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Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

 Lucrecia Dalt’s debut film score to ‘The Seed’, a sci-fi horror
film directed by Sam Walker on Shudder.
 Pressed on black vinyl and housed in a deluxe spined sleeve
with printed insert with digital download card included.
 “The score is heavily based on pulses that I made from tape
loops from my Copicat tape delay, using various pieces of
metal to create the sound of the horror parts by bowing them
alongside digital synths and the Korg Monologue.” - Lucrecia
Dalt
 “I wanted to play with the feeling of multiple paces in it, a
voice pulse that keeps us grounded in the subjectivities of
the women who are losing their sanity, a synth line that
places us in the sci-fi side of the film,” she explains.
 ‘The Seed’’s release follows the Colombian artist’s
collaboration with Aaron Dilloway, Lucy & Aaron, her
acclaimed 2020 album ‘No era sólida’ (RVNG Intl), a site
specific performance for the Mies van der Rohe Pavilion in
Barcelona, plus sound installations for CTM Festival and
Medellín’s Museum of Modern Art. Often seeking inspiration
in the worlds of fiction, poetry, geology and desire,
excavating nuanced references to untangle and respond to
in her music, Dalt’s debut score is incredible stand-alone
piece of work.
 In ‘The Seed’, lifelong friends Deidre (Lucy Martin / Vikings),
Heather (Sophie Vavasseur / Resident Evil: Apocalypse) and
Charlotte (Chelsea Edge / I Hate Suzie) travel to the Mojave
Desert for some time away, with the upcoming meteor
shower as the perfect social media backdrop. But what starts
out as a girls’ getaway descends into a battle for survival with
the arrival of an invasive alien force whose air of mystery
soon proves to be alluring and irresistible to them.

Polarity, the first album from percussionist and multi-instrumentalist James Larter is a cross-genre Psychedelic journey with driving rhythms at its core.

Larter has always been obsessed with rhythm; whether it be the roaring sound of Brazilian Samba or the intricate and hypnotic drums from the African diaspora, music that makes people move is a passion. He is an in demand musician that has played with a staggering variety of groups and artists

from Sampha to the London Philharmonic Orchestra.

Hailing from the UK and studying in London and New York, his soundscape crosses genres and styles all with a psychedelic twist. Marimba and vibraphone feature heavily with echoes of electronic music played out by an all-star accompanying 10 piece band.

The second album from the transatlantic duo Wilma Vritra is richly orchestrated, replete with references to faith, mythology, and the cosmos, its 11 tracks grapple with themes of self-preservation and refuge from the world, even as they edge their way to a sort of redemption. Grotto is the work of two musicians separated by an ocean but undoubtedly operating on a shared wavelength. One is Will Archer, a Newcastle-born but London-based multi-instrumentalist and composer who today records as Wilma Archer, but who you might also know for his writing and production for artists like Celeste, Nilufer Yanya and Jessie Ware. Wilma Archer’s debut solo album A Western Circular, featured guest spots from the late MF DOOM, Future Islands’ Samuel T Herring, Sudan Archives and Laura Grove. The other is Hal Donell Williams Jr, aka VRITRA - a Los Angeles-based rapper whose tales of graft and grind are often couched in spiritual or cosmic terms. VRITRA has previously collaborated with Matt Martians via The Jet Age of Tomorrow, Pink Siifu and YUNGMORPHEUS. Grotto’s striking cover image is by Swampy, an enigmatic Californian street artist whose itinerant lifestyle – tales of squatting and train-hopping across North America – have made him a demi-mythical figure. A playful image, but it communicates the album’s themes – of a voyage through darkness, and the promise of light at the end of the tunnel.

