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Since his debut album “Transsiberian”, Thylacine has developed a taste for composing through travel, an initiatory project that led him to compose during his journey on the Trans-Siberian Railway. A seminal album that allowed the young electro prodigy to make a name for himself on the electronic scene.

With the aim to combine music and image and to make us discover his world through travel, Thylacine has continued to climb the ladder and has racked up no less than 121 million streams. Whether it's "Anatolia", "Olatu", or "War Dance", Thylacine has made a name for himself by writing real hits.

Through "9 Pieces », Thylacine wanted to pay tribute to some iconic tracks that are currently only released digitally and independently and to let us discover his new compositions, all of which are just as transporting and refreshing. His new opus “9 Pieces” will contain unreleased tracks from his latest travels and encounters, pieces to be assembled in order to reconstitute a puzzle and immerse oneself in the universe of Thylacine.

Like this object, each musical piece will find its place alongside his greatest hits. "9 Pieces" will be released the 21st of October on Intuitive Records.

More solid UK boogie & brit-funk courtesy of Freestyle Records - this time giving the 12" reissue treatment to short-lived group Cool Runners' 1982 single Checking Out, backed up with sought-after High on a Feeling.

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As Cool Runners' Paul Tattersall recalls, "this single was a follow-up to the "Play The Game (So You Think It Funny) / Hawaiian Dream" 12" which we believe got to around number 60 in the national charts, and was at the time heavily played on the radio by DJ Greg Edwards who sadly passed away earlier this year..." Recorded mixed and mastered then licensed for release to MCA, this initial single also relased in 1982 was voiced by Tony Jackson, then part of Paul Young's backing band as his career took off in the charts. Tony formed part of a string of funk groups throughout the 70s and early 80s - Sweet Dreams, Midnight, Ritz & Indigo - and later went on to be successful as lead singer in Rage.

These tracks "Checking Out" and "High on a Feeling" on the other hand features the vocal talents of Rush Winters, who would go on to record with the likes of Carmel, Yello, D.C.Lee and others. "It received little in the way of promotion by the record company at the time", Tattersall continues "so it has produced a cult following and has become rather sought-after, as few copies were actually released at that time."

After release, Cool Runners' Paul Tattersall and Chris Rodel then played with several different bands, with Chris moving onto double bass. He still plays professionally today as an accomplished jazz bass player. Paul has run a successful musical hire company in North London, with a specialism on synths and keyboards, since the eighties - and continues to this day.

Max Loderbauer’s career in music spans the last 3 decades, yet he’s still managed to keep his listeners hungry by releasing only 3 solo albums to date. Two of those releases (Transparenz, 2013 and Donnerwetter, 2020) were on Tobias Freund’s label Non Standard Productions - his long time collaborator and Templehof studio mate. In between those releases, Loderbauer graced Marionette with Greyland in 2016, revealing a previously unheard youthful and sentimental side. Now in 2022, the seasoned mind voyager is back with Petrichor, making yet another rare and treasurable solo appearance.

Petrichor distills the elements of Loderbauer’s work that are fundamental to the initiation of the label. With his Buchla, modular synth, and Haken fingerboard, Loderbauer’s improvised studio maneuvers dilate into imagined journeys from glacial peaks into the exosphere. This is Maxi at his most exhilarating state, morphing through bittersweet and optimistic soundscapes to bleak moments of throbbing unease - all while maintaining a sense of grace and elegance. Petrichor is a reflection of Loderbauer’s impactful trips to the mountains, and returning from these summits with an electrifying urge to paint this mighty perspective. The harmonies and melodies on the tracks simulate emotional peaks and valleys, with vibration and rhythm rooted in the foundation of the sound, as though it's woven into the fabric of the fauna and flora.

Legendary collaborations like Vilod (with Ricardo Villalobos), the Moritz Von Oswald Trio, Non Standard Institute, Sun Electric in the early nineties, and the newly formed Ambiq ensemble have gained this unique artist the respect of the underground and avant garde scenes alike.

Massimiliano Pagliara returns to Permanent Vacation with his fourth studio album "See You In Paradise". After the highly acclaimed "Nothing Stays In One Place For Long" EP from 2020, this is the first full-length from the Italian-raised and Berlin-based producer for the label. Albums in the dance music genre can often be a challenge in terms of finding the right balance between the dancefloor and listening at home. Massimiliano, however, mastered this craftmanship perfectly while reviving the art of the album format.
Mostly written and produced in the lockdown period of spring 2020 these 10 tracks offer the whole sonic spectrum from the "Massi universe". The hardware enthusiast blends analogue-heavy and bright synthesizer melodies, pop hooks, Chicago house groove with more technoid tracks and atmospheric soundscapes. Taking you on a journey through his mind, body and soul: From his underground disco passion and pulsating dancefloor moments to ethereal and meditative ambience.

Inspired, both musically and aesthetically - one of his favourite carnal catchphrases titles the album - by Disco hero Patrick Cowley, Massimiliano channelled past, present and future in searching for new adventures within his music. For the first time working with live musicians (saxophone and piano) to bring a new facet on the table, that flows with the production seamlessly.

