache.

And after four decades in rap, Keith is still one of the hardest working rappers in the game, perpetually seeking new sounds to spit on and new collaborators from across the musical spectrum. Fresh off the acclaim for his new Black Elvis 2 release, the protean MC has touched down on Outernational Sounds for a unique collab with We Are The Horsemen and Kaidi Tatham. ‘London Is The Place’ finds Keith riding the Horsemen’s atmospheric, break-toughened riddim and reaching back in time to drop kaleidoscopic, stream-of-consciousness impressions of the Ultramagnetic MCs infamous 1989 tour, before flashing forward to the present in order to namecheck Honest Jons Records, saxophone star Nubiya Garcia and master keyboardist and broken beat pioneer Kaidi Tatham, who contributes trademark jazz keys and bruk steez to the AA side remix. The 12” is closed out by a third version, the Horsemen’s own Kool Jazz Mix, bringing see- sawing organ stabs and a neck-snapping Ultra-sampling hook.

Kool Keith, Kaidi Tatham and We Are The Horsemen, taking it higher and overcoming the pressure with ‘music so progressive’, to quote Keith himself! Limited press – don’t sleep on this one!!

Revised and remastered edition of Joe Henderson's 1987 album 'An Evening With Joe Henderson' with two bonus tracks from the same.


"Saxophonist Joe Henderson has been described as one of the great chord change players of jazz history, and this aspect of his playing, that had its roots in bebop and Sonny Rollins' approach to improvisation, is very apparent in the repertoire of songs he chose to play that night, each piece with interesting chord changes beginning with Thelonious ' Monk's Ask Me Now'. Although Henderson's style grew out of Rollins' sense of phrasing, rhythmically Henderson was a lot looser and built on Rollins's style to create his own approach to improvisation."

Whitelands follow their acclaimed single ‘Setting Sun’ – which saw the London-based band added to the BBC Radio 6 Music playlist – with their first ever vinyl release, an EP of reworkings, which is released as a limited edition orange vinyl 10” on June 23.Simply titled Remixes, the EP features two reworkings of ‘Setting Sun’ by dreampop legends A.R. Kane – the short Initiation Dub and the epic Hero Remix, which comes in three parts, titled Departure, Initiation and Return and takes the song to some unexpected and exciting new places.“Whitelands came up in conversation three times in a week,” explains A.R. Kane’s Rudy Tambala of how he got to know the band and came to remix them. “Two times is coincidence, three times is a conspiracy, so I reached out to them on social media, and we started chatting. They’re cool, like baby Kanes. ‘Setting Sun’ was close to my heart, reminding me of ‘Fools Gold’ meets Slowdive versus Frank Ocean. Anyway, I heard several approaches in my head, so I thought, ‘Fuck it, let’s do ’em all’. “I knew I wanted to take a prog approach: Marvin Gaye’s What’s Going On, Pink Floyd’s The Dark Side Of The Moon, Sasha’s Involver2, Coltrane’s A Love Supreme, Frank Ocean’s Blond, etc. Even my own sixty nine. It’s that seamless drift from one part into the next, stretching the idea until it ruptures, creating space for a new way of perceiving; this has the first inklings of hive mind, telepathy, in a musical form; you dissolve into it as it dissolves into you. A fundamental dreampop construction and aim, whereby subject and object become one. Ahem. “As the extended mix took shape it suggested to me the three components of The Hero’s Journey, hence the titles. The three-minute pop song was determined by the technical limitations of the 7” vinyl single. Digital has obliterated that. The perfect dreampop song has no time limit. ‘Setting Sun’ A.R. Kane Hero Remix is timely.” Alongside Rudy’s reworkings is an equally dazzling drum’n’bass take on last year’s single ‘How It Feels’ by the band’s guitarist Michael in his howdogirlssleep guise.

This King Gizzard And The Lizard Wizard ‘Live In Austin’ bootleg album is comprised of two performances recorded at the 2014 and 2016 LEVITATION festivals in Austin, Texas. Capturing a historic moment for King Gizz, the 2014 set was the band’s first-ever North American show and includes raw early versions of fan favourites from the ‘I’m In Your Mind Fuzz’, ‘Oddments’ and ‘Float Along - Fill Your Lungs’ LPs.

