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Jaqee – is rhythm and life ”Places becoming journeys in themselves… Different places where I have lived and learned, places that have made my heart beat, the emotional realms that I have experienced. This is where it all starts, every time. Where I am is where it happens, because I am, there. Here.” She sings. She laughs! And she cries, too. Jaqee cannot tell when music and singing became her life, it has ”just always been there, in my head” she says. Now with the fourth album she has taken a closer look at herself, from every possible angle. No hiding. Different phases, different sides of her personality and musical creativity are all there. All as one. ”I am a diaspora kid, I fell in love with all kinds of music, I let myself embrace it all, because good music, is good music. All the way from Uganda at age 13 to the new home and culture in Sweden, then leaving Sweden as an adult for Berlin – has made me the Jaqee that I am”, says the Ugandan /Swedish artist who also received a Swedish Grammy nomination for her past work. Being on the move is without a doubt an important part of her life. “For me travelling is about being exposed to different perceptions, situations, cultures and extreme emotions, it has always made me grow. How many times have I not thought that: I wouldn’t have experienced this or that, if hadn’t been here. I love that feeling!” Jaqee’s music reflects this constant movement and progress. The album is inspired by places like Berlin, South Africa and Jamaica. The trip to Jamaica resulted in the only collaboration track on “Yes I am” recorded in Kingston with reggae artist Anthony B. Teka, the “Kokoo Girl” and “Yes I am” Producer says: ”This time around, like on the last album, we have worked with our colleagues in different countries. Musicians we love and musicians that are inspiring like Martin Hederos (The Soundtrack of our lives) who arranged the strings on the album. We also had New York drummer Daru Jones of Rusic Records play on some tracks. All these talents enhance the idea and expression that we wanted for “Yes I am”. With the album done, it is again time to hit the road and tour for Jaqee. “Getting out there and meeting the crowd is a high. We laugh, we dance and we get loud together. This is the best part of working with music – having a good time together. Music is a universal language.” On composing music, she admits that this time, more than ever, the words matter. Newly found motherhood has made this album in particular a significant legacy. Every song has a life punctuation of its own she has not limited herself by thinking in genres. Making the tone very straightforward. “The melodies and lyrics are closely intertwined, how I sing a word makes all the difference. Even though I love word play, it has to be very clear. Since I am not educated in reading music, I instead visualize and hear it, it seems to be the way my system works. It is all about rhythm and life, it is “YES I AM“.

Lenticular Sleeve / White Vinyl. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

For this classic encounter, the only collaboration ever between Duke Ellington and John Coltrane, Duke sat in with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius.

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog, von Kevin Gray von den OriginalMasterbändern gemastert, bei Optimal auf 180g-Vinyl gepresst. LPs im Single-Sleeve-Cover. Der Tenorsaxofonist Stanley Turrentine begann seine lange Zusammenarbeit mit Blue Note 1960 mit einem grandiosen Doppelschlag, als er gleich zwei exzellente Alben mit souligem Hardbop für das Label einspielte: “Look Out! und “Blue Hour”. Auf letzterem kam es zu einem besonders fruchtbaren musikalischen Austausch mit dem von dem Pianisten Gene Harris geleiteten Trio The Three Sounds, das sich mit seinen eigenen Aufnahmen für Blue Note bereits als eine der besten Hardbop- und Soul-Jazz-Formationen etabliert hatte. Als den “Mittelgewichts-Champion des Tenorsaxofons” hatte der Kritiker Leonard Feather einst den 1986 verstorbenen Hank Mobley bezeichnet. Das klingt zunächst nicht sonderlich schmeichelhaft, sollte aber nur zum Ausdruck bringen, dass Mobley mit seiner Phrasierung zwischen zwei anderen Tenorsax-Champions rangierte: dem “Schwergewicht” John Coltrane und dem “Leichtgewicht” Stan Getz. Auf “Workout” präsentierte sich Mobley 1961, sekundiert von einem Quintett junger Modernisten, in bestechender Höchstform.