RIYL: Velvet Underground, Lou Reed, Nick Cave, Patti Smith, Leonard Cohen, Iggy Pop, Radiohead & Tom Waits. "If you have never heard the Doctors of Madness, you should. Musically they are the Velvet Underground, New York Dolls with shades of glam, hippie, prog and punk all rolled into one, yet are still totally original. Vastly underrated, they should have been huge. Pure genius" Vic Reeves…. The DOM are “the missing link between David Bowie & The Sex Pistols” (The Guardian May 2017). Exploding onto the music scene in 1975 with their theatrical, William Burroughs-inspired Sci-fi nightmare, they were misunderstood by many, but those who knew understood the importance of the band’s dangerous, uncompromising approach to lyrics, to music and to performance. Among the many fans of the band were acts as diverse as The Damned, Vic Reeves, Joe Elliott of Def Leppard, Spiritualized, Julian Cope, The Adverts, The Skids and Simple Minds. The Sex Pistols supported them, so did The Jam & Joy Division. They were the first to combine the avant-garde approach of The Velvet Underground with a distinctly European aesthetic. The blue hair, exotic stage-names, the lyrical themes of urban decay, political propaganda, mind control and madness were all taken up by the punk bands who followed in their wake. The DOM were trailblazers, pioneers, adventurers…pushing the boundaries of rock music and theatre to see how far it would go before it bust. What happened after them was due, in no small part, to what they achieved in 3 short years. They may not have been Jesus Christ, but they were, arguably, John the Baptist!!! Now, 40 years after they imploded, they are back…with an album seething with lyrical anger and passion. It is the most potent and incisive musical dissection of modern life and contemporary politics released the decade. With tracks titles like “So Many ways To Hurt You”, “Sour Hour”, “Make It Stop!” and the ground-breaking sonic assault of the title track “Dark Times”, Richard “Kid” Strange proves once again that he has his finger firmly on the pulse of our times, just as he had when he founded the band in 1974. Produced by John Leckie (Radiohead, Stone Roses, Pink Floyd), the new album, Dark Times, features contributions from Joe Elliott (Def Leppard), Sarah Jane Morris (Communards), Terry Edwards (PJ Harvey, Nick Cave etc), Steve ‘Boltz’ Bolton (The Who, Scott Walker) and the young protest singer Lily Bud, alongside the current thrilling and thunderous DOM rhythm section of Susumu Ukei (bass guitar) & Mackii Ukei (drums) of the Japanese extreme glam-metal band Sister Paul, and Dylan O Bates (violin and keyboards). Julian Cope, another rock star who, like Strange, found the confines of music too tight for his ambition, his energy and his imagination, was blown away when he first heard the songs, declaring, “These Dark Times are enormously informing: the RULES OF THE FUTURE are indeed being forged right now”. Top producer Martyn Ware (Human League/Heaven 17) said the album “…reminds me of Iggy Pop’s Kill City album – love it.” and Biba Kopf (The Wire) declared, “Still listening to new DOM album with immense interest and pleasure”. The first single, Make It Stop!, is an impassioned howl against the global drift to right wing extremism and persecution of minorities, and is already a live showstopper for the band. It features the thrilling cross-generational combination of Def Leppard’s Joe Elliott and Lily Bud on backing vocals. In the period since the last DOM gig in 1978, Richard has written a memoir, collaborated on a cantata with internationally celebrated composer Gavin Bryars, worked as an actor on films with Tim Burton, Martin Scorsese, Harmony Korine & Jack Nicholson, toured the world in a Russian version of Hamlet with James Nesbitt as his grave-digging co-star, played Glastonbury, sung baritone in the British premiere of Frank Zappa’s200 Motels at the Royal Festival Hall, directed a multi-media evening celebrating the life and work of William Burroughs, won Best Art Film Prize at the Portobello Film Festival last year, had his own live talk show, worked with Tom Waits and Marianne Faithfull on the William Burroughs/Robert Wilson stage play The Black Rider, curated events for the Tate Gallery, and sung Walt Disney songs with Jarvis Cocker.

Giacomo D’Attorre – lead singer of Clever Square – has been through a lot of late. With his band. In his personal life. Even just with the state of the world. This fire has fuelled Clever Square’s new record Secret Alliance, eleven tracks that explore feelings of frustration, disillusionment, and disconnection, and chronicle what it’s like to be swept along by a world that “gets noisier everyday”. The record was inspired by a creeping realisation; of coming change, and a sense that D’Attorre was “losing contact with who I was before, for the good and the bad.” New needs and desires surfaced; old ones disappeared. Thus he began writing around ideas of rethinking yourself, and “acquiring a new conscience of mutation”. The darker realms of science fiction informed much of D’Attorre’s thinking here; Philip K Dick, Ray Bradbury – ‘Mr. & Mrs. K’ was inspired by The Martian Chronicles – and Flannery O’Connor, whose The Violent Bear It Away proved particularly inspiring. All of this is perfectly framed by Clever Square’s shuffling, quirky indie, and cute melodies. Soft and worn around the edges, like the perfect flannel shirt, there’s a gentle, shambling quality to the music; “blue collar”, D’Attorre calls it. Guitar lines gently bloom, Fender Rhodes organ is sprinkled throughout, and the acoustic strumming sounds easy and unhurried. From the relaxed bustle and acoustic picking of ‘Hail The Proper Karl’, to the joyous, bouncy ‘Little Flaws’; from the stripped back melancholy of ‘Obsolete Epsilons’ to the arena-ready vibes of indie classic ‘Golden Wires’, D’Attorre has crafted a spell-binding, mesmerizing set of songs that delight on first listen and reward deeper inspection. “It’s a hymn to privacy, to the joys of secrecy, and solitude,” he says of Secret Alliance. That he wraps such heartfelt, profound topics in gloriously laid-back indie adds to the charm, and cements Clever Square’s status as one of Italy’s finest contemporary bands. The world might seem increasingly complex and be spinning ever faster, but Secret Alliance slows it down just enough to savour the scenery and think about charting a path back to something a little more manageable.

The rerelease of Je Dis Oui on vinyl from Pink Martini. The album features 15 new tracks and includes guest appearances from ARI SHAPIRO, IKRAM GOLDMAN, KATHLEEN SAADAT AND RUFUS WAINWRIGHT “Pink Martini is a rollicking around the world music adventure…if the United Nations had a house band in 1962, hopefully we’d be that band.”—Thomas M. Lauderdale, The album features bandleader Thomas Lauderdale and his “little orchestra,” as well as lead singers China Forbes and Storm Large. “Je dis oui!” is Pink Martini’s ninth studio album; the album features three original songs co--‐written by Thomas Lauderdale. The album also features a stunning version of the classic “Blue Moon” by Rufus Wainwright, “Finnisma Di”, a new Arabic version of the band’s early hit “La soledad” sung by NPR’s Ari Shapiro, and songs in English, French, Arabic, Farsi, Portuguese, Turkish, and the band’s first forays into Armenian and Xhosa. Pink Martini have now sold over 3 million albums worldwide.