The 2016 show on discs 2 and 3 captures their return to Austin two years later hot off the heels of the release of ‘Nonagon Infinity’, and also sees them storm through Gizz bangers from ‘Paper Mache Dream Balloon’, ‘Quarters’ and ‘12 Bar Bruise’. This bootleg is remastered exclusively for Fuzz Club and arrives as a triple LP box set with new and exclusive artwork by Elzo Durt. Each box-set also includes a 62cm x 62cm poster

Five years after the release of their last studio album, legendary UK musical institution, Soft Machine, return with a brand new CD/LP,

Other Doors. Boasting new material and two numbers drawn from their extensive historical repertoire, Other Doors finds the band on their usual fiery form.

Featuring John Etheridge (guitars), Theo Travis, (saxes, flutes, Fender Rhodes piano, electronics), Fred Thelonious Baker (Fretless bass),

John Marshall (drums), Other Doors also features two guest appearances from long-serving bassist Roy Babbington, who retired from the band in 2021.

Other Doors was recorded at Temple Music Studios, a facility owned by the late Jon Hiseman during July and August 2022.

It’s a location of which the band is particularly fond, explains John Etheridge. “Working at Jon Hiseman’s studio was special,

especially with Ru Lemer who is a brilliant engineer. He’s fantastically quick and that’s very good as we record mainly live in the studio. It’s come out really well and I think it sounds great.”

On Other Doors they’ve revisited the very first album, originally released in 1968, to include Kevin Ayers ‘Joy Of A Toy. Fred Baker, makes his studio debut with Soft Machine.

A well-known figure on the Canterbury Scene not only is he the perfect choice for the group but he’s also is a long-term fan of the repertoire.

“The way I look at it is that this is all great music which we’re continuing to preserve and keep alive as we play it but also we’re adding to it all the time,” he explains.

The idea for revisiting the number was Theo Travis’ he says and has been part of the band’s live setlist for a while.

The album also contains Penny Hitch, a track originally heard on 1973’s Soft Machine Seven.



If the album ushers in a new member in the shape of Fred Baker, it also acts as a fond farewell to drummer John Marshall, who joined Soft Machine midway through the recording of 1972’s Fifth.

At the age of 81 Marshall has decided to retire making Other Doors his final studio album with the group. “I’ve known John since 1975 when I first joined Soft Machine and of course,

we’ve worked through the years together intermittently ever since. His drumming always meant a lot to me,” says Etheridge.

“We worked over three days in the studio and John played great. It sounds terrific.”

Indeed, Marshall is on whip-cracking form throughout the album bringing his trademark musicality and decisive presence.

With Other Doors, he brings his distinguished career to a rousing conclusion.

Intense, celebratory, and consistently impressive. Other Doors is the sound of a group determined to press forwards with an

integrity and sense of purpose that’s quintessentially and definitively Soft Machine.

Third in a trilogy of LPs of Library Music miniatures from composer and multi-instrumentalist Daniel O’Sullivan (Æthenor, Ulver, This is Not This Heat, etc) following 2020’s Electric Māyā and 2021’s Fourth Density. For heads, the term “Library Music” in 2021 might evoke dodgy Italian gray market LPs and crate diggers hunting for “funky breaks” - but London’s venerable KPM Music is working with groundbreakers like Daniel to open up new avenues for composers to experiment. The 15 tracks on “The Physic Garden” are fully-formed and orchestrated compositions, which would be highlights on anyone’s LP, never mind as incidental music. Of the music, Dan says: “The Physic Garden is an album of diverse instrumentals inspired by a swathe of verdant vistas from manicured gardens and follies to urban common land, overgrown and forgotten. Convalescent memories in the shape of psychedelic auditory botanics.”

Key tracks include the droning acoustic folk of the title song; the Canterbury-esque rolling horn and woodwind melody of “Return the Heart” (with expert drum kit from Frank Byng); The prog-ish odd meter interlude “Buttercup Tea”; The quiet ambience and delicate melody of “Dusty Feather:”; and the Eno-like drift of “Vapourer Larvae.”