*REMASTERED ROUGH TRADE 4 TRACK E.P LIMITED TO JUST 500 COPIES*

Everything on “Up Home!” is bigger, richer; the guitars are huge, as though they’re being played through the clouds, massive gusts of blue-green noise that move across the stereo spectrum like weather systems. “Baby Milk Snatcher” is built around face-flattening dub bass, with glinting piano and shards of guitar ricocheting through the song. “W.O.G.S.” is delirious to the point of expiration; “One Way Mirror” is their attempt at weird, lopsided ‘anti-funk’, the song’s melody crushed by avalanches of six-string interference. And the closing “Up” is AR Kane’s masterpiece, a disembodied thud pulsing at its heart as a six-note guitar melody spirals ever onward, Ayuli’s voice lost in its own reverie, hymning escapism via references to Jamaican political activist Marcus Garvey’s ‘black star line’.
• Jon Dale, lead review in Uncut Magazine
who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and
artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!
The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in
1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding
landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This
remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

Hailing from the always-vibrant Polish black metal scene, THROAT are miasmic morbidity personified. While so many of their domestic contemporaries honor the paradigmatic sounds of the Temple of the Fullmoon, THROAT instead mine a wider, wilder style of black metal that looks both east and south. Theirs is a clanging, crunching sound that various ly nods to Necromantia, Mortuary Drape, Hungary's Tormentor, early Samael, and fellow Polish iconoclasts Cultes des Ghoules: catacombed, ancient, unsettling.

To date, THROAT released the debut demo New Flesh Nectar in 2020 on the esteemed Fallen Temple label, and now conspire with PRIMITIVE REACTION to add that portentous recording with a new EP titled Blood Exaltation. Totaling four tracks in 33 minutes, the Blood Exaltation collection stands as a terrifying testament to THROAT's eldritch black metal horror: a bridge from the past to the present, scorched by fires unknown but reeking of delirium-inducing sulfur all the same. The potency of the two-song Blood Exaltation EP presents the trio in their current sonic incarnation, more gutted and (s-l-o-w-l-y) grinding, a protracted spelunk among shape shifting landscapes whereby throat, strings, and skin chafe together in a vulgar manner. The earlier New Flesh Nectar demo displays THROAT at

their most atmospheric; partially due to the distant recording, partially due to more wide- open spaces they were sowing, the two songs on this introductory recording nevertheless

retain a palpitating creepiness, particularly when they drop the tempo down to a tribal trudge - an element they'd explore further on this collection's namesake recording. Shed thy skin for this Blood Exaltation!"

JAZZ MONEY, the debut album from multiinstrumentalist, composer, and producer Zacchae'us Paul is an irreverent, fresh take on "America's classical music" that speaks to the 24 year old artist’s deep-beyond-his-years understanding of Black music and the African diaspora. Paul stretches and bends jazz sounds around the Atlanta hip-hop he grew up with, the gospel sounds and philosophies that have long shaped his music making, and the Caribbean rhythms he learned studying in Puerto Rico. He has created a wholly personal sound that is youthful, and thoughtful all at once.

"When you listen to this album, listen to it again," Paul says. "A lot of the songs have multiple meanings, and I'd love for people to have different perspectives on them." Made with a cast of improvising upstarts and veterans that includes the album's executive producer, Terri Lyne Carrington, fellow Atlanta native and Candid recording artist Morgan Guerin and Paul's fiancée and star vocalist Melanie Charles, Jazz Money is jazz music for this, and future, generations.

Reissue of late-’80s release by lovably manly Australian punk rock trio! Sometime in the winter of 1989-90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of ’60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos’ then-new album Go the Hack. “She’s a lost cause / She’s a lost, lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah-wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long, straight Outback road on a Harley. This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music—well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! They obviously had no regard for “makin’ it” in those days, when an alternative rock band at least had a chance to sell some records. I was an instant fan. Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best: farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow “I love my tractor!”? Answer: None! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And they couldn’t care less. The Psychos enjoyed a long run through the ’80s and ’90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever—still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them. — Eric Friedl, Oblivians / Goner Records 40th Anniversary tour about to hit UK / EU! Go the Hack!! Essential!!

