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LP is Now-Again Reserve Edition gatefold jacket. Hand-numbered edition of 1000. 145 gram vinyl - OBI strip and resealable 'Japanese-style' plastic sleeve. Includes Download card for WAV files of the album and bonus tracks from solo releases from Nyoni and his Born Free band. Contains booklet that presents an overview of the Zamrock scene, Nyoni's story, and the confluence of the Zimbabwean and Zambian rock scenes in the 70s. // CD is the first ever anthology of Zamrock musician Mike Nyoni's funky, psych-rock and folkloric 1970s recordings spread over 2 CDs. The latest release in Now-Again's deluxe Reserve Edition series: the first ever anthology of Zamrock musician Mike Nyoni's funky, psych-rock and folkloric 1970s recordings. Zambian guitarist and singer/songwriter Mike Nyoni's music is Zamrock only because he came of age during the country's rock revolution. His preferred wah-wah to fuzz guitar, James Brown to Jimi Hendrix. His 70s recordings - often politically charged, and ranging from despondent to exuberant - are amongst the funkiest on the African continent. He was also one of the only Zamrock musicians to see his music contemporaneously issued in Europe. This anthology collates works from his three 70s LPs - his first, with the Born Free band, and his two solo albums Kawalala and I Can't Understand You - and presents a singular Zambian musician on par with celebrated artists Rikki Ililonga, Keith Mlevhu and Paul Ngozi. The package also features an extensive, photo-filled booklet contains an overview of the Zamrock scene and Nyoni's story. LP Tracklisting - A-Side: Born Free - 'My Own Thing

In the new duo MISTRA, two extremes in the Norwegian music industry collide - Pop queen Benedicte Adrian and metal pioneer Anders Odden. Their first single "Waltz of Death" was performed in the 3rd semifinal of Melodi Grand Prix (the Norwegian Eurovision Song Contest) Benedicte Adrian is back in MGP 40 years after the success of Dollie de Luxe. The duo, which consisted of Benedicte and Ingrid Bjørnov, won the competition with "Lenge Leve Livet". They followed up the success with the album "Rock vs Opera" and have composed music for several musicals together. They released their last album as "Adrian/Bjørnov". As a solo artist, Benedicte has, among other things, sung the role of Queen of the Night in "Tryllefløyten" at Den Norske Opera, released the solo album "Desember" and guested on various stages both as a pop artist and a classical singer. Anders Odden has a long life behind him in black metal. In 1990, his band, Cadaver, debuted with Norway's first death metal LP "Hallucinating Anxiety". Since then, Cadaver has released six albums and gained cult status worldwide. Anders has also toured the world as a musician for other bands such as Celtic Frost. He has also collaborated with famous musicians such as Ronni Le Tekrø, Ledfoot, Hank Von Hell and Tony Harnell. Produced and mixed by Adair Daufembach in Studio Tomb, Norway

When it comes to musical performance, Charlie Bereal has done it all. Over the course of his 20+ year career, he's performed with and written for some of the greatest Hip Hop and R&B artists of our time (JAY-Z, Aaliyah, Snoop Dogg, and Missy Elliot to name a few). Now, he's shifting gears to focus on his career as a solo artist. On 5/10/2024, Charlie will re-release his second full-length record entitled 11-11-11 via Karma Chief and Colemine Records. Originally released in 2019, 11-11-11 was recorded over the course of a few casual hangs in Los Angeles. Charlie invited his friends Jairus Mosey and Raphael Saadig to join him in the studio and the trio started to jam. "We were just recording for fun - it wasn't for a specific project at first. Afterward, I listened back and decided to turn the best parts into individual songs." This flexible approach combined with Charlie's masterful production resulted in a soulful, psychedelic blend of original R&B. Think Sly and the Family Stone or Funkadelic. Charlie was born in Los Angeles and raised in Pasadena, CA. Musical talent runs in his family. He started performing at his grandfather's church at a very young age. "My grandfather was a pastor, and my dad was a preacher," he explained. "I started playing in the church band when I was 10, and I was drumming even earlier than that." When he was 16, Charlie and his brother Kenneth started making music professionally. He still works on music with his cousins on a regular basis. "I come from a very talented family. I can count at least seven family members who play professionally these days." Beyond the re-release of his second record, Charlie plans to record another album at Colemine's studio in Ohio. Stay tuned for more original music from this Grammy nominated legend.

"The Red Room Crystal-Ruby Splatter Vinyl". Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed-with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense. In as much as Netherworld is a work that exists on a lineage of progressive music and the visionary artists who've expanded their boundaries of exploration to form sound-worlds as big as their imagination, it's also a work of magical realism in the tradition of Pan's Labyrinth, The Company Of Wolves or the work of Gabriel Garcia Marquez and Haruki Murakami-in which the supernatural and otherworldly, lead to a shortcut to the essence of being human. In this World, Louise Patricia Crane is our Storyteller.

Netherworld Double Gatefold Vinyl in 'Celestial Dust' transparent gold CD / DVD - 5.1 Surround mixed by Jakko M. Jakszyk: 'Storybook' Edition 'Ladies' Double A-Side 7" Single - Ladies Of The Road / Dirty (Black Vinyl) Netherworld A6 illustrated 'Little Stories' book All housed in a Black Textured Box with Gold Hot Foil Embossing Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed_with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense.