Communication and getting into a dialogue is a crucial part for Massimiliano as an artist. Whether it used to be as a ballet dancer, as a DJ, most prominently as a resident of the legendary Berghain / Panorama Bar, a producer and in collaboration with other artists and musicians: Maestro Massi has gathered an illustrious group of friends and like minded artist such as Snax, Fort Romeau and Init (with whom he has worked before), as well as new collaborators including Curses, Coloray and Vanessa. Under the artistic direction of Massimiliano each artist was able to bring his own unique talent into the album's coherent production and together with Massimiliano they created something that is more than the sum of its parts: A refuge full of beauty and harmony and free from worries in an upside down world. In other words: "See You In Paradise”

Delia Derbyshire's work at the BBC's Radiophonic Workshop in the 60's was recognised initially for her realisation of the now iconic Doctor Who Theme which was written for the show by Ron Grainer. More recently though, she has been celebrated for her own compositions and experiments at what was then the cutting edge of electronic music. The AA side, Blue Veils and Golden Sands, was written for a TV documentary in 1967, a composition in which she used her own voice and a handy green BBC lampshade: "I analysed the sound into all of its partials and frequencies, and took the 12 strongest, and reconstructed the sound on the workshop's famous 12 oscillators to give a whooshing sound. So the camels rode off into the sunset with my voice in their hooves and a green lampshade on their backs."

On the A side is The Delian Mode, which was used as incidental music during The Sky At Night in 1969, finding critical acclaim in Gramophone Magazine's review of the album BBC RADIOPHONIC MUSIC (often known as The Pink Album), in September of the same year: "… Blue Veils and Delian Mode are probably the finest music here. It may be no accident that the latter is reminiscent of the beginning of Xenakis's OrientOccident for Delia Derbyshire follows the analytical approach of the more sustained electronic compositions. If her best pieces seem the most imaginative here—and they are—it is because she more fully explores the implications of her material."

A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now_and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentintian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America_and its intersection with various strains of electronic music_but Uji taps into traditions_both musical and spiritual_that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. FOR FANS OF: Floating Points, Four Tet, Oneohtrix Point Never, Actress, Nicola Cruz, Dengue Dengue Dengue, Nicolas Jaar, Mount Kimbie, Mucho Indio.

Alice Boman’s second album, available on CD housed in
digisleeve and booklet, and translucent coloured vinyl
housed in single sleeve with printed inners.
 Imbued with an enveloping warmth which radiates from
Boman’s gossamer-light vocals, ‘The Space Between’
ruminates on intimacy and existential angst, her quiet
contemplations cocooned in sympathetic arrangements
created in collaboration with producer Patrik Berger
(Robyn, Lana Del Rey).
 For ‘Feels Like A Dream’, additional vocals were provided
by Perfume Genius, a collaboration that came about via
Instagram and was recorded at a distance.
 “I have been a fan of his for a long time,” Boman explains.
“I love his voice - it’s so special. Initially I wanted us to
harmonise with each other but I love how the song turned
out, with us each having our separate verses, and singing
together at the end.”
 With vocals left largely unadorned throughout, the focus
falls squarely on Boman’s lyrics, which were written from
the deeply personal perspective of someone settled within
a relationship, and learning to be vulnerable with their
partner.
 The album is very much a journey, charting Boman’s
progress from fear (‘Honey’, ‘Maybe’) to the ‘place of
tenderness’ she ultimately arrives at on ‘Space’, the
album’s exquisite closing track. It’s a journey she hopes
listeners will share in, finding comfort in community.
Because, as Boman knows all too well, when life gets too
much, there’s always music.
 For fans of Aldous Harding, Angel Olsen, Sufjan Stevens.

After a crush at the Brussels World Fair in 1900, King Leopold II decided, for his own personal pleasure, to have the Japanese Tower and Japanese Gardens built. In order to create this little relocated Asian paradise, he had the wood, sculptures, paintings, ornaments, trees, workers, and their know-how imported. For a few years, he invited his entourage to enjoy it during large banquets and private receptions. He then had the idea of transforming the Japanese Tower into a luxury restaurant, but he died. This magnificent place remains closed to the public except during an annual opening.

"A Story of a Global Disease" is a short tale about artificial paradises of globalization, a melancholic walk through the exotic relics of free trade, where whim, appropriation, and appearances take precedence over otherness. Here, geishas eat chips, Europeans confuse Tokyo and Beijing, and tribal ceremonies begin with samples and drumkits.

These tracks have been initially recorded for the “ON THE GO” Beursschouwburg’s project in Oct. 2020. It has been originally and properly released on shiny pinky tape by the fantastic Bamboo Shows imprint and includes an unreleased track (Walk With Your Romance).

Naomie Klaus is a young artist from Marseille based in Brussels. In love with performance, constantly flirting with cinema and acting, Naomie seems to conceive her music as a big playground, a free zone of mischief in which she likes to experiment and interpret different identities, different characters. The result is funambulistic, a hybrid and synthetic form of a thousand influences that we can't really characterize: 90' Techno, loud Trip-hop, languid Pop, nonchalant Post-punk, dracular mass... Naomie Klaus doesn't know on which foot to dance and invites us to join a zone of in-between, has fun to plunge us in her strange tales for adults, where the princesses we meet are armed, hysterical, nymphos and badly dressed.

Following a B.F.E proposal to release on a limited vinyl edition, Teenage Menopause from France & Moli Del Tro from Brussels joined the project. Rude66 remastered these gems and Harrisson made the artwork.