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

"Nonesuch Records releases Rectangles and Circumstance, an album of ten songs co-written and performed by Caroline Shaw and Sō Percussion. The album follows their 2021 Grammy Award–winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021’s Let the Soil Play Its Simple Part, with Shaw on vocals backed by Sō – Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy-winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil… and Rectangles and Circumstance. Sō and Shaw’s upcoming performances will be announced soon.

Sliwinski says in the new album’s liner notes, “After a few years of touring Let the Soil Play Its Simple Part together, with a pandemic in between, we came to record our second album, Rectangles and Circumstance, as a road-tested band who knew each other’s strengths, weaknesses, and tendencies intimately.” He continues, “Most of the songs started with instrumental pieces or fragments of pieces from Jason or Eric.

“As both a songwriter and a classical composer, Caroline is accustomed to writing lyrics as well as setting them. Going over texts with her is like working on music: I collect a handful of poems and send them over to her, waiting to see if anything catches her interest, then I modify my search based on her feedback,” Sliwinski says. “For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped its expressive mode and ended up using verses by Christina Rosetti, Emily Brontë, Emily Dickinson, Gertrude Stein, and William Blake … The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to her albums with Sō, Nonesuch has released her two Grammy-winning albums Orange (2019) and Evergreen (2022), both of which feature Attacca Quartet. ‘Two-Step’, the first of Shaw’s songs with Ringdown, her duo with Danni Lee, to be released on Nonesuch is available now.

For twenty years and counting, Sō Percussion has redefined chamber music for the twenty-first century through an “exhilarating blend of precision and anarchy, rigor and bedlam” (New Yorker). Their commitment to the creation and amplification of new work, and their extraordinary powers of perception and communication, have made them trusted partners for composers including David Lang, Julia Wolfe, Nathalie Joachim, Bryce Dessner, Dan Trueman, Kendall K. Williams, Angélica Negrón, Shodekeh Talifero, claire rousay, Leilehua Lanzilotti, Bora Yoon, Olivier Tarpaga, and many others. Sō has recorded more than twenty-five albums, including a performance of Steve Reich’s Mallet Quartet on the Nonesuch record WTC 9/11. Its members are the Edward T. Cone performers-in-residence at Princeton University. Sō Percussion’s educational and community work includes the Sō Laboratories concert series and the Sō Percussion Summer Institute, an intensive two-week chamber music seminar for percussionists and composers.
"

Re-issue of 'Joe Black' the 1996 compilation album by Florida's monster death metal band Malevolent Creation! MALEVOLENT CREATION established themselves within the underground scene in the late 80's with fellow American acts such as Cannibal Corpse, Immolation, Suffocation, Morbid Angel, Obituary, Monstrosity, Autopsy and many others. Metal that broke boundaries and plunged headlong into the macabre and extreme!

Manifestation is a compilation album with bonus live tracks from American monster death metal band Malevolent Creation originally released in 2000! MALEVOLENT CREATION established themselves within the underground scene in the late 80s when fellow American acts such as Cannibal Corpse, Immolation, Suffocation, Morbid Angel, Obituary, Monstrosity, Autopsy and many others. Metal that broke boundaries and plunged headlong into the macabre and extreme!

A brand new label coming in hot, from Montreal to the world.
Run by E. Chamandy (part of the Fella's Q-Tips crew) our
label focuses on giving the spotlight to the seers around us
who's craft deserves to shine outside of their hard drive. Here
at Seer Records, we value quality over quantity, delivering
nothing but smooth trax exclusively for the underground.
SEER-001 packs a punch, with the A-side delivering
dance§oor movers of the highest proportions; battle-tested
and approved ! A1 includes a remix by Tony Lionni
(Madhouse Records), while A2 is a tribute track dedicated to
the rare 90s NY house track by Barkim & Langel. On the §ip
side, discover local house-heads 'Maximum Enemi' with their
debut releases on the B-side, mixing it up with deep & dreamy
§avours. Starting it off with a live jam on B1, expect lushychords, chunky basslines and a touch of acid on B2.
Finishing it off in style, label head has provided us with a
downtempo, electro-funk jam that carries an analog feel,
making any body move like it's an 80s groove. Tip!