“Library music. Akasha. Here you accept that music behaves like a thing to accentuate another thing, seemingly unrelated. A beautiful, shining blankness. Not passive. An opportunity to wade. A brief encounter with an open-ended destiny. As in, you never know who or what it will be partnered with. With library music the emphasis tends to be on functionality and less on sonic self-portraiture. So it compels you to be concise, like what is the function of this work? The distance is liberating. It’s less “What Am I? and more “What Is This?”. It compels you to be brief, each little cell is a world of its own in an assemblage of miniatures all vibrating in their collective identity. Then there is the occult nature of library music which is fetishized by many for its ability to induce time travel, often to send us back to some televisual memory. However, despite its broad-brush strokes, the library can be so profoundly alien, especially when experienced independently of the televisual realm; an unruly chimera of genre mutations, compositional curiosities and the deepest wallpaper you ever laid ears on. Perhaps the observances of library music can help unshackle us from our artistic insecurities and delusions, where one is drawn to the shape of music as a whole instrument unto itself; as a vehicle carrying our intention and consisting of everything we have to give at that moment; so things that are seemingly unrelated are ultimately connected.” – Daniel O’Sullivan

Born of a thousand nights lost in a surrender to stillness and contemplation, In The Air is Anna St. Louis’ second full length album and her most considered work yet. St. Louis’ debut If Only There Was a River seemed to emerge fully formed out of the recesses of her mind; a gritty, mesmerizing affair, filled with jagged edges and ghostly apparitions. The type of record that announces a new voice; one haunted by what has come before.

But this time, St. Louis is no longer concerned with what could have been and sets her sights to exploring what could be. It’s an outlook on the world that was formed when her immediate one was small. The intervening years since her last album found St. Louis in a small one-bedroom cabin in the middle of the woods of upstate New York with a new love and time to think of what she wanted to express with her music. For weeks on end, the only trips she took were to and from her job as the front desk clerk at a nearby hotel. The previous years she had spent on tour and performing constantly in the venues of Los Angeles felt like they had occurred in another lifetime.

“It really compelled me to surrender to the unknown,” she says. And in this surrender, she found liberation. St. Louis is more self-assured, open-hearted and ready to say what she wants. St. Louis describes the writing period as one of a slow harvest; a fertile time but one that required a newfound patience. Instead of documenting her first thoughts, she spent more time with each song, going deeper with the themes and ideas she wanted to express.

This slower approach also guided the sonic textures of the album. Working with producer Jarvis Taveniere (Purple Mountains, Woods) in two extended recording sessions in Los Angeles in 2021, St. Louis used the studio in a previously unexplored way, opening up her songs to more experimentation featuring brighter tones and a more orchestral sound to accompany her new perspective. To that end, she was aided by a cast of friends and collaborators including Jess Williamson, Kacey Johansing, Oliver Hill (Kevin Morby, Vagabon) on strings, Alex Fischel (Spoon) on piano, Josh Adams on drums (Bedouine, Tim Heidecker) and Keven Lareau (Cut Worms, Hand Habits).

In the Air has the sound of a joyous consideration of the present moment; a quiet morning revealing a new snowfall outside, steam coming from the kettle, just before it whistles, St. Louis with her guitar, staring out the window, with a few free hours before work. She’s reflecting on the scene in front of her, imagining the times yet to come. You can hear it; she’s a long way from the noisy bars of Los Angeles, the rigors of the road. As she intones in “Rest”: “You spend your whole life believing in the chase. And then you realize that being somewhere doesn’t matter like it used to.” She doesn’t need a river to carry her anymore ... She’s in the air.

With absolute electricity at every turn as well as the rough 'n' ready charisma of frontwoman Stacey Savage, Savage Master strutted and surged with a power and poise redolent of early '80s US metal. Uniquely, the hooded Louisville quintet put a concertedly occult spin on everything, making them stand out amongst all those trying to reignite a 'Metal Massacre'. Swift and succinct were the eight songs
across the half- hour 'Mask of the Devil'; for however much "star power" was already here early on, Savage Master knew that heavy metal ultimately lived or died on the strength of songs - and they were just beginning to realize their massive potential.

