Suche:has been

Everest Magma’s career over the past 10 years has been slowly building one of the most ecstatic and singular paths of the Italian underground scene. His dense and beautiful three albums were not afraid to cross boundaries with a mix of hypnotic tape beats, digital wonk, psych folk tropicalia and kinetic dub. This new offering ‘Alto//Piano‘ once again sees him in uncharted territories, where nature is sublimated into a personal alien vision mixing acid-folk fingerpicking, tonal ambience, psychedelic eccentricity and Italian 70s minimalism.

Everest Magma rediscovers the folk roots of his dreamy alter ego Woodcutter. Once again he appears as a minstrel crossing moonstruck woods inhabited by gnomes, butterflies and crawling creatures. Nature is sublimated into a personal alien vision in which a lysergic approach triumphs in the arrangement of sound material and immersive musique concrète. Pure acid-folk fingerpicking communicates directly with the forest’s humus, steeped in wild and ethereal moods. Between schizoid or more lyrical moments, a persistent taste for subtle subterranean noises, electric flashes, radio and ufological interferences, deviant scents.

Limited Violet Vinyl repress for Indies only. Genre: alternative/punk/heavy/riot grrl. Debut album for legendary Tasmanian noise-punk band formed in the early 90s. Recordings span more than 20 years, including tracks thought lost on a corrupted hard drive from the late 90s. Legendary Australian punk band Little Ugly Girls formed in Hobart, Tasmania in the very early 90s, but have never released a record until now. This new self-titled set is officially their debut album, and features recordings spanning more than 20 years. The band formed around fiery vocalist Linda Johnston, whose high-kicking stage antics make her one of Australia's most electrifying frontpeople, and her guitar demon brother Dannie "Bean" Johnston. After moving to Melbourne in the mid 90s, the band settled on their classic lineup of Brent "Sloth" Punshon on drums, and rock-solid bassist Mindy Mapp (previously of another cult 90s band, Brisbane's much-loved Fur). Little Ugly Girls played with the likes of Bikini Kill, Fugazi, and once memorably headlined over the White Stripes in Melbourne. But their only recordings released to date include a handful of 90s cassettes. Now nearly 30 years since they formed, the debut album by Little Ugly Girls shows them at their towering best - fierce and inspiring, with Linda's scarifying lyrics and impassioned delivery set to a huge wall of taut punk noise. It has been a long time coming, but it's as good as you could have dreamed. Tracklist 1. Tractor 2. Slip 3. Jimmeh 4. Senseless 5. Baggage 6. The Pit 7. Storm After Storm 8. Dead C 9. Snap 10. Tardis 11. Vinegar 12. Boxen-Hooda-Hayda

‘Fuxsake, what a great ride this album is... …Somewhere John Lee Hooker is smiling and stampin' his foot to 'Runnin' Till I'm Done'! Love the 12 string riffing so much - You just don't hear that enough these days - Brings to mind Stevie Ray on killing it on acoustic. Ledfoot on the Goodfoot got some serious mojo'. - Winter Lazerus, mastering master This record was recorded and mixed in two days - live - straight to tape… no edits, no punching in…just me… honest for better or worse – honesty - What a precious thing ‘ - Ledfoot - In short: 10 tracks recorded analogue live to tape during two magic days at Studio Studio Nyhagen. No bullshit, just a unique artist spitting out his soul in the most naked and real setting possible. Gothic blues! Still, the sound, the lyrics and the performance are very much a product of today. Ledfoot aka Tim Scott McConnell is a 12-string guitarist who plays with fitted heavy strings,
a brass slide, steel fingerpicks and a stompbox. He has been touring and releasing music since the late 1970’s and written for artists as varied as Highasakite and TnT to Sheena Easton. In 2014, Bruce Springsteen recorded ‘High Hopes’ as the title track of his album, written by Tim Scott McConnell for the Havalinas debut album in 1990. It debuted as #1 in over 10 countries including the U.S. and the U.K.

Compiling all E.P.'s by Bootlicker, "Lick The Boot, Lose Your Teeth" presents 24 tracks originally released over four 7"s dating back to 2017. From the earliest incarnation of the band and the start of their signature production and sound to where they are now. With the overblown martial drumming, completely pinned clean guitar attack, Bootlicker has been a fresh take on D-Beat tradition with a handful of Oi/UK82 and American Hardcore influence on the side. Each 7" is compiled here and represents a different phase of the band. The completely broken speaker aggression of "Who Do You Serve", the slight Rock 'n' Roll influenced "Nuclear Family" and bare bones approach of the "Six Track E.P." all paved the way to a more realized sound in "How To Live Life". Instead of tracking down each out of print, individual E.P. Here they are for the taking.

One of the original bands out of Athens, GA indie rock scene, Squalls
played their first show at the world-famous 40 Watt Club on Dec 3, 1981
and reached a wider audience thanks to the 1986 movie Athens, GA:
Inside/Out
The band's self- titled debut has been out of print for over 36 years. Newly
remastered and expanded with unreleased demos, this set features their most
well-known songs Elephant Radio, Na Nanana and Crickets.