STAR TREK: STRANGE NEW WORLDS is based on the years Captain Christopher Pike manned the helm of the U.S.S. Enterprise. The series will feature fan favorites from season two of STAR TREK: DISCOVERY: Anson Mount as Captain Christopher Pike, Rebecca Romijn as Number One and Ethan Peck as Science Officer Spock, and follows Captain Pike, Science Officer Spock and Number One in the years before Captain Kirk boarded the U.S.S. Enterprise, as they explore new worlds around the galaxy. Drivers: * Focus track scored written, produced and conducted by Emmy Award winner, and 3 time nominee, Jeff Russo (The Man Who Fell To Earth, Legion, Fargo, Oslo, The Night Of, Umbrella Academy, Altered Carbon, Star Trek: Discovery, Short Treks, Strange & New Worlds, Picard series, Love & Death) * Jeff is a founder, lead guitarist and songwriter of 2x Grammy Award nominated, multi platinum rock band, Tonic. * Russo's main theme is a modern adaptation of Alexander Courage's original Star Trek theme, and includes a theremin as a way to foreshadow Courage's vocal arrangement of the theme. * Tracks taken for Season 2, episode 9, titled, Subspace Rhapsody

Bullet Train is the 2022 American action-comedy film by the Deadpool 2-director David Leitch and is based on the 2010 novel Maria Beetle, written by Kōtarō Isaka. In Bullet Train, Brad Pitt stars as Ladybug, an unlucky assassin determined to do his job peacefully after one too many gigs gone off the rails. Fate, however, may have other plans, as Ladybug's latest mission puts him on a collision course with lethal adversaries from around the globe - all with connected, yet conflicting, objectives - on the world's fastest train...and he's got to figure out how to get off.

The film features a number of original tracks. Most notably, the film contains Japanese language covers of "Stayin' Alive" by Bee Gees and "Holding Out for a Hero" by Bonnie Tyler. Composer Dominic Lewis noted that the film's soundtrack represents "all vibe and no technique".

For the first time, the soundtrack for Bullet Train is available on vinyl and comes in different editions, all based on the characters in the movie. All editions include a 4-page booklet, but each edition contains an exclusive Bullet Train boarding pass with corresponding picture of the character. This is the limited edition on Lemon coloured vinyl.

a A1. アヴちゃん (AVU-CHAN QUEEN BEE) - STAYIN' ALIVE

Limited White VInyl Version
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery, Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for an imperfect Summer.

Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery, Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for an imperfect Summer.

Ella Fitzgerald was an great American jazz singer, sometimes referred to as the "First Lady of Song", "Queen of Jazz", and "Lady Ella". She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a "horn-like" improvisational ability, particularly in her scat singing. Louis Armstrong, nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz. Together Ella & Louis recorded various songs. On this 3 LP in a gatefold sleeve the complete “Ella & Louis”& “Ella & Louis Again” albums (30 tracks). All these tracks were recorded in Hollywood in 1956 & 1957 with on most tracks Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass. Buddy Rich played drums on Ella & Louis. Louie Bellson drums on the “Ella & Louis Again” tracks. This Classic Albums Collection is a must have for music lovers.

More underground 90s rap bangers from Boom Bap Classics as they line up this supreme neck snapper from west coast lyricist Rasco. "Unassisted" is loved by backpackers and turntablists alike, whilst "Take It Back Home" features fellow Californian vocalist Planet Asia for more of the same.

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

Forest Law's debut album, "Zero," is a vibrant journey blending Balearic funk with urban Tropicalia, showcasing his adept guitar playing, old-school sampling, and UK- styled beats alongside his mellow yet sombre vocals. Recorded across eclectic locations from Icelandic fish net factories to a garden shed in Romford, this innovative release marks a new chapter for the multi-instrumentalist producer.