This album is a music novel inspired by surrealism and South American magic realism. Every instrument acts as a character in action and its narrative set is studied to give an imaginary experience during the listening. The main themes are the transformation, the spiritual awakening and the political consciousness, the sublime and the worldly.

Martin Matiske's superb new six-track EP Circle Of Enlightenment on LDI Records is based around the concept of one-mindedness and togetherness. This German artist was fascinated with mixing records as early as his 10th birthday and had his first release on the legendary International Deejay Gigolo Records aged just 15. In the 20 years since he has released a selection of records on labels like Moustache Records and Bordello A Parigi. His timeless sound comes with a vintage touch and always fuses electro, italo and techno in fresh new ways. This new EP aims to describe the direct connection between human beings and the universe. Martin says: "Human beings are aliens always looking for answers to questions like why are we here and what life is about? We know the answer but won't accept it. We are made up of the elements of space and are directly connected to the universe. Each person contains the energy of the universe and is connected with everything that surrounds it. We are one! We are here because we are here! Our mission is to be!" The EP opens with 'Memory', and Martin explains that "Remembering is the ability to do things right but most of the time it causes pain." The track is a slick and icy electro workout with gorgeous retro-future pads bringing a cosmic sense of soul while the corrugated bass keeps busy below. 'Breakout' describes breaking out of normal thought and reaching a state of "no-mind." It is a playful and dynamic electro cut with characterful bass and synth stabs like shooting stars as shimmering arps ride up and down the scale. 'Lost In Space' deals with the idea that human beings on earth are just as lost in space as aliens. It's an interplanetary electro trip with glistening synths shining bright next to more twisted, tortured bass. 'Microbot' is about miniature robots that make our lives easier and ride on a punchy bassline, with neck-snapping snares and pads that circle around like spacecraft during battle. It is another lush electro workout that leads into 'Stars' and pays homage to the importance of these twinkling rays of light. It's a widescreen track with withering leads, cyborg vocals, and a real sense of hope as the snappy drums march into an unknown future. Last of all, 'Solaris' pays tribute to the life-giving force of the sun with another super crisp electro groove, slithering arps and conversational pads that make both a physical and emotional impact. Circle Of Enlightenment is a brilliantly adventurous and storytelling new EP from the ever-excellent Martin Matiske.

Deep Heads in association with Dubstar records are proud to present the 2021 Remaster, Vinyl edition special, of the seminal album ‘My Sound’ by Dubstep legend Kromestar.

Originally released in 2009, with high critical acclaim, the record is no doubt one of Kromestar’s most celebrated and recognised albums he’s ever created. An absolutely timeless collection of music, the album was groundbreaking at the time and still holds up as a quality album from start to finish in 2021.

"Every 4,044 years comet Calanhi enters the inner solar system, returning from its long and silent voyage through the Oort cloud. As it approaches perihelion, billions on Earth gaze into the night sky, transfixed by the celestial spectacle of their lifetime. While solar winds tear at the comet's surface, deep inside the glowing ball of ice, ancient machinery springs to life..." Over the past five years Daniel Lodig and Martin Sovinz aka /DL/MS/ have been continually commuting through the electro singularity, constructing their unique brand of fragile bass music from extradimensional sound salvage, and spreading their frequency patterns via the subspace channels of Frustrated Funk, Pomelo, and TRUST. 'Calanhi' is the Viennese duo's debut album - 12 tracks that combine the eternally fresh aesthetics of Detroit-style electro with a relentless curiosity for rhythmic and harmonic experimentation. Seismic club thumpers like 'Invisible Bits', 'Mountains', and 'Trusted Funk' alternate with moody ambient interludes, boldly constructed beat inventions, and blissfully melodic acid breaks. Two collaborations further switch up the flow: Nigerian artist G.Rizo (Hezekina Pollutina, Deejay Gigolo) drops her cryptic rhymes on 'Divide & Conquer', and Spanish singer Xx Isis xX provides vocals for 'Accelerated Frequency'. Mastered by Keith Tenniswood aka Radiocative Man. Sleeves designed by dextro_org. Vinyl version ships with postcard and Bandcamp download code.

Originally released in 2008 following the birth of his daughter, Show You The World takes Living Legends MC, The Grouch, on a new path of growth and maturation as he navigates his new world of fatherhood and the new perspectives it brings. With topics ranging from his experience as a new father, partner, and son to drug addiction in the family, as well as his own personal struggles and triumphs, The Grouch succeeds in showing us his world. At 16 tracks, the album features appearances from Murs, Bicasso, Scarub, Mike Marshall, Raphael Saadiq, Abstract Rude, Marty James, & One Block Radius, and is best known for the hit singles, "Artsy," "The Bay To LA," &"Breath."

arbitrary presents the first in a series of remix collaborations and releases by Mads Emil Nielsen and Chromacolor, a project from the German sound artist and producer Hanno Leichtmann.