One of the original bands out of Athens, GA indie rock scene, Squalls
played their first show at the world-famous 40 Watt Club on Dec 3, 1981
and reached a wider audience thanks to the 1986 movie Athens, GA:
Inside/Out
The band's self- titled debut has been out of print for over 36 years. Newly
remastered and expanded with unreleased demos, this set features their most
well-known songs Elephant Radio, Na Nanana and Crickets.

Featuring what may be his only recordings on the Prophet keyboard,
these once lost performances expand the omniverse of Ra across a
stellar set of lengthy cuts! All recorded in a single day and finally making
their terrestrial debut, pressed on colored vinyl and packaged with a
Prophet keyboard brochure plus notes from Ranthropologist Brother
Cleve!What happens when a Prophet meets a Prophet? The answer lies
within these grooves
Amongst the hundreds of recordings issued by Sun Ra and his Arkestra, under
their various guises, the majority were recorded in concert or in makeshift studios
such as their early 1960s set- up at NYC's Choreographer's Workshop. Beyond
those, roughly 22 albums were recorded at Variety Recording Studio in New
York's Times Square. However, on August 25, 1986, Sun Ra and cohorts entered
Mission Control, a state- of- the- art 24- track studio north of Boston, which was
teeming with electronic keyboards and otherworldly sound generators. Nestled
within that arsenal was a brand- new digital ultra keyboard — the Prophet VS
("Vector Synthesizer").Of all the keyboards Ra played throughout his half-century
career, the Prophet was one of the most sophisticated. There's no evidence that
he had played either of the instrument's earlier incarnations, the Sequential
Circuits Prophet-5 and Prophet-10. Created using microprocessors, a then- new
technological advance, under the auspices of engineer Dave Smith in 1978, the
Prophet-5 revolutionized electronic music as the first polyphonic and, most
importantly, programmable synthesizer.Ra was intrigued by the Prophet (surely by
the instrument as well as by the name). Recorded during a single day, it's about
time that these once lost performances have now been found.It was a joy and a
thrill to be sitting at the console hearing this music for the first time, especially
with my fingers on the faders and knobs of the mixing desk. We watched the
oxide fly off the 2" tapes during playback, making this our one chance to digitize
before they metamorphosed into dust. Welcome to the new Sun Ra album….35+
years after it was recorded. The Omniverse has expanded once again.— Brother
Cleve (1955 - 2022)

SunDub is a Brooklyn-based five piece who expertly mixes classic reggae
alongside soul and blues
The band is a testament to the power of inclusion, diversity, and unity - core
values that were showcased on SunDub's debut album, Burden of Love (2019).
That album racked up millions of streams and brought the band to the attention
of their hometown reggae label, Easy Star Records, who picked up the band and
has been working with them on this sophomore effort. This release is even
stronger than the debut, with Sidney Mills (of Steel Pulse) working closely with
the band to co-produce and co-write much of the material. The album features
collaborations with Jamaican superstar Lutan Fyah as well as Peetah Morgan
from the GRAMMY-winning Morgan Heritage.

Guitar and drums duo GIRAFFES? GIRAFFES! have been making fiercely
unique music since their explosion into the San Francisco Bay area in
2005
Their mostly instrumental, odd-time compositions quickly grabbed the attention
of listeners worldwide and their second album More Skin With Milk- Mouth is a
quintessential math rock album. With every new release, they continually make
music that is both melodic and technical, experimental yet accessible "and the
result is a sound that is both transcendental and incredible fun. Spanning 37
"chapters" that seamlessly bleed into one another over six tracks, the duo have
created a monolith of an album in Memory Lame that builds from the erratic
melodicism their cult fanbase has come to know and love.

• Darrow Fletcher’s belated success in Europe - from the 70s onwards, but particularly in this century - has been very rewarding from him; he has been thrilled by the interest and admiration for his past work. These are two of his revered Jacklyn label sides; Jacklyn being owned by his father, who named the imprint after Darrow’s sister.

• This Repro coupling will be welcomed by collectors who cannot afford the high price of the originals – many of which are often found in poor condition as they were played the hell out of in 1960s Chicago.

Dutch record label and shop Deeptrax has been tirelessly pushing the boundaries between rigid funk, electro, ambient & techno since 2016 and for release number 033, Singaporean Tserg delves in to the realms of science fiction. First up 'Dreadfully Distinct' conjures up themes of consciousness and the connections between man and machine in this Blade Runner=inspired soundscape, punctured with breakbeats and star-twinkling percussion, while 'Stardust' warps an electronic bassline among more day-dreaming voyages into the universe. On the flip the ambient stylings of 'Decisions; Derisions' wash over the listener as heartbeat bass kicks punctuate airy tapestries of space and sound, while 'Ready State of Mind' ramps up the tempo with light percussion and syncopated beats, all tightly wound around spaced-out samples.

Widely regarded as a modern day classic. First repress (in nearly twenty tears) of this highly sought after treasure. Limited edition vinyl with original, single sleeve, artwork.

