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Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we've had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We've also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists. Our fifteenth anniversary as a label will be honored with several events and an exciting vinyl repress collection but the crown jewel of this year's celebration is the compilation Todo Muere that features beloved artists from our roster covering their favorite songs that we have released over the years. The compilation features innovative pairings, like punk stalwarts Institute covering art pop sensation SPELLLING, and matches made in heaven like Marissa Nadler's gorgeously eerie cover of David Lynch's already eerie song "Cold Wind Blowin." Some songs are sister renditions with their own imaginative touch like Constant Smiles' cover of Jenny Hval while others, like the Zola Jesus song performed by Thou, Mizmor and Emma Ruth Rundle take on entirely different genres. And while each song on the comp stands on its own as a testament to the many song writing and song performance talents housed on the Sacred Bones roster, the compilation as a whole was sequenced as a cohesive whole deserving prime placement on any record shelf.

Gang of Youths today announce their biggest tour of the UK, including London’s O2 Academy Brixton to launch their upcoming album ‘angel in realtime’ which is out on February 25th through Warner Records. This week will see them support Sam Fender on his arena tour around the UK and play their own instantly sold-out club shows.

Gang of Youths say, “the album is about the life and legacy of Dave's father, indigenous identity, death, grief and God. And also the Angel, Islington.”

Despite and indeed because of frontman Dave Le’aupepe’s father’s absence, his influence permeates every talking point that the album offers. At times it’s solely focused upon the precise, personal experiences of loss: the dichotomy of intensity and peace that comes as someone passes through their final days; the overwhelming feeling in the wake of their death that life will never be the same, even if the rest of the world at large remains utterly unchanged.

Following their recent singles, ‘the angel of 8th ave.’ , telling of falling in love in a new city and making a home in another, and ‘the man himself’, a song created around a sample recording from the island of Mangaia in the Cook Islands that is about living without the guiding hand of your own father, today they release ‘tend the garden’.

Although the album is eclectic - influences range from American minimalism and contemporary classical, to drawing upon the legacy of Britain’s alternative/indie scenes, from drum ‘n’ bass to the most transcendent moments of Britpop -- it’s equally rooted in Le’aupepe’s Samoan heritage, with the majority of tracks featuring samples from David Fanshawe’s recordings of indigenous music from the Polynesian islands and the wider South Pacific. ‘angel in realtime’ also features contributions from a cast of talented Pasifika and Māori vocalists and instrumentalists.

Le’aupepe says, “I hope the record stands as a monument to the man my father was and remains long after I’m gone myself. He deserved it.”

‘angel in realtime’ will be released on digital, double white vinyl and CD and is now available to pre-order. Fans who pre-order the album will receive instant downloads of ‘tend the garden’, ‘the man himself’, ‘unison’ and ‘the angel of 8th ave.’. HMV and select independent stores will offer a special edition of the vinyl which feature an alternate cover.

Fans who pre-order the album will receive access to a pre-sale for the band’s 2022 UK and European tour. The pre-sale will open at 9am local time on Wednesday, November 17th, and remaining live until remaining tickets go on general sale from 9am local time on Friday, November 19th.

Gang of Youths are: Dave Le’aupepe (vocals, guitar), Max Dunn (bass), Jung Kim (guitar, keyboards), Donnie Borzestowski (drums) and Tom Hobden (keyboards, guitar, violin).

Auslandsländer neigen dazu, südamerikanische Länder als „exotisch“ zu betrachten. Aber wir können Ihnen versichern, dass es nichts Exotisches
ist, wenn 95 % der Bevölkerung um ihre Grundbedürfnisse kämpfen, hohe Kriminalitätsraten und Regierungen nacheinander nichts tun, um die
Situation zu ändern – tatsächlich folgen sie ihrer eigenen Agenda, um den Ball am Laufen zu halten.
Aus diesem Grund haben Bands wie die brasilianischen NERVOCHAOS eine solche Atmosphäre echter Brutalität und Authentizität. Sie machen
keinen „südamerikanischen Death Metal“. Sie nahmen einfach ihre harte Realität, nahmen den Einfluss von frühen Death Metal-Bands wie Morbid Angel, Vader und Sinister auf und spuckten sie so aggressiv wie möglich aus. Nervochaos, 25 Jahre alt und Teil der ältesten Generation der
brasilianischen Extremszene – zusammen mit Sepultura, Krisiun, Rebaelliun oder Abhorrence, um nur einige zu nennen – haben natürlich die
Erfahrung, die Abstammung und das technische Know-how, um tun Sie es in Pik.
Genau das ist „All Colours Of Darkness“, das zehnte (!) Studioalbum des São Paulo-Fünflings: Pechschwarzer Death Metal, so rauh gemacht, wie
es eine Band nur kann, mit der brutalen Atmosphäre, die wir von brasilianischen Extrem-Metal-Bands zu erwarten. Mit lyrischen Themen, die
sich um die dunkelsten Gefilde des Satanismus und der dunklen Magie drehen, beschwört Nervochaos den Metal über den Tod, wie es heute nur
noch wenige Bands können – mit einem brutalen Ansatz, einem technischen Rückgrat und einer effektiven Tiefe der Themen.
Nervochaos haben durch ihre harte Arbeit in den letzten 25 Jahren Kultstatus in der Musikszene erlangt und bieten auf ihre einzigartige Weise
eine klangliche Extravaganz. Die Gruppe hat neun Studioalben in voller Länge herausgebracht und tourt ständig weltweit, um ihre Veröffentlichungen zu unterstützen, und gibt rund 100 Konzerte pro Jahr – von Clubs bis hin zu Festivals.