He made his recording debut in 1961 and the following year joined Dizzy Gillespie's band which firmly established the pianist in jazz circles. Though Barron might be best known for his association with the sections of Gillespie (1962-66), Freddie Hubbard (1970-75), and Ron Carter (1976- 80), remarkably, Barron has played with virtually every leading figure in his journeyman career. This includes George Benson, Booker Ervin, Ella Fitzgerald, Chico Freeman, Stan Getz, Dizzy Gillespie, Elvin Jones, Abbey Lincoln, Buddy Rich, and Clark Terry, just to name a few. This album originally released in 1991 showcases the warm, undiluted lyricism of Barron's playing, with stellar performances from Ray Drummond on bass and Ben Riley on drums

Charlie Watts “Anthology” is an affectionate retrospective and a reflection of just how frequently Watts was able to exercise his jazz muscles between Rolling Stones commitments to create a bespoke discography of his own. Including 3 unreleased tracks.
The names of Charlie's jazz heroes fell from his lips like a superfan turning the pages of a personal scrapbook. Charlie Parker, Gerry Mulligan, Chico Hamilton, Dave Green, Stan Tracey, Peter King, Courtney Pine, Gail Thompson, Brian Lemon, Gerard Presencer, the Red Rodney group and collaborator Jim Keltner. He knew every player, every session, every album, every outfit they wore on the cover, and he spoke about them with a deep and genuine reverence. He may have been a globally loved hero in the biggest band in the word, but he swatted away any compliment or comparison with his musical favourites. He counted himself their admirer, never their equal.
The Anthology includes an extended essay by Paul Sexton which documents Charlie Watt’s jazz career and the essential albums covered in the collection.

Das Amsterdamer Indie-Rock-Quartett Loupe erkundet auf seinem Debütalbum 'Do You Ever Wonder What Comes Next?' Themen des jungen Erwachsenwerdens, des Lebens in der Großstadt und menschlicher Beziehungen in einem Geflecht aus mitreißenden Harmonien, frei fließenden Rhythmen und ausdrucksstarkem Gesang. Dabei gelingt es der Band, einen zugleich aufregenden wie hypnotisierenden Sound zu entwickeln.

Loupe sind Julia Korthouwer (Gesang, Keybord - sie/ihre), Jasmine van der Waals (Gitarre - they/them), Lana Kooper (Bass - sie/ihre) und Annemarie van der Born (Schlagzeug - sie/ihre). Fu?r die Band fällt mit ihrer viel beachteten, ersten Single 'Leave Me There' plötzlich alles an seinen richtigen Platz. Loupe veröffentlichen zwei fantastische EPs - 'Older' (2021) und 'Spring '19' (2022) - und erspielen sich den Ruf einer beeindruckenden Live-Band. So werden sie gleich zweimal hintereinander zum Eurosonic Festival eingeladen und begleiten Bands wie Porridge Radio, Moss oder Lovejoy.

Nun veröffentlichen Loupe ihr Debütalbum 'Do You Ever Wonder What Comes Next?'. Darauf betrachten sie das Erwachsenwerden aus unterschiedlichen Perspektiven. Die Stücke erzählen von Selbstermächtigung, von der Suche nach dem eigenen Weg und einem eigenen Platz. Was die Band antreibt, ist das "Was kommt als Nächstes?" in der großen Frage, die der Albumtitel aufmacht; die ständige Bewegung, um diesen Silberstreifen über den Horizont hinaus zu jagen: unablässig auf der Suche nach Mut, Trost und Abenteuer im ruhelosen Jetzt.

Little Beat More, Do It Youssef, Not a Pub & Un Rêve Nu labels are glad to introduce ÈCH's latest work, a stunning display of musical mastery that will capture your heart and soul.
Led by Heddy Boubaker, the Toulouse-based band has created a sound that defies categorization, blending elements of free jazz and psychedelic afro-latin rhythm, and more to create a truly unique musical experience which they self described as "post-pfunk-afro-voodoo-weird-free-rock".

With 'Au nombre de joie' and 'Le bonheur des uns fait le malheur des autres', the ÈCH make up two little gems of music that take us back to a time when every note, every instrument was carefully thought out, down to the last detail, a time when music was made simply right.
The EP's artwork, created by painter, trumpeter and percussionist Walkind Rodriguez, represents with colors and shapes blending together to create oneiric flames, archetypal symbol of the band's soul, whose name is derived from a Hebrew word meaning 'fire'.