Bitty McLean’s rebirth as a bona fide hit-making lovers rock singer, since his link up with Daddy Peckings’ sons Duke and Chris, has been particularly sweet, due in no small part to his superior talents in the vocal department, and his accomplishment in the studio, but also because he is a humble soul whose talent has often been overshadowed by the perception of him as something of a reggae lightweight, due to the commercial success he experienced back in the early nineties with It’s Raining. Bitty’s credentials far outstrip any of his detractors though, and with the release of the superb single Walk Away From Love, he’s proved beyond doubt his worth as an interpreter of classic songs and a gifted songwriter in his own right. Kicking off with the hit single which utilised the classic original 1967 Treasure Isle rhythm to Alton Ellis’ Rocksteady. All selections revive original Duke Reid rhythms created by Tommy McCook & The Supersonics including the beautiful Ranglin On Bond Street (Tell Me), Those Guys (Baby Tonight), Moonlight Lover (To Fall In Love), Inez (My Lovers Call), Queen Majesty (a wicked version of Bread’s Make It With You featuring some beautiful overdubs from Dean Fraser), I’ll Get Along Without You (I’ve Got Love), Lonely Street, and a cover of Smokey Robinson’s Cruisin’. An album to cherish for young and old alike.

7" Black Vinyl in Fold-out Concertina Sleeve, 500 copies only. An anachronism in current times where individualism reigns supreme, Teeth Machine are a rare band knitted together through close camaraderie: a collective in the truest sense of the word, whose intricate, improvisational style resolutely resists being reduced to one single contributor. Teeth Machine found its beginnings in the close friendship and musical collaborations of Arthur Bently (saxophonist/lead guitarist) and Gray Rimmer (lead vocals/guitar). Having played together in various other projects since the age of 17 and disaffected with the music industry, the pair’s first furtive experimentations with the music that would later become Teeth Machine took place at a deliberate distance from the Outside world. This early incubation period, and the music made through endless bedroom sessions and demos recorded on laptops and tapes, became the spine of the project, fostering a sound that still retains both a precious intimacy and a large, expansive sonic scope. The band’s lineup as it stands today features long term friends and collaborators Anthony Boatright (Bass), Jamie Staples (Drums), and Ciara Reddy (Vocals/Synth). On their first self-assured, recorded offering to the wider world, Teeth Machine still bear the imprint of their origins, the band’s sound firmly grounded in the ethos of mutually weighted contribution, as well as the closeness cultivated in their early experiences, always retaining an air of uninhibited creativity and adolescent intimacy. ‘Gumball’, their first release on RaRaRok (Wulu, The Goa Express) was self-produced, mixed by Dilip Harris (King Krule, Mount Kimbie). It’s a song that conveys the tension and impossibility of communication and language, even when attempting to connect with those closest to us. Despite this, and however much the track itself bristles with an unmistakable air of friction, the listener gets the strong sense that there has not been a love lost, but rather one renegotiated, even expanded. Speaking about ‘Gumball’, Teeth Machine said: “‘Gumball’ is about the impossibility of talking. It was written during quite a chaotic period, and the lyrics came about after we had a big argument in the kitchen while trying to record a demo at the time - it tracks the madness and intensity of trying to make sense to someone you care about, or to yourself in your head. There’s a kind of antagonistic self help mantra that resonates throughout; it’s about internal and external conflict. It’s angry, but it’s also full of love too

-European fall tour is sold out across all venues, with a U.S. tour set for 2023. Supported by fans and listeners of Thundercat, Silk Sonic, Jungle and Steely Dan. Album single, “Rolling Back” has been featured across multiple editorial playlists via major DSPs, including Spotify’s Soul ’n’ the City, Retro Pop, Stay Tuned!, Happy Stroll and Ready for the Day. Young Gun Silver Fox, the acclaimed indie duo from the UK with yacht-rock tendencies comprising of Andy Platts of Mamas Gun and Shawn Lee (vagabond award-winning video game composer) announce their highly anticipated fourth studio album Ticket to Shangri-La. The album showcases a band at the very top of their game, fine-tuning their potent brew of sun-kissed pop-soul, west coast AOR and natural groove with a skill for composition and production that sees them forging ahead down a musical highway blessed with blue skies and positive vibrations. For both participants, the chance to make a new record together is always a liberating experience, as Andy explains; “I always come back to Young Gun Silver Fox like taking a drive to the coast and I just smell the ocean and the air and it’s like ‘wicked I’m back here again’ and I can just kick back and enjoy it.” The chemistry and craftmanship on Ticket to Shangri-La means that Young Gun Silver Fox do exactly as the title suggests, transporting the listener to a magical, mythical world of sunshine and good vibes, a musical and spiritual ethos born from the minds of two gifted musicians that stand as the embodiment of all they do best, whilst providing the perfect invitation into their unique world.

Strictly limited to 500 copies on transparent blue vinyl. The Swedish AOR band HOUSTON is back with their 5th album and 3rd of their series of self-titled releases, this one, simply called “III”. Houston has been around since their self-titled debut album in 2010 and landed the number one in Classic Rock Magazine’s AOR chart that year, up against outfits such as Unruly child, CrashDiet, H.e.a.t and Nelson.