Auslandsländer neigen dazu, südamerikanische Länder als „exotisch“ zu betrachten. Aber wir können Ihnen versichern, dass es nichts Exotisches
ist, wenn 95 % der Bevölkerung um ihre Grundbedürfnisse kämpfen, hohe Kriminalitätsraten und Regierungen nacheinander nichts tun, um die
Situation zu ändern – tatsächlich folgen sie ihrer eigenen Agenda, um den Ball am Laufen zu halten.
Aus diesem Grund haben Bands wie die brasilianischen NERVOCHAOS eine solche Atmosphäre echter Brutalität und Authentizität. Sie machen
keinen „südamerikanischen Death Metal“. Sie nahmen einfach ihre harte Realität, nahmen den Einfluss von frühen Death Metal-Bands wie Morbid Angel, Vader und Sinister auf und spuckten sie so aggressiv wie möglich aus. Nervochaos, 25 Jahre alt und Teil der ältesten Generation der
brasilianischen Extremszene – zusammen mit Sepultura, Krisiun, Rebaelliun oder Abhorrence, um nur einige zu nennen – haben natürlich die
Erfahrung, die Abstammung und das technische Know-how, um tun Sie es in Pik.
Genau das ist „All Colours Of Darkness“, das zehnte (!) Studioalbum des São Paulo-Fünflings: Pechschwarzer Death Metal, so rauh gemacht, wie
es eine Band nur kann, mit der brutalen Atmosphäre, die wir von brasilianischen Extrem-Metal-Bands zu erwarten. Mit lyrischen Themen, die
sich um die dunkelsten Gefilde des Satanismus und der dunklen Magie drehen, beschwört Nervochaos den Metal über den Tod, wie es heute nur
noch wenige Bands können – mit einem brutalen Ansatz, einem technischen Rückgrat und einer effektiven Tiefe der Themen.
Nervochaos haben durch ihre harte Arbeit in den letzten 25 Jahren Kultstatus in der Musikszene erlangt und bieten auf ihre einzigartige Weise
eine klangliche Extravaganz. Die Gruppe hat neun Studioalben in voller Länge herausgebracht und tourt ständig weltweit, um ihre Veröffentlichungen zu unterstützen, und gibt rund 100 Konzerte pro Jahr – von Clubs bis hin zu Festivals.

Mit der Veröffentlichung ihres selbstbetitelten Debütalbums veränderten KORN die Welt. Es war ein Album, das für ein ganzes Genre wegweisend war, und der anhaltende Erfolg der Band beweist, dass es nicht nur eine Momentaufnahme war. Seit ihrer Gründung haben KORN weltweit 40 Millionen Alben verkauft, zwei GRAMMYS erhalten, sind unzählige Male um die Welt getourt und haben dabei unzählige Rekorde aufgestellt, die wahrscheinlich nie mehr bertroffen werden.

Sänger Jonathan Davis, die Gitarristen James ”Munky” Shaffer und Brian ”Head” Welch, Bassist Reginald ”Fieldy” Arvizu und Schlagzeuger Ray Luzier haben die Grenzen des Rock-, Alternative- und Metal-Genres immer wieder neu ausgelotet und halten ihren
Einfluss auf ihre Fans und ganze Generationen von Künstlern rund um den Globus bis heute aufrecht.

Das vertritt auch ihr neues Album „Requiem“. Die Band setzt sich hier mit dem Loslassen alter Laster auseinander, dem Auferstehen aus der eigenen Krise und zerschmettert diese mit gewohnt harten Riffs und
Texten. Das dunkle Ablegen und ins Helle treten, sich aus der Krise bewegen und gestärkt heraustreten sind Motive, die wie Symbolbilder unserer gegenwärtigen Welt scheinen. Korn bietet einen unpathetischen Soundtrack für genau diese Zeit nach einer Krise, die uns alle kollektiv und individuell bewegt.

Rough Trade Records announce the release of the
15th Anniversary edition of The Long Blondes’
debut album, the acclaimed ‘Someone To Drive
You Home’.
 The home of a host of indie disco classics with its
noir atmospheres and vivid storytelling - qualities
that saw the record inspire recent, generationcapturing movie ‘Giddy Stratospheres’ which takes
its name from The Long Blondes’ iconic single -
the Sheffield band’s first album managed that rare
trick of capturing the 2000s zeitgeist while leaving
a timeless artistic mark for the ages.
 Initially inspired by the frisson of the indie disco -
now, fittingly, a classic of low lit dancefloors
everywhere - ‘Giddy Stratospheres’ is The Long
Blondes’ sophisticated calling card. A swirl of
razor-sharp guitars and vivid storytelling, waltzing
melodies and burning vocals, the Sheffield band’s
2000s single fizzes with dancing, desire and the
most stylish sing-a-long you’ll ever hear.
 The Anniversary edition of ‘Someone To Drive You
Home’, which was originally released in November
2006 and was produced by Pulp member Steve
Mackey, comes as a gatefold double LP, pressed
on to red and yellow vinyl to mirror the album’s
artwork - a picture of actress Faye Dunaway
painted by frontwoman Kate Jackson. The edition
features the original record, plus 11 additional
tracks that the band used on B-sides.

