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Werewolf Hair is the work of Andy Godwin, guitar player and amateur pedal steel guitar player. Born in Ann Arbor, Michigan and currently based in Virginia, he came up playing bass in punk bands at local venues and basement shows.

The music of Werewolf Hair is wide reaching and genre-hopping in the best possible way. This is explained in his musical upbringing.

Werewolf Hair is the work of Andy Godwin, guitar player and amateur pedal steel guitar player. Born in Ann Arbor, Michigan and currently based in Virginia, he came up playing bass in punk bands at local venues and basement shows.

The music of Werewolf Hair is wide reaching and genre-hopping in the best possible way. This is explained in his musical upbringing.

Repress

To emerge from a global pandemic with a renewed sense of situational awareness, hard won insight, and a new album is the kind of move we've come to expect from THRICE over the last twenty years. With Horizons/East, Dustin Kensrue and his bandmates address, with candor and courage, the fragile and awkward arrangements that pass for civilization, while inviting us to dwell more knowingly within our own lives. Without surrendering any of the energy and hard edge of their previous albums, they've given us a profoundly meditative work which serves as a musical summons to everyday attentiveness. Since forming THRICE with guitarist Teppei Teranishi, bassist Eddie Breckenridge, and drummer Riley Breckenridge in 1998, Kensrue has never been one to back down from a mental fight. This mood is set by the opening synth-driven number "Color of the Sky," which sounds well-suited to accompany the closing credits of the Stranger Things season finale. Think Flying Lotus giving way to Elbow and setting the listener down in a new dimension. A self-recorded effort, Horizons/East conveys a palpable sense of danger, determination, and possibility.

Wicked compilation with works by Ghanaian producer Dick Essilfie-Bondzie, soaring synths.., wicked grooves, smacking drums, hypnotising organs and bumpin' basslines. This one is fire!

INCL 12-PAGE BOOKLET

Tammo Hesselink inaugurates his newly launched imprint Rear View Memory, intended for occasional dumps of personal works. On this first release the Dutch producer combines his rhythmic side with his modern hypnotic techno approach. The A side contains two UK techno inspired tracks that lie between soundsystem-ready dj tools and atmospheric floaters. The B side contains a percussive techno-not-techno roller and a halftime drum & bass workout in collaboration with Romanian producer DYL.

Secret Night Gang are poised for greatness, beaming out of Manchester with a dazzlingly sunny jazz funk sound which is right at home on Brownswood. Fronted by Kemani Anderson, this supremely talented band have all the chops you could wish for, melting buttery Rhodes, honey-coated sax, slinky bass and liquid guitar lines into the pot and laying it on smooth. From upbeat party pieces to cosy, baby-making fodder, this debut album rightly places them in the cut and thrust of the contemporary jazz scene, and they brim with more than enough talent to take themselves very far indeed.

Vinyl Edition of 300 copies

Aesthetical in collaboration with Sync presents "Detect" by Marco Monfardini.

Originally developed as an audio/video live performance, Marco Monfardini based his research for Detect on the decoding of inaudible sounds, sound generated by electromagnetic emissions left from electronic devices and inaudible to the human ear. By using various electro-smog detectors Marco Monfardini creates a sort of detection mapping where electromagnetic emissions are the starting point for the sonorous development of each single composition.

A path that creates a parallel with our lives by questioning how much these emissions affect unconsciously our choices, tastes and perceptions, seeking a relationship between the massive use of technology in everyday life and our emotional state.
The album Detect is developed in 15 tracks in continuous play, an imperfect, faulty mosaic inhabited by invisible beings manifesting themselves in the form of sound streams, mutable entities that find a definitive form in the pattern of the compositional structure.

The album opens with “aR1 detection", sounds of pure detection place themselves in the sound space giving the initial coordinates for the exploration of unconscious parallel areas. The boundaries transform and gradually expand until they flow into the structure of "kernel variations", a growing rhythmic pattern decodes the impulses projecting a perspective that dissolves in the unstable and fluctuating electromagnetic emissions of the subsequent "[a]3020t detection", "binary defect "and "core[2] ". “[A.box]emission” confronts the use of sound downloaded random from internet sample banks and the emissions generated during the download itself, micro sound fragments arrange themselves in an organized and regular pattern, shaping a rhythmic structure. The first part ends with the short “[sa]6030” and “[det]x1a”, absence and presence provide an alternation of movements, inaudible and elusive signals all trying to establish a contact with our perception. “det : scan” opens the second part of Detect, a sort of scanning, leaving EMF (electromagnetic field) textures, a static multilayer that progressively expands until it dissolves into the rhythmic emissions of a common smartphone “[4s]detection”.The track “[rs]zone” " is pushing itself deeper, two minutes of sound speleology that reveal the existence of sound artifacts that seem to vanish getting in contact with the light accented by the bass drum of "[det] 0100+" a constant, rhythmic pumping, a luminous pulsation that reveals an apparent void, which seems to subside entering in the winding and waving atmosphere of "conductive [area]" and "[s3] microfunktion". Detect comes to the end with “[emf]terminal” a mirror of the unarrestable technological acceleration intercepting the flow of data that feeds the system of communication , digital micro waste suffocates the living space by centering up the invisible in an unconscious map.

