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“My mother” says HDSN “is my biggest idol to date. She gave me the roots to grow and the wings to fly and pretty much dedicated her life to my sister and i. She has been holding herself accountable day in day out for more than twenty years to raise two kids as a single mom. Although my dad couldn´t be there she always kept the cable long and so we lacked of nothing - she literally gave us all that she got. It´s been her strength, her humbleness and her relentless effort which has made me and my sister the beautiful human beings we are today. Most importantly it was her acknowledgement of my passion for music that saw me being able to pursue what i call my destiny today. She has been my biggest supporter since day one even she couldn’t understand at first. She oftentimes called my music too “esoteric” little did we know how many peoples hearts these songs would touch on the way. From the very beginning i wanted to dedicate a song to her but as she was pretty delicate when it comes to my tracks i knew i needed to find the right notes to hit the right spots. It´s been eight years now since i started out to make music and with very much excitement i can announce i finally been able to thrill her soul. It´s with little hesitation that i dedicated this song which i ended up calling “Stronger” to her. I come from a family full of fighters, there have been many ups and downs for all of us but we stood strong to the struggle and managed to keep our shine. This goes especially for my sister as life dealt her a couple of rough patches early on. She was fighting her own war marching through the valley of death from a very young age. She never gave up though, thrived out of darkness into light like a poppy seed and now eventually became a mother, too. Life kinda neglected us over the year. I had to leave my loved ones behind to live my dream but there has always been a part of me that tried to find his way back home, which i finally stopped denying. “No Place Like Home” is dedicated to most important women in my life, my mother, my sister and her newborn child. This record is an homage to my family and the beauty that lies within our tribe.”

To need, to be needed, in four corners. Sleep and privacy, gases come and gases go, and now you are the only one in the room you sit in, you are one with the room you sit in, as if there are no negatives and no positives--did you know that you are an extension of your apartment? Did you know that you are in a codependent relationship with your apartment? Did you know that your apartment knows and appreciates all of your secrets?--I feel safe, which is not a new need for human beings, but a very ancient one, almost the first one. It is enacted by the possibility of sound, humming or strumming something mostly. But the quiet apartment makes its own sounds: a single longing note of birdsong told to the beat of restful breathing, the angelic insistence of tinnitus, the neighbours. Sometimes I wonder if silence means nobody's home. How still I sit. Sometimes I return to silence and feel hugged by the cool lightness of its touch, like sleeping with just a sheet in summertime. Like turning the key. Like a visit from the cat next door. Like a somnambulant ray reaching across the room, asking if you'd like to step outside. Reste Envie is a desirous message to oneself, made from a place of lived solitude: the parameters of home. Roger 3000 is a painter and a musician from Brussels, Belgium. Rest En Vie follows his 2020 release on his own imprint Tundra Records, Fiftine. His first solo EP, UFO Love Letters, was released by JJ Funhouse in 2014, followed by a contribution to Ekster's 2017 compilation album EXO3. Roger 3000 frequently collaborates with other musicians and artists, most recently with Lawrence le Doux (with whom he released the EP Chou Chou on Lexi Disques in 2021); with Carole Louis as Ondine & Turbotin for the EP Club Solitude, as well as with Bitsy Knox, with whom he released the LP OM COLD BLOOD in 2018 on Tanuki Records. Text by Bitsy Knox

Two tracks from Numero’s Eccentric Soul compilation which documented Bob Abrahamian’s passion and devotion to celebrating unknown Chicagoland group harmony music. His untimely passing in 2014 left a huge hole for many music devotees. SO, I CAN MAKE THIS CHANGE was THE KRASH BAND’s only record, it came out in 1976 and is a revered 45 amongst serious collectors. With it’s crisp bass, phased harmonies and the crowning accomplishment, the seraphic falsetto by Evelyn Holder!ONENESS previously known as The Audition’s recorded HARD TO KNOW in 1977 for Cincinnati’s AMG label, alas this sweet harmony jewel never got released and was only heard by those who tuned into Bob’s Sitting in the Park radio shows until the compilation put that to rights.

Please note this song was rescued / restored and there is tape damage in parts.

Bold, delicious and full-bodied, it’s no wonder Rube Goldberg Series Wines have such a loyal following. Volume nine is certainly a top spot for exceptional tunes. Here, cool fogs help to keep temperatures down, giving the beats time to ripen slowly and develop intense, complex flavours. Oliver.R, B.Love, Two Opposites and Let's Talk bring out the best of this prized fruit, crafting a bright, silky record that’s a real step up from the norm. Discover vibrant notes of house, funk and sweet rhubarb, with touches of baking spice and earthy forest dancefloor. The tunes are aged for up to 12 months, giving it soft tannins and a smooth texture.

Flautist Johanna Orellana teams up with Carmen Villain for a collection of horizontal, pastoral field recordings and close mic-ed flute sounds that zero in on the instrument’s unstable resonance and levitational magic. There’s no cringe virtuoso business or fourth world firewalking here - just sonic purity, sublime minimalism and the precise capture of time, place and poetry.