500 on clear vinyl - Pitch Shifter ‘The 1990 Demo’ - Agent provocateurs who prophetically foreshadowed the Brexit debacle with their 1999 release ‘Un-United Kingdom”. Spanning a career of over 30 years, the band released ten albums, toured 30 countries, were featured on the covers of Kerrang! and Metal Hammer magazines, recorded Peel Sessions, won Kerrang! awards, had their music featured on video games, on tv shows and in Hollywood films, played main stages at Reading, Ozzfest, Vans Warped Tour and the Big Day out Festivals, were featured in 2000AD Magazine with Judge Dredd and fucked a lot of shit up along the way! Here for the first time, the band release their original demo, previously unreleased and unavailable to the general public. The original audio has been enhanced and the vinyl includes a revisited track, that did not feature on the original release ‘Behemoth’, with vocals recorded by M D Clayden. The demo landed the band their first record deal in 1990 with Peaceville Records, where the band then forged these tracks into their critically acclaimed debut ‘Industrial’.

We are back with our fourth vinyl release between the Berlin-based Colombian producer Brayan Valenzuela and Cologne-based native polish artist Rezystor. These guys are already connected with BRVTAL., because they released tracks on SZROGH compilation and participated on our podcast series.

On the tough side Brayan who is a well-known modular synthesis enthusiast hit us with his heavy hard tracks, like a road roller in your face, but it's all done with the best humor, the dark side has never been so cheerful!

While Rezystor on the banger side delivered his own professional obscure sound with high speed tempo and deep melodies. Long awaited perfect rave anthems on the altar of the best period of trance area!

Warp have announced a vinyl reissue of The Other People Place's Lifestyles Of The Laptop Café.

The much sought-after LP from Drexciya's James Stinson has been hard to come by for many years, and is rightly considered to be one of the very best electronic albums of all time.

An unblinking look at an entertainment-obsessed society, Amused to Death addresses issues that have only grown in complexity and urgency over the past two decades. With Amused to Death, Roger Waters sounded the alarm about a society increasingly — and unthinkingly — in thrall to its television screens. Now in 2022, Amused to Death speaks to our present moment in ways that could scarcely have been anticipated three decades ago. In 2015, television is just one option in an endless array of distractions available to us anytime, anywhere, courtesy of our laptops, tablets and smartphones. With eyes glued to our screens, the dilemmas and injustices of the real world can easily recede from view.

"Even if you have one of the original issue vinyl LPs, the new version of Amused to Death on the Analogue Productions label is an essential upgrade to your listening experience. Like The Division Bell and The Endless River vinyl LPs before it, Analogue Productions has kept their commitment for quality meticulously high with Amused to Death. The record pressing is uniformly excellent..." Paul Powell Jr., Brain Damage U.K. Pink Floyd News, August 2015.

The 2015 2 LP 200-gram vinyl edition of Amused to Death features remastered audio completed by longtime Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie, and has been pressed at Quality Record Pressings. The cover and gatefold art has been updated for 2015 by Sean Evans, the creative director of Waters' 2010-2013 "The Wall Live" tour and movie.

Glasgow's First Lady of Jazz Carol Kidd, whose string of successful Linn recordings in the 1980's have made her a staple of international audiophile artists, returns with an all-new collection of delectable jazz and pop standards delivered in her inimitably smooth and heartfelt style.

Kidd has always been an artist celebrated for her cool, controlled phrasing and easy-going balladry, and her lovely new recording, BOTH SIDES NOW, is replete with her trademark inflection and warmth spread over classic songs by everyone from Rodgers & Hammerstein, Billy Joel, Joni Mitchell, and Richard Thompson. A songwriter of note, Kidd herself contributes two new tracks co-authored with Chris Anthony.

Impex's exclusive 180-gram 33 rpm LP, mastered by the superlative Kevin Gray at Cohearent Audio, features brilliantly detailed mid-tones, effortlessly stable bottom end, and crisp overtones. RTI's peerless pressing brings it all together for your listening pleasure.

Carol Kidd is an international award winning singer. She has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards. Renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard, Carol has cut a distinctive path through the Great American Songbook throughout her career with orchestral and trio backing, as well as performing as a unique and intimate duo with guitarist Nigel Clark.

A long line of admirers has included Tony Bennett, Vic Damone and Frank Sinatra, who invited her to open for him at a stadium concert where he remarked that, "Carol Kidd is the best kept secret of British jazz." After a sensational performance at the Tribute to Johnny Mercer show at the Royal Concert Hall in Glasgow, Sir Michael Parkinson observed from the stage that "If there is a better jazz singer out there I have yet to hear them!" Luminaries who have performed alongside Carol as her guests include George Shearing, Georgie Fame, Annie Ross, Benny Carter, Joe Temperley, Bobby Watson and Martin Taylor.

Following a battle with cancer, Carol returned to the stage triumphant in the summer of 2013 to give a powerful, emotional performance at the Glasgow Jazz Festival. In the wake of this homecoming, it is impossible to deny that Kidd is one of the most remarkable artists and performers of our time.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

‘The Clocks' was originally issued in 2007 as a CD-only limited edition of 110 for members of 'The Bevis Frond Online Community'. It comprised 19 previously unissued tracks. Most of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. Since then, it has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-issuing it for the first time, and now as a vinyl double album and limited CD. Due to certain circumstances, three of the original tracks could not be used, so these have been replaced these with another three previously unheard tracks from Nick Saloman's extensive archives. These songs include the seven minute 'She's Taken It All', originally intended for 2004's 'Hit Squad' album but dropped at the last minute due to timing constraints. The beautiful 'You Better Make Do' and the edgy 'Devil Doll' have also been added. We are delighted to be able to make this 'long lost' album available once again and think it will be a welcome addition to the Bevis Frond canon.