When it comes to musical performance, Charlie Bereal has done it all. Over the course of his 20+ year career, he's performed with and written for some of the greatest Hip Hop and R&B artists of our time (JAY-Z, Aaliyah, Snoop Dogg, and Missy Elliot to name a few). Now, he's shifting gears to focus on his career as a solo artist. On 5/10/2024, Charlie will re-release his second full-length record entitled 11-11-11 via Karma Chief and Colemine Records. Originally released in 2019, 11-11-11 was recorded over the course of a few casual hangs in Los Angeles. Charlie invited his friends Jairus Mosey and Raphael Saadig to join him in the studio and the trio started to jam. "We were just recording for fun - it wasn't for a specific project at first. Afterward, I listened back and decided to turn the best parts into individual songs." This flexible approach combined with Charlie's masterful production resulted in a soulful, psychedelic blend of original R&B. Think Sly and the Family Stone or Funkadelic. Charlie was born in Los Angeles and raised in Pasadena, CA. Musical talent runs in his family. He started performing at his grandfather's church at a very young age. "My grandfather was a pastor, and my dad was a preacher," he explained. "I started playing in the church band when I was 10, and I was drumming even earlier than that." When he was 16, Charlie and his brother Kenneth started making music professionally. He still works on music with his cousins on a regular basis. "I come from a very talented family. I can count at least seven family members who play professionally these days." Beyond the re-release of his second record, Charlie plans to record another album at Colemine's studio in Ohio. Stay tuned for more original music from this Grammy nominated legend.

The music released as Amulet (or The Amulet Edition) is Peter "Sleazy" Christopherson's semi-secret testament. Originally available in exceedingly limited quantities at live shows and via direct mail-order in 2008 as a hand-assembled 4 miniCDR set housed in a circular Thai Amulet case and never properly distributed, the material finally receives the wider re-release on vinyl and CD it so richly deserves.

Only the second and sadly already the final release in his post-Coil solo guise as The Threshold Houseboys Choir "Amulet" sees Christopherson in a more playful mood than ever, don't be fooled by reviews calling this suite of songs "incomplete" or "working stage", these are rough little diamonds, often imbued with a bittersweet melancholy joy, unsurprisingly reminiscent of some of the final Coil offerings, but additionally steeped in exotica, inspired by his new East Asian home and the ghostly voices of his digitally generated choir ("a vocalist that wouldn't crash", as he would say). At times these tracks sound like a warmer, less analytically complex counterpart to the work he created simultaneously with CoH's Ivan Pavlov in the celebrated Soisong project.

Bonus tracks feature rare earlier THBC compilation tracks and a few previously unreleased exclusive sketches. Let's be perfectly clear though, "Amulet" is not some half-finished cutting-room floor left-overs, it's a genuine but very little heard fully fledged album released by Christopherson with some of the tracks performed live on his last ever tour, the unforgettable intimate Evenings with Uncle Sleaz.

The Infinite Fog edition, presented as a 3LP in a triple heavy Gatefold sleeve and a 2CD Digipak, both including a poster of Peter Christopherson in his infamous Cruella Deville coat has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Oleg Galay overseen and with additional guidance from "our man in Thailand" Peter Jenx.

Originally issued in 1984, World Shut Your Mouth saw the mercurial leader of The Teardrop Explodes establish himself as a fully-fledged solo artist. This re-issue faithfully replicates the original 1984 Mercury Records UK release and is pressed onto high quality 180g vinyl. When The Teardrop Explodes finally ground to a halt in late 1982, all eyes were on what leader Julian Cope would do next. After retreating to the village of Drayton Bassett in Staffordshire for an extended period, Cope began writing World Shut Your Mouth, his first solo album. Released in March 1984, it is the closest to his old band of all his solo work (Metranil Vavin and Pussyface were both originally intended for the Teardrops), World Shut Your Mouth featured Gary Dwyer on drums, and giving the album its most distinctive sound, Kate St. John on oboe. Beautifully pastoral, it is full of highlights such as Strasbourg, Kolly Kibber's Birthday and the wistful, reflective Head Hang Low. The strange, string-led, schizophrenic, Sunshine Playroom was the album's first single, followed up by 'radio hit' Greatness And Perfection.

Limited Anniversary Edition: embossed, reverse board, hand numbered, limited edition blue vinyl, 500 copies available! Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The blue album ("Blau") from 1974 was Schnitzler"s second solo LP

John Grant, der Meister des Zwiespalts zwischen zerreißenden Balladen und progressivem Elektro-Pop veröffentlicht mit 'The Art Of The Lie' sein sechstes Soloalbum.

Obwohl es sich um eine John Grant-Platte handelt, die typischerweise Humor in Tragik einbettet und Wut in Mitgefühl umwandelt, hat 'The Art Of The Lie' eine neue musikalische Ambition, die die politischen und persönlichen Momente in den Songs untermalt. Der harte Kontrast von Schönheit und Grausamkeit macht das sechste Studioalbum des US-amerikanischen Songwriters so zu einem besonderen Hörerlebnis. Die elf Tracks verbinden Kindheitstraumata mit den verhärteten Nachwirkungen im Erwachsenenalter und verknüpfen beides mit der angespannten politischen Situation der Vereinigten Staaten im Jahr 2024.

Ivor Guests Produktionen mit Gastauftritten von Dave Okumu (Gitarre), Robin Mullarkey (Bass), Seb Rochford (Schlagzeug) und der schottischen Sängerin Rachel Sermanni sorgen für die nötige Dramatik auf Grants bisher opulentesten und filmischsten Album, die sich neben der beunruhigenden politischen Aufladung, wie in der ersten geteilten Single 'It's A Bitch' auch manchmal in elegantem Funk entlädt.

idal Perspectives is an album by Giovanni Di Domenico, Pak Yan Lau, and John Also Bennett. Recorded across a single afternoon in Brussels, Belgium, the album’s four parts are a rippling alchemy of processed Rhodes piano, sizzling ceramics, and liquified bass flute, a rare meeting of three unique voices from the contemporary music landscape that manages to flow with the effortless inevitability of the oceanic tides.