[a] A1

[c] A3

[e] A5 core[2]
[f] A6 [A.box]emission (2)
[g] A7

[i] B2 [4s]detection
[j] B3
[k] B4 [det]0100+
[l] B5 conductive[area]
[m] B6 [s3]microfunktion
[n] B7 [emf]terminal

Mit „Sweet Unknown“ veröffentlicht die US-Amerikanische Gruppe Ceramic Animal ihr viertes Studioalbum am 04. März 2022. Die aus Doylestown/Pennsylvania stammenden Brüder und Freunde lassen sich nicht auf Genre beschränken: Von Glam, über Post-Punk und Psych Rock, bis zu 70er Pop & Folk sind alle Einflüsse dabei.

Ceramic Animal besteht aus den drei Brüdern Chris Regan (Gesang, Gitarre), Erik Regan (Schlagzeug), Elliott Regan (Gesang, Keyboard) und deren Kindheitsfreunden Anthony Marchione (Gitarre), sowie Dallas Hosey (Gesang, Bass).

Nachdem sie ihre ersten drei Studioalben komplett selbst finanziert, produziert und veröffentlicht haben, schreiten sie nun auf neuen Wegen und kollaborieren mit dem Grammy-ausgezeichneten The Black Keys Frontmann Dan Auerbach als Songwriter und Produzent. Zudem veröffentlichen sie das Album bei dem von Dan Auerbach gegründeten Label Easy Eye Sound. Der Titeltrack ist eine von Roy Orbison inspirierte Meditation über die andere Seite. ”Lyrisch und klanglich verkörpert ’Sweet Unknown’ ein Eintauchen in eine ungewisse, aber wunderschöne Dunkelheit”, sagt Schlagzeuger Erik Regan.

Das gesamte Album taucht in eine Welt ein, in der intime Liebende sich allmählich verlieren und einander
gegenüber kalt werden und in der flackernde Erinnerungen an bessere Zeiten den einzigen Trost bieten.

In seiner mehr als drei Jahrzehnte umspannenden Karriere hat sich der Komponist und Multiinstrumentalist Arjen Lucassen weltweit als treibende Kraft des Progressive Rock etabliert. Der vielseitig begabte Niederländer ist vor allem für sein Rockopernprojekt Ayreon bekannt, widmet sich aber auch regelmäßig musikalischen Nebenprojekten, die alle verschiedenen Aspekte seiner musikalischen Persönlichkeit erforschen.Lucassen ist bestrebt, bei Star One eine gleichbleibende Sängerbesetzung beizubehalten. Für 'Victims of the Modern Age' hat er die hochkarätige Besetzung der Leadsänger des ersten Albums 'Space Metal' (2002) wieder zusammengeführt: Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), und Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). Die unterschiedlichen Gesangsstile dieser großartigen Vokalisten, die von hochfliegenden Power-Vocals über eindringlich-melodische Passagen bis hin zu brutalem Growl reichen, verleihen jedem Song eine atemberaubende Vielfalt an stimmlichen Texturen.Was die Instrumente betrifft, so spielte der Holländer die Rhythmusgitarren, die Hammondorgel, das Mellotron, die Solina-Streicher und die analogen Synthesizer selbst ein und lud Schlagzeuger Ed Warby (Ayreon, Hail of Bullets, Gorefest) und Bassist Peter Vink ein, die kraftvollen Rhythmusspuren zu liefern. Außerdem holte er sich die einschüchternden Solokünste des ehemaligen After Forever-Keyboarders Joost van den Broek und des Gitarristen Gary Wehrkamp (Shadow Gallery), die beide charakteristisch glühende Soli beisteuerten. Zusätzlich zu dieser formidablen Besetzung rekrutierte Lucassen drei weitere Sänger - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze und den ehemaligen Black Sabbath-Frontmann Tony Martin - für einige Bonustracks des Albums.Zum ersten Mal ist 'Victims of the Modern Age' auf Vinyl als Gatefold 2LP+2CD & LP-Booklet erhältlich, sowie als Ltd. 2CD Digipak und Digitales Album (2CD).

In a career spanning more than three decades, composer and multi-instrumentalist Arjen Lucassen has established himself worldwide as a driving force in progressive rock. The multi-talented Dutchman is best known for his rock opera project Ayreon, but also regularly devotes himself to musical side projects that explore all different aspects of his musical personality

Lucassen is committed to maintaining a consistent vocalist lineup on Star One. For "Victims of the Modern Age," he reunited the high-powered cast of lead singers from the first album, "Space Metal" (2002): Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), and Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). The different vocal styles of these great vocalists, ranging from soaring power vocals to haunting melodic passages to brutal growls, give each song a stunning variety of vocal textures

As for the instruments, the Dutchman recorded the rhythm guitars, Hammond organ, Mellotron, Solina strings and analog synthesizers himself and invited drummer Ed Warby (Ayreon, Hail of Bullets, Gorefest) and bassist Peter Vink to provide the powerful rhythm tracks. He also enlisted the intimidating solo skills of former After Forever keyboardist Joost van den Broek and guitarist Gary Wehrkamp (Shadow Gallery), both of whom contributed characteristically blistering solos. In addition to this formidable lineup, Lucassen recruited three other vocalists - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze and former Black Sabbath frontman Tony Martin - for several bonus tracks on the album

For the first time, "Victims of the Modern Age" is available on vinyl as a gatefold 2LP+2CD & LP booklet, as well as a Ltd. 2CD digipack.