Es kann schon einem ganz schön erdrückenden Rucksack gleichen, wenn man als blutjunge Newcomerin mit dem Debütalbum plötzlich ins Rampenlicht rückt, zur Stimme ihrer Generation und von Kritikern wie Fans gleichermaßen gefeiert wird, weltweit ausverkaufte Shows und auf immer größeren Festivals vor immer größeren Menschenmengen spielt. Lindsey Jordan ist es so ergangen und auch wenn sie auf ihrem 2018-Debütalbum Lush sang "I'm in full control / I'm not lost / Even when it's love / Even when it's not", brachte das Ende einer Beziehung sie letztlich an den Rand eines Nervenzusammenbruchs. Sie entschloss sich für einen 45-tägigen Rehab-Aufenthalt in Arizona und begann bereits dort, Songs für das Album zu schreiben, das nun unter dem Titel "Valentine" veröffentlicht wird. Mit ihrer gesundeten Seele und einer Grundidee des Albums zog es Jordan nach Durham im Staate North Carolina, wo sie sich mit Brad Cook (Bon Iver, Waxahatchee) Anfang 2021 in dessen kleinem Home Studio verkroch. U.a. mit dabei waren die langjährigen Bandmitgliedern Ray Brown und Alex Bass, sowie der Techniker Alex Farrar. Nachträglich wurden lediglich die Streicherarrangements in den Spacebomb Studios in Richmond aufgenommen. Es ist eine finstere Momentaufnahme ihrer dunklen Zeit geworden und gleichzeitig ein Abschluss, der die Tür zu diesem Lebensabschnitt endgültig zuschlägt.

Es kann schon einem ganz schön erdrückenden Rucksack gleichen, wenn man als blutjunge Newcomerin mit dem Debütalbum plötzlich ins Rampenlicht rückt, zur Stimme ihrer Generation und von Kritikern wie Fans gleichermaßen gefeiert wird, weltweit ausverkaufte Shows und auf immer größeren Festivals vor immer größeren Menschenmengen spielt. Lindsey Jordan ist es so ergangen und auch wenn sie auf ihrem 2018-Debütalbum Lush sang "I'm in full control / I'm not lost / Even when it's love / Even when it's not", brachte das Ende einer Beziehung sie letztlich an den Rand eines Nervenzusammenbruchs. Sie entschloss sich für einen 45-tägigen Rehab-Aufenthalt in Arizona und begann bereits dort, Songs für das Album zu schreiben, das nun unter dem Titel "Valentine" veröffentlicht wird. Mit ihrer gesundeten Seele und einer Grundidee des Albums zog es Jordan nach Durham im Staate North Carolina, wo sie sich mit Brad Cook (Bon Iver, Waxahatchee) Anfang 2021 in dessen kleinem Home Studio verkroch. U.a. mit dabei waren die langjährigen Bandmitgliedern Ray Brown und Alex Bass, sowie der Techniker Alex Farrar. Nachträglich wurden lediglich die Streicherarrangements in den Spacebomb Studios in Richmond aufgenommen. Es ist eine finstere Momentaufnahme ihrer dunklen Zeit geworden und gleichzeitig ein Abschluss, der die Tür zu diesem Lebensabschnitt endgültig zuschlägt.

The Mecánica Clásica project combines modified elements of early electronics, krautrock, ambient, minimalism & fourth world music, generating an interplanetary space where enterprising guitar tones, lush synth sequencing & off-kilter percussion coalesce.

‘Mar Interior’ the new album by Mecánica Clásica is a fusion of kosmische & fourth world music inspired by ancient Mediterranean culture. Loosely translated as ‘Inland Sea’, ‘Mar Interior’ is thematically centred on the history & legacy of the ancient civilizations that proliferated around the Mediterranean Sea.

Augmented by environmental recordings, Mecánica Clásica renew the extensive topographies opened up by early pioneers like Craig Leon, Jon Hassell, Brian Eno & Cluster, in an immense vision of Spanish space ambient. On ‘Mar Interior’ their work expands upon these influences, moving into a shimmering, hypnotic sound world which finds common ground with the likes of O Yuki Conjugate, K. Leimer, Roberto Musci & X.Y.R.

Mastered by Colin Potter (Nurse With Wound)

Midway through his long, earnest and often very, very
funny essay on the role playing game ‘Dungeons &
Dragons’ in the September 2006 issue of The Believer,
writer Paul La Farge proposes that ‘Dungeons & Dragons’
is not a game at all but rather a ritual. La Farge notes the
marked difference between game and ritual. Whereas a
game seeks to demonstrate how unequal or distinct
players / teams are from one another, rituals seek to do
the very opposite.
 And so, across the 25-year history of Jagjaguwar - an
independent record label curiously named using a
‘Dungeons & Dragons’ name generator - we find this idea
of ritual as a conjoining practice. We see it early on when
Jagjaguwar join forces with a midwestern label called
Secretly Canadian for a powerful fusion. We see it in
familial relationships and collaboration among Jagjaguwar
artists and the ways those artists’ most treasured
collaborators make their ways to the Jagjaguwar game
board.
 ‘Join The Ritual’, a piece of Jagjaguwar’s 25th Anniversary
celebrations, looks to pay homage to the labels and artists
that, whether they know it or not, invited Jagjaguwar to the
table, to this wild, dark magic ritual of music. We’re talking
about independent titans like Drag City, Too Pure, K
Records and Touch & Go. We’re talking about heroes like
R.E.M., Slint, Stereolab and Tracy Chapman. These songs
captured the imaginations of founders Darius Van Arman
and Chris Swanson - and ultimately, opened up worlds to
them.

Soul Jazz Records' new Studio One release Rocksteady Got Soul is a collection of uplifting and superb rocksteady and soulful reggae from the late 1960s and early 1970s. Studio One is the number one label in the history of reggae and he album features - as ever with Studio One - an impeccable and unbeatable line-up of reggae superstars, all soaring at the height of their creative powers. Alton Ellis, John Holt, The Heptones, Jackie Mittoo, The Ethiopians, Lee Perry and more. The album is a mix of classic tunes and rhythms alongside super-rarities that were released in a dazzlingly complex web of Studio One labels and issues, deftly navigated with new sleevenotes from author and Studio One authority Rob Chapman. But enough with the chatter, just spin the platter - these tunes rule the town, hands down! This Soul Jazz/Studio One album is released as deluxe gatefold double-vinyl + house inners + download code. Also as jewel case CD housed in card slipcase. Both formats come with full sleeve notes/discography and exclusive photography.