Giovanni Di Domenico, an accomplished composer and prolific collaborator who has released albums with Jim O’Rourke, Eiko Ishibashi and Akira Sakata, among many others, initiated the collaboration with Bennett after the two met at a record fair in Saint-Gilles, Belgium and bonded over a shared inquisitiveness for unconventional sonic combinations. Along with Pak Yan Lau, a Belgian-born sound artist and improviser who has developed her own rich and unique sonic footprint, the trio entered the studio with little, if any, discussion beforehand, jumping right into playing without preconceived structures. The resulting recordings had a depth of sound and emotional resonance surprising even them, with finished pieces emerging from single live takes and minor edits.

Bennett, known for his solo work as well as his collaborations with Christina Vantzou as CV & JAB, gives us here a taste of his bass flute in free flowing form. Unconstricted by concept, joyfully and lazily bouncing off the melodic shimmers of Di Domenico’s Rhodes, Bennett uses his flute’s pitch information to trigger long tones that emerge like rays of light piercing through low hanging clouds - moments of clarity among a clicking world of sonic stimuli. Meanwhile, Lau’s crackling and sometimes dissonant contributions on prepared piano, live hydrophone, and custom ceramic sound objects balance out the triangle, adding a sense of microcosmic intrigue that allows the music to seamlessly ebb and flow between moments of comfort and foggy uncertainty.

The album’s title track and climax, the eighteen minute “Tidal Perspectives”, drifts in with some kind of clarity, Lau’s glinting tonal waves edging in just beyond the horizon lines drawn by Di Domenico’s Rhodes and Bennett’s bass flute. But like the tidal flows of the Atlantic that inspired its title, just as you begin to perceive what’s happening, the currents have already taken you out to sea. Tidal Perspectives will be released on June 14th, 2024, in a limited edition of 300 LPs by Editions Basilic.

Over the course of a couple of years in the mid-1970s, several musicians from the St. Louis, Missouri area gave notice to club and festival crowds that they were there to rock the house down. Their cover and original songs were accentuated by a bedrock rhythm section, heavy guitar riffs and tasty solos, topped off with powerful vocals. Rockers that witnessed them agree—Back Jack created solid songs and high-energy performances. Beginning in 1971 as Trellis, the band members changed their name to Back Jack when they saw the bumper sticker that Kim McKinney’s dad, Jack McKinney, distributed during his election bid for the Mayor of Pacific, Missouri, home of the core three-piece band: Kim McKinney, Mike Collier, and Hans Myers (RIP). The 1974 version of Back Jack was active from very early 1974 to late-fall of 1974. The core three-piece band, Collier, McKinney, and Myers, recorded several tracks during their tenure and four of those tracks are included on this release. Temporary band members not on the recordings were Gary Reed (piano, RIP), Greg Witt (guitar, keyboards), Paul Cockrum (guitar), and Bill Niehoff (drums). The four-piece, 1975 version of Back Jack was a merging of members of Back Jack 1974 (Mike Collier and Kim McKinney) and another local band, Osage Lute (Jeff Ballew and Mike Lusher). They were active from late-fall of 1974 to late-summer of 1975. Four of the tracks on the Back Jack LP were recorded by these four musicians.

With fans ranging from Bon Iver to The War On Drugs, critically acclaimed Amason member - multiple Swedish Grammy winner and festival headliner, farmer, record label boss & singer-songwriter Amanda Bergman - known for her grand voice - is back with her first solo album in over 8 years titled Your Hand Forever Checking On My Fever. With a very strong foothold in the local market this time Amanda is ready to conquer the world.

"A 'Pear' of albums on one vinyl LP... a combo of heavy psychedelia, drum and bass grooves, bouncy boogie, catchy tunes and sprinkles of tastee horns, keys and strings thrown in... kinda like a thumb over the genre-hose nozzle, something for everyone and nothing for someone... guaranteed! 'Grow A Pear' has been in the works for 5 years. What started as my contributions for the 'new' Butthole Surfers' album that was not to be... turned into a solo album I recorded with contributions from some of my favorite flavor players to create an album that most represents where I came from and bridges to where I'm at right now. My wishes for the future, is that everyone in the world will finally 'Grow A Pear'" - JD Pinkus 'Grow A Pear' features a veritable cornucopia of American Indie music radicals: Åsa Söderqvist and Lina Ericcson of Shitkid, Paul Leary of Butthole Surfers, Sam Coomes of Quasi and Jon Spencer's Hit Makers, Mike Savino of Tall Tall Trees, Walter Daniels of Bigfoot Chester, Mike Alfred of Shed Alford, Jed Willis of Khandroma, Michael Brueggen of Honky and Syrup, and Billy Sheeran.

Black Truffle is pleased to announce Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes.

Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord (tuned to a just intonation scheme of his own devising) and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins Resonant Tree I alone, slowly sounding out a series of arpeggiated chords that emphasise the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesiser, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars.