Next up on Time Is Now is a fresh cut from prolific Japanese producer Stones Taro: a kaleidoscopic EP which traverses the boundaries of genre to create something truly unique, occupying the intersection of UKG, electro, breaks and house.

After the raging success of previous releases on Scuffed Recordings, Breaks 'N' Pieces and more recently on his own imprint, NC4K, the Kyoto producer makes his Time Is Now solo debut with Super Hot Floor EP. Kicking things off is the pacey, club-ready banger "Integration" with stuttering synths and a driving bassline which leave little room for respite beneath a fierce breakbeat electro rhythm. On "Straight Walk" Taro offers a new take on speed garage with a sharp two-step rhythm and the suggestion of acid-tinged synth stabs which lure you in before reaching their full form in high-energy intervals of 4X4.

After "Watching You" strips things back, the B-side brings the energy with Pulse X style stabs ("Super Hot Floor") and old school house-indebted Korg organ melodies a la Robin S ("Dry Flower").

Gerald Clayton gehört zu den wichtigsten Modern-Jazz-Pianisten unserer Zeit. Auf seinem zweiten BlueNote-Album will sich der sechsfach Grammy-nominierte Musiker mit den Auswirkungen der abstrakten Kraft der Zeit auseinandersetzen.

Bei der spannenden Umsetzung in mal lyrische, mal swingende, mal treibende Jazz-Klänge unterstützen ihn niemand Geringeres als sein berühmter Mentor Charles Lloyd am Saxophon, sein Vater John Clayton am Bass, Justin Brown am Schlagzeug und erstmals MARO als Vokalist.

Zu hören sind Originale, Stücke des katalanischen Komponisten Federico Mompou und von Geralds Onkel Jeff Clayton sowie zwei atemberaubende Solo-Klavierversionen des Standards „My Ideal“

Ice City makes its return and it's another excursion into the world of obscure one-shot bands. Revered by crate-diggers worldwide, it's a long overdue 7" reissue of the elusive band Fate and its one and only record from 1982.

The dreamy "I'm in Love Again" is a rhodes-led, bass heavy groover crescendoing with an eyes-closed guitar solo, drenched in pure, raw passion.

Not to be undone by the A-side, flip the 45 over for the psych-soul slow burner "Without You Girl" for an extra dose of heart-melting emotion.

Icy City kicking off the year strong with another limited 7" that's not to be missed!

Classic Bill Evans Trio album on 180g vinyl LP, plus a bonus CD that
contains the complete album + 6 bonus tracks

The LP contains an extra track from the same session not included on the original LP. "If there's any doubt that Evans is one of the freshest things to happen to the piano in the last few years, this album should dispel any such feelings. The trio is a closely integrated unit. The interplay among the three men is best illustrated in 'Leaves', wherein they carry on a three- way conversation, with bassist Scott LaFaro leading the discussion. 'Witchcraft' finds LaFaro making pungent comments on Evans' statements and drummer Motian egging on both of them. Here is an album with meaning - here is truth." - Don DeMicheal, DownBeat

Electronic music pioneer and Poker Flat boss Steve Bug is a name that needs little introduction, as one of Germany’s true house masters he has consistently pushed musical boundaries to become a taste maker and trend-setter of a generation. Joining forces once more with regular collaborator Clé for their joint Nu Groove debut, the pair who have been behind a vast number of elite club cuts now deliver ‘Let It Go / Suitcase In A Box’ for an imprint steeped in house history. Opening with ‘Let It Go’, ethereal strings and an enriched, buttery vocal are paired with a wickedly deep bassline and acidic synths for a track that sounds like it was ripped straight from a 90s NYC dancefloor, while the accompanying Bassmix offers a headsier, dub-like alternative. ‘Suitcase In A Box’ is a little tougher in its composition, as Steve Bug & Clé’s patented old-school drums and another hefty dose of acid influence are layered upon a relentless beat for a track destined for in-the-know floors.

"Ten years after signing his first record deal with Big Machine Label Group’s The Valory Music Co., arena-packing superstar Thomas Rhett — dubbed “the most reliable maker of No. 1 singles in country music” (Variety) — has five studio albums, 18 MULTI-PLATINUM and GOLD-certified No. 1 hits, 12 BILLION streams and the longest current active streak of consecutive No. 1s in the format (Mediabase/Country Aircheck Chart). He has been honoured with eight ACM Awards including Entertainer of the Year, two CMA Awards, five GRAMMY® Awards nominations, plus trophies from the CMT Music Awards, Billboard Awards and iHeartRadio Awards, in addition to being recognized with two CMA Triple Play awards for penning three No. 1 songs within a 12-month period. Thomas Rhett is delivering his sixth studio album WHERE WE STARTED on April 1. Inspired by his return to the road, the set marks a similar return to his in-the-moment mix of tempo, transcendent romance and tip-of-the-spearsonic trailblazing, as Country’s resident good-life philosopher.
RADIO: BBC Radio 2, Absolute Radio Country, CountryLine Radio, Downtown Country, Smooth Country
PRESS: MTV UK, The Express feature, Why Now, 1883, Atwood, Darkus, Maverick, country specialist outlets, UK bio written by Lisa Verrico (The Times)
SOCIALS: TW: 2.4M, FB: 2.4M, IG: 4.4M, TikTok: 802.5K
Available as a 2 LP black vinyl."