Isokratisses (Greek for "women who sing the "iso" or "drone") is a vocal ensemble comprised of eight women who carry the ancient tradition of polyphonic songs from Epirus: a region in northern Greece and southern Albania. Born and reared in the Greek speaking villages around Deropoli and Politsani in Albania, the women of Isokratisses have sung these songs since childhood. The group ranges in age from 19 to 56 with some sisters in the group as well as an aunt. They were nurtured by this archaic music, listening and singing it with their family and friends. The songs were passed down from generation to generation. The group started its artistic activity in 2015, after the singer Anna Katsi took the initiative to encourage the younger members to perform regularly. The communal nature of polyphonic singing is a way of revitalizing an art that has declined in recent years and to reassert the primacy of female voices in the southern Balkans. Singing these songs builds an invisible bridge that connects the present with the past, the memories of childhood travel with the immediacy of daily life. On Oct 14, 2022, Third Man Records will release a full album of these solo polyphonic songs, with Grammy-winning producer Christopher King. "It is social music, woven into the fabric of poor, marginalized, and disenfranchised communities. Many of the songs are variations of mirologia (songs of fate, songs of morning) that used to be sung throughout the southern Balkans but have largely disappeared on an informal cultural level except for Epirus. Structurally, the songs are pentatonic (five notes with no semitones) and are composed of three or four distinct melodic voices that weave together in an organic yet unexpected way. The remaining members of the group provide the iso or “drone” that is the low tonic note of the melody." - Chris King.

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. Beauty For Ashes was named as the best reggae album of 2014 according to iTunes. A monumental achievement for undiluted, uncompromising RasTafari roots reggae music this side of the millennium. Two of the LP's tracks, Weather the Storm and Same I Ah One, have been catapulted into global notoriety in part due to the viral success of the YouTube video of the 'Dub in the Rainforest' session organised in St. Croix by Tippy I in 2014. The video offered an unparalleled audio visual insight of the powerful, captivating, energy of Vaughn Benjamin, Pressure Buss Pipe, Ras Batch, and many of the bredrin and sisterin of St. Croix rallying around the I Grade Dub living dub experience.

Following 8 years of anxious anticipation, for the countless Akae Beka fans that are also vinyl connoisseurs, this LP is now being released on as a 12" vinyl LP courtesy of Before Zero Records. This offers the listener not only the chance to enjoy this LP in an analogue form, but also the chance to hold the artwork as a 12" square masterpiece, created by the hands of Ras Marcus, the artist who gave the powerful visual presence that became synonymous to much of the I Grade / Akae Beka works over the years.

Pure Wicked Tune is a mixtape-style collection of extracts & cut-ups, taken from DIY cassette recordings featuring rare groove and "soul blues" soundsystems playing at early morning house parties and blues dances - mostly in South & East London - between the mid 1980s & early 90s.

Sounds like Funkadelic, Touch of Class, Latest Edition, JB Crew, Manhattan, 5th Avenue (and the many more featured on this tape) originally began to form in the mid-1980s. With lovers rock dwindling, and the reggae scene becoming dominated by harder digital-style dancehall, these sounds provided a tight but loyal crowd with a potent alternative - playing a mixture of killer rare soul, funk and boogie records in an inimitably reggae soundsystem style, complete with toasting, sirens and effects aplenty.

They were most well-known for playing at house parties and blues dances, typically in small flats or warehouses, with timing of such events generally running from the early morning hours until late the next afternoon. Though the popularity of the sounds faded following the dance music explosion of the early 1990s, there has been continued demand for revival sessions ever since. Whilst the influence of key British reggae & dancehall soundsystems on subsequent UK sounds like hardcore & jungle is relatively well documented, a similar line can just as easily be drawn from these sounds and the aforementioned styles' tendency toward sampling popular rare groove cuts, particularly well evidenced in the work of Tom & Jerry, 4hero, Reinforced & LTJ Bukem among others.

This represents the first outing in a series of collections exploring the sounds of UK soundsystem culture, via extracts from archival DIY cassette recordings of blues parties, dances & clashes made between the late 70s and early 90s. Often duplicated and shared widely, these ruff and ready "sound tapes" provided keen ears with music that wasn't otherwise readily available on the airwaves or in the record shops, and would go on to leave a deeply-rooted but too often overlooked influence on the UK's musical landscape.

2022 Repress

Junior Ross and The Spears are another great Jamaican Roots group that have been nurtured under the guidance of fellow Jamaican, producer and singer Tapper Zukie.Who not only gave the singer and his band their name but recorded, produced and released their records on his own 'Stars' imprint label.

Junior Ross (Clifford Palmer, b.7 Sept 1953, Kingston, Jamaica) grew up alongside his brothers Frankie Jones and Roy 'Soft' Palmer, who in turn had entered the music business alongside future roots singer Price Alla .

Prince Alla had formed a group called 'The Nazarines' with Roy Palmer and Milton Henry, so music was all around Junior Ross and he would soon follow in their footsteps and start recording some of his songs.

This album you have here had its initial release in 1992...We have added to it various dub versions that were b-sides to the singles and extended recordings again produced by Tapper Zukie.

So you have the Junior Ross and the Spear's classis album and its related musical accompaniments all in one place and sounding better than ever...

We hope you enjoy this classic roots set....