On Resonant Tree II, a similar structure and ensemble (without the flutes) are used with quite different results. We again hear only the harpsichord at first, but this time playing a series of flowing melodic lines, each of which is repeated several times. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as ‘space and a sound that one could grasp in one’s hand.’ As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa’s classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

Los York's became the epitome of Peruvian garage sound. 'Abrázame' features a beat-influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band resulting an irresistible Latin garage hipshaker! Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'! Los York's became the epitome of Peruvian garage sound, and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The original version of 'Abrázame' was included in this album and also released as a single. Although clearly based on Don Covay & The Goodtimers' r&b classic 'Mercy Mercy', the recording features a beat influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band, Pablo Luna, resulting an irresistible Latin garage hipshaker! A rawer, fuzzier version of the same song was released one year later and renamed as 'Abrázame baby'. How cool and handy is to have both versions together on one single artifact? Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'!

"The Border" ist das 75. Solo-Studioalbum des legendären Country-Künstlers Willie Nelson mit neuem Material. Produziert von Willies langjährigem Mitarbeiter Buddy Cannon, enthält "The Border" vier neue Titel aus der Feder der beiden, kombiniert mit einem halben Dutzend Songs von einigen ihrer Lieblingssongwriter, darunter zwei, die von Rodney Crowell sowie Shawn Camp, Mike Reid und Bobby Tomberlin geschrieben wurden. Unterstützt von einigen der besten Musiker Nashvilles ist das Album ein weiterer sofortiger Klassiker, der auf sein letztes Album mit neuem Material "A Beautiful Time" folgt, das bei den Grammys 2023 als bestes Country-Album ausgezeichnet wurde.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code.
Limited to 40 copies.

Tot Onyx is a solo project of Tommi Tokyo, who loves to work with sound and body. As the founder
of the experimental live act group A, Tommi has explored her ideas of breaking the preconceptions
of live performance by incorporating use of the body, live-painting, noise and poetry. Adept at
bending expectations, the band’s formative early work echoes the experiential vocabulary in which
Tommi continues to develop today. A practice in the rejection of tradition and cliché, which in Greil
Marcus's words, "Share the principles of negation, rebellion, destruction and détournement”.
Her rst self-released EP T.O.1 is a collection of fragments of Onyx's live performances from recent
years, recorded in her studio as part of her creative process during the preparations. While her
albums (1st album Senno I released in 2022 on iDEAL Recordings, and the forthcoming album in
2024, info tba) are highly conceptual and revolve around specic subjects, this EP serves more as her
diary, in which she aims to share with the public how her thoughts are shaped by time through the
practice of performing live.

Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code.
Limited to 40 copies.

Tot Onyx is a solo project of Tommi Tokyo, who loves to work with sound and body. As the founder
of the experimental live act group A, Tommi has explored her ideas of breaking the preconceptions
of live performance by incorporating use of the body, live-painting, noise and poetry. Adept at
bending expectations, the band’s formative early work echoes the experiential vocabulary in which
Tommi continues to develop today. A practice in the rejection of tradition and cliché, which in Greil
Marcus's words, "Share the principles of negation, rebellion, destruction and détournement”.
Her rst self-released EP T.O.1 is a collection of fragments of Onyx's live performances from recent
years, recorded in her studio as part of her creative process during the preparations. While her
albums (1st album Senno I released in 2022 on iDEAL Recordings, and the forthcoming album in
2024, info tba) are highly conceptual and revolve around specic subjects, this EP serves more as her
diary, in which she aims to share with the public how her thoughts are shaped by time through the
practice of performing live.

very dope.

With this EP an attempt is made at documenting the vibrant action happening during the late 1970s and early 1980s in the Pioneer Valley area of Western Massachusetts, US. The story is richer than the snapshot we present here, and a more detailed account is to be found in the accompanying book that can be purchased separately.

The Five Colleges in Hampshire County congregated a vast student population that inevitably interacted with the towns in the area. Bars, music and record stores, live music and a lot of experimentation and free thinking. Hampshire College, especially, promoted new approaches to teaching, subjects that might be considered radical by some even today, although a more favourable context would now surely exist for openly debating such topics as American Indians, Kayak Design, Black Oral Tradition, Food Management, etc. And the music? The immediate "punk effect" motivated the creation of numerous bands, many short lived, others evolving into New Wave / Power Pop territory, eventually crossing into Post-Punk experimentation. What is captured in "Noho EP" is a more electronic disposition, favoured by the existence of EMS gear and other equipment at Hampshire College and University of Massachusetts. We chose to focus on a group of musicians who, for a time, played together in different combinations under the loose umbrella of the Tekno Tunes label and the structure around it.

These musicians come from very different backgrounds and the nucleus portrayed here consisted of Christopher Vine, Elliott Sharp, James Whittemore and Nicholas Brown.

Of the several line-up changes The Scientific Americans went through, it was actually only the duo of Chris Vine and Jim Whittemore who recorded "Among Bodge Watt". Never before released, it is a companion piece to their track "El Salvador" available on the 1981 ROIR tape-album "Load & Go!". The Sci Ams were founders of the Tekno Tunes label and also created the Tekno Tours "concert promotion agency", under which name they exposed local audiences to bands such as The Stranglers, The Slits, Pylon, Pere Ubu, The Psychedelic Furs, The Bush Tetras, Steel Pulse, etc. Their own sound kept progressing but at its best there's a solid dub undercurrent, pretty obvious in "Among Bodge Watt".

Human Error was born out of a collective jam by Chris Vine, Elliott Sharp, Jim Whittemore and Nick Brown. Elliott Sharp had moved to Northampton in August of 1978 and naturally became involved in the local music scene, hooking up first with Whittemore at a hi-fi audio store where he worked at the time. Basement jams followed stimulating conversations, and other musicians joined the sessions. "Clandestinator" sounds gorgeously loose, an effortless groove coming from a quasi-dub set-up. Nothing here seems calculated, the music just flows, contagious and irregular as the handclaps in the mix.