2022 180g vinyl repress of 'Flight to Denmark', the best-selling SteepleChase album by legendary US pianist Duke Jordan Charlie Parker's favourite pianist and the composer of the famous "Jordu", Duke Jordan (b. April 1, 1922 in New York) ended his five-year seclusion from the jazz scene when he was invited to play and record in Denmark in 1973. This first recording by Jordan for SteepleChase turned out to be an enormous success which brought Jordan back in the spotlight. "I am convinced that this is Duke Jordan's finest record." - Jazz Journal

"A totally captivating listening experience." - Billboard
"Flight to Denmark is an essential album for anyone who enjoys substantial piano music." - Coda
Personnel: Duke Jordan (piano), Mads Vinding (bass), Ed Thigpen (drums).

To emerge from a global pandemic with a renewed sense of situational awareness, hard won insight, and a new album is the kind of move we've come to expect from THRICE over the last twenty years

With Horizons/East, Dustin Kensrue and his bandmates address, with candor and courage, the fragile and awkward arrangements that pass for civilization, while inviting us to dwell more knowingly within our own lives. Without surrendering any of the energy and hard edge of their previous albums, they've given us a profoundly meditative work which serves as a musical summons to everyday attentiveness.Since forming THRICE with guitarist Teppei Teranishi, bassist Eddie Breckenridge, and drummer Riley Breckenridge in 1998, Kensrue has never been one to back down from a mental fight. This mood is set by the opening synthdriven number "Color of the Sky," which sounds well- suited to accompany the closing credits of the Stranger Things season finale. Think Flying Lotus giving way to Elbow and setting the listener down in a new dimension. A self-recorded effort, Horizons/ East conveys a palpable sense of danger, determination, and possibility.

About time – Ebbot and I have finally been able to make an album that is largely an extension of all the time we have spent together and all the concerts we have done

You could say it's a kind of fusion of the two of us in music form. A key ingredient was that Reine Fiske (Dungen) wanted to be part of this musical adventure and record with us. His tone and spontaneous playing were absolutely crucial in making this album. Also at the heart of this album, and which made our recording sessions so edgy and good, were the beautiful poppy bass playing by Marcus Holmberg (Komeda), the dynamic and responsive drumming by Nicklas Korsell
and the funky piano playing by Daniel Kurba. And finally, working as both a musician and sound engineer, Ponus Torstensson, aka Tentakel, played a vital role in creating the psychedelic sound on the album

Truls Morck has a background as a guitarist in Graveyard and Slowgoldas well as guitarist, singer and songwriter in Den Stora Vilan

In 2015 he released his first solo album and shortly thereafter he returned to Graveyard, this time as bass player. After a few years of waiting, it's finally time for his second solo LP; "What A Time To Be Alive". The sound is inspired by the soft rock of the 70's and you can hear echoes of Harry Nilsson and George
Harrison mixed with dreamy digital keyboards and a modern, relaxed, psychedelic
production."We have tried to create a soft and easy- to- listen- to sound that
somehow still feels interesting and well-made. My lyrics are probably quite selfabsorbed and introspective. The naive and honest I can read between the lines in
rock history's simpler poetry, inspires me", Truls says.

The 25th anniversary edition of the Chicago noise-rock band's undisputed masterpiece recorded by Steve Albini

Remastered edition including a 12- page booklet and a bonus LP of demos, outtakes and unreleased tracks. 'Discipline Through Sound' was the second LP by Big'n, who formed in 1990 and at the time, the band consisted of vocalist William Akins, guitarist Todd Johnson, bassist Mike Chartrand, and drummer Brian Wnukowski. This expanded reissue was intended to come out in 2021 to commemorate the 25th anniversary of 'Discipline Through Sound', Big'n's indisputable masterpiece originally released on Gasoline Boost in 1996, but was delayed due to a PVC shortage and the fallout of the COVID-19 pandemic.

'DTS 25' is a massive album. It contains two pieces of superb-quality vinyl with a reissue and remaster of 'Discipline Through Sound' on the first disc. Side C contains unreleased demos from the album. Side D, contains three previously CDonly tracks from a split with OXES - plus two unreleased outtakes.

The records are packaged in a 6mm spine gatefold cover with matte finish, accompanied by a 12-page booklet featuring photos of the band, a foreword by Steve Albini, and writings from Big'n's associates. The entire package is housed in a sleek, tactile, Type-2 aluminium packaging newly developed and designed by the Computer Students label.

Don't miss your chance to own a brilliant, undersung artifact of '90s noise-rock in Chicago - refreshed, expanded, and more venomous than ever before.

The Fall returned to Rough Trade in 1983 to release a pair of singles ("The Man Whose Head Expanded" and "Kicker Conspiracy") and Perverted By Language, their sixth proper studio album. Perverted By Language hints at the band's shift towards a distinctly pop approach, one that they would perfect via their Beggars Banquet output that immediately followed. Yet again, the force and panic of their initial Rough Trade recordings remains the foundation for much of the album. A transitional recording in the absolute best sense, Perverted By Language is The Fall both as they were and as they would become.