DUBFIRE ANNOUNCES HIS DEBUT SOLO ALBUM ON HIS SCI+TEC IMPRINT
With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy award (2001) winning duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works ‘Ribcage’ (2007), ‘Emissions (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Exit’ (2014) a debut collaboration with Kiss Kitten. Collaborative work highlights include Luke Slater, Moscoman, Oliver Huntemann, Chris Liebing, Tiga and co-producing two tracks on the legendary Underworld’s ‘Barking’ album. A true artist, he has always been heavily invested in exploring boundaries or audio and visual technologies, which he displayed more than ever with his HYBRID show. A two-year world tour with a goal to reinvent the concert experience in 2015, also became his muse for his retrospective album ‘A Decade Of Dubfire’. A collection of all his biggest tracks and remixes from the last decade, released in 2017. It may come as a surprise to many, with so many landmark releases, that Ali ‘Dubfire’ Shirazinia hasn't yet released a totally solo album, until now.
EVOLV is an 11-track visionary into the mind of Dubfire to be released on his long-standing label SCI+TEC. It’s concept? The journey of the ‘hybrid’ being and its evolution, which kicks off with ‘Dark Matter’ and ‘Dust & Gas’ set a brooding atmosphere. The rougher percussion, and eerie lead in ‘Dark Matter’ is accompanied by a stripped back sound and glitchy vocals sitting in a spaced-out atmosphere in ‘Dust & Gas’. Its deep and minimal drum work is exceptional. ‘Escape’, a deep, dark and pulsating track that sets the tone for the body of work on the album. Coupled with ‘Elevation’ and it’s understated arpNew Release Information and crisp percussion for the second single. ‘Bottom Dweller’ give you two different versions, the original is straight forward, yet effective for a late-night head down cut, where the ‘Meltdown Mix’ takes a minimal path, and faster pace. ‘Swerve’ sees Dubfire return to that stripped back sound with heavy swinging
percussion, a landmark and much-loved element in his music. Sonically, the journey so far has been like a dystopian landscape, but ‘Decent’ brings a kaleidoscope of colour and sound before dropping into the ‘CHALLNGR’ duo. ‘CHALLNGR 1.1’ is perhaps the most contemporary track on the album. Dubfire picks up the rhythm for a full-on dancefloor focused track. It’s no-nonsense techno at its best, with heaps of pure energy. Two versions appear on the album, ‘CHALLNGR 1.2’ retains the BPM but reigns in the percussion with a snappier approach and a more euphoric warped effect. Closing out, is a special digital only track ‘The Bells Tolls’. This one drives the energy back to ground level, into a more unsettling and mysterious end to a killer 11 track debut album. The music will also be accompanied by a new audio-visual show from the revered DubLab team based in Portugal. Test shows at DGTL (Amsterdam),
Caprices (Crans-Montana) and in Sofia between 2018 and 2019 had created lots of buzz just before the COVID-19 pandemic shut the world down for two years. But now the stage is firmly set for the new album
and live shows. As music evolves, so does Dubfire. EVOLV is a special project from this pioneering producer showing his interpretation of techno in his own unique vision.

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice. Initially released in 2015 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice is finally available to fans everywhere. The first in a series of EP releases, Lice featured production from DJ Spinna, Optiks, Blockhead, Alex "Apex" Gale and Mike Shinoda. The original cover art was designed by renowned illustrator Jeremy Fish.

Initially released in 2016 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice Two: Still Buggin' is finally available to fans everywhere. The second in a series of EP releases, Lice Two: Still Buggin' featured production from Dan Hayden, Mondee, Aesop Rock, SoberMindedMusiC and Mono En Stereo. The original cover art was designed by renowned illustrator Jeremy Fish. Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Triple Fat Lice is finally available to fans everywhere. The third in a series of EP releases, Triple Fat Lice featured production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris and M Slago. The original cover art was designed by renowned illustrator Jeremy Fish. Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

‘Damned Damned Damned’ is now available on yellow vinyl for National Album Day. The Damned blazed a trail when they became the very first British punk band to release a single (New Rose) on 22nd October 1976, which was swiftly followed by the release of the very first British punk album, their classic debut long-player Damned Damned Damned, originally released by Stiff Records on 18th February 1977. Charting at 36 in the UK upon release the album has reached legendary status over the 45 years since it's initial release. At just half an hour long, Damned Damned Damned is a stone cold classic of rock & roll fire and coupled with the band's take-no-prisoners aesthetic, the Damned left rhetoric for the theoreticians and political posing for the Clash. All the foursome wanted to do was rock. The original line-up of Dave Vanian, Captain Sensible, Brian James and Rat Scabies regrouped last year and will perform the album in its entirety this coming November on a one off tour.

Coming off the back of covers on CRACK and PERFECT Magazine cktrl announces his highly anticipated new EP Zero. The producer and multi-instrumentalist shares his latest blend of contemporary-classical and electronic R&B that features a collaboration with GRAMMY Award-nominated singer, songwriter 'Mereba' with artwork captured by multi-award winning Campbell Addy. The follow-up to last year’s critically acclaimed EP ‘robyn’ which charted a journey from heartbreak to optimism, ‘zero’ is a tender exploration into love. As a genre-spanning artist whose music waives between R&B, jazz and neo-classical, cktrl’s latest record builds on his emotive sound whilst leaning towards a more electronic-tinged style of production with stunning featured vocals. On the project, cktrl says: "ZERO allowed me to explore my journeys in knowing love. And as a result I now know that I need to allow myself to let my relationships be what they're meant (to manifest organically) free of expectations and without dreams of an idea of someone. Past hurt definitely informed my decisions but it was so crucial for me to grieve those feelings from ROBYN and learn how to be gentle with myself. Just to be able to feel something new, loving again is always different and exciting, once you can open up. ZERO is that journey of ending up back where you started but different, loved and willing to give." The EP opens with the touching ‘mazes’ - initially released back in May via a beautifully crafted video courtesy of Yasser Abubeker. On this cut cktrl’s skills as a saxophonist immediately shine through as he portrays the complexities of loving someone through all its twists and turns. On title track ‘zero’ cktrl links with Ethiopian-American musician Mereba for a forward-thinking yet delicate collaboration that effortlessly meanders between cktrl’s various musical influences, before ‘felt’ provides a luscious display of soulful soundscapes. Accompanied by the angelic vocals from rising artists Anaiis, Annahstasia & Anajah, it’s a blissful celebration of love. The project closes out with ‘safe’, a contemporary R&B banger backed by a bass-driven beat and rich vocals, framing ‘zero’ as a stimulating collection of tracks that expand cktrl’s impressive repertoire of talent.