"Circus has always had some kind of presence in my life. My grandmother grew up within a travelling circus in Denmark many years ago and a cousin of mine reputedly ran away with another travelling circus in Ibiza for a while in the 80s. Some years ago my mother sent me a few faded black and white photos of my grandmother dressed up for performance and they are amazing. There are apparently many more photos but they've been handed to a circus museum in Denmark. Perhaps some day, if I dare to, I'll go and visit... In the meantime, I give you The Circus Hunter: The soundtrack to an 80s horror circus flick that perhaps could have been. I hope you will enjoy its breezy upbeat fun as well as its dark sides." Martin Jensen (The Home Current). Martin Jensen is a Danish born, Luxembourg dwelling electronic musician. He has several previous releases across several labels including Castles In Space, Polytechnic Youth, Woodford Halse

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

A double treat for those who love timeless Southern Soul flavoured with some of those good ol’ down home blues. Memphis born, and Minneapolis based, Willie Walker can comfortably be included in the pantheon of grittiest soul singers along with Wilson Pickett, Syl Johnson, Lou Rawls, James Carr, Eddie Floyd, Tyrone Davis and L.V. Johnson, to name but a few, but there has always been speculation about other Willie Walkers. The recordings on Eutor and Hi in the 70’s are not by the same Willie as those on Goldwax and Checker in the 60’s. He did, however, also record as Wee Willie Walker.
 
He was a member of The Rhythm Harmonizers, The Val-Dons, The Exciters, The Bound Band, Willie & The Bumblebees (although that Willie is actually Willie Murphy of The Val-Dons), and Canoise, spanning a long and varied career before hooking up with the Minneapolis based band The Butanes in 2004, with whom he made the next three albums. The first of these was mainly cover versions, but "Right Where I Belong" (2004) and "Memphisapolis" (2006) are notable for each providing the tracks that make up this latest Jai Alai release, a label that differs from sister label Soul4Real by featuring 21st century tracks previously CD only but now released on 7” vinyl for the first time. It also has to be noted that all the tracks on both these albums were written and produced by Curtis Obeda, who managed to track down Willie after so many years.
 
“I Feel It” will have been missed by most as it was on the CD "Right Where I Belong" which was released in 2004 on the most unlikely of UK imprints, the Wirral based One On One Records run by Colin Dilnot. The album is a lavish display of real instruments from a band that once backed John Lee Hooker and Little Johnny Taylor and the perfect setting for Willie’s powerful vocals. 
 
Just tipping five glorious minutes, "Cry, Cry, Cry" is a perfect example of why soul music is inextricably linked to the blues, and when the gospel styled chorus joins in towards the end, you realise that this could, maybe should, have carried on for just a little bit longer. Perhaps a fuller length version exists? Sadly, Willie died peacefully in his sleep in November 2019, but to complete his story check out the two albums on Blue Dot as Wee Willie Walker & The Anthony Paule Soul Orchestra. To quote the great Quinton Claunch…”Willie was one of the best to come out of Memphis in the 60’s”.
 
Steve Hobbs
(Solar Radio, Totally Wired Radio)

Personnel: "Ascenseur pour l'échafaud" - Miles Davis (tp); Barney Wilen (ts); René Urtreger (p); Pierre Michelot (b); Kenny Clarke (dr


In 1957, Miles Davis is in Paris for an engagement at the Club Saint-Germain and a wonderful concert at the Olympia Theatre. Once in Paris, Miles came into contact with many members of the modern existentialist cultural environment in the neighborhood of Saint-Germain-des-Près. These include the director Louis Malle who had just finished his first movie : "Ascenseur Pour L'échafaud".

Jean-Paul Rappeneau, a Jazz fan and Louis Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack. A private sceening has been organized.

On December 4 1957, Miles Davis brought three French Jazzmen - Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and his american compatriot Kenny Clarke on drums - to the recording studio Le Poste Parisien without having them prepare anything. Miles Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room.
This recording was made at night in a most informal atmosphere.

The soundtrack was not released on it's own in the USA but ten songs from this soundtrack were released as one side of the album "Jazz Track" which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group.
"Ascenseur Pour L'échafaud" has become a great achievement of artistic excellence.