The emergence of Brix Smith is often cited as the impetus for The Fall's move toward outward pop, and she first makes her first appearance with the band on Perverted By Language. Nowhere is her presence felt more than on "Hotel Blöedel," where she handles lead vocal duties alongside Mark E. Smith whose mangled violin accompaniment roots the song's cold romanticism in his unmistakable brand of strange. "Garden" provides a new take on The Fall's stretched-out tendencies – using ringing, clean guitars to build a nearly 10-minute epic more subtly than ever before. The opener, "Eat Y'self Fitter," is wholly classic Fall: a playfully circular bass line drives the album's strongest vocal spout, complete with emphatic breaks where Mark E. Smith issues the song's spiteful decree with equal parts glee and scorn.

24 Songs. A new project from The Wedding Present. A new 7” single every month throughout 2022. 24 Songs sees David Gedge writing with legendary Sleeper guitarist Jon Stewart for the first time, and a more perfect union could not have been predicted. The notion of a monthly 7” single is not new to The Wedding Present, but 24 Songs shows us that even classic concepts can be reinvented. The series also continues the band’s association with photographer Jessica McMillan, who has created stunning images and films as a visual accompaniment to the recordings.Explaining 24 Songs, David Gedge said: “In 1991, The Wedding Present were rehearsing in a studio in Yorkshire when we hit upon an idea that immediately thrilled us all. Our bass player Keith Gregory had been a member of the ‘Sub Pop Singles Club’ - a service that allowed subscribers to receive 7”s released by that Seattle label on a monthly basis. Keith wondered if we, as a band, could attempt a similar thing. In that instant, The Wedding Present’s Hit Parade series was born and, during 1992, we managed to release a brand new 7” single each and every month. “The Hit Parade went on to become something of a significant milestone in the history of the band and it’s a project about which I’m often asked. As its thirtieth anniversary approached, I began to wonder if we should celebrate it in some way. A ‘Hit Parade Part 2’ didn’t feel quite right, though. Then, someone said to me: “Other bands have released music in similar ways but there has been nothing like the Hit Parade.” And they were right! A 7” single a month seems, somehow, very ‘Wedding Present’. So, inspired by that little idea from three decades ago, we’ve embarked on this new project, 24 Songs. “Even though The Wedding Present have never been known for taking the easy route, the idea of recording 24 tracks and releasing them in this way could seem daunting to any band. However, I’ve been inspired by the music that has been written since Jon and Melanie joined the group. The thought of celebrating this exciting new line-up with an exciting new series has motivated us all… and I suppose we also didn’t want any of these songs to be hidden away in the middle of an album!”

Very limited new repress coming, note new price. An air of the unsettled is a staple of Robert Lloyd’s career, from The Prefects’s dank dexterity and jittery paranoia of the first Nightingales’ release, Idiot Strength, onward through four decades of top-notch recordings. If the unique persona of Lloyd and crew always came across on their ten albums and countless line-ups, it was largely as an acquired taste of the musical cognoscenti. Labels good and bad seemed to feel, at one point or another, a public duty and a point of pride to release a Nightingales album before returning to the business of business. Four Against Fate is remarkable. It’s the work of what’s now the band’s longest-serving line-up. The instrumental precision of any version of Nightingales has been one of the band’s defining hallmarks, but the psychic interplay of a group can take a few albums to kick in with full majesty - here’s proof of that. The rhythm section of Fliss and Andi functions now on a purely intuitive level. Jim’s work now ranks with that of any guitarist in modern ‘rock’ music, not just in originality, but also across an egalitarian mass of inspiration. Each member sings. Although Robert’s voice functions as the band’s superego, Fliss takes lead in several songs. Few bands today sound as much like a single unit as do Nightingales, but this group has the bonus of a distinct and credible musical language, exemplified by The Desperate Quartet, which comes across as both a medieval war march and the anthem of looming apocalypse. When at the song’s halfway point, American classical musician Clara Kebabian’s violin and Mark Bedford’s (of Madness) double bass overtake the Robert, Fliss, Jim and Andi, it’s a jawdropper of such intense perversity that it alone defies the listener to not play the album again from the start. Not that this album lacks ‘hits’ - The Top Shelf, Everything Everywhere All Of The Time, Devil’s Due and The Other Side are stunners. Robert claims Four Against Fate is the first of his album on which he skips no tracks on playback! Finally, the world has awakened to one of British music’s last treasures. After forty years of new labels, this is the first time Nightingales have released an album on the same label as their last full-length.

7" Black Vinyl limited to 1000 copies.