To reveal to the world all the musical riches of Mali, and more particularly the music of the Mandé region, cradle of the great griot families, is the highly laudable purpose of this LP The Lost Maestros Collection. To perpetuate and transmit this ancestral musical history, The Lost Maestros Collection brings together 8 wonders of Mali who have each in their own way managed to develop this tradition towards more modern and electrified countries and associates pioneers of Mandingo music and actors of the young post generation.

The Lost Maestros Collection is the result of the collaboration between Deviation Records, newly created by Phil Margueron and the independent Malian label Mieruba, which has been working since 2010 to ensure that this golden age of Mande music does not fall into oblivion. Aware that these nuggets are not eternal, Mieruba, based in Ségou on the banks of the Niger river and capital of the former Bambara kingdom, undertook for eight years the preservation of this musical heritage by putting these 16 pieces on tapes at the Kôré studio de Ségou as well as at the famous Bogolan studio in Bamako.

Cuernavaca / Stateville / Frankincense And Myrrh / Apsara / Ancestral / Spin / Zincali


Approaching his eighty-fifth birthday, sharp and lean, Phil Cohran lives a couple of blocks from the lake on the north side of Chicago. His modest apartment is filled with a palpable richness. His cornet and trumpets, zithers, French horn, harp and frankiphones (an electric kalimba of his own invention); his beloved telescope; African art; a mural of the Chinese monastery where Muslim monks bestowed on him the name Kelan ('holy scripture'); hand-printed posters from the culture wars of 1960s Chicago; all reflect a life dedicated not just to music, but also to science and astronomy, to history and activism. In its range of subject matter the track-list of Kelan Philip Cohran & The Hypnotic Brass Ensemble embodies this invigorating and all-embracing curiosity: a Mexican hill-town filled with perfume and flowers... an Illinois state prison where Cohran taught inmates in the 1960s... heavenly dancers in the temples of Cambodia... a tribute to a sixteenth-century Venetian musicologist. Welcome to the musical world of Kelan Philip Cohran.
Cohran was born in Mississippi and grew up in St Louis. In the immediate post-war years St Louis was a jazz heartland, home of stalwarts like Clark Terry and Oliver Nelson (both of whom he played with), not to mention a genius called Miles Davis. In 1950 Cohran moved to another heartland, Kansas City, where he played trumpet in one of the hardest swinging swing-groups, led by Jay McShann (who famously had given Charlie Parker his first job). With McShann he spent 'the best year of my life', touring as far as Mexico and playing proto-rock'n'roll in Texas with the likes of Big Mama Thornton on vocals. Back in St Louis Cohran led his own group, the Rajas Of Swing, whose show involved wearing red jackets, grey slacks, blue suede shoes and turbans.
Then in the mid-50s he moved to Chicago. He had a small group with a friend, the legendary tenor saxophonist John Gilmore, whose regular gig was to play at Sarah Vaughan's weekly 'birthday' parties, an excuse for the Sassy One to splash the cash and have some fun. ('What, Sarah Vaughan would sing with you and John Gilmore' 'No way, Sarah didn't sing, she was too busy partying.') And in 1959, through Gilmore, he was invited to join Sun Ra's Arkestra, at a crucial period in the evolution of that extraordinary group. Effortlessly wrapping traditions as divergent as boogie-woogie and electronica in an Afro-centric, intergalactic mythology of his own making, Sun Ra casts a huge shadow across conventional narratives of jazz history. 'With Sunny', Cohran simply says, 'I found my own voice'.
You can hear the emergence of this voice on the LP Angels And Demons At Play, recorded in 1960 - Sun Ra's masterpiece from the period. On the track Music From The World Tomorrow, against the urgent whipped and chopped percussion of the Arkestra, it is Cohran's zither, initially bowed and then plucked and strummed, which is the track's magic ingredient. More profoundly it was Sun Ra's example - his defiant self-confidence and sense of purpose - that set Cohran on his own (to quote another Ra composition) 'pathway to unknown worlds'. Indeed this spirit of self-belief led Cohran to turn down the invitation to accompany the Arkestra when Sun Ra moved east in 1961.
Staying in Chicago, Cohran founded the Affro-Arts Theater and performed with the Artistic Heritage Ensemble, recording the group for his own Zulu Records imprint. (Co-members went on to become Earth Wind & Fire; Cohran taught the group's leader Maurice White the mysteries of the frankiphone). The AACM, a musicians' collective of immense influence and importance, had its first meeting in Cohran's front room. With Oscar Brown Jr and Gene Page he wrote and performed in a show celebrating the nineteenth-century Afro-American poet Paul Lawrence Dunbar. He taught music tirelessly in schools and prisons. His studies into music theory and history led him to the discovery of a key book in his life, Gioseffo Zarlino's treatise on harmony, published in Venice in1558. Astronomy is another passion and another area of expertise. One of the gems of the Cohran discography is African Skies, with its lovely harp playing, commissioned by the Chicago Planetarium in 1993.
In Chicago he also raised a large family. Many of his children have gone on to become professional musicians; eight of them are the Hypnotic Brass Ensemble. For each of them, their first teacher was their father, who famously insisted on giving them music lessons not just for several hours after school, but for several hours before school as well. Their father's music was all around them as children; they all vividly remember lying in bed at night not being able to sleep because their father was rehearsing with the Jazz Workshop downstairs.
For the Hypnotic Brass Ensemble, the voyage to where they are now - whether tearing up festivals from Glastonbury to Melbourne, or touring with Gorillaz, or recording their first album on Honest Jon's - has involved a necessary stepping away from their father's shadow. Phil Cohran is the first to recognise this, happily allowing their sound - heavy on the funk, with the urgency of hip hop never far away - to blossom.
But likewise this album is for all of them a natural step. Recorded in Chicago in June 2011, the idea was beautifully simple - 'my music and their band' as Phil puts it, 'we don't have to rattle on more than that'. Only to point out perhaps that here - in the majestic surge of Zincali, for instance, or in the sheer verve and bounce of Cuernevaca - is music not just filled with the warmth of home. This is music that plumbs the depths and rings with joy.