Released in collaboration with the UK home for jazz and electronic sounds, Total Refreshment Centre, Zero is Forest Law’s first release since his debut EP on Brownswood Recordings four years ago, marking a new and exciting chapter for the up-and-coming talent.

Crafted over seven years, "Zero" is deeply influenced by Law's experiences, from immersive stays in Porto where he delved into Portuguese music to an artist residency in a remote Icelandic fishing village. The album was finished, and recorded in his garden shed in Romford, East London. It’s a beautiful juxtaposition about a boy from Essex, who fell in love with international music, discovered the world, and then produced a musical treatise about his adventures from his shed.

From weaving thought-provoking poetics to channeling the spirit of vintage West Coast gangsta rap, acclaimed Los Angeles emcee Blu is a dynamic musical presence, forever evolving and defying expectations. Supremely talented producer and musician Shafiq Husayn has a similarly diverse skill set, with a storied history as a member of Sa-Ra Creative Partners and solo production credits for top artists across the musical spectrum, from Erykah Badu to Ice-T to Anderson .Paak to Jurassic 5 and many more. After linking up for the mixtape The Blueprint back in 2018, Blu and Shafiq Husayn are reuniting for the new album Out Of The Blue, elevating their collaboration to a new level. “The Blueprint was just me rhyming over some of Shafiq's beats that I found online,” Blu explains. “This time we were actually in the studio together. We’ve been working together since 2008, but this is our first official album.” Awash in Shafiq’s dense sonic architecture, Out Of The Blue showcases the intricacy of Blu’s spiritual street talk while simultaneously delivering a series of bass-heavy L.A. anthems. Entirely produced by Shafiq Husayn, the collection features guest appearances by MED, Exile, Chuuwee, Thurz, Speed Walton, Jimetta Rose, and Freestyle Fellowship members Myka 9 and Self Jupiter. “Out Of The Blue is my G-Funk album,” Blu explains. “Big brother Shafiq gave us a master class in production. We just in here being funky and having fun.”

The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

Greg Foat is a London-based keyboardist, composer, bandleader and DJ. He claims his life-long love/hate relationship with the piano began at age 3, when he fell off a piano stool at his aunt's house. He started composing around age 11, and at 15 attended a jazz workshop with Jeff Clyne, Olaf Vas, Trevor Tomkins and Nick Weldon, igniting his obsession with jazz music. He furthered to study jazz at Middlesex University, and then studied for 6 months in Sweden on an Erasmus grant. He played his first professional studio session there at 21, and has been working as a professional musician ever since.

Snake Plant Shuffle and Spider Plant Blues are inspired by the the plants on Gregs bedside tables - which periodically move around the house dependent on his mood. The plants provide a good source of oxygen in the room and create a calm soothing atmosphere for Gregs musical projects. Together the tracks feature live drum kits by Ayo Salawu, Fender Rhodes and a plethora of Vintage Synthesisers.

Snake Plant Shuffle has had radio plays in Gemany, Poland and Canada, as well as being heavily featured in Amazon Music's Jazz playlists, including 'Fresh Jazz', 'Coffee Shop Jazz' and 'Café Jazz'. Both tracks are featured in Apple Music' 'Jazz Scene: UK' and 'New Latitudes' playlists.

Trombone legend Steve Turre (Ray Charles, Rashaan Roland Kirk, Art Blakey, and many more) assembled a sextet of fellow legends, modern masters, and an up-and-coming star to celebrate the post-pandemic reopening of Smoke Jazz Club with 10 searing sets of live music in front of enthusiastic audiences. Elder statesmen Buster Williams and Lenny White on bass and drums are joined by trumpeter Nicholas Payton, and Turre's SNL bandmate Ron Blake on saxophone and young piano phenom Isaiah J. Thompson. The resulting performances are electrifying live jazz music.