We are proud to present the official 40-year anniversary issue of Imagination's debut album Shake It. Remastered from original tapes, this deluxe edition is a double vinyl LP with gatefold sleeve, featuring a newly available lyric insert.

Shake It covers a diverse spectrum of styles and sounds, all combining to a unique soulful amalgam that ranges from sunshine AOR funk ("Mornin' Lights") and leftfield disco ("Strawberry Wine") to psychy, epic, downtempo, vocoder grooves ("Can't Stand Without You") and more. Originally released in 1980, it fast became one of Germany's most collectible privately-pressed LPs.

Shake It was the creation of young thoroughbreds working hard on becoming professional musicians, trying to take their next big step in the music business. Starting out as a pure jazz-rock combo in the mid '70s (as we hear on the recently released lost studio tapes, I'm Always Right (The WDR Tapes 1977)) Imagination left behind their instrumental roots, incorporating new musical trends and styles.

Uwe Ziss, their saxophonist and flutist, became one of two lead singers in Imagination. He would be joined by the younger Roger Mork, a student of original guitarist Willi Hövelmann, around 1979. Roger's voice would best be heard on the aforementioned "Mornin' Lights", one of the various standout tracks on Shake It. However, there is much more that this album offers.

There are brilliant soulful soft rock ballads like "Clouds Flee Before The Wind" and "Waitin for your Call" or the catchy "California" song that switches from a dreamy Westcoast sound (as the title implies) to danceable rhythm & blues with equal ease. Last but not least, we have unearthed three unissued bonus cuts. On one, the demo take of "Clouds Flee Before The Wind", we hear, for the first time ever, the original refrain of this song, which, for some strange reason, was taken out from the final mix on Shake It.

When all eight original songs were recorded and mastered in June, at the well-equipped West Aix-La-Chapelle studio, the stage was set for Imagination's long-desired career push. They'd initially press about 2500 copies of Shake It selling it mainly, locally, directly to their hometown fanbase in Düsseldorf. Meanwhile, their manager would attempt to arrange a record deal with a music label. Unfortunately, this became more difficult than expected. Negotiations with a smaller publishing company were made by Imagination, and Shake It was repressed on Nash Records in 1981 without their consent, under the false promises of a nationwide promotional tour which would never come to fruition. At the same time, the group would face a UK band under the same name achieving mainstream success, making it difficult (not to say entirely impossible) to perform as "Imagination". Though the band would remain active after Shake It, they'd split shortly after Nash's duplicitous reissue hit store shelves.

Luckily, through time, Shake It itself has remained worthwhile, creatively, for those who stumbled upon it and financially, too, becoming quite the sought after gem in record collecting circles. This deluxe anniversary double vinyl issue makes the LP available once again at a far more reasonable price, featuring the original, illustrious, eye-catching, Roy Lichtenstein-influenced banana art, as well as previously unavailable press pictures and more.

With "To the Westcoast / My Fate (Revisited)" by Ara Pacis we are proud to officially release two of the most exciting AOR tracks hailing from Germany.

Ara Pacis, a group from the island Föhr in the North Sea, was originally founded in 1971. Initially influenced by blues and classic rock by The Rolling Stones, The Who, and the like, they were also inspired by bands such as Steely Dan as well as the German/British group Lake. However, Ara Pacis created a style of their own when their privately pressed and self-distributed "To the Westcoast" LP was released in 1979. The songs were mainly characterized by two-part guitar riffs by Töns Brautlecht-Deppe and Wolfgang Schiffner, who also were the core songwriters of the band.

The freshly remastered single starts with the title track "To the Westcoast". Due to its sunny and yacht-y vibe it is easily amongst the best and most authentic tunes out of the "Westcoast rock" genre recorded in Germany. With family connections in California, lead singer Töns Brautlecht-Deppe was able to create and capture the feeling of the Pacific sea shore just perfectly.

The single is backed with a revised studio version of "My Fate". Here, lead singer Töns Brautlecht tells his story about getting into playing guitar as a young boy. The track is also featured on the album but the version we present on the 7" vinyl is an unreleased, even quite funky and more powerful take. It was recorded in 1981 at the Rüssl studio in Hamburg where Brautlecht had just started to work as an engineer.

As the "To the Westcoast" LP was released during a time when styles like New Wave, Synth Pop and Punk became popular in Germany and the interest in organic and soulful rock declined, Ara Pacis' debut remained relatively unnoticed until today and even the Krautrock collector's scene does not seem to be fully aware of this hard to find gem yet of which only 1000 copies were originally pressed. The band is still kept in good memory by their fans as a quite legendary live act and although they officially split in 1982, the group still served their fan base with revival concerts in 1990 and 2002 plus a website with full band story and lots of images from the early days.

We hope this single sheds new light on this great band. It is limited to 350 copies and released in a beautiful picture sleeve which shows the original LP artwork.

Welcome to Retropolis! Known for the inimitable Can’t Stop with Coloray, an unhealthy obsession with vintage music machines, a baroque style in the use of synthesizer melodies and a forewarn-looking approach to the past, Chris Barratt’s music as Eagles & Butterflies can be as fun-loving as melancholically beautiful. For his long overdue debut on Running Back, the english man dishes out a bit of both in a healthy bowl of broth.

Retropolis is not only the direction giving title, but bold and bonny at the same time. That its working title was Italo should tell you all you need to know. Suitable for big rooms, major moments, minor miracles and sophisticated car chase scenes alike. Faster takes off in another direction. Imagine two people falling in love during a bumper car ride – heartfelt vocals included.