'Cuernevaca is a town in the mountains south of Mexico City. I was there in 1950 when I was on the road with Jay McShann's band. It's a place close to paradise, a city filled with the fragrance of flowers. I always wanted to go back... In 1974 I taught workshops at the prison in Stateville, the Big House where Al Capone spent time. There's a huge wall around the prison, and once I took Hypnotic there - ha - to see what the future holds for them... Makeda, the Queen of Sheba, sent a caravan of gifts to King Solomon - a caravan that took more than a day to pass one point - and the main gifts were Frankincense And Myrrh... I wrote Apsara in 1967, when Jackie Kennedy was in the news with her visit to the temple of Angkor Wat in Cambodia. Apsara were celestial beings, dancers who brought forth the civilization of ancient Cambodia, by dancing in the holy nectar called Amrita... Ancestral is a meditation drone written for my Friday-night residence at the Ethiopian Diamond Restaurant in Chicago's Rogers Park... Spin is the latest of these compositions. Everything in the cosmos spins, from the smallest objects we can see in a microscope to the largest galaxies. Spin is the motion of all things whether it looks like it or not... Zincali is a name Spanish gypsies call themselves. 'Zin', East Africa; 'cali', the people. One of the offshoots in my research into Moorish Spain has led me to Gioseffo Zarlino, the sixteenth-century master of music at St Mark's in Venice. It's said that Bach lost his sight reading Zarlino's treatise on counterpoint. His greatest composition is his setting of the Song of Songs - 'Nigra Sum', 'I am black'. This is my tribute to Zarlino and to the zincali.'

Olafur Arnalds' highly anticipated second full-length album '...and they have escaped the weight of darkness', continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Bar?i J?hannsson of eccentric pop/rock/electronica-formation Bang Gang. Bar?i has successfully coloured the brittle minimalism of previous releases through the addition of an array of new instruments.

Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly orchestrated work of his career: "The album has a very clear theme", Arnalds relates, "which is that there is always light after darkness. To me, it has a more positive note than my previous works." When ?lafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film's introductory monologue. Staying true to this positive note, '...and they have escaped the weight of darkness' will herald another intense year for ?lafur Arnalds, with the album being accompanied by a world tour, starting in China in March 2010.

Born in the suburban Icelandic town of Mosfellsb?r, a few kilometres outside of Reykjav?k, the 23-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Over the past eighteen months Arnalds has advanced from a former support-act for Sigur R?s to an internationally respected artists in his own right. He was privileged to be invited to write the 'Dyad 1909' score for award-winning choreographer Wayne McGregor, aired on BBC Four and on ITV1's South Bank Show. 'Found Songs', a collection of pieces each written, recorded and released in a single day via the Erased Tapes label website, as well as the video for 'Lj?si?' have since managed to generate half a million downloads and video views.

In many ways, the new record is clearly inspired and informed by these events. Several of the pieces were, in fact, written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road: "The first half of 'Gleypa okkur' was written in a sound check in Munich, for example", Arnalds relates, "while the second part was scored in Braunschweig, Germany." On the other hand it is the result of meticulous studio work, of refining compositions in close co operation with compatriot Bar?i Johannsson, known for his eccentric personality and unique electro-acoustic sound: "I definitely wanted to do something a bit different this time, something more. Working with a producer was a part of that." The enthusiasm translates to arrangements displaying a new sense of sonic diversity.

?lafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, '...and they have escaped the weight of darkness' makes use of diverse instrumentation ? drums, guitars, voice, Rhodes, a selection of subtle synthesisers, alongside Arnalds' trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind.

Arnalds fusion of 21st century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.

Maya Dunietz is a prodigy pianist, an avant-garde sound artist, an award winning composer and mom to four.
A dubious character, a local legend and an inspiration for a generation of musicians. This is a unique kind of jazz. Glimpses of folk lullabies, African scales and rhythms, moments that border with free jazz, and homage to the old school traditions of stride, blues and to the great Thelonious Monk. Maya blends her infinite influences into a mind expanding groovy, never-dull journey.
This EP is Maya’s first solo release; with her as the leading voice and visionary.

In 2018 Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel. Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. We’re overjoyed to finally announce that Jneiro Jarel’s After A Thousand Years is now set for an October 2020 release.

Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead’s Beth Gibbons, Kimbra and Khujo Goodie (Dungeon Family), Jneiro Jarel’s consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit.

Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets.

For Jarel, After A Thousand Years is “a culmination of the longstanding musical contributions of the African diaspora.” Permeating the Brazilian music and Latin jazz Jarel has loved and drawn inspiration from, as well as the stateside jazz, soul and funk Jarel grew up around, the influence of Africa and its musical history, on both North and South America, is key to the album’s sound.

On lead single “Banana Peel”, Jarel’s outernational perspective makes for a track that is almost impossible to place geographically: you can hear the swing of Jarel’s native New Orleans jazz, the vibrance of Costa Rican rainforests as well as the influence of Jarel’s vast collection of Brazilian records. “Viberian Waves 1&2” is equally nonconformist, morphing from funky baroque-flavoured instrumental hip hop into a bossa inspired, percussive jam.

Taking its inspiration from the biblical prophecies found in the books of Isaiah, Daniel, and Revelation, foretelling the fully realized, physical and spiritual restoration of the earth and mankind after the thousand year reign of the Messianic Kingdom, After A Thousand Years contemplates and celebrates a world where everlasting love, peace, and harmony abound under a sovereign, divine rulership.

After A Thousand Years will be released on Vinyl LP and CD on the 30th October 2020 via Far Out Recordings.