Mads Emil Nielsen’s Constellation (side A) was created by combining several granulations and textures based on a single short recording, extracted from improvisations made with the Buchla synthesizer at EMS, Stockholm – combined with randomly looping orchestral samples, edited and produced in his studio in Copenhagen.

After having heard Nielsen’s live performance in Berlin in 2017, Hanno Leichtmann suggested remixing various of his tracks including Constellation (Remix – side B). For this rework, Leichtmann provides an ambient feel by working with various sources, all of which generate sound using vibrating metal plates in different sizes – including a Premier Vibraphone, a Fender Rhodes and a Hohner Guitaret.

Constellation written & produced by Mads Emil Nielsen at EMS Elektronmusikstudion, Stockholm and in Copenhagen. Constellation Chromacolor Remix written & produced by Hanno Leichtmann at Static Music, Berlin. Mastered and cut by Kassian Troyer at D&M, Berlin. Artwork by Karel Martens.

Repress
LP Vinyl +7- no digital An underground classic!' - The most comprehensive vinyl edition of the original motion picture soundtrack for John Carpenter's first feature film, Dark Star (1974). Includes the sought-after When Twilight Falls on NGC 891 by Martin Segundo & the Scintilla Strings, for the first time ever on a John Carpenter-related release.
WRWTFWW Records is ecstatic to bring back the original motion picture soundtrack for John Carpenter's Dark Star (1974) with added bonuses that are sure to satisfy all cult sci-fi soundtrack completists of the galaxy (and further). This limited edition double vinyl combo comes with a 12 and a 7". The former is a remastered version of the original motion picture soundtrack consisting of incidental music, sound effects, John Carpenter's synth experimentations, dialogue excerpts, and vintage interferences extracted directly from the film roll. The 7" is red with a yellow label circled in black (in pure beachball alien fashion) and contains Ode to a Bell Jar' remade by loyal Carpenter collaborator Alan Howarth (Escape from New York, Christine, Big Trouble in Little China, They Live...), the fan favorite Benson Arizona' remade by Dominik Hauser, the very sought-after When Twilight Falls on NGC 891 by Martin Segundo & the Scintilla Strings (in the real world *James Clarke's Spring Bossa), as well as endless loops of sound effects from the movie to turn your house into your very own scout ship. Oh and there is a very secret hidden bonus track too!

2022 Repress

After His 12" On Oye Black Label Martin Georgi Is Back On His Own Imprint Quiet Elegance. Two Sampled Based Deep House Tracks With His Unique Mpc Style. Vocal Parts Combined With Dusty Beat Programming Brings The Perfect Soulful House Flavor. 9 To 5 Is Killing Me!

Isabelle Duthoit - clarinet, voice Franz Hautzinger - quarter-tone trumpet Hamid Drake - percussion, frame drum, voice Michael Zerang - percussion, frame drum Two duos firmly anchored in improvised music - Duthoit/Hautzinger and Drake/Zerang - explore what ritual music can mean in the present time. They moan and groan, sigh and sing in the jungle of their soul. Melodies between tradition and contemporary music in all their extremes ventures forward into a poetry full of sound noises. CREDITS: Recording: live at Artacts - Alte Gerberei, St. Johan, March 7th 2020, by Charles Wienand & Markus Massinger Production: Konstantin Drobil, Hans Oberlechner, Franz Hautzinger Mix: Martin Siewert & Franz Hautzinger Mastering: Martin Siewert Artwork: Lasse Marhaug Photos: Cathy Mary-Houdin

Marta Sanchez's creative voice is strikingly original - circling rhythms,
elaborate forms and criss-crossing counterpoint distinguishes her sonic signature on the crowded New York contemporary music scene

Following three critically acclaimed quintet releases, the Madrid- born pianistcomposer presents 'SAAM (Spanish American Art Museum)' on Whirlwind Recordings, an album driven by emotional candour and boundary- pushing compositions. A talented cast realises her knotty, technical writing - frontline partners Alex Lore and Roman Filiu meet Sanchez, Rashaan Carter and Allan Mednard on backline duties.'SAAM' riffs on the Smithsonian American Art Museum, on an album that's an exhibition of Sanchez's life in musical form: "It's made up of all the elements of society from both countries Spain and America that impact my life and make me who I am." Matters internal and external are realised in musical expositions of complex feelings. The pieces took shape in lockdown, as Sanchez exchanged fortnightly composition tasks with a pen- pal.

"Those compositions express all the phases I was going through at that time. I was reflecting super deeply on what's important, and how we might give some sense to life."

Kinshasa, Democratic Republic of Congo - a group of street children gathered around the artist Lova Lova to form the Atelier Kamikazi and record the album "Mokili na poche" in cooperation with Oyo Projects. They are "shégués", sons of soldiers, orphans or accused of being "child sorcerers". They talk in a funny and provocative tone about the difficulties encountered in their daily lives, about rivalry, politics, sexuality, and survival. These kids know they are fucked - and they fuck back.