The Higher Primates later evolved into a "proper" band but started as Nick Brown's solo project. The Primates only ever released a (now sought-after) 7" single in 1980 (on the Tekno Tunes label, precisely). Both tracks on "Noho EP" were recorded the following year and never released until now. "Auto Music in the Disco Dub Style" is self-explanatory, with a steady, mid-tempo TR808 beat running through, supporting synth squelches, echoes and reverbs, a fat bassline, dissonant melodic lines and odd vocal snippets. Kind of a DJ tool when the concept was barely in place. The more uptempo "Teresa Variations" adds a Fender Jazz bass and Selmer sax to the electronics. It actually sounds more "Disco", even with the robotic, unintelligible vocals. On top of this, the vibe is sealed by the overall Radiophonic Workshop analogue strangeness applied to a dance beat.

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (UK), Nice Music (AUS), Clan Destine (SCO) & Night People (US), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'CFT' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of IOSONOUNCANE.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by KEXP Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.

Pressed at RTI, this 180g 45RPM 2LP set of E.S.P. renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.

For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' line-up. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.

As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.

Interlocking lines drive "Little One," alternating rhythms pulse through the funky "Eighty-One," melodies soar on the balladic "Iris," the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.

Warehouse Find!

FIRST TIME ON VINYL
HALF SPEED MASTERED 180 GRAM VIRGIN VINYL PRESSINGS
INCLUDES COVER ART PRINT
INCLUDES EXCLUSIVE CHRIS ISAAC COVER VERSION
INCLUDES DOWNLOAD CODES FOR THE ORIGINAL MIX AND UNMIXED VERSION IN WAV AND MP3 FORMATS

Trentemøller is the Dane who did. He's been making electronic music of one kind of bent or another for over 15 years, first making his name as part of Trigbag, a live house act that toured extensively. But it's his solo material that has impacted on the dance community - and beyond. 'La Champagne' was a game-changer and his remixes of artists like Sharon Phillips secured his place as an artist with some serious chops. But that's not all he is. You can hear that yearning in his productions and it's evident here, a sort of Protestant northern European melancholy. He is aided on his journey towards the Baltic by some heavy hitters, of course: Velvet Underground, Mazzy Star, This Mortal Coil. But that's not the story, it's not where the plot comes from, it's not where we're going. It's just a little indicator to reassure you we know the way. No. For it's in the dark beauty of Low's tremulous 'Amazing Grace' or even the way that the Shangri-Las' '(Remember) Walkin' In The Sand', surrounded by the similarly inclined, takes on a funereal gait. As we navigate the flatlands of your mind, we're helped along by a generous sprinkling of Anders' fellow Danes, like Darkness Falls (the atmosphere of this mix aptly encapsulated right there), Ekko, Chimes & Bells and the Late Night Tales tradition, Trentemøller's cover of Chris Isaacs' 'Blue Hotel', sung by Marie Fisker and Steen Jørgensen.

Originally released in 2010 this mix has gone on to become a classic, it was never released on vinyl at the time, so due to public demand we have carefully mastered each track and carefully cut at half speed for optimum sonic reproduction.

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.

Kata No Wadachi is the latest album by Banetoriko, the solo noise project of Tamaki Ueda. Her first release both on An’archives and on vinyl, it follows several albums for the Neurec imprint – 2017’s Beside the Sluice and 2022’s Yorioto Hogiokuri – and several other cassettes and CD-Rs. With Kata No Wadachi, the Banetoriko world, inspired by the Yokai (“strange apparitions” – supernatural figures, ghosts, spirits) of Japanese folklore, is at its most resonant yet.

Recorded across 2022 and 2023, the three tracks on Kata No Wadachi have Ueda performing in a particularly elevated manner. Her sound is highly tactile and grittily sensuous, the better to capture the ritualistic repetitions, and hypnotic methodologies, core to Banetoriko. The scrape and scratch of Ueda’s self-made metal instrument, the Banetek, gives these improvisations a unique throb, even as their mood, of introverted focus and elaboration of minutiae, gestures towards broader histories of noise and abstract art. Kata No Wadachi evokes, to some degree, the urban ritual noise of the likes of The New Blockaders, Organum, or Ferial Confine; elsewhere, the abraded, rough-housing textures bring to mind the eighties tape works of Hands To and John Hudak.

Ueda embraces the dream evocation that’s possible when loops of blurred texture collide with the gnaw and groan of energised metal, while mantric, dissociated vocals, and the oppressive weight of deep breath, gather around these compositions like a ghost’s shroud. While she’s been making noise for some time, since the nineties, Banetoriko was formalised as a project in 2011, while Ueda lived in Los Angeles. Relocating to Osaka in 2021, she’s carved out an utterly unique space for herself in Japanese noise, and her music contains an absolutely elemental vibration. Framed beautifully with poetic liner notes by Aurélien Rossanino, Kata No Wadachi is an oppressive, yet quixotically blissful trip.