FEEDBACK

“great release. Really like this!” Antal (Rush Hour)
“Banana Peel is exactly what we need now. Visionary Jneiro Jerel at his finest channelling healing sounds and rhythms from Mother Earth. A much-anticipated lens through Jneiro’s third eye. Thank you!” King Britt
“Sounding real good!” Errol Anderson (Touching Bass)
“I love it!!!!!!!” Raffaele Costantino (RAI RADIO 2)
“Sounds great. Congratulations. Will play it on my radio shows.” Batida
“Will pitch album to my editors” Dean Van Nguyen
“Please send me the full album once it's finished.” Francisco Noronha (Publico PT)
“Beautiful man. So happy that he's ok” King Hippo (WLPN-LP / Worldwide FM)
“cracking tune. already lined up to add to playlist. might go into radio show too.. love it” Oli Brunetti (Collectivo Futuro / Olindo Records)
“Amazing! Ive not heard anything from JJ for a long time but a welcome return, this is a cracking track. Looking forward to hearing more new material.” Mickey Jukes (1BTN FM)
“Very vibrant, fresh release! It gets better every time I am listening to it.” Shantisan (Superfly FM Vienna)
“This is a pretty special track , unique sound but very accessible , like it a lot and will play in my show Look forward to hearing the LP” Andy Wilson (Ibiza Sonica Radio)
“So good to hear Jneiro again, loving this cut. Thanks!” Chris Knight (Astrojazz)
“sublime !!!! will definitely play !!!” Mark Milz (Radio Corax)
“I-Robots approved!” Thanks for sharing...” I-Robots

Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.

AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences.

Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves.

Following a seven-year break, Average White Band returned in 2003, with their most recently released wholestudio album, ‘Living In Colour’, which includes two soul classics in ‘I’m Gonna Make You Love Me’ and Major Harris’ ‘Love Won’t Let Me Wait’.

The full album line-up comprised Alan Gorrie, Onnie McIntyre, Klyde Jones, Fred Vigdor and Brian Dunne, along with additional musicians Eliot Lewis ,Cliff Lyons, John Fumasoli, Tony Kadleck, Bill Harris, Carlos Gomez, Joe Najmy and Rob Aries.

Reissue of the fantastic debut LP from France's pioneer avant-electronic unit ART & TECHNIQUE. Originally released in 1981 by Hi-Tech records. Haunting obscure minimal electronic sounds, ambient and atmospheric ventures, abstract minimal wave with some ethnic elements. And excellent use of rhythm boxes, sound generators and strange vocals, reminds of 23 Skidoo's “7 songs”, early Muslimgauze, O Yuki Conjugate´s sound and the atmospheres of Jon Gibson or Jon Hasell.

Re-mastered by former member Bernard Filipetti. Limited edition of 300 copies.

We love pop music. You’ve probably noticed. Witness our vinyl love-ins with Kylie, Róisín and Cassie if this has somehow passed you by. So when Lou Hayter (London-based musician, style-DJ to the stars, one of our besties) asked us to put her sumptuous funk-lite hit “Cherry On Top” on vinyl it felt like a neat fit. But this isn’t just any old Be With record. We decided such a monumental track would make the perfect inaugural release on Be Pop, our new, most likely sporadically active, side-label.

For those not paying attention in 2005, Lou Hayter was the keyboardist in Mercury nominated electro-pop outfit New Young Pony Club (who were a really good band, beyond the hype, and arguably a little ahead of their time) and she is currently one half of electronic duo Tomorrow’s World, a project with Air’s Jean-Benoît Dunckel. Her comeback single “Cherry On Top” originally appeared in late October 2018, but as a digital only concern. Unsurprisingly it caused a blog stir (Gorilla vs Bear correctly gushed) and what seemed like 6 Music’s entire roster of DJs had it on repeat.

But it’s not a proper single unless you can buy it in a record shop. So accordingly we’ve issued it as a full picture sleeve 12", pressed on white vinyl. And just to make certain, the instrumental and a cappella are on the flip. This is our homage to the classic dance/pop 12" singles of the late 80s and early 90s.

Riding an infectious sample of Marc Jordan’s yacht-rock classic “Generalities”, it’s a glistening, sun-soaked daydreamy jam, perfect for convertibles, pool parties, and roller-discos. It’s quite delicious. Whilst it’s pop without question, it wouldn’t be a Lou Hayter track without ice-cool nods to other magical genres; with Italo flecks and dream-pop vocals, this is cherry coloured funk indeed.

“Cherry On Top” screams “Mighty Summer Pop Radio Anthem”. We might have just missed the end of Summer 2019, but this 12" comes out just in time for every summer from now until the end of time.

An extremely rare album left by Detroit-based jazz keyboard player Johnny Griffith known for the album "Together, Togetherness" on RCA. An album covering "From The Music Connection" with Freddie Redd Quartet and Jackie McLean. The Music From "The Connection" was composed by jazz pianist Freddie Redd for Jack Gelber's 1959 play The Connection. This first recording of the music was released on the Blue Note label in 1960. It features performances by Redd and Jackie McLean Jack Gelber originally planned for the play to feature improvised music performed by jazz musicians who would also play small roles in the production. Freddie Redd, however, persuaded Gelber to include his original score. Redd re-recorded the score later in 1960 as Music from the Connection.

In 1974 The pianist Johnny Griffith, who was a member of the prestigious Motown rhythm section "Funk Brothers", covered the album "The Connection" by Freddie Red as a whole album, playing electric piano here, which really changes the vibe of the music - and the players are supposedly a host of Motown studio musicians - playing jazz here, but with a nice funky soul undercurrent. Originally released on Detroit Geneva Label.