The story of Del cuarto rojo (From The Red Room) began in March 2020, when the Peruvian composer and percussionist Manongo Mujica received a call notifying him that the visual artist Rafael Hastings, his friend of almost half a century, had passed away. Since then, and in the midst of the pandemic, Manongo Mujica began a personal journey searching for sounds, which has resulted in a new set of pieces that evoke the memory of a friendship. Del cuarto rojo (From The Red Room), subtitled Homenaje sonoro escuchando la pintura de Rafael Hastings (Sound Tribute Listening To Rafael Hastings' Paintings), is Manongo Mujica's new album, and it has also motivated the preparation of a new show by the dancer and choreographer Yvonne von Mollendorff, wife of Hastings. The history of this friendship dates back to 1974, when a young Manongo returned to Lima, after ten years living in London, while young Rafael Hastings and Yvonne von Mollendorff settled in Peru after a long period in Europe. Since then, the collaborations between these artists have been continuous, always marked by an experimental impetus. The attitude of listening to images and painting sounds was more than a metaphor and became a code that identified them and a way of working, where the crossing of disciplines set the tone, both in video works and in unusual visual / conceptual scores, works of dance and experimental music, in the context of a creative effervescence that renewed the arts and music in Lima in the 70s. Del cuarto rojo is an album that integrates many of the musical resources developed by Mujica. It is an amalgam that well sums up his own language: from the creation of environments with extended techniques and objects, to experiments in jazz fusion; from the use of field recordings and sound montages to compositions with string arrangements: everything around the hypnotic pulse of percussion and drums, which oscillate between moments of subtlety and explosive improvisation. The album features the participation of outstanding musicians such as Pauchi Sasaki (violin), José Quezada (cello), Terje Evensen (electronic effects), Jean Pierre Magnet (Saxophone), Cristobal, Daniel and Gabriel Mujica (sons of Manongo Mujica, on percussion, string and wind arrangements). It is published in vinyl LP and includes a full color 12-page booklet with a sample of Rafael Hastings' visual art, which also illustrates the album cover.

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.

Celebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music hand-picked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings.

Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo record around with you.

Vinyl expert Michael Fremer, of Analogue Planet and Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album.

What separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces, as well as reproducing details that were hallmarks of vintage labels — the "deep groove" label of Blue Note LPs, for example.

The craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. And incorporating computer microprocessors on our presses to precisely control press functions with absolute precision. And an imbedded temperature sensor in the dye cycles the press with just as much control. The result — more consistency in each LP, high fidelity and reduced distortion. The ultimate sonic advantage.

If, among the Afro-Peruvian music groups that have emerged in recent years, there is one that has dared to take the sound to new dimensions, it is Perkutao. Heirs to the best Afro-Peruvian tradition, they have been able to integrate Afro-Cuban elements and various contemporary popular styles, which they play with amazing with speed and precision. "Mis ancestros", is their debut album for Buh Records. Perkutao is an Afro-Peruvian percussion ensemble founded in 2005, directed by Percy Chinchilla, musician, percussionist, zapateador and teacher of young generations of percussionists. "Mis Ancestros" (My ancestors) is their first record under the production of Manongo Mujica and is the fourth title of the collection "Perspectivas de la Música Afroperuana" (Perspectives on Afro-Peruvian Music). Chinchilla shares the artistic direction of Perkutao with William Nicasio 'Makarito', another outstanding percussionist. Both grew up in the famous Callejón del Buque, in the district of La Victoria, a spot preferred by bohemians and known by local music partying -jaranas criollas. Both were also formed in Perú Negro, an emblematic Afro-Peruvian ensemble, and both carry in their blood the cult of percussion and Afro tradition. Chinchilla comes from a family of Afro-Peruvian musicians including Caitro Soto and Ronaldo Campos. And Makarito is the son of Macario Nicasio and grandson of El Niño, legendary Cuban percussionist in charge of introducing congas and bongo to Afro-Peruvian rhythms. Perkutao arose precisely from the merging of these traditions, Afro-Peruvian, Afro-Cuban and Caribbean music, and have become one of the most sought-after percussion ensembles due to the intensity of their sound and their powerful performances that include stage movements and surprising acrobatic skills. In addition to Chinchilla and Makarito, the ensemble is completed by Edu Campos, Andree Liendo and Víctor Sánchez Pitín. "I follow in the footsteps of my ancestors, to the beat of the cajita, the quijada and the cajón, to the rhythm of a zamacueca, a festejo and a good landó". This is an excerpt of the lyrics of "Poema", the opening track of the album, the rhythmic base accompanies Chinchilla's voice and then increases in a crescendo that announces the paths to be explored by Perkutao. "Azañero Colorao", "Trucutum Kiti Pa" and "Cancha con Sabor", composed based on minor percussion (cajita, quijada), zapateo and cajón, respectively, are compositions that serve as an introduction, a tribute to the essential instruments of the Afro-Peruvian tradition. The last one in particular already defines Perkutao's style: a trepidant and orgiastic rhythm, hypnotic and hard hitting, Dionysian and cathartic. With "Madre Africa" and "Al Tayta Bukense", for djembes and congas, respectively, we find Perkutao retaking the Afro-Cuban heritage embedded to the Afro-Peruvian sounds, abakuá and festejo. "Lloraré", a version of a famous Cuban song, mirror the ensemble's fascination with Caribbean music (salsa is another genre cultivated by its members). "Mis ancestros" is an album about a tradition, but it is also a renewal. Perkutao opens a new direction for Afro-Peruvian music, its sound is an evocation and the here and now, it is deep-rooted but freely flowing percussion. Perkutao are Percy Chinchilla, William Nicasio "Makarito", Edu Campos, Andree Liendo y Víctor Sánchez Pitín. Produced by Manongo Mujica y Daniel Mujica. Recorded and mixed by Juan José Salazar at La Encía del Leopardo Estudio, Chorrillos, Lima, Perú. Mastered by Mario Breuer en Sensei Mastering, Córdoba, Argentina. Cover and Design by Yerko Zlatar.