Although both Ella Fitzgerald and Louis Armstrong had met and performed together previously, they wouldn't be heard on record together until January 18, 1946, when they waxed a single 78-rpm disc ("You Won't Be Satisfied) for Decca. They went on to record a few more singles together until in 1956 when producer Norman Granz paired the two together between 1956 and 1957 on three albums that were both critically acclaimed and commercial successes - appealing to audiences in and beyond the confines of jazz per se: Ella & Louis, its sequel Ella & Louis Again, and the selection of songs from George Gershwin's opera Porgy & Bess. While Porgy & Bess was recorded with a big band, the first two albums (featured in this release) were made in small group formats with the great Oscar Peterson Trio plus drummers Buddy Rich or Louie Bellson, resulting in some of the most fascinating jazz and popular music ever produced

As mui zyu, Hong Kong British artist Eva Liu searches for a portal, wandering between nothing and everything in her pursuit of peace. On her second full-length album nothing or something to die for she looks outward, embracing the chaos with each tentative step. mui zyu's debut album Rotten Bun for an Eggless Century saw her explore her heritage, as she dived inward to find acceptance and healing. Now, instead of searching for answers from the inside, Liu raises her head to look at the world around her. As she attempts to understand the complexities and significance of human existence, she observes apathy alongside overwhelming chaos; the technological advancements of connection with the lack of meaningful bonds and the frustrations of upholding standards set by others. nothing or something to die for tries to decipher these juxtaposing truths, holding both the weight of those trying to destroy the world with the utter futility of it all. Working with co-producer and fellow Dama Scout band member Luciano Rossi, the sonic world of nothing or something to die for encapsulates both the fleeting tranquility of serenity and the dissonance in chasing it. After all, our reality can change in an instant. Like the psychedelic tones of Ryuichi Sakamoto's Thousand Knives, the urgent techno-pop of Miharu Koshis Parallelisme or the eerie wanderings of Angelo Badalamenti's work for Twin Peaks, nothing or something to die for expertly toes the line between disorder and clarity

Nathaniel Russell is a multi-disciplinary artist from Indiana who creates drawings, paintings, prints, murals, objects, videos, and music, often with friends and fellow artists. And in 2023, he packed up his car and drove from his home in Indiana all the way to North Carolina to record new music with his long-time friend Amelia Meath (Sylvan Esso, The A's) at Betty's, the wooded studio haven of Sylvan Esso, where recent releases from The Tallest Man on Earth, Caroline Rose, Wednesday, The A's, The Mountain Goats, Flock of Dimes, Indigo de Souza, and many more have been born. This record began with a funny and sad idea Russell had about a funeral. "I imagined a picture of a funeral with a merch table. It was an idea full of darkness and sweetness to me. Immediately I thought about what my merchandise would look like, what it would be. I began to think about what the record for sale at my funeral would sound like. I started to think about the songs I have made up and sung to and with my friends, family, and myself over the years. I noticed how the songs I had sung the longest seemed connected to others from a different time. I had changed some words and how I played them but they were all of me and my time on earth. I heard how these things fit together. Of course I now needed to see this project become a reality." Songs Of was produced by Meath, engineered by Alli Rogers, and features additional performances from Joe Westerlund (Megafaun, Califone) and Nick Sanborn (Sylvan Esso, Made of Oak).

We are delighted to bring you the follow up to the successful 'The Bristol Punk Explosion (1977-1979) album released in November 2023 - a twelve-track compilation entitled 'The Bristol Punk Explosion Vol 2 (1977-1981).'The sleeve notes are written by Tim Williams author of the 1977 Loaded Fanzine. Tim talks about the transition from Soul to Punk, the demise of Prog Rock and the fashion culture that sat seamlessly alongside the music. There are three previously unreleased tracks never before available on vinyl. The Cortinas were the first. They played the Roxy Club, released two singles on Mark Perry and Miles Copeland's Step Forward label, graced the front cover of Sniffin' Glue and recorded a Peel Session. Taking their cue, bands like Social Security (the first band on Heartbeat Records), The Pigs (whose 'Youthanasia' single was released by Miles Copeland's New Bristol Records), The Media, 48 Hours and Private Dicks gave Bristol one of the strongest provincial early punk scenes. The area of Barton Hill gave us The X-Certs, who by 1978 could already pull audiences of five hundred into Trinity Hall. Though we did not realise it at the time, they effectively bridged the gap between the late 70s Bristol scene and what our American cousins like to term the UK82 bands. In time bands from the suburbs of Bristol started to appear on the scene, Misdemeanor (who were managed by the late Dennis Sheehan U2's tour manager for thirty plus years), Apartment from Downend (whose photo adorns the front cover) and Noiz Boiz from Weston Super Mare, the seaside town just down the road. This compilation is designed to give all fans of Punk a snapshot of what Bristol Punk was all about during that period. We close side Two of the album with The X-Certs Clash infused /reggae single 'Together' and follow it with one of Bristol finest Roots reggae bands Talisman and their single 'Wicked Dem'. The punky/reggae party had truly started as we move into the 80's Bristol Stylee! Bristol Boys Make More Noise!