Pianist Johnny Griffith can be heard on classic Motown sides, as well as on recordings from other Detroit-area labels. Like Motown's other pianists, Joe Hunter and Earl Van Dyke, Griffith's had an extensive musical background.

Signed to Motown's Jazz Workshop label, he recorded the albums "Detroit Jazz" and "The Right Side" of Lefty Edwards. When the march of the Motown hits began, Griffith started playing on sessions for their R&B/Pop acts. But rather than signing a work-for-hire contract with Motown like other musicians, Griffith remained a freelancer, doing other dates and sessions in New York and nearby Chicago.The Motown hits that Griffith played on include: Marvin Gaye's "How Sweet It Is (To Be Loved By You)", his celeste trills are heard on "Mercy Mercy Me (The Ecology)", adding Wurlitzer electric piano on both Gaye's "I Heard It Through the Grapevine" and the Temptations' "Ain't Too Proud to Beg", organ on the Supremes' "Stop in the Name of Love and organ and shotgun effects on Junior Walker and the All Stars' "Shotgun.

Griffith's non-Motown hits are with Edwin Starr, Jackie Wilson, The Chi-Lites, and Young-Holt Unlimited's "Soulful Strut" In the '90s, Griffith was still active on the Detroit club scene.

rendon Moeller is an artist that needs no introduction. The South African born living in the US, like few of his generation constantly challenges himself with new concepts and ideas, has incorporated techno, dub, jazz, ambient, sound design, to his works throughout the years. Never chased the limelight, but instead the work, one idea after the next, one project after the other, restless. He has collaborated with labels like Echocord, Third Ear, Electric Deluxe, Prologue, Mord to name some. "Materialize" is his first work for Vibrant Music.
From his early days in various bands in the 80's and 90's, Brendon liked indie, shoegaze, ambient, moody, cinematic scapes.
With Materialize he came full circle, reaching out to his early influences, but with the knowledge and experience of many years of exploration of modular synths, to create a concept space that feels intimate, and at the same time vivid evoking visual imaging.
It explores the time space through a minimalist, stoic approach.
It tells the story of how we are all linked into this tree of music we call electronic music, wherever each one is coming from.
A celebration of life through the mind of one of today's scholars of electronic music.
A liberation from the strictness of tempo and metronomes, to reach to a more creative state.
Vibrant Music continuous the quest, to bring to you unique collaborations and sides of artists that we like.

'Buntús Rince' translates from Irish as 'basic rhythms', and this new compilation explores how Irish musicians were influenced by strands of different genres of music from around the world, merging them to create their own unique sounds. The compilation features some of the most innovative and talented figures in the history of Irish music and includes rare Irish jazz, fusion and folk outliers from the 1970s and early 1980s from musicians relatively unknown outside of Ireland.

Often regarded as a musical backwater, the 1970s finally saw Ireland begin to make its mark on international music. The nature of this feat is all the more commendable, considering how isolated and conservative the country still was in the middle of the last century. The emergence of acts like Skid Row, Thin Lizzy and Van Morrison instilled in budding young Irish musicians the belief to dream big.

Unlike many other European countries, Ireland had not benefited from the cultural impact of immigration. Pioneering Irish musicians did not have access to the type of vibrant music scenes ubiquitous to most European cities at that time. With no talented players or even in some cases recordings of the music, they had to cultivate and invent their own small scenes.

A jazz scene had begun to blossom in Dublin in the late 1950s. Self-taught players like Noel Kelehan and Louis Stewart emerged as the Irish standard-bearers. Their level of musicianship saw them play with some of the world's most renowned artists. The 1960s would see the emergence of the 'beat' scene in Ireland, with groups like Granny's Intentions, Taste and Eire Apparent finally challenging the hegemony of Irish Showbands. Change was in the air.
The late 1960s also saw many Irish emigrants returning home, bringing with them inspiration from the new styles and sounds of London and further afield. The arrival in the late 1960s of pirate radio stations like Radio Caroline, new music magazines and the availability of music on vinyl meant that different genres were now becoming more accessible. The musical landscape of the country began to transform and evolve, influencing a new generation of musicians in the process.
The 1970s saw advancements in studio technology. 8-track studios began appearing in Dublin, offering more opportunities for groups to record singles and albums. Synthesizers and other instruments were also becoming easier to acquire as the younger generation turned to electric jazz and fusion music.
While the level of musicianship was high, the levels of opportunities in Ireland were still very limited. Many groups and solo musicians had to emigrate to try and succeed.
Thankfully for those who remained, this new emerging scene didn't go totally unnoticed and local labels began to take a chance on more obscure Irish groups. Labels like Mulligan and also producers like John D'Ardis and Terri Hooley championed and documented music from the Irish underground of the 1970s.

Their valuable work is a common thread which connects many of the tracks on this compilation. From the soaring flute playing of Brian Dunning, to the swinging piano of Noel Kelehan and the sonic force of Jolyon Jackson's synthesizers; 'Buntús Rince' lifts the lid on a vastly underappreciated period of Irish music history.
One for the collectors.

Jamaican superstar Popcaan returns with his long awaited sophomore album, Forever. Popcaan's journey has taken him from a promising young star to the leader of a generation of Jamaican and diaspora artists, a generation that feels their influence reverberate in pop's continuing interest in the sonic signifiers of dancehall. Forever finds Popcaan grappling with his role as an icon

A double pack with one track per side, playing 45 RPM. 4 tunes from 4 different musicians, a new generation of mental and acid crazyness.. Offering a pure pleasure for listeners and Deejays... the last tune, from DJI shall surprise some. But yeah. Life-chance deserve some (good) urprises.

Acid dancefloor Techno... newscene dancefloor pearl !

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others

Her Majesty's Ship is proud to present 'This Never Happened', the latest album from hugely talented French-American singer and producer Yan Wagner.