One thing that is written in stone even in these days of near endless uncertainty is that when Topical Disco unleashes one of their vinyl releases they are a no questions asked, must have. For a label which regularly dominates the top spot of the download charts they still consistently manage to up the ante for their vinyl drops. It’s no wonder at all that the previous editions have gone on to become collector’s editions, disappearing from the shelves as quickly as you can say here today, gone tomorrow.

Volume 24 easily keeps this incredible run of club vinyl masterpieces going strong. Packed across two side of black gold are tracks from newcomers and scene heavy hitters alike Toscana, Toby O’Conner, Charly Angelz and Frank Virgilio.

The mysterious Toscana leads the way with the wonderfully enigmatic ‘The Girl With The Red Hair’, a six and a half minute slice of pleasure packed Balearic disco. Incessant, warm and inviting it combines a divine groove heavy bassline, funky guitar licks and a subtle percussive backbone with a rather brilliant stand-out guitar solo. This is a track which is guaranteed to fill those summer dancefloors.

Next up is Toby O’Conner who is returning to Tropical Disco after his lauded ‘The Heist / 1920 EP’ with another high energy slice of disco goodness in the shape of ‘Cave Of Gold’. Again this is classic Tropical Disco, combing both live chops with jazz overtones as throbbing club ready drums provide the framework for a bubbling bassline, subtle keys and sax solo’s aplenty to weave their magic. Expect jazz inspired shapes to be thrown on dancefloors across the globe when this one drops.

Over on the flip is Charly Angelz, another artist who has been making a considerable swirl on the disco scene of late. ‘Mother Phunk’ is very aptly named with an absolute gem of a bassline front and centre as classic funk vocal chops, vibey pads and guitar stabs all combine perfectly with earworm strings for anther sure fire floor filler.

Closing the EP out is scene stalwart Frank Virgilio. Hailing from Napoli Frank has been behind a virtual disco smorgasbord over the five years including regular chart bothering appearances on Tropical disco. ‘What We Love’ tips its hat to the golden era of house music, think 90’s Soulfuric meets MAW. Vibes abound here from the classic drum sounds right through to the divine ethereal percussion which adds that touch of class. This is another track which will sound just perfect on the golden Isle this coming summer, did some-one say Ibizan boat party? We’re onboard!

Today, Toronto-based producer Sven Lochenhoer releases his quirky two-track ‘It Knows’ EP, out now via Dirtybird.

Since 2017, Sven Lochenhoer has been a consistent character among the flock, popping up on various Dirtybird compilations and sub labels over the years. Diving into the depths of house music, Sven Lochenhoer’s ‘It Knows’ EP is reminiscent of Dirtybird’s 2005 origins. Thoughtfully produced, the EP consists of its edgy, club-centered title track and experimental downtempo companion ‘Rain Check’. Each layered with gentle piano melodies, warm basslines, and wonky vocal effects, Lochenhoer has crafted an intricate duality through this two-track project.

The rising Canadian producer first appeared on the scene six years ago. Since then, Lochenhoer has gone on to release records with such labels as Dirtybird, Trippy Ass Technologies, and Dumb Fat. Through his original productions and Splice sample packs, Sven Lochenhoer continues to earn the favorable regard of artists and aural aficionados alike.

‘You’ is the debut album from Irish band Meltybrains?. It has been years in the making - an exploration of the journey of five young men, trying to get from one end of their 20s to the other. Much like the making of the album, this journey was trickier than any of them thought it would be.

This record is for you, from you and of you. It’s an absolute beginner’s guide to the microcosm, the macrocosm and everything in between. It’s also a bit of fun and a pretty good record, combining influences from footwork, drone and j-pop with krautrock, psychedelia and prog.

First time reissue of one of the milestones of independent production in Brazil and one of the greatest achievements of MPB (Brazilian Popular Music) ever that deserves wider recognition, and shines with a depth that makes it an instant classic to our ears!
Features some of Brazil's leading musicians, arrangers, and composers of all time: Wagner Tiso, Mauricio Maestro, Robertinho Silva, Pascoal Meirelles… The songs on this album sound so fresh they could have been recorded today while also retaining the feel of the best post-Tropicalia work of 70s Brazil.

For those into Milton Nascimento, Caetano Veloso, Arthur Verocai… 180g vinyl edition. First time reissue.

DESCRIPTION
This 1982 Chico Lessa album is one of the milestones of independent production in Brazil and one of the greatest achievements of MPB (Brazilian Popular Music) ever that deserves wider recognition, and shines with a depth that makes it an instant classic to our ears!
The arrangements on the beautiful ‘Choveu’ and ‘Me Pega, Me Larga’ can easily bring names like Verocai to your mind. No wonder the album features some of Brazil's leading musicians, arrangers, and composers of all time: Wagner Tiso, Mauricio Maestro, Robertinho Silva, Pascoal Meirelles…
The songs on this album sound so fresh they could have been recorded today while also retaining the feel of the best post-Tropicalia work of 70s Brazil. It has become a much sought-after album in recent times after being rediscovered by top collectors worldwide

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..