Sophie Lloyd is one of the most prolific guitarists on the world wide web, a trailblazer who is redefining the concept of a "bedroom" guitarist. A talented composer and accomplished musician, Sophie graduated from the prestigious BIMM in 2018 with a First Class Honours BMus in Popular Music Performance, honing and refining a talent she has nurtured since childhood. Since then, she has amassed the kind of following that even the guitar gods she grew up idolizing would be envious of, with a reach surpassing 3 million followers across her social channels, built through a steady stream of sharing her talent via guitar "shredleys", covers and her own original material. In addition to her own content, Sophie's talent and popularity has led to collaborations with brands such as Amazon Prime, Hard Rock Cafe, LiveNation and Harley Davidson, her own Guitar course on Truefire and a stunning performance at Paris Fashion Week for Redemption Brand Clothing. She has also released her own signature guitar, becoming the first female artist to do so for exclusive Californian Guitar maker KIESEL.

Most recently, Sophie could be seen shredding on stage as guitarist for multi-platinum recording artist Machine Gun Kelly on his recent Mainstream Sellout World Tour, which included sold out shows at legendary venues such Madison Square Garden in New York and Wembley Arena in London.

At 27 Years Old, Sophie Lloyd is just getting started, with the upcoming release of her debut solo album. The first few songs have already been released to rapturous reception, including "Fall Of Man (Feat. Matthew K Heafy)", "Do Or Die (Feat. Nathan James)", "Lost (Feat. Cole Rolland)" and "Runaway (Feat. Michael Starr)" with some more exciting names including Lzzy Hale (Halestorm), Chris Robertson (Black Stone Cherry), Tyler Connolly (Theory Of A Deadman) and Brandon Saller (Atreyu) all appearing.

Black Truffle is pleased to announce the first vinyl reissue of Trancedance, a wild slice of Swedish Afro-fusion from Christer Bothén, originally released in 1984. A major figure in Swedish jazz and improvised music since the 1970s, often heard on bass clarinet and tenor sax, Bothen studied doso n’koni (the large six-stringed ‘hunter’s harp’ of the Wasulu) in Mali in 1971-2 before turning to the guinbri (the three-stringed lute of the Gnawa/Gnauoua) in Marakesh later in the decade. In between, he performed extensively with Don Cherry during his Organic Music Society period and taught Cherry the doso n’koni. In the later 70s and 80s he worked with the most important figures in the distinctive Swedish jazz-rock-world fusion scene, joining Archimedes Badkar for their African-influenced Tre and participating in Bengt Berger’s legendary Bitter Funeral Beer Band. Many of the musicians who played on the Bitter Funeral Beer Band’s ECM LP (including Berger on drums, Anita Livstrand on voice and percussion and Tord Bengstsson on piano, violin and guitar) joined Bothén for one of the sessions that produced Trancedance, the first release under his own name, dedicated to his compositions. The other session introduced his seven-piece group Bolon Bata, heard on the second track of each side. The title track opens the album with the rubbery buzzing strings of the doso n’goni playing a hypnotic ten beat pattern, soon joined by bass and piano before the entire nine-piece group kicks in with a rollicking Afro-jazz workout, Berger’s drums driving an intricate, winding melodic line played by the horns with Mattias Helden’s cello throwing in pizzicato slides and smears. Bothén then takes centre stage on tenor sax, soloing with a wide, vibrating tone and moving seamlessly from soaring melodies to guttural stutters. After a return to the composed horn lines and a solo from Elsie Petrén on alto sax, the piece builds to an ecstatic conclusion of yelping voices and handclaps, gradually simmering down to return to the solo doso n’koni where it began.

The hypnotic sounds of the hunter’s harp carries over to ‘Mimouna’, where it is joined by Bothen’s overdubbed guinbri. The piece develops into a haunting whispered and sung invocation, gradually building momentum until the organic textures of strings, voices, and hand percussion are ruptured by Lennart Söderlund’s distorted guitar, which brings an unmistakable touch of 1984 to the otherwise timeless sound. Joined by chicken scratch guitar and increasingly dominated by the insistent clang of three of Bolon Bata’s members on karqab (a kind of cast-iron castanet), the grove develops frenetically.

The B side opens with the multi-part epic ‘9+10 Moving Pictures for the Ear’, at over 16 minutes the record’s longest piece. Though Bothen is heard only on horns on this piece, the hypnotic repeating bass line carries on the first side’s link to African musical traditions. Using an expanded 16-piece ensemble, the music balances untethered improvisation with carefully arranged passages of knotty ensemble playing that at points suggest Mingus, Moacir Santos or some of the ambitious post-free work being done in the same years by figures like David Murray or Henry Threadgill. The piece ends with a triumphant passage of looping unison melody reminiscent of the Scandinavian folk explorations of Arbete och Fritid (whose Kjell Westling is heard on bass clarinet and soprano sax here). The sound of Bjorn Lundqvist’s fretless bass introduces the odd left turn made by the record’s final track, a spaced-out expedition into bluesy horn lines and distant guitar atmospherics set to a semi-reggae beat, perfumed by the core Bolon Bata group and bearing the appropriate title of ‘The Horizon Stroller’. A must for fans of the Swedish scene around groups like Arbete och Fritid and Archimedes Badkar, as well as any listener who has been seduced by Louis Moholo’s Spirits Rejoice!, The Brotherhood of Breath, or, more recently, the guinbri grooves of Natural Information Society, Trancedance is a lost classic ripe for rediscovery.