If you love music done with care, of musicians who pour their hearts and souls into every note, then you won't want to miss out on ÈCH's latest release. So sit back, close your eyes, and let the sound wash over you.

Hayden Pedigo returns with The Happiest Times I Ever Ignored, the West Texas, multi-hyphenate artist's follow up to his acclaimed 2021 album Letting Go. Produced by Trayer Tryon (Hundred Waters), The Happiest Times finds Hayden crashing the New Age guitar of Windham Hill and John Renbourn into the art provocations of Harmony Korine.

Tucked in the heart of Koreatown, Los Angeles, lies The Libra Hotel—the titular architecture of Nick Malkin's new album and site of his musical and psychogeographic exploration. Unlike most musical "site-specific" studies, Malkin remains wholly ambivalent to the documentarian approach, instead sharpening an auteur-like focus on the site as a conceptual and highly expressive backdrop. The Libra is musically explored as a space that houses a noir fragmentation of identity—the exhausted trope of a complicated protagonist walking through rain-soaked street corners and fumy neon lights—where an inner monologue is rendered in both miniature and at a cosmic scale. Casting aside stifling tropes around field recording, ambient, and improvised music, Malkin's work finds its own unique fidelity and emotional core through the assembly and reassembly of memory. Nearly every sound on the album—from frayed saxophones, lambent pianos, and dissected jazz drum kits—are multiplied, shattered, and reconstituted into shapes that adorn The Libra in a motion-blurred fog. The narrative of the Hotel suddenly appears as if out of the mist, with intersecting characters interacting within its walls by happenstance. Adminst the languid set pieces, wraith-like sonic grains gravitate around wide subbass beams that give structural form to The Libra, a narrative tension like when a scene is shot from hundreds of different perspectives: an image both luminous and veiled.

Much like Frank Sinatra's own spatial residency immortalized on "Live at The Sands," "At The Libra Hotel" showcases an exuberant view of entertainment, hospitality, and a form of masculinity, one that can quickly detourn into darkness. Knowing this, Malkin extracts a melancholic core out of The Libra locale. The flickering shadows of American decadence are shown in their ephemeral honesty, lines that trace how even in everyday life virtue is tested, sanity is tested, even reality is tested within the confines of desire, within the night. The album is draped in fleeting textures, carefully arranged with a trance-like microtonality, the faint inflections and articulations of a jazz band cascading into dissipated stillness. Voicemails about changed locations and covert eavesdropping on guests' whispered conversations provide an atmosphere of missed connection and voyeurism—a purloined letter of desire receding into a vanishing point. Like the music itself, The Hotel, a chapel perilous at the intersection of desolation row, the center of it all, yet simultaneously at the edge of town, becomes a structure between libidinous virtuality and actuality—our inevitable half-light.

Ultimately, the pensive atmosphere of "At The Libra Hotel," powerfully asserts a plea for the kinds of intimacy only possible in transient spaces. Here, memory cascades into a force that feels like something supernatural, perhaps even religious, yet always subject to the infidelity of our imagination. Here, the album opens into its primary psychodrama, the transient nature of subjectivity itself and how this becomes fractured in the tumult between our commitments and desires. Within this nocturnal space, to quote Louise Bourgeois, "you pile up associations the way you pile up bricks. Memory itself is a form of architecture."

Fantastic masterpiece, considered one of the best Italo-Disco songs ever. A mega-classic produced by Stefano Zito and Carlo Favilli (the latter passed away too soon) characterized by a heartbreaking melody and lush strings that exemplify the mood and rhythm of the Italo-Disco style with the use of some sounds of pre-bleepy keyboard and siren that technically make it one of the very first rave songs ever, inspiring the style of many artists that came later, like Duft Punk. However, many of them don't even come close with their imaginative computers to that bassline and string sounds that melted the souls of many of us back in that distant April 1983, even if it seems that part of the melodic line has been copied not very subtly by Casco from that of El Deux's Computer-Madchen released in 1982 in Switzerland, where Salvatore Cusato was working as a club-DJ. On the flip another excellent remix version by Danilo Braca of the song revisited a few years later. The confirmation of the wisdom and foresight of its producers, aware that the BPM would soon be lowered by a lot. In the more than 8 minutes of "Cyberlover" the constant melancholy background together with the drum/bass/synth lines are preserved intact, giving us a complete reissued product.