Ayahuasca: Music for Film, by Luis David Aguilar (1978-1983) compiles works by Luis David Aguilar, one of the most prolific composers of film scores in Peru. It shows the great versatility and avant-garde style that has distinguished his work. Luis David Aguilar (Arequipa, 1950) occupies a fundamental place in the history of film music in Peru, not only because of the prolific nature of his work (which also includes music for television and advertising), but because of the singular, experimental style found in many of his scores. Aguilar's music blends modern academic composition with the use of native instruments, synthesizers, sound collages and a diversity of resources, which identify him as a key figure to understand a period of Peruvian music marked by the imprint of the avant-garde and the use of native sounds, which developed during the late 70's and the early 80's. Aguilar belongs to the so called "Generation of the 70's", along with Peruvian composers such as Walter Casas, Seiji Asato and Aurelio Tello, who were then immersed in the languages of contemporary classical music. But he also shares the spirit of renewal of a generation of musicians who came from the world of jazz and electronic experimentation such as Manongo Mujica and Arturo Ruiz del Pozo. Ayahuasca is an album that collects pieces from 1978 to 1983 and offers an overview of the different musical paths that Aguilar followed during his career as a soundtrack composer. The album opens with music from the film El viento del ayahuasca The Wind of Ayahuasca (1983), by director Nora de Izcue, performed by the National Symphony Orchestra and Choir of Cuba under the baton of Luis David Aguilar, with Chucho Valdés on piano. Recorded at the ICAIC studios (Cuba), it is an ambitious orchestral and vocal composition, in which you can hear the beginning of the famous melody of "Mujer Hilandera" [Female Weaver], popularized by the Amazonian cumbia group Juaneco y su Combo, which serves as an introduction to the sound world of the jungle, a dense and hypnotic atmosphere that, without a doubt, places this work as one of the most important compositions of the author's repertoire. The next track is the music for the documentary Anónimo cotidiano [Anonymous Everyday] (1979), by director Jorge Rey, a unique experimental piece for synthesizers (played by Aguilar), drums and percussion (played by Manongo Mujica), with the addition of various Andean instruments (panpipes, charango, among others). It is a clear example of fusion of sound experimentation and timbres from the Andean world. And finally Los constructores [The Builders] (1978), by director José Carlos Huayhuaca, a salsa which incorporates unusual sounds of tubular bells and prepared pianos. Ayahuasca: Music for Film by Luis David Aguilar (1978-1983) is the second album by Aguilar released by Buh Records, following the celebrated Hombres de Viento/Venas de la Tierra (1978-1982), appeared in 2015. The album is published in vinyl format, in a limited edition of 300 copies, as part of the Essentials Sounds collection. It includes a booklet with notes by Luis David Aguilar. The audio has been remastered from the original reel tapes by Aldo Montalvo. The artwork and design is by About Studio.

Although Los Hermanos Ballumbrosio are one of the most emblematic groups of Afro-Peruvian music, no single recording has been able to portray the essence of the group... Until now. "Homenaje a El Carmen" ("Homage to El Carmen"), their debut album for Buh Records, sets the record straight: it captures the true spirit of the musical tradition of El Carmen, a city located a few miles to the south of Lima that is home to the largest black community in Peru. Songs based on percussion and zapateo bring back the memories and experiences of a culture that has produced one of the greatest treasures of Peruvian music. "Homage to El Carmen", the third volume of the series "Perspectives on Afro-Peruvian Music", signals the return of the group to the recording studio, and also to the sources of rhythms such as festejo and panalivio, which they interpret with cajón, quijada (jawbone), congas, bongo and batá. The result is a distillation and a testimony of the memories and experiences that portray the cultural universe of El Carmen. We have access to a selection of traditional songs that are heard during the festivities, such as "Guanchivalito", which is played during the Yunza Negra, a ceremony in which a willow tree is cut to bring benefits to the community. "Panalivio " and "Serrana Vieja" are two traditional Christmas carols that are played in the "Hatajo de Negritos" and which reflect the syncretic character of the Afro-Peruvian culture. These songs speak of the difficulties of rural life, but they also serve as a vehicle to demonstrate the Ballumbrosio brother's mastery in the art of zapateo, a dance that is accompanied by violin and bells. The classic "La Esquina de El Carmen" is perhaps the song that best expresses the erotic character of festejo, also known as baile de cintura (waist dance). "Homage to El Carmen" is the highly anticipated return of the Ballumbrosio brothers to the recording studio. They have become indisputable references of Afro-Peruvian music and have displayed their sound and dances around the world. It was time for an album that portrays the essence of the group: a collective spirit, where the tutelary image of Amador Ballumbrosio always shines, and which traces a history from Africa to El Carmen. This album is published in vinyl format in a limited edition of 300 copies. Include 8 full-page booklet with liner notes in Spanish and English. Produced by Manongo Mujica and Daniel Mujica. Cover by Yerko Zlatar.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.