About Seismographic Records:

Seismographic Records is a label for global hybrid music, run by Martin Georgi (Quiet Elegance Records). «Seismo» deals with connections of local and international sounds, of cultures and epochs far apart. It wants to break through the boundaries of Western music history and focus on the unheard. On currents that have so far been excluded from algorithms and streaming services due to their lack of market relevance. This is about the localization of new trend-setting centers in the Global South. In this way «Seismo» wants to make visible the potential of a decolonized music development. Music takes on the function of a seismograph. It is a sensitive instrument to register social transformations.

The focus of the label is on the production of vinyls and their distribution on the global market. The pressing makes the projects materially tangible. The productions are preceded by a close collaboration with artists, researchers, designers, and journalists in order to explore the cultural and historical contexts of musical trends and to make them audiovisually accessible. Texts, graphics, and videos are used to illustrate the background and contextualize the music. Seismographic Records also collaborates with cultural institutions in order to provide a platform for the projects in the form of exhibitions, concerts, radio broadcasts and to anchor them in cultural discourse.

Immortal Onion have already built a strong position as one of the most interesting, new jazz projects from Poland. After two well received albums ("Ocelot of Salvation" in 2017 and "XD ExperienceDesign" in 2020) we've had the pleasure of presenting the new re- lease called "Screens" recorded at the initiative of the saxophonist Michał Jan Ciesielski.

The songs composed by Michał confirm, that jazz electronic fusion can be still fresh and thrilling. The album, where beside Michał, Tomir, Wojtek and Ziemowit, you will find many guest instrumentalists. Thus resulting in a step forward made by the still young musician from TriCity.

It is worth mentioning, the song entitled "ZOZI" is enriched with the string parts recorded by Ola Szymańska on violin (Alfah Femmes, Ralph Kamiński, The Fruitcakes) and Weronika Kulpa on cello. Also, you can hear the brass section consisting of David Lipka on trumpet (Zgniłość, Bizzarre Penguin) and Paweł Niewiadomski on trombone (Power of the Horns). In the composition called "OK Boomer" you can hear characteristic guitar soundscape recorded by Marcin Gałązka (Tymon Tymański).

The whole album was recorded and mixed by Michał Jan Ciesielski. Mastering was done by Michał "Eprom" Baj. Graphic design was created by Marta "Martiszu" Ludwiszewska, who, like no one else senses the crazy spirit of immortal onion.

“I am most excited, that they got out of their formula and invited Michał Jan on saxophone who perfectly complements the ideas of guys from the Immortal Onion.”
Hania Rani —

Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation. Nightports w/ Tom Herbert is the third in a series of albums from musician-producers Adam Martin and Mark Slater to be released on The Leaf Label, following 2018's Nightports w/ Matthew Bourne and 2020's Nightports w/ Betamax. Tom Herbert made his name as the bass player in Mercury Music Prize-nominated bands Polar Bear and The Invisible, and has become an in-demand collaborator and session musician, including work with Adele, Lana Del Rey and most recently The Smile. Having honed his craft holding the low-end down in some of the most forward-thinking British groups of recent times, and also appearing on some the biggest tracks of the last twenty years, Nightports w/ Tom Herbert brings Herbert's command of the double bass into the spotlight.

Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde - Akira Sakata on saxophone and Takeo Moriyama on drums.

Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician.

Recorded at Kashiwa Church Chiba Pref. In Japan on 24 May 1986 by Yukio Tezuka on Sony stereo cassette recorder.

Mixed by Jim O’Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug.
Liner notes by Kazue Yokoi.

French/Swiss/Canadian hybrid Death Metal of the absolute highest calibre. Essential listening for fans of Immolation, Akercocke, Morbid Angel and Celtic Frost.

Working closely with two time Grammy winner Victor Rice (Easy Star All- Stars, Bixiga 70, Ticklah), JonQuan fashions brand new tunes that evoke the majesty of the golden age of reggae.

The digital version is 20 tracks with instrumentals and vocal versions while the vinyl version features all 10 of the vocal versions on black vinyl.

The singles released from this album have caught the ear of the tastemakers of the reggae world, including David Rodigan, who has spun multiple songs on his weekly BBC show

Peter Brown's P&P label is possibly the most collectible of all the Disco-era independent labels. The distribution was always patchy, the records would often appear out of nowhere and then disappear equally fast. Many of the artists were one-off productions or working under hastily conceived pseudonyms.

In short, P&P has all the ingredients of the perfect label for diggers everywhere with records still being discovered some 40 years later. Little is known about Marta Acuna but plenty is known about the production team of Patrick Adams and Lonnie Johnson who were just way ahead of everyone else on this spacey Disco jam from 1977. It's been consistently popular on the cooler dance-floors for the last 20 years but suddenly the 7" has sprung into demand. A mint copy isn't far off £100 these days, so it seemed a good time to finally make the 7" available again.

As per usual, this will be on the original 7" P&P label and mint (which is near impossible to find these days). Always handy to have a guaranteed banger on a crisp 7" pressing and that P&P label looks so good. Black Vinyl in P&P Disco Sleeve.

Repress

France's I Hate Models has had a phenomenal rise since his first releases in 2016, now he arrives on Perc Trax to serve up the label's last release of year.

Already fitting in with the label's no nonsense aesthetic after appearances at a number of label showcases this year, this EP shows a hardening of his sound, without losing any of the melodic touches that have made his releases so memorable.