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

The Shawshank Redemption tells the story of Andy Dufresne (Tim Robbins), a banker who is sentenced to life in Shawshank State Penitentiary for the murder of his wife and her lover, despite his claims of innocence. During his time at the prison, he befriends a fellow inmate, Ellis Boyd Red' Redding (Morgan Freeman), and finds himself protected by the guards after the warden begins using him in his money-laundering operation.

The film received multiple award nominations (including seven Oscar nominations) and highly positive reviews from critics for its acting, story, and realism. It is considered to be one of the greatest films of the 90s. In March 2011, the film was voted by BBC Radio 1 listeners as their favorite film of all time. The Shawshank Redemption is the highest-rated movie on IMDB with an average star count of 9.3, closely followed by The Godfather.

The Shawshank Redemption score was composed by multiple (Grammy) award winner Thomas Newman. The score was nominated for an Academy Award for Best Original Score in 1994, which was Newman's first Oscar nomination.

A central scene in the film features the soprano Letter Duet' ( Canzonetta sull'aria') from Mozart's The Marriage of Figaro, which is included on the soundtrack. Original songs by Hank Williams and The Inkspots are included as well.

We are incredibly excited to release Xena, KLE-KLE's debut EP. Although this is the first release from their new project, GWD and Spok are veterans of the electronic underground. Both have been active in production, as well as live shows and DJ performances for at least the past decade.

They come out guns blazing with music that is focused, mature, and irresistible. Blending breakneck IDM beats with elements of machine-dub and post-punk mutations, the EP maintains a captivating momentum, accentuated by dissonant washes and melodies that will tickle the reptilian part of your brain.

For the stellar remix work, they enlisted fellow scene veteran Dead Janitor, who delivers a glacial, splintered, data-poisoning piece, showcasing his junglist tendencies. Wrong Collective stalwart, Trauma, comes in with his hydraulic twerk monster, to close the EP.

YOUTH return with the debut album from Hazina Francia aka Tadleeh, chaining reticulated, sidewinding rhythms under gloaming scapes and pealing solo guitar licks.

Last spotted marshalling a mix for the now-defunct FACT series, Tadleeh’s previous productions landed on Haunter and more recently Nkisi’s label, Initiation, spanning reverberant downbeats and possessed cloud rap, a sound she further develops on this impressive full length debut. The 10 parts of ‘Lone’ sketch out a brooding worldview that takes the album format as an ideal canvas to fully portray her style of urbane ennui and gloom, bittersweet and depressive, but with a levity afforded by spatialised architecture.

With a clear sense of sorrow and a pull toward electronic music’s no-person’s-lands, she adapts animist techniques to tell a story “about loneliness and hidden places” in an attempt to work thru existential questions; “Am I still who I was before? Do I have the same energy and ambitions? Is this all still really me?” The results resonate with the sort of imaginative nostalgia navigated by fellow South European artists such as Christos Chondropoulos and Heith, and share a hauntological quality with Flora Yin-Wong’s works as much as Aïsha Devi’s summoning of ancient energies.

The wraithlike tumult of her intro gives way to reverberant dark ambient on ‘Blue (feat CTM)’, and spirit-gnawing, surprised tribalism in ‘Seekers’, whilst she pushes into screwed club murk on ‘Roads’ and the hot coal trampler ‘Barefoot’, before unleashing her darkest energies in the bombast of ‘Equality’, and channelling Loren Connors’ electric guitar nocturnes in ‘Homesick’, staking out grumbling downbeats shades away from Heith & Kareem Lotfy’s Ghost Lemurs in ‘Victim, perpetrator.’