FIRST OFFICIAL REISSUE OF ONE OF THE MOST SAMPLED TURKISH RECORDS IN 45 YEARS! SAMPLED BY RAP LEGENDS LIKE SCARFACE OF THE GETO BOYS. TURKISH PSYCHEDELIC MASTERPIECE FROM 1980

Licensed from "Warner Records Sweden" and remastered from original material in Warner Record's vaults by Shawn Joseph at Optimum Mastering Bristol. 180 gr heavyweight vinyl Manufactured in Optimal Berlin.
Recorded between Istanbul and Stockholm, it captures the era between Okay Temiz's Don Cherry Trio touring and his own band Oriental Wind's sensational debut.
Mentioned distinctive elements have elevated the record to 'cult' status among record collectors, sample enthusiasts, and diggers around the world.
By 1980, Okay Temiz had already embarked on a series of dynamic collaborations and sound experiences with Don Cherry as a member of the Don Cherry Trio. This period included a noteworthy summer in the early '70s at Dartmouth College in New Hampshire, hosted by Jon Appleton, a notable American composer and visionary in electro-acoustic music.
"During that summer, Jon asked me, 'What kind of sound do you have in mind?' I had already given this considerable thought, using a tape recorder to capture sound frequencies influenced by the moon's position. Jon Appleton's question made me think about the extension of 'Organic Music Theory,' which we were exploring with Don Cherry at the time."
In 1982, Okay Temiz recorded the most comprehensive answer to 'What is Turkish Jazz?' at the Montreux Jazz Festival (CAZLP 004) with his band Oriental Wind, featuring Bobo Stenson (of the Jan Garbarek - Bobo Stenson Quartet), Palle Danielsson (of the Peter Erskine European Trio), and Lennart Åberg (of the Scandinavia New Jazz Group).
In 1980, without fully realizing he was navigating between these two worlds, Okay Temiz entered Stockholm's renowned Metronome studios to record the 'sound in his mind' as a solo artist.

`Drummer of Two Worlds` is a star map of Okay Temiz's musical worlds. Blending elements from the grand piano to his handmade drums, and from the amplified Berimbau to his cowbell array, weaving Turkish rhythms like 9/8 and 7/8 with the universality of 4/4, it presents a unique sound narrative that resonates with the dimensions of a well-traveled mind."

Haluk Damar

Donny McCaslin is an artist consistently at the forefront of musical innovation. Building on the foundation laid by his critically acclaimed 2023 album "I Want More," described by Mojo Magazine as an "emotive electro-jazz" masterpiece and celebrated for its adventurous spirit by De Volkskrant, Donny McCaslin continues to chart new territories in sound with his latest 7in vinyl and digital release, "Kid." This new project, encompassing the tracks "Kid" and "Maxine," which not only encapsulates the direct, bold, and charismatic essence of McCaslin's sound but also signals his relentless pursuit of artistic growth, refusing to rest on the laurels of past achievements.

"Kid" is a testament to the fruitful collaboration between McCaslin and Tim Lefebvre, reflecting a deepening of their artistic development as collaborators, writers, and bandmates. This instrumental track, enriched by David Fridmann's visionary production, explores the complexities of musical narrative through its intricate harmony and dynamic saxophone lines. The bass subs introducing an electronic vibe into the track signify the duo's forward-thinking approach, blending genres and sounds into a cohesive whole. The saxophone, treated with effects of delays and reverb, veers away from traditional jazz solos, creating textures that support an overarching sound world, inviting listeners to immerse themselves in the music rather than focusing on individual performances. "Maxine", on the other hand, presents a more introspective journey. Originating from a track sent by Colby Keyz, McCaslin develops this piece into a poignant love song, layered with saxophone melodies and solos that evoke a deep sense of longing and emotional depth.

The production, handled masterfully by Steve Wall, enhances the track's unique sounds, demonstrating McCaslin's ability to create profound musical experiences even in the absence of live band interaction. Together, "Kid" and "Maxine" highlight McCaslin's virtuosity and innovation as a musician. His commitment to evolving his sound and the depth of his collaborations exemplify why he remains a progressive force in the music world. With "Kid", Donny McCaslin reaffirms his position as an artist unafraid to explore, develop, and redefine the boundaries of contemporary music, making this release an essential addition to the collections of aficionados and newcomers alike.

2024 Repress

Coming in hot off their latest Watergate Mix Adana Twins deliver their first EP stemming from the mix itself putting what could be the standout track off the compilation: their remix of Patrice Bäumel's 'Roar' front and center. Taking the hugely successful original which could be considered as much a tool as it is a peak time bomb, the duo twist the initial anthem into a climactic, euphoric ride by adding their signature percussion and shimmers of melody while utilizing the original's spine tingling tension to create an absolutely massive and memorable dance floor experience. Flipping to the B-side, Adana Twins present 'Aufstand der Massen' where they dive into the ethereal corners of dramatic Techno reminiscent of the 'Jupiter' EP from early this year creating a flawlessly executed trip into enchanted territory. Having already been in constant rotation of heavy hitters like Solomun and Tale Of Us is proof enough that Adana Twins have a hit on their hands and now it's time for you to have it too.

- 140G schwarzes Vinyl inkl. 4-seitigem Booklet und Downloadkarte

Beth Gibbons veröffentlicht ihr erstes Soloalbum Lives Outgrown am Freitag, den 17. Mai 2024. Das Album enthält 10 wunderschöne neue Tracks, die über einen Zeitraum von 10 Jahren aufgenommen wurden. Produziert wurde das Album von James Ford & Beth Gibbons mit zusätzlicher Produktion von Lee Harris (Talk Talk).