The original mix of "Spreading Plague" fills the A-side of the record with a near 10 minute journey though classic Perc Trax metallic percussion, quivering acid and soaring analogue lead lines. Epic is a word not often used in relation to Perc Trax, but
here it is perfectly applicable.

On the flip side, Perc remixes the lead track, honing in on the acid and adding swarms of claps and hihats for his first new production on Perc Trax in 2018. "Martial Order" closes the EP moving the percussion to the front of the mix once again, as metallic hits rain down on the listener, delivering a fresh take on one of Perc Trax's signature sounds.

‘Social Graces’ is the debut album from Australian
post-punk outfit Loose Fit. Made up of Kaylene Miller,
Anna Langdon, Max edgar and Richard Martin.
 Kaylene and Anna met in fashion school and instantly
bonded through their love of experimental music.
 After toying with lo-fi bedroom recordings, the pair
recruited Max edgar on guitar and Richard Martin on
bass and started making some actual noise.
 Kaylene is also behind the cult knitwear brand WAHWAH Australia, with items worn by Noel Fielding,
Courtney Barnett and Kim Gordon.
 The band’s rhythm-heavy sound contains echoes of
UK post-punk titans such as PiL and A Certain Ratio.
 “Their post-punk indebted sound is barbed, wiry, and
overwhelmingly infectious.” - Clash
 “This is music to truly let loose to” - So Young
Magazine
 “If you thought they were going to make a quiet
entrance, you thought wrong.” - DIY
 “Loose Fit have ever been producers of the most
kinetic percussive tracks that have a restless and
visceral energy about them.” - Backseat Mafia
 For fans of Shopping, The Slits, Delta 5, Dry Cleaning,
Amyl & The Sniffers, Sonic Youth, A Certain Ratio

Contemporary pianist and composer James Heather announces his
second album, ‘Invisible Forces’, via Ahead of Our Time, Ninja Tune
founders Coldcut’s first record label.
 An album influenced by the sensibility of electronic, ambient, orchestral
and post-rock music but channelled through solo piano and Heather’s
classical and jazz grounding.
 With regards to his “superb” (Crack Magazine) and “masterful”
(Electronic Sound, Dummy) debut, ‘Stories From Far Away On Piano’,
the songs are grander, deeper and broader in emotional range and are
developed through a series of improvisation techniques. Heather
describes it as ‘pulse music’, with each track performed in a single take
and with their roots in this live improvisation, often honed on the road
where he moves between tender to more propulsive, trance-inducing
dynamics.
 For fans of Jean-Michel Blais, Sarah Davachi, John Carroll Kirby, Otto A.
Totland, Ólafur Arnalds, Nils Frahm, The Cinematic Orchestra.
 CD in slipcase with printed inner.
 140g violet vinyl with holofoil detail sleeve.
 “The sound Heather makes is captivating.” - Electronic Sound
 “Masterful contemporary piano.” - Dummy
 “A remarkable piece of music that yields more secrets the more it’s
played” - Clash
 Featured in Coldcut’s ambient compilation ‘@0’ alongside Suzanne
Ciani, Ryuichi Sakamoto, Kaitlyn Aurelia Smith, Helena Hauff, Skee
Mask, Julianna Barwick, Steve Roach, Laraaji and Mira Calix.
 Notable supporters of Heather’s music include James Lavelle (UNKLE),
Nils Frahm, Cillian Murphy, Flying Lotus’ Brainfeeder (via the live
session he did for them in 2021), The Cinematic Orchestra, The Bug,
Leandro Taub, Actress, Bicep, Martyn and Tim Noakes (Dazed).
 James has collaborated with the likes of Dawn Richard, Coldcut,
Mumdance and Roger Robinson (King Midas Sound).

Limited edition of 300 copies. Packaged in a picture sleeve

J.D’s TIME MACHINE presents SPEAK LOVE b/w YOUNG HEARTS.
Songwriter supremo James Day has consistently delivered top notch material throughout his career, amassing an amazing set of collaborations.
The All Star Mix of SPEAK LOVE from five years ago features the mouthwatering cast of Glenn Jones, Tony Terry, Tim Owens, U-Nam, Ian Martin, Lin Rountree & Kevin Flint Jackson. This is one of James Day’s most respected compositions and we are thrilled to give this a vinyl release! YOUNG HEARTS originally from 2013 features the majestic vocals of both Kevin Flint Jackson and Tim ‘Tio’ Owens. Presented here as a '2022 Vinyl Exclusive Mix' with changes in the arrangement, Tim Owen’s EW&F sensibilities really shape this track and the note he hits in the meat of the song is worth the price of the admission fee alone!

The debut LP from duo Sunflower Aquarium offers a full spectrum bloom into the electronic ecosystem. Dylan Batelic (Paper-Cuts) and Thomas Martin (Furious Frank) fuse together for a 7 track collection of low-slung immersive deepness, embodying a cycle of life via the ebbs and flows of sonic seasonal evolution. A collaboration of cyber synthesis; written simultaneously Melbourne through Adelaide during late 2021, the result a refined yet spontaneous take on dubbed downtempo through to driving dance deviance.