Repress!

Influential jazz collective Idris Ackamoor and The Pyramids retu rn with an epic new opus, 'Shaman!', released on 7th August featuring a fresh line-up including original 1970s Pyramids member Dr. Margaux Simmons on flute, Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. The band transitions from the political and social commentaries of 2018's acclaimed 'An Angel Fell' into more introspective themes. "I wanted to use this album to touch on some of the issues that we all f ace as individuals in the inner space of our souls and our conscience," explains Ackamoor. "The album unfolds over four Acts with personal musical statements about love and loss, mort ality, the afterlife, family and salvation."

Syncrophone Presents the Very First Vinyl Release From Aleqs Notal’s Label : Industrial Light. This Premiere Sees Notal Partnering Up With Long Time Friend and Fellow Producer Modern House Quintet. Throughout Four Tracks &Ndash; Two From Each Musician &Ndash; This Release Dives Into Several Sub-Genres of Electronic Music and Provides Four Compelling Songs. on the A1 Side, Message From the P Opens Up the Record With a Classical Notal’s Signature Sounds : Ron-Trent-Ish Pad and Organ Samples, Supported by Additional Snares and Several Lines of Hi-Hats. This Delicate House Track, With Its Acid Line Chord Core Is Perfect to Open Up a Set. A2 Drinking Workers Sees Notal Weave His Hi-Hats Patterns Around a Typical Detroit-House Bass Line. Architected and Thought Like Scratches (Due to His Hip-Hop Background), Hi-Hats Set the Tone and Enhance the Track as a Back-and-Forth Game With the Bass, Contributing to the Overall Depth of the Song. Once Again, Notal Shows His Creativity About Blending Different Sub-Genres Into a Single Track. on the Flip Side, Modern House Quintet Presents Two Very Different Tracks (Although Both Are Clearly Made for the Floors). B1 Nadrezacalenis Associates Several Layers of Shakers and Subtle Hi-Hats &Ndash; Combined With Percussion &Ndash; in Order to Emphasize the Lush Rhodes Chords And, Later, the Entrancing Vibraphone Notes. Last but Not Least, B2 Dioskouron Is Clearly a Track for a Peak Time Moment. With Its Detroit-Techno Atmosphere, Its Tr-909 Drums Pattern, Its Textures (The Discreet, Yet There, Pad) and Its Pace, DJs Can Rely on This Great Addition for an Ideal 3 Am Set to See Heads Nod and Bodies Swing. as for All the Previous I.l Releases, Artwork Is Made by Jn/wl. ...

Amerikanische Death Metal-Klassiker neu gemastert! Die legendäre Chicagoer Death Metal-Band Oppressor wurde 1991 von Bassist/Sänger Tim King und Gitarrist Adam Zadel gegründet, bald kamen Gitarrist Jim Stopper und Schlagzeuger Tom Schofield hinzu.

Oppressor hat sich neu formiert und spielt wieder live! 1993 nahmen Oppressor zwei Demos auf... und ihr zweites Demo, "As Blood Flows" von 1993, brachte sie unter Vertrag. Dieses Demo war mit über 30 Minuten Spielzeit und einer anständigen Produktion eine sehr starke Veröffentlichung. Im darauffolgenden Jahr wurde das Debütalbum "Solstice of Oppression" veröffentlicht, das von ausgiebigen Tourneen begleitet wurde, aber das Label von Oppressor ging kurz darauf in Konkurs. Um ihren Namen in der Öffentlichkeit zu halten, veröffentlichten Oppressor eine halb Live-, halb Studio-Compilation namens "European Oppression Live/As Blood Flows", Live-Material, das sie auf ihrer europäischen Support-Tour für ihr Debüt gesammelt hatten, und Studiomaterial, das aus dem kompletten "As Blood Flows"-Demo der Band von 1993 bestand.