Teenagehood, brotherhood and a genuine love for alternative music has united THE GOA EXPRESS from the off. Hailing from the industrial town of Burnley and adopted by the Manchester culture carriers, their teenage years can be viewed as something of a hedonistic pilgrimage into the underbelly of suburban rock and roll- their first gig having been 3 songs blasted out their mates garage, the next on top of a local vintage shop where the floor nearly caved in: “when there’s fuck all, you make do with what you got”. The intensity of this friendship has resulted in the occasional bust up along the way, yet it only adds to the burning chemistry that the band offer on record and on stage. Together, brothers James Douglas Clarke (Guitar + Vocals) and Joe Clarke (Keys), along with Joey Stein (Lead Guitar), Naham Muzaffar (Bass) and Sam Launder (Drums) all contribute to a fuzzy wall of diverse sound, becoming harder to pin down with their constantly evolving, psych-umbrella’d, rock and roll. What sets THE GOA EXPRESS apart from other musicians who sit comfortably within scenes is that their identity as a band has been growing organically long before the 5 of them decided to pick up instruments and teach themselves art of killing time. Their genuine joy in the everyday; their attitude and antics seem to hark back to the glory days of the NME- if they talk about a night out, you want to be there because these lads ooze charm and wreak havoc. This purist, old school approach to creating music through unified experiences and stimulated good times is married with the plain fact that they are very much young people of this generation, and while they see its flaws its hyperreality, its sheep-like tendencies, they still understand the importance in the immediacy of pop music: of a banging riff, or a glorious chorus and how effective this can truly be, and they want everyone along for the ride. With influences ranging from Spacemen 3 and The Brian Jonestown Massacre to French existentialism, from Beat Literature to long hours working at the Bookies to the journey into the sunrise on the night bus home, it is their ability to be all these things at once which makes THE GOA EXPRESS a guitar band for the 21st Century. Nothing is ever a compromise because they are so unapologetically themselves in everything they do- proud Northerners with a DIY foundation that aren’t afraid to look into the often dim future and see themselves shining brightly in it, unforgiving and unpretentious. So far, the band have released 3 singles with great success. The first: ‘Be My Friend’, produced by Ross Orton right next Sheffield’s famous ‘City Sauna’ brothel, presents itself to us as a cheeky, snarling pop song, holding undertones of raw cynicism laden with psychedelic sunshine. Ross Orton’s studio was also right next door to where the band recorded their last single ‘The Day’ with Nathan Saoudi of Fat White Family at ‘Champ Zone.’ Both these producers have been able to give these instant pop classics a grittier feel, capturing the essence of the unfettered lifestyle the band were living at the time that they were able to capture themselves in the music video for ‘Be My Friend’. After signing with Ra-Ra Rok, (WU-LU/Bingo Fury) the band released anthemic summer hit ‘Second Time’, that went straight to the 6 music B-List before quickly heading up to the A-List 2 for 2 weeks. This was followed by the release of its B-Side ‘Overpass’ that almost immediately caught the eyes and ears of BBC Radio 1’s Jack Saunders, who had the band on his ‘Next Wave’ Segment. Closing the year that saw them play to 1000 strong crowds at festivals like Latitude & End of the Road, the band headlined their biggest headline show to date at Manchester’s Gorilla. Its fair to say that this really is only the beginning.

Nicolini is back! Delivering two slices of finest DIY post-punk digi (styles), woven together with bouncy basslines, punchy drum machines, and Casio melodies, as Nic’s voice beams in from beyond the ether.

Big Joe Williams is seen by many as the ultimate incarnation of the Delta Country Blues player, and several of his songs have become standards in the Blues canon. Known for being rough on his guitars, it's one of the reasons for the ongoing tinkering that led to the construction of his first nine string instrument. This fine studio album was released in 1962 on the Folkways Label after being recorded the year before. It contains King Highway Blues, a slow and at times almost spoken track. Where as Somebody's Been Foolin' is fairly driven along by Ransom Knowling's Bass. In 1968 Downbeat Magazine, simply stated that "Big Joe Williams' Blues is a beautiful experience". Listen to this album and you'll agree.

"Chance" is the second album of Société Étrange, composed of 6 love
songs without words, with equivocal rhythms, glaucous turquoise
bass and melodies affectionately tinged with melancholy.
The album was recorded in July 2020 in Vaulx-en-Velin from a collection of materials and collective drift. Composed in studio, it is by the live that is shaped their pieces, several years to test them together so that these three musicians let us glimpse a possible civilization. Not fantasies that cannot beapprehended, but a future that we can hope to desire. Their hypnotic compositions, drunk with dub, iron harmonics and polymetric measures, play a music that is a bit shady, one of those that provoke the space for the dance to happen, without anesthesia. Société Étrange was formed in 2012 by Antoine Bellini (Electronics) and Romain Hervault (Bass), joined in 2015 by Jonathan Grandcollot (Percussions) after the release of their first album "Au revoir"

One of America's finest guitarists, Gordon Banks is most well known as Marvin Gaye's tour bass player in the 70s and co-writer in the 80s (as well as becoming his brother-in-law). He has also played with New Birth, Edwin Hawkins & Gladys Knight & The Pips. Norfolk and Midnight love were Gordon's post Marvin (Passed in 84) local bands, these two tracks were recorded between 86-88. You can hear Gordon's writing skills coming through with a far more late 80s pop vibe, like late Marvin joints, which I love.

Personally it's an honour to work with such a huge talent, Gordon's bass playing on 'Life is For Learning' still give me goosebumps every time.

Three fun, disco sample lead tracks from ex Southsea resident Sopp and a slammin’ remix by Inverness producer Mark Mackenzie

Sopp has been building his way into the scene since 2015. His sets blend a mix of highly energetic, bass heavy rhythms with disco inflections and odes to classic 90’s and 00’s rave scene. So far having released on Chequered Wax, QRUK, Moodygurl and TheBasement Discos. Each of his productions showing a different aspect of his behind the decks personality.

Radio play from the likes of Jamie Jones, Sarah Story, Shadow Child & Jaguar.

Selected DJ Feedback:

Jamie Jones - Digging it.