Beginning with a birth, the stand alone Intro’s saturated glow cultivates a vivid timbre and sun kissed sub-stratosphere. Sprouting melodic constructions continue to blossom throughout the record and growing pains are welcomed with open arms, a mature moodiness brooding delicately through assured drums and fleeting Janet vocal fragments. Broken beat patterns group together and tessellate, the woven sunken bass leaves space for flickering hi hat fissure in SA-124, this groove based atmospheric momentum evolving cohesively track after track. Bright, refined concepts that linger and dissolve in your subconscious for weeks. The B Side preserves the introspective tip but dives deeper, faster; Birds Of Paradise melting organic field recordings into blissful synth voices and ricochet breaks. Bubble (Contagious Mix) feels like a midnight highway dub drive, shooting and gliding fluently; coloured lights iridescently blurred as if it was all a dream... then the closing track, which induces a sharp sense of hypnosis. Traditional techno expressions flirt with your ears, layers of repetition locked and loaded, dwindling into the abyss; conclusion of the cycle.

After 'Transit', his successful solo debut, Safe is the second album Bert Dockx (Dans Dans, Flying Horseman, Ottla, Strand) is releasing under his own name.

This collection of songs and instrumentals navigates between threat and dream, between silence and storm. Unlike 'Transit', 'Safe' mainly consists of original work and just two interpretations (of The Velvet Underground & Ornette Coleman tracks). This time Dockx is not flying entirely solo either, he gets musical assistance from Loesje and Martha Maieu (Flying Horseman, Blackie & The Oohoos) and Thomas Jillings (Ottla, Linus). Koen Gisen, Ghent based producer for connoisseurs, is back at the controls. Together with them, Dockx paints a richly variegated and adventurous soundscape with echoes of his other musical projects.

We hear folk, psychedelia, ambient, introverted guitar rock, shaded jazz. Colourful vistas are contrasted with gloomy introspection. Careful listeners will also discover the narrative of a complex, painful, passionate love.

After 'Transit', his successful solo debut, Safe is the second album Bert Dockx (Dans Dans, Flying Horseman, Ottla, Strand) is releasing under his own name.

This collection of songs and instrumentals navigates between threat and dream, between silence and storm. Unlike 'Transit', 'Safe' mainly consists of original work and just two interpretations (of The Velvet Underground & Ornette Coleman tracks). This time Dockx is not flying entirely solo either, he gets musical assistance from Loesje and Martha Maieu (Flying Horseman, Blackie & The Oohoos) and Thomas Jillings (Ottla, Linus). Koen Gisen, Ghent based producer for connoisseurs, is back at the controls. Together with them, Dockx paints a richly variegated and adventurous soundscape with echoes of his other musical projects.

We hear folk, psychedelia, ambient, introverted guitar rock, shaded jazz. Colourful vistas are contrasted with gloomy introspection. Careful listeners will also discover the narrative of a complex, painful, passionate love.

Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde - Akira Sakata on saxophone and Takeo Moriyama on drums. Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician. Recorded at Kashiwa Church Chiba Pref. In Japan on 24 May 1986 by Yukio Tezuka on Sony stereo cassette recorder. Mixed by Jim O'Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug. Liner notes by Kazue Yokoi

Peter Brötzmann - alto & tenor saxophone, E flat clarinet, A clarinet, bass clarinet; / Misha Mengelberg - piano, voice / Han Bennink - drums, tenor saxophone, clarinet etc. - Recorded by Jost Gebers on February 26th, 1979 at the Akademie der Künste in Berlin. Produced by Peter Brötzmann and Jost Gebers. - Cover Design by Peter Brötzmann, Photograph by Roberto Masotti. This album was originally released on FMP in 1979 Remastered by Martin Siewert in 2021.

FROM MUSIC COMES HARMONY
HARMONY BRINGS BALANCE
BALANCE RESTORES PEACE
Enter the heart of drums ..

With obvious intent Nui and Simon set out to create an album that encompasses all of their influences and experiences as musicians and journeymen in the world of African inspired rhythm and sound and have arrived at a work that is at once global, innovative and deeply funky !

It’s been an incredible journey that has taken them from the wilds of the northern hinterlands of New South Wales in Australia to the dreamy secret gardens of Marrakesh, from the onsite recordings of Afro-Cuban choirs of Havana, to the Gnawa street sounds of Moroccan medinas.

Nui and Simon have traversed the globe to create these recordings and have collected diverse and international group of artists to collaborate with in the making of Heart of Drums.

Artists such as Cazeaux Oslo, who is an African-American Mc and vocalist hailing from California.

Olugbade Okunade , Nigerian trumpeter and vocalist , was formerly a member of the Femi Kuti Positive Force band.

Members of Clave y Guaguanco, One of Cuba’s foremost folkloric groups, who have been around since the 60’s.

Lalita Yagnik, Portuguese Speaking Indian, vocalist and martial artist.

Radouan Naim, Traditional Moroccan vocalist and instrumentalist .

And

Close Counters, Australian Up and coming Electronic duo.

Digital Afrika is made up of two main protagonists:

Zhonu ‘Nui” Moon (Future Roots)
An African-Australian producer, percussionist and Dj that has performed and recorded all over the world.

With a strong focus on African music,He has worked with the likes of Femi Kuti , Mulatu Astake and Tony Allen.