On the flip side E&B follows a similar state of equilibrium. Like the highs and lows and ups and downs in a John Hughes movie, it also showcases the characteristics of two synthesizer classics: the exuberant piano version of Juno Ninja (please look at the digital release for a version devoid of it) offsets the poignant and plangent vibe of CS-80. In summary: made with lots of synthesizers and for fans of keyboard music. And always keep in mind: the future sounds and looks better than you think!

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2016 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice Two: Still Buggin' is finally available to fans everywhere. The second in a series of EP releases, Lice Two: Still Buggin' featured production from Dan Hayden, Mondee, Aesop Rock, SoberMindedMusiC and Mono En Stereo. The original cover art was designed by renowned illustrator Jeremy Fish.

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Triple Fat Lice is finally available to fans everywhere. The third in a series of EP releases, Triple Fat Lice features production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris and M Slago. The original cover art was designed by renowned illustrator Jeremy Fish.

THE NEW STUDIO ALBUM FROM THE JAPANESE LEGENDS - AN OPUS
OF DARK & ECLECTIC BLACKENED HEAVY METAL, SHROUDED IN
TRADITIONAL EASTERN INFLUENCES..
Cult Japanese black metal legends Sigh formed in 1989/90, featuring
mainman Mirai Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought in & Sigh set about
recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence
Productions, going on to become one of the country's greatest & most revered
metal exports. With a journey through the strange & the psychedelic,
incorporating a whole eclectic mix of genre styles & experimentation throughout
their career, Sigh has remained a vital creative force in the avantgarde field whilst
maintaining their old school roots.
'Shiki' marks the latest chapter in the Sigh legacy & includes some of the band's
heaviest & darkest material for some years; a fine hybrid of at times primitive
black metal akin to early influences such as Celtic Frost amid more epic melodic
heavy metal riffing & solos. The album also utilises a whole host of instruments
to give further texture & dynamics to the compositions & eerie atmosphere,
incorporating traditional oriental instruments such as the Shakuhachi & Sinobue
flutes.
The word "Shiki" itself has various meanings in Japanese such as four seasons,
time to die, conducting an orchestra, ceremony, motivation, colour. The two
primary themes for the album are "four seasons" & "time to die".
The concept & artwork is based around a traditional Japanese poem & on 'Shiki'
Mirai explores how at this stage of life he himself is going through Autumn, with
Winter coming soon & so empathises with the contrasting sentimental feelings
from watching cherry blossoms (a symbol of spring) in full bloom.
Joining Mirai & Dr Mikannibal for this release are Frédéric Leclercq of Kreator,
plus US drummer extraordinaire, Mike Heller of Fear Factory, along with an
appearance by long-time member Satoshi Fujinami on bass. 'Shiki' was recorded
across multiple studios & mixed & mastered by Lasse Lammert at LSD studios in
Germany.

The French neo big band celebrates its 10th anniversary with a live
concert broadcasted live on the French radio station France Musique.
The genesis of this one is an ode to the explorers who went to visit "the
ends of the world", the North and the South poles
Between icebergs, extreme cold, icy waters, infinite landscapes, clear skies and
current and crazy expeditions as led by Jean-Louis Etienne with Océan Polaire.
POLAR STAR embodies the visual and soundtrack of these crazy epics: a music
that is at the same time intimate, fragile and epic, and sometimes abyssal to
escape in a dreamlike exploration movie.
It is an "awareness" album, taking care of the extreme beauty of the world, but
also a message full of hope: to be amazed and to continue to be. POLAR STAR
reveals a new breath, at the same time powerful, sensitive and luminous. It is an
epic whirlwind that immerses us into the depths of a progressive jazz with rock,
electro, and sometimes pop fragments.
"We love what amazed us and we protect what we love" Jean-Yves Cousteau

On her previous albums "Ina Forsman" (2016) and "Been Meaning To Tell
You" (2019), she initially established herself as the powerful voice of her role
models. On "All There Is" she ignites a new level of her expressively introspective
self-realization by completely arriving at herself. The isolation associated with the
lockdown may have encouraged this development, but the young singer had
powers that wanted to be unleashed anyway.
Life is complex and what we perceive as a moment is nothing more than a
gondola on the cable car between the past and the future. Ina Forsman's songs
take us back to our memory and, through the power of her voice and imagination,
carry us towards our hopes and expectations. An album about and for life in its
endless creative diversity.
Pressed on 180g vinyl.

The Southern state’s musical giants have always had their own distinct recipe for
American roots: spiced with jazz, steeped in swamp-blues and cooked up a little
differently by every artist who performs it. As a second- generation child of the
Bayou State, Kenny Neal has taken his own inimitable guitar, gale-force harp and
roadworn voice all over the globe. But in 2022, the Grammy- nominated blues
master’s latest album, Straight From The Heart, finds him drawn by the siren call
of his hometown and musical ground zero, Baton Rouge.“This is the first album
I’ve ever recorded on my own turf, and it truly came straight from the heart,” says
Neal, who both led and produced a crack team of local musicians at his own
Brookstown Recording Studios. “All the tributaries of the blues converge here,
flowing into one rich tradition.”You’ll hear all of Neal’s travels in Straight From The
Heart, but this latest album brings it all back home in every sense. Lining up in the
studio alongside his Baton Rouge compadrés, the respect that Neal commands
on the scene also drew some special guests, including hot- tip blues sensation
Christone ‘Kingfish’ Ingram (who co-writes and plays stinger guitar on Mount Up
On The Wings Of The King), pop royalty Tito Jackson (on Two Timing) and two
songs with Rockin’ Dopsie Junior & The Zydeco Twisters. You’ll even hear Neal’s
supremely talented daughter Syreeta drive the vocal outro of Two Timing.“It was
like a family reunion,” says Neal of the good-natured sessions. “It was excellent
because I had all the musicians that grew up under me here in Baton Rouge. And
just being in my own studio, not worrying about the clock.”Straight From The
Heart is a fitting title for a record that salutes the many loves of Neal’s life.
There’s the brass-driven opener Blues Keep Chasing Me, which tips a hat to his
recently departed friend, Lucky Peterson. There’s the touching piano-led Someone
Somewhere, which salutes his beloved father, harp master Raful Neal, who put
him on this path. Elsewhere, Neal’s deep love for every side of his home state is
underlined by the zydeco chop of Bon Temps Rouler and New Orleans, whose
lyrics reference everything from “sippin’ on Hurricane” to “sittin’ on the Bayou
catching catfish”. Faced with such an open-hearted record, it’s impossible not to
reciprocate. And as the world opens up and Kenny Neal embraces his natural
habitat of the road, this Louisiana icon will bring a little bit of that Baton Rouge
spirit onto every stage he treads. “It don't cost nothing to share a little love and a
little respect,” he says. “And we can all rise above…”