Lives Outgrown ist in gewisser Weise Beths bisher persönlichstes Werk, das Ergebnis einer Periode anhaltender Reflexion und Veränderung - "viele Abschiede", wie Beth sagt. Abschiede von der Familie, von Freunden, sogar von ihrem früheren Ich. Es sind Lieder aus der Mitte des Lebens, wenn der Blick nach vorn nicht mehr so viel bringt wie früher und der Blick zurück plötzlich einen schärferen Fokus hat. Die Lieder handeln von Mutterschaft, Ängsten und den Wechseljahren (die Beth mal als "massive Prüfung" und mal als "massiven Abstieg" beschreibt, der "dich in die Knie zwingt") sowie zwangsläufig auch von der Sterblichkeit. Aber nach diesem Jahrze hnt des Wandels und der Neuausrichtung hat Beth das Gefühl, eine neue Bestimmung gefunden zu haben. "Jetzt, wo ich am anderen Ende angekommen bin, denke ich einfach, dass man mutig sein muss", sagt sie.

Der legendäre Slayer-Gitarrist Kerry King präsentiert mit "From Hell I Rise" sein erstes Soloalbum, das mit Spannung erwartetet wird.
Laut KING besteht die neue Musik aus "verschiedenen religiösen Themen, einigen Kriegsthemen, heavy stuff, punky stuff, doomy stuff, und spooky stuff, mit herkulischen Geschwindigkeiten erreicht. Wenn du jemals SLAYER in irgendeinem Teil unserer Geschichte gemocht hast", fügt er hinzu, "gibt es etwas auf dieser Platte, auf das du abfahren wirst, sei es klassischer Punk, schneller Punk, Thrash oder einfach nur Heavy Metal!"

"It's time. Africa, it's time. It's time that Africa changes. It's time our leaders change. Everything that happens in Africa is extraordinary. We have everything: water, earth, sun, fields of oil, gas. We have all this in Africa, but Africa is still poor. It's time we change our way of thinking. It's time for Africans to take their destiny into their own hands. If not, others will take it." This is the message instrumental guitarist Tidiane Thiam hopes to convey with his new solo album, Africa Yontii, a Pulaar title that translates to "Africa Time." To a casual listener, Thiam's bold statement starkly contrasts with his melodic playing. But a closer listen to Thiam's expressive playing reveals a thoughtful voice that stands out from the crop of contemporary guitarists. "What I should be singing (with words) I'm instead saying with my guitar," he says. Hailing from the sleepy fishing Senegalese fishing town of Podor, home of the great Baaba Maal, Thiam taught himself guitar by playing along to late-night radio broadcasts of Manding music. He soon developed his style, often reworking Pulaar folk themes into his compositions. On Africa Yontii, Thiam's third album for Sahel Sounds, he teamed up with hip-hop beat maker Ndiaye Moctar from studio M.N. Records to provide accompaniment, integrating unexpected elements such as field recordings and electronic sounds. In the liner notes for Africa Yontii, Thiam voices his concerns about the lack of opportunities for Africa's youth and the lonely road that can come with leaving behind loved ones in the hope of a better life. He also sprinkles in a philosophical query about the eroding state of the world alongside two more hopeful, traditional offerings in the form of wedding and river songs. Despite the sometimes heavy subject matter, Thiam's love for his homeland and heritage shines through. Tidiane Thiam's Africa Yontii reclaims the maligned "world music" genre within a sonic space that has long been dominated by others telling the story. As the title suggests - It's time!

Der legendäre Slayer-Gitarrist Kerry King präsentiert mit "From Hell I Rise" sein erstes Soloalbum, das mit Spannung erwartetet wird.
Laut KING besteht die neue Musik aus "verschiedenen religiösen Themen, einigen Kriegsthemen, heavy stuff, punky stuff, doomy stuff, und spooky stuff, mit herkulischen Geschwindigkeiten erreicht. Wenn du jemals SLAYER in irgendeinem Teil unserer Geschichte gemocht hast", fügt er hinzu, "gibt es etwas auf dieser Platte, auf das du abfahren wirst, sei es klassischer Punk, schneller Punk, Thrash oder einfach nur Heavy Metal!"

Der legendäre Slayer-Gitarrist Kerry King präsentiert mit "From Hell I Rise" sein erstes Soloalbum, das mit Spannung erwartetet wird.
Laut KING besteht die neue Musik aus "verschiedenen religiösen Themen, einigen Kriegsthemen, heavy stuff, punky stuff, doomy stuff, und spooky stuff, mit herkulischen Geschwindigkeiten erreicht. Wenn du jemals SLAYER in irgendeinem Teil unserer Geschichte gemocht hast", fügt er hinzu, "gibt es etwas auf dieser Platte, auf das du abfahren wirst, sei es klassischer Punk, schneller Punk, Thrash oder einfach nur Heavy Metal!"

Although Santana had been famous for his live shows since his performance at Woodstock, the 1977 album Moonflower was his first live release (albeit interspersed with a series of studio recordings). It showcases the best of Santana in the mid-Seventies: the Latin-infused blues/rock, the spiritual jazz fusion, the unstoppable energy of Santana on stage. A cover version of The Zombies' mid-Sixties song "She's Not There" was released as a single and became Santana's first Top 40 hit in over five years.

Der legendäre Slayer-Gitarrist Kerry King präsentiert mit "From Hell I Rise" sein erstes Soloalbum, das mit Spannung erwartetet wird.
Laut KING besteht die neue Musik aus "verschiedenen religiösen Themen, einigen Kriegsthemen, heavy stuff, punky stuff, doomy stuff, und spooky stuff, mit herkulischen Geschwindigkeiten erreicht. Wenn du jemals SLAYER in irgendeinem Teil unserer Geschichte gemocht hast", fügt er hinzu, "gibt es etwas auf dieser Platte, auf das du abfahren wirst, sei es klassischer Punk, schneller Punk, Thrash oder einfach nur Heavy Metal!"