PEZNT - Whole EP is dope but I think Take Me will work for every true underground head. Great job!

Piem - Dope!!!!

Hifi Sean - This E.P is hotness !

Nathalie Capello - groooooveeeeeyy. Nice!

The Magician - I like "Living" a lot as well
Robert Owens - Cool tracks

Inland Knights - great versions....

Chrissy - nice one!

Raphael Hofman - just awesome!

Ramon Tapia - Dope pack right hurrrr!!

Ammo Avenue - wicked cuts! Take me is my fav

Mirko Paoloni - super bomb!

Round Table knights – Coolio

Oliver Dollar - nice one!

Lost somewhere between the mysterious alleys of 70s Istanbul and the scorching sun and crystal blue sea of Jaffa, Tel Aviv, Şatellites self-titled debut album is set to be released on Batov Records on April 1st.

The Şatellites’ sound shimmers between traditional Turkish folk and instrumentation, ethereal psychedelic guitar leads and groovy dance floor baselines. The resulting concoction of songs draws on cross continental influence yet at its core is a desire to illuminate the vivid qualities of classic Turkish music, honouring the Anatolian folk and psych artists from this golden era of music. From the funky disco beat of Disko Arabesque to the celestial lead guitar in Yağmur Yağar Taş Üstüne, the band add fire and flair to time-honoured pieces of Turkish music giving them new meanings. Covering important tracks such as female singer Kamuran Akkor’s track Olurmu Dersin, and musician and guitarist Zafer Dilek’s Yekte, the album covers an array of original pieces of different musical styles and sounds, that once have and continue to flow out of Turkey. The band boasts six members; Ariel Harrosh (Bass) Lotan Yaish (Drums), Yuli Shafriri (Vocals), Tsuf Mishali (Keys and Synths), Tal Eyal (Percussion) and Itamar Kluger (Diwan saz, both electric and acoustic, electric baglama, Greek 4 double string bouzouki). They came together some years after band leader Itamar Kluger discovered the saz whilst travelling the Kaçkar mountains in Turkey’s eastern region. The saz being a long necked, plucked stringed instrument native to the rural areas of the country, which remains an integral part of Şatellites’ union, and plays predominance throughout the bands’ album and music.

In the same way the guitar was electrified in the 1930s, the electrification of the saz in the 1960s led to an explosion of rock music dredged in middle eastern influence, a musical genre fittingly called “Anatolian Rock” and based on the principles of Anglo-American and psychedelic rock music, yet incorporating the style, rhythm, and scales of traditional Anatolian folk music.

As such, throughout the creation of the album, the band conceived the idea of intertwining differing elements such as the groove of funk, the rhythm of disco, and reverb of psychedelic, with traditional middle-eastern rhythm and structure, opening up the wealth of Turkish music to the western world, so that anyone and everyone can relate to something from the album. With that said, Şatellites emphasise that their music is not fundamentally Turkish music, on the contrary, they merely try to sound as close to the genre as possible. Their sole aim is to honour this amazing culture and to present it to the world in a more accessible and attainable form.

The Brkn Record is a new project led and produced by Jake Ferguson, the co-founder and bass player for the UK's foundational deep jazz outfit the Heliocentrics. With fellow Heliocentrics co-founder and legendary drummer Malcolm Catto, Ferguson has been a regular collaborator with globally recognised artists including Archie Shepp, Mulatu Astatke, Melvin Van Peebles, Orlando Julius and many others. The Architecture of Oppression Part 1 represents Ferguson's debut as a bandleader and orchestrator, and manifests as a committed and soulful response to ongoing and systemic anti-black racism, social oppression and state violence both at home in London and across the globe. Combining poetry, testimony and song with rich and cinematic backdrops, Ferguson has produced a sui generis sound that conjures flavours of Arthur Verocai, Ennio Morricone, classic library productions, Madlib-style deep-jazz beat science, and psychedelic soul. With bandmate Malcolm Catto on drums, Ferguson draws on their long years of collaborative experience in the Heliocentrics to build an album of striking texture and depth.

The Brkn Record is a new project led and produced by Jake Ferguson, the co-founder and bass player for the UK's foundational deep jazz outfit the Heliocentrics. With fellow Heliocentrics co-founder and legendary drummer Malcolm Catto, Ferguson has been a regular collaborator with globally recognised artists including Archie Shepp, Mulatu Astatke, Melvin Van Peebles, Orlando Julius and many others. The Architecture of Oppression Part 1 represents Ferguson's debut as a bandleader and orchestrator, and manifests as a committed and soulful response to ongoing and systemic anti-black racism, social oppression and state violence both at home in London and across the globe. Combining poetry, testimony and song with rich and cinematic backdrops, Ferguson has produced a sui generis sound that conjures flavours of Arthur Verocai, Ennio Morricone, classic library productions, Madlib-style deep-jazz beat science, and psychedelic soul. With bandmate Malcolm Catto on drums, Ferguson draws on their long years of collaborative experience in the Heliocentrics to build an album of striking texture and depth.