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

Initially started as a a solo project until Deacon D. was joined by guitarist Åskväder in September 1999. After an hiatus HETROERTZEN resurfaced in Sweden in 2009 with the release of ‘Exaltation Of Wisdom’ issued on their own imprint Lamech Records. That album put forward the band’s early interest in the occult, Gnosticism and Illumination. 2016 saw the release of their critically acclaimed ' Uprising of the Fallen' previous album, HETROERTZEN are now releasing their brand new album entitled ' Phosphorus Vol 1' for a late Spring release on Listenable HETROERTZEN comment about ‘Phosphorus Vol 1' : " A new day has come to pass. A new ray pierces the veil of darkness and confusion. A new gem feeds the astonished sight and yet we walk through times of uncertainty before facing the switching Era… After five years of silence and lots of work, Hetroertzen finally give you the first Volume of ‘Phosphorus', which is the crown for our latest Opus or the new Sephira in our artistic/spiritual development. This is in fact a strong title, taken from the Vampiric-eucharistic ritual of the “Ecclesia Gnosticae” (Gnostic Church) which inspired the “Libation” passage in the Order of the Knight Templars; and even in the Catholic Mass later on. “Unless You Eat the Flesh of the Son of Man and Drink His Blood You Have No Life In You” The Royal Art or the Dragon’s Arts are present more or less in any occult teaching as Alchemy aims to conjoin separated ways into the quintessence of “Holy Marriage”. As one church focused on the feminine esoteric aspect of Communion and the other on the masculine; We use both sides unified as a more accurate representation of “unity” and “oneness”. (The One). 'Phosphorus Vol 1' consists of eight tracks plus one bonus track available on the CD version. They harvest the very soul of Wisdom and Salvation or Salvation through Wisdom as we see it. Each title encloses a key or “Clavicula” which reveals different passages to the Adept. Once more, the term “Eyes to see and Ears to hear” is fundamental when it comes to the listening experience to its fullest. As all of the previous works, this is a unique piece which complements our experimental / conceptual aura into its own mystic tree. Time will tell when the second volume faces the waves of turbulence. Certainly, it shall swallow the soul of the sleepers and haunt the dreams of those who knock at our door… Through plague and war, we survive the hand of destiny by the laws of cosmic thought and the bliss of this endless journey. Light of all Lights, blessed be ! "

The complete iconic LP + bonus track on 180g vinyl, includes
photographs taken during the album's sessions by William Claxton
The jazz world was amazed when trumpeter Chet baker presented this, his first
vocal album, which showed that his immense talent as a singer matched his
brilliance as an instrumentalist. This icon album includes such hits as "My Funny
Valentine" and "I Fall In Love Too Easily"
This album was initially issued in 1954 as a 10-inch containing eight songs. Its
success soon led to it being reissued as a 12" LP, with the addition of material
from later 1956 sessions. This edition presents all the songs from the 12" LP plus
one bonus track from the same period.

Stratton returns to Of Paradise for the label’s 20th release. Chalking up a hat-trick of EP’s on the imprint, with the impeccably effective ‘Never Bettered Always Battered’. Arguably his most accomplished and significant release to date, this 4-tracker effortlessly showcases the London-based producers expertly distilled and patented style of evocative and headstrong UK hardcore.

The A-side launches with the anthemic ‘Badboy’, a true floor melter, loaded with tunnelling drums, an electric bassline and a criminally infectious chopped vocal. Following that is ‘Double Happiness (Bludclot Mix)’, a lethal dose of no nonsense proto-rave goods, emanating from the streets of North London. The product of a truly skilled operator who fully understands the inner workings of the kick, hoover and piano.

‘Bless’ kicks off the flip side with effortless momentum. The impetus clearly focused on rupturing bassbins and rewiring brains, with its weapons grade drums, growling bassline, lethal Amen break, euphoric melody and rabid hoover.

Closing out the release is ‘Vapour Trail Hurricane’ another system-rushing slice of hardcore mastery that pulls no punches in its pursuit of dance floor dominance. Fuelled by a hammering kick, sharp sirens and swirling acid lines, these are the final moments before imminent self destruction.

This is true peak-time pressure from one of the UK’s most exciting and inimitable talents.

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

2022 Repress

LP+MP3 - Carefully ReEdited, 100% Original

Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.
Special remarks : LP with digital download card

Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.