This always inventive and off kilter artist has had many top releases on labels like Kitsune and has worked with the likes of the legendary Arnaud Rebotini and Etienne Daho. He also has a side project, The Populists, is producing the first album of Calypso Valois and wrote the soundtrack for the short film 'Victoria' by Mathilde Marc. Someone who plays events like SXSW and Montreux Jazz Festival, Wagner's playful disco-pop tunes always find their way into the emotions of those who hear them.

For his second album, the artist wondered what to do: surprise everyone with a selection of ballads or serve up the electronic sounds that defined his last effort Forty Eight Hours. The answer lies somewhere in between, with covers of Frank Sinatra and Lee Hazlewood mixed in with fresh and catchy disco production. Unlike the last record produced by Arnaud Rebotini, this record is producer by Yan himself with a triple objective: to favour the first takes, the heat of the sound and to reduce the post- production to a minimum. It makes for something authentic and real, and is an album of artistic self-questioning, tenacious dreaming and overcoming doubt.

Says the artist, "The songs on this record are a series of lies; views of the mind. 'This Never Happened' is a collection of stories that never happened. Ten tracks talking of vain loves, of nocturnal experiences and of life and truth, which are all so short.'

Starting with the retro synths and shiny arpeggios of the title track, ensuing cuts like 'Blacker' are real chuggers with almost de-humanised vocals over the robot beats. 'SlamDunk Cha-Cha' is descended from Bowie with its camp synth wiggles and sung- spoken vocals. Switching up the tempo, slower tracks like 'Grenades' are perfectly glowing and frazzled with their pixelated melodies and cold chords. More upbeat affairs like 'No Love' are like lighter and cheerier versions of Depeche Mode, and the Sinatra cover 'It Was A Very Good Year' is a stirring, synth heavy version that is every bit as tender as the original.

This is a fantastic album of timeless electronic songs and is sure to be one of the standout releases of the year.

A first-ever collection of the highly sought after and largely previously unheard recordings of the one of Turkish pop and rocks best kept secrets - featuring the two rare has hen's teeth 1 Numara 7' singles (which fetch in excessive of £200 on certain internet auction sites) - including a previously unreleased extended version of Evren The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside Ilhan Mimaroglu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s - sending teenagers wild with his custom built guitars and back lines - helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey's first national television channel TRT 1. Despite having a modest discography of only four 7' singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture. Compiled with unparalleled access to his private studio vault, Finders Keepers proudly presents the first-ever collection of Gökçen Kaynatan's pioneering early electronic works. Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles - including a never before heard extended version of Evren - as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 - most of them never to be repeated. In helping Gökçen end his self-imposed 44-year exile from the record industry we can now share with you the first of these important recordings from a genuine maverick who helped shape the face of modern Turkish music, as well as shedding some light on the rise of one of Anatolian rock and pops must fruitful and experimental periods that began with the arrival (and subsequent explosion) of domestic synthesisers on the Turkish scene.

Bunny Lee's Flying Cymbals or flyers rhythms dominated the Dancehalls and the charts during 1974 and 1975.The style based around the Philadelphia disco or the Philly Bump ,the sound of an open and closed hi-hat was not necessarily novel but Striker's innovations of bringing a number of different elements into play most certainly was.
Johnny Clarke's interpretation of Earl Zero's 'None Shall Escape the Judgement' not only opens this se but also opened the floodgates for the flyers style.
The story had begun the previous year with Lowell'Sly'Dunbar.
'Sly played the flying cymbals first'....I said to Sly' You played it on the Delroy Wilson tune for Channel One named 'It's a Shame' AND Sly played it before that was with Skin, Flesh & Bones on 'Here I am Baby Come and Take Me' the Al Green tune, when Al Brown sung it for Dickie Wong with the 'tsk,tsk,tsk' sound on the hi-hat,I named it flyers but they didn't know what flyers was!!!'..Bunny Striker Lee
Before too long 'Every tune we put out we put the rhythm behind it' and every Kingston producer followed suit with their own variation of Striker's Flying Cymbals Rhythms...........

Beyond Time is the first album by acclaimed experimental group 23 Skidoo in fifteen years, released in a special double disc edition combining the soundtrack music to 2011 documentary film Beyond Time, and a DVD of the film itself.
Directed by Alex Turnbull and Pete Stern, Beyond Time is a journey into the life and work of artist William Turnbull, from his modest roots as the son of a Dundee shipyard engineer to his standing as one of the world's most highly regarded modern sculptors. Narration is by Jude Law. 'An insightful, irreverent documentary, yet with a palpable sense of purpose' said the Daily Telegraph, with the Guardian confirming that'William Turnbull helped change the way we see art today.'
The soundtrack music is performed by 23 Skidoo. Formed in 1979 as industrial, post-punk and funk genres coalesced, the group included Bill Turnbull's sons Alex and Jonny together with Fritz Catlin and Peter 'Sketch' Martin. As well as new music, the accomplished score features re-worked versions of older material. 'Johnny and I thought 23 Skidoo's anti-commercial tendencies came from a punk sensibility,' explains Alex. 'But it turns out we had a genetic predisposition to anti-establishment practices. Bill was a polymath at a time when that was a dirty word, shifting between sculpture and painting and putting both in a symbiotic relationship. Now crossing boundaries is everywhere: think of hip-hop. The name of the band referenced a William Burroughs short story. Burroughs used, as we did, cut-up techniques, collaging and sampling. We were oblivious to the fact that a lot of that aesthetic was in what Bill did until I made the film.'
Both the CD and vinyl versions of Beyond Time include a Region 0 NTSC format DVD of the documentary film (with bonus features), but feature different artwork. The CD/DVD package features a portrait of Bill by photographer Ida Carr, while the vinyl/DVD version features a detail from 05 by William Turnbull (oil on canvas, 1959) printed on matt reverse board.