And Simon Durrington (Si Fixion ) who is an Australian based producer, keys player and DJ. With extensive experience of working with Melanesian , Indian and world musicians.

Drawing on these influences, Si weaves these styles together seamlessly with his unique high quality electronic production.

This album ‘Heart of Drums’ is a synergy of lush analog electronica and fiery African percussion, vocals and instrumentation.

With occasional reinvented throwbacks to the Disco and Funk era as well as forward thinking Afro-futuristic Record bag essentials, Heart of Drums really brings the party!

These are constructed dance floor motivators for any environment.

The artwork for this record deserves special mention as the mask was handcrafted by the interesting and talented artist Ju Mu Monster. Based in Berlin, the studied fashion designer creates colourful, wildly dancing image-worlds, in which beings from diverse cultures are combined with shamanism and spiritual worlds. Her enchanting works of art include murals and canvases as well as magical masks.

All tracks produced and arranged by Zhonu (Nui) Moon & Simon Durrington

White vinyl, gatefold cover, silver stamped, spotgloss-printed On Epiphanies, the first-ever "concept-compilation" to be released by Hallow Ground, artists such as Maria W Horn, FUJI||||||||||TA, Lawrence English, Siavash Amini and Norman Westberg, who all have previously released music on the Swiss label, were commissioned to pursue a non-rational creative process in approaching the phenomenon of epiphany through sound. In very different ways, all of the compositions on the compilation draw on the unique emotional powers of certain acoustic instruments, obfuscating the borders between physicality and abstraction. The results, whether long-form, short vignettes, profane and concrete sounds or spiritual and abstract pieces, perfectly encapsulate what Hallow Ground as a label has stood for since its inception in the year 2013: challenging not only conventional notions of what music is supposed to sound like but also the listeners' perception through the power of sound. On Epiphanies, Hallow Ground also welcomes artists including Magda Drozd, Akira Sileas and Valentina Magaletti to make their first ever contributions to the label. For those who greet this compilation with open ears and minds, these 81 minutes will deliver on its title.

Favorite Recordings presents Dark Is The Color, the first LP by Alan Shearer reissued on vinyl for the first time. Despite being initially composed and produced for the French library label PSI, this rare
and obscure in-demand gem from 1985 sounds retrospectively like a proper album with great coherence and sophistication all along. Indeed, these 11 tracks will delight synthesizers addicts. Expect deeply emotive instrumental compositions, with ingenious analogue sequencing on stimulating chord progressions. The result is a highly retrofuturistic album, sometimes almost anticipating 90's videogames
scores. Just imagine Wally Badarou in a bunker with Talking Heads watching New York 1997 from John Carpenter.
Composed mostly step by step on a Sequential Pro-One synthesizer, Dark Is The Color is the product of the exciting state of mind from the 80's era with new sounds, new tools and new trends on the music spectrum. Influenced by bands like Talking Head or Japan, the sirens of the new wave scene strongly resonate here with Alan Shearer's familiarity and craftmanship with synthesizers.
Back in the days, Alan Shearer aka Frédéric Viger was working for his father’s music label, “Musique Pour L'image”, and their sublabel “PSI”. He started with Marathon Life under his real name before taking the Alan Shearer monitor. These records were produced for radio, TV and cinema industries but as well for companies’ internal communication. They represented a real investment from the label and these catalogues are usually full of amazing music from great artists such as Martial Solal, Vladimir Cosma, Joël Fajerman, Harlem Pop Trotters and even Manu Dibango.
About his musical illustration process, Alan Shearer tells: "Soundtracks are indeed my biggest influences and I'm a real fan of American composers as Jerry Goldsmith or Elmer Bernstein. I've always considered soundtracks as the new classical music or classical music of our century. There is a real state of mind producing music for illustration: you have to stick to the video. You should not tell what the image is saying but accompany what it is saying. You have to find a unique link, people always told me music should not be noticed for itself in a movie, that's what makes it good.”

Nile Marr is the son of former Smiths guitarist and current solo artist
Johnny Marr and his wife Angela
He was named for one of his father's musical heroes, Chic's Nile Rodgers. Marr
started out as a solo artist, then as a duo with American singer- songwriter
Meredith Sheldon, and then in the trio Man Made, alongside drummer Scott
Griffiths and bassist Callum Rogers, with future tour manager for Blossoms, Dan
Woolfie, as their sound engineer. They released their debut album TV Broke My
Brain in 2016, although its constituent songs were written over a period of eight
years. Marr released a debut solo album in 2020, titled Are You Happy Now? 'Part
Time Girl' was released as its first single in 2019. 'Are You Happy Now?' followed
in June 2020. An EP, Still Hearts, was released on 24 April, 2020. 'Still Hearts' was
its first single. Aside from the title track, there are two other tracks: 'Hush' and
'The Pusher'. Marr added acoustic guitar and backing vocals on 7 Worlds Collide's
2009 album The Sun Came Out. He has also appeared on two of his father's
albums: on 2013"s The Messenger he plays as a soloist, while on 2014"s Playland
he adds backing vocals. Marr has toured extensively with German film score
composer and record producer Hans Zimmer. His influences include John
Martyn, Fugazi and Elliott Smith.