Sicilian by birth, Tossini drifted around the world between Italy, Germany and Canada, before finally settling in New Jersey. After the passing of his mother and the breakdown of a second marriage, an anxious and depressed Tossini took to songwriting as a form of therapy, crafting disarmingly candid lyrics from his extraordinary life and loves. Whatever industry savvy or musical virtuosity he lacked was made up for by unflinching resourcefulness and infectious charisma. Befriending bandleader Peppino Lattanzi at local club The Rickshaw Inn, he was encouraged to animate his singular songs with an ambitious cast of 9 players and 5 backing vocalists, sincerely credited as his Friends.

The Atlantic City basement sessions are a low budget, high romance testament to Tossini's character and the power of positive thinking. From the defiant, Casiotone samba of If I Should Fall In Love, to Wild Dream's dizzying escapism and the native tongue croons of Sulla Luna and Sincerita, Lady Of Mine hums with the inimitable magic of a true original. Piercing the heart with an effectively sparse combination of humming keys, CompuRhythm drums, horn flourishes and backing divas, ample room was left for Tossini to frankly deliver his much-needed life lessons.

Underperforming commercially at the hands of short lived label IEA Records, Lady Of Mine has since earned a place in the outsider music canon. Recently peaking interest as a cornerstone of the Sky Girl compilation, the private press trades for inordinate sums, typically with no financial benefit to its creator. Lady Of Mine is now finally reissued on the artist's own terms via Joe Tossini Music, in partnership with Efficient Space, restored from original master tapes with unseen photos, extensive liner notes and Tossini's trademark wisdom.

Devoutly independent, Tossini has previously self-released the 2015 instrumental album When You Love Someone as well as two books - a new fiction novel The Devil In White and his autobiography The Account of My Life.

Martyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn's music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed

Clear Vinyl

Laila Sakini and Lucy Van’s sought after 2017 EP Figures resurfaces on a newly expanded and remastered edition, deploying taut poetry and creeping electro-pulses for an alchemical suite of slowly encroaching trip hop x dub-pop.

Long before releasing her slow-burn classic ‘Vivienne’ and last year’s compelling Princess Diana of Wales album, Laila Sakini was at work with acclaimed poet Lucy Van for an impromptu session for a local noise and spoken word night in Naarm, Australia. Those initial ideas marinated and eventually resulted in ‘Figures’ - an EP that was originally released on tape via Purely Physical Teeny Tapes, offseting Sakini’s minimal production against Van’s text, spoken in a carefully enunciated dialect lifted and wrapped around Sakini’s nocturnes. It’s the sort of thing that reminds us of Tin Man & Rashad Becker’s ‘Wasteland’ sessions, fused with the spirit of the contemporary Naarm/Melbourne scene.

For all those references, Sakini and Van’s songs are displaced from the contemporary wellspring too. The dusky blue waltz of opener ‘Those Who See’ comes off like a lighter Leslie Winer or melodic, early AFX, as Van dryly intones “...all my enemies in an orgy, of IQ to body ratio,” while ‘Deep End’ sees them nudge into more claustrophobic introspection, before shoring up a dank sort of trip hop sleaze with the title song, slithering with a similar energy to early 90’s Autechre as the narration echoes to a blur.

The three previously unreleased songs flesh out the release into the full album it always should have been, cut of equally rare, hand-spun fabric. With its post-Sleng Teng B-line and noctilucent chords, ‘What You Need’ feels like an Eski rhythmic bump accompanied by sub-aquatic synth bass, and the opalescent, gumtree-shaking shimmer ‘Rough Desires’ secretes its intimations with an absorbingly hypnagogic slow-burn that pools into the perfect curtain closer; ‘Trees Make Me High’.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Hoshina Anniversary offers a new LP of fluid, alchemical dance music in the shape of Hisyochi, on Impatience. Moving well beyond the initial influence of jazz fusion, electronica and his Japanese heritage, Hoshina Anniversary continues to carve deeper into his own cosm, and Hisyochi arguably represents this prolific producer at his most singular, refined and potent yet.

With nowhere to go and little to do, Hoshina was making music at a seemingly unstoppable torrent throughout the pandemic, sometimes sketching close to 100 tracks in any given month. Opening up a session from a previous track, he would erase all but one element, using it as a starting point for a completely new experiment, lending the body of work a subtle yet tangible coherence. Hisyochi was pieced together from a swathe of productions that came out of a particularly fertile period in the first half of 2021, which also birthed his recent release on Patience, Hyakunin Isshu.

Roughly translating to “somewhere cool to relax during a hot summer” according to Hoshina, Hisyochi transcends seasons but undoubtedly runs hot. Drum patterns are crisp, varied and invariably body-moving, basslines ascend at vertigo-inducing velocity, and dimly-lit jazz-bar piano is often the only element anchoring the sound to terra firma.

Following the plaintive, palette cleansing introduction of Rakka, Irahu plots the course with a light arpeggiator over a chugging rhythm before a warbly piano line to creeps in the back door. Misebayana is a jolt of gyrating mutant dance, part video game suspense and part footwork for drums and koto, while Kokoro no Heisei (Peace Of Mind) sees Hoshina deliver a salvo to stillness over a meandering, dubby spacewalk. Roman is an invigorating cut of warped dancehall tango, while the closing title track perfectly encapsulates the essence of the record and Hoshina Anniversary in 2022 in one elegant, acidic rinse.

Hoshina Anniversary is Yoshinobu Hoshina, from Hachioji, outside of Tokyo. He’s released records as Hoshina Anniversary on ESP Institute, Alien Jams and Youth, under his Suemori moniker for Osare! Editions and as Shifting Gears for Toucan Sounds, amongst others.

Hisyochi was written, produced and mixed by Hoshina Anniversary. It was mastered by Josh Bonati in NYC, and artwork is by Luca Schenardi.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."