* Strictly limited-edition 2x12” vinyl in full colour sleeve. Includes card to download full album in WAV format.
* ‘Strange Days’ the debut album from one of the standout Drum & Bass acts of recent years, due for release on the legendary V Recordings on 3rd December 2021.
* Features collaborations with Serum, Makoto, MC Fats, Lorna King, 2shy MC, Cleveland Watkiss, Blak, Riya, A Little Sound, Elipsa & T.R.A.C.
* With support already secured from the likes of Shy FX, Bryan Gee, Fabio & Grooverider, Rene LaVice, Hybrid Minds, Serum, Randall and with a growing international fanbase at their back, Paul T & Edward Oberon's new album 'Strange Days' is set to be one of 2021's defining drum & bass releases.
* Their recent run of singles, including two Beatport number ones and collaborations with vocal talents like Cleveland Watkiss, MC Fats, A Little Sound & Lorna Kings have given us a flavour of this monumental project. An eclectic array of influences from jazz to jump up have been filtered through the unique musical perspective of this duo to bring us something that we've never quite heard before.
* Drum & bass has the capacity to deliver, on the one hand, soulfully emotive musicality and, on the other, sheer rave-inflaming filth. Paul T & Edward Oberon, however, have consistently performed the alchemical magic of bringing together both the music and the mayhem without compromising either.
* But of course they have. Paul and Edward have years of experience creating music for some of the most prestigious labels in the scene and drawing from a myriad of influences. Individually, they have credits stretching back decades, and, as a combo, they've been dusting dances around the world since 2011.
* Having won an army of new-gen fans with anthems like 'Stomp', 'Look for the Light' and the absolutely huge scene smashing Serum-collab 'Moon in Your Eyes', these veteran artists have wasted no time in stepping things up to even greater heights as they gear up to drop their album.
* Balancing vibes and viciousness, 'Strange Days' lays out the definitive manifesto for Paul T & Edward Oberon's dirty soul sound. Operating as both a self-contained audio journey and a collection of rave-ready deejay weapons, this LP is a piece of work that demands your attention!

Following their critically acclaimed 2016 debut album, ‘Borderlands’, (nominated for ‘Best Album’ in DJ Mag’s annual awards), Conduct’s highly-anticipated second major work drops in 2017 via Blu Mar Ten Music.

‘Oma' is an immense LP, taking its sonic cues from 'Borderlands' while expanding them into far wilder territories. Organic clashes with electronic in a whirlpool of tribal head banging, fragile introspection and beautiful sonic architecture. Skittering rhythms, rock solid basses, angelic vocals and heartbreaking instrumentation are guaranteed to make 'Oma' one of the most notable drum & bass albums of 2017 and Conduct one of its prominent acts.

Striving to show the world what can be achieved at 170 beats per minute, Conduct’s palette is a dramatic juxtaposition between electronic and acoustic instrumentation, with a cinematic approach to composition influenced by the likes of Hans Zimmer and Jesper Kyd. While it’s common for drum & bass producers to concentrate on dance-floor impact, Conduct‘s primary focus is the evocation of an emotional response in the listener, creating a body of work that lasts far beyond the club.

Remastered vinyl reissues of the two essential albums by Turkish folk singer Tülay German, starting with the self-titled release (1980) and followed by "Hommage to Nazım Hikmet" (1982) in early 2022.

Referring heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) these two albums represent unique and modern interpretations of turkish folk songs unmatched to this day. A matured artist with full conviction at the height of her powers!
Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record "Burçak Tarlası" (1964) is now considered the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice.
But due to the increasing repression Tülay German and her lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later. In fact, an impending prison sentence for Erdem Buri for translating Hegel's "Dialectic and Science of Logic" and
Plekhanov's "Fundamental Problems of Marxism" led the couple to emigrate to France.

In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn't feel quite comfortable with this major deal. And thus, despite the success and recognition she had
gained, she decides to quit the contract with Philips!
Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths
in her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly
by Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and
justice. The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music.

The self-titled debut, which was awarded with the prestigious "Grand Prix du Disque" of Académie Charles Cros in 1981, is now seeing a vinyl reissue after 40 years.
Tülay German ended her musical career in 1987 and after the death of Erdem Buri in 1993 she retired from public life completely, leading a quiet life in Paris where she still lives to this day. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.

'Doroth follow on from a 2019 self-released digi EP with this fresh 7" for Research. The duo of Loretta Wilde and Maria Moles from Melbourne have established a song writing craft that's equal parts This Heat and Throwing Muses; all disjointed rhythms and dry vocal delivery that seems to come with an intentional feeling of malaise. Where their self-titled EP allowed for the sprawling Still House Plants-esque sound of 'On The Lamb', both 'Take It Easier' and 'Picture' condense the live sound into two sub 4 minute slices of indie pop / art rock goodness. We've got no clue what photograph Wilde is singing about but the combination of bass and drums bouncing off one another underneath her prolonged strainings will be sure to stick in your brain.'

The debut album from Conduct, ‘Borderlands’, (nominated for ‘Best Album’ in DJ Mag’s annual awards.
Organic clashes with electronic in a whirlpool of tribal head banging, fragile introspection and beautiful sonic architecture.

Striving to show the world what can be achieved at 170 beats per minute, Conduct’s palette is a dramatic juxtaposition between electronic and acoustic instrumentation, with a cinematic approach to composition influenced by the likes of Hans Zimmer and Jesper Kyd. While it’s common for drum & bass producers to concentrate on dance-floor impact, Conduct‘s primary focus is the evocation of an emotional response in the listener, creating a body of work that lasts far beyond the club.

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.