**Limited edition single-sided LP 300 copies**

David Horridge's unreleased bedroom studio tape material (1982).

Shortly after releasing the inimitable Light Patterns, David Horridge recorded a handful of demos. These sole artifacts from Dave capture the same Mancunian melancholy presented on
Light Patterns, and offer an insight into David’s contributing piece of the puzzle. It comes as no surprise that every track laid to tape from that era is an absolute gem.
David’s playing comes in the form of well-timed melodies and carefully placed basslines.

Nothing forced or rushed, and each movement really sits with a mood. Journey Within is an even more sedated, mellow effort than Light Patterns. The songs were perhaps even sketches for a
follow up that never manifested. The album’s greatest strength is in setting a peaceful, pastoral mood that allows for a relaxed listen all the way through. Hypnotic stuff.
The only deviation is the final song, One Note Bossa, which came as a surprise with its use of a drum machine. A feature that demonstrates what might have been were David have continued to
experiment and release albums...

RIYL: Durutti Column, Woo, Pat Metheny, and Steve Hiett.

Ghanas Linda Ayupuka spielt zeremonielle Fra Fra-Musik über schnelle Feuertempi und hypnotische Drumloops, die auf eine internationale Palette elektronischer Tanzstile verweisen, vom DJ-geführten Balani Show-Straßensound Malis über Electro-Acholi bis zu modernem Dancehall/R&B. Auf 'God Created Everything' fängt sie die Unmittelbarkeit früher Aufnahmen von Größen wie Oumou Sangaré und Rokia Traoré ein, um sich als neues westafrikanisches Gesangstalent zu präsentieren. Ihr Produzent Francis Ayamga (Top Link Studios), Live-Drummer von Ghanas King Ayisoba und Produzent der meisten Tracks auf dessen jüngstem Album für Glitterbeat, hebt Lindas Gesang mit seiner spielerischen Produktion von Laptop-DJ-Samples und abstürzenden Drum-Pads in den Himmel.

"(Linda) exists somewhere between the Malian singer Oumou Sangare´ and the lo-fi-to-the-future beats heard on the Nyege Nyege Tapes label." - NPR - All Songs Considered - Best Of 2022

"Combining traditional instrumentation and call-and-response vocals with sparkling synths, rapid-fire beats, and drum machine polyrhythms. Ayupuka achieves an electrifying syncretism on this album, giving Fra Fra gospel its rightful place on the global dance music stage." - BANDCAMP, Best Of 2022

"An uptempo blend of choral chants and sparkling, 80s electro synths." - THE GUARDIAN, Albums Of The Month

"Linda Ayupuka fait du gospel façon disco au Ghana et chante son amour de Dieu sur des synthés entêtants." - LE MONDE

"A mashup of gospel, disco and savannah sounds, produced with all the D.I.Y vim of Balani Show, Nyege Nyege Tapes and the Awesome Tapes roster." - PAN AFRICAN MUSIC - Best Of 2022

"Super interesting!" - GILLES PETERSON, BBC 6MUSIC

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

Léman Records proudly presents the swiss producer Mystic V on this new swiss imprint project curated by himslef, Leo Luscher and Wolff. Blessing us with a perfect summer 4 track EP titled "Ever Since That Day I Met You".

Delivering his signature sound between mellow grooves and deeper sounds, a good way to start your holiday season

"Commemorating the 25th anniversary of Sir Georg Solti’s passing “The Greatest Recording Of All Time” Now sounding better than ever before
Transferred and remastered in HD sound at 24bit / 192kHz from the original two-track stereo mastertapes.
The first all-new transfer in over twenty-five years.
The first-ever stereo production of Wagner’s Ring cycle, still considered the benchmark today."

First time available on vinyl. General Market Version Available for the first time as a physical release and pressed on Silver & Black A-Side/B-Side vinyl, “Before You Go” from Blxst features the singles “About You”, “Every Good Girl” & “Sometimes” featuring Zacari.