You might have come across Johanna Orellana before if you’ve listened to Carmen Villain’s music (or seen her perform live), and Villain appears here in a producer’s role, using her engineering expertise to impart a level of restraint and sonic fidelity that’s quite startling. There are only really two central elements to the album: environmental recordings and flute. There’s no psychedelic delay, no cavernous reverb; no audible treatments at all - Orellana and Villain instead force us to consider the flute and its musical lineage.

‘El Jardín I’ introduces the instrument as a physical conduit; Orellana allows her breath to distort the sound - the padded pat pat of the keys forms a kind of rhythm, closely recorded so it’s amplified and jarring, linking to primal wind instruments like conch shells, bamboo flutes and wooden whistles. Recalling the way in which Debit interfaced with the ancient world using AI- assisted tech on last year’s ‘The Long Count’, Orellana uses a comparatively modern contemporary transverse flute, an instrument with roots that stretch back through the baroque era, into Medieval Europe, back to the Byzantine era and into Asia. The component that connects the instruments and eras is breath, and its amplification and modification through differently shaped pipes and vessels.

Orellana lets the environment sing: insects, rushing water and zephyr-like winds form a stage that presents her mortal energy, suggesting a harmony between our use of breath and its environmental ubiquitousness. Her technique is steeped in folk history and decouples itself from expectation by rooting itself in nature. It allows her to bridge the gap between equal temperament and less ordered (less commercially-focused) microtonality without overstating the concept. Other sounds waft in from the sidelines; what might be an Indian bansuri, stray notes, a gust of air.

There’s a link to the foundational new age recordings that Joanna Brouk made with Maggi Payne back in 1980, but Orelanna also absorbs the outdoor folk magic of Fonal or Stroom, and the improvisational grist of Bendik Giske or legendary US horn duo Nmperign.

A lost MPB gem from rural Finland! We Jazz presents the first ever reissue of this rare 1990 local release by Brazilian duo Rosanna & Zelia. 7" EP with inside out 3mm spine sleeve. RIYL: Gilberto Gil, Joyce, Musica Popular Brasileira, bossa nova, bossa jazz

Liner notes by Mikko Mattlar:

"Rosanna & Zélia were a Brazilian duo of singers and musicians Rosanna Guimarães Tavares and Zélia Nogueira da Fonseca. They moved from Minas Gerais, Brazil to Europe in 1988, released five albums in Germany between 1993–2004 and featured vocals on an Ian Pooley house track Coração Tambor before Rosanna died of cancer in 2006. Zélia still continues her career in Germany, touring actively and releasing new music.

The duo's journey from Brazil to Germany also included two brief visits to Finland. In the years 1989–1990, they spent time in the small town of Seinäjoki in Ostrobothnia. Rosanna & Zélia performed Brazilian music in Finnish clubs and festivals and recorded a 7" EP for local label Maumau Music. The record was distributed mostly in the Seinäjoki area, but the three songs are well-performed and authentic Brazilian MPB, so the largely unknown record now gets its first reissue for a wider audience on We Jazz Records.

But how did two Brazilian women find their way to a small Finnish town to record an EP? The main reason for this was music journalist and promoter Risto Vuorinen, who was on a holiday in Albufeira, Portugal, where a friend of his lived. The streets were almost empty that evening, but Vuorinen and his friend heard fine guitar playing and singing from a bar. There were Rosanna and Zélia performing on a small stage, and the two Finnish men happened to be the only customers. When the artists ended their performance, Vuorinen's friend, who spoke Portuguese, went to talk to them. Rosanna and Zélia told him they had recently come from Brazil and are trying to gain ground in Europe with their music.

Because Rosanna and Zélia didn't know where they would head next, and because Vuorinen liked their music, he thought of bringing the duo to his hometown, Seinäjoki. They immediately liked the idea, and in the autumn of 1989 they arrived in Finland. The national Finnish jazz festival was held in Seinäjoki, and Vuorinen thought Rosanna & Zélia's Brazilian music would fit right in. They performed at the festival and in November 1989, also made recordings in a local studio with backing musicians from Seinäjoki.

Music enthusiast Pertti Hakala had a record shop and label Maumau Music in Seinäjoki releasing music from local artists. He released a three-track EP from the sessions. with two tracks written by Rosanna & Zelia themselves and their cover version of Extra (Brazilian Reggae), written and originally performed by Gilberto Gil in 1983. A small pressing was made for the Finnish market, and Hakala also sent a box of records to Brazil, but for some reason it was sent back.

After their first visit to Finland, Rosanna & Zélia headed back to central Europe, but Vuorinen decided to organize more performances for them for the next summer. Maybe he also wanted to show them the beautiful Finnish summer, as Rosanna and Zélia had so far seen the country only during the darkest autumn. The duo came back to Finland for the summer of 1990 and performed at the Womad world music festival organized as a part of local Provinssirock. They also played in Nummirock and Puistoblues, both respected music festivals, and performed on TV in Helsinki.

Rosanna and Zélia lived in a small apartment in Seinäjoki and played two to three gigs per week all summer. Because there were only two of them, even small pubs could afford to book them, and in 1990 the economic situation in Finland was good. It was before a major economic depression hit the country. The duo travelled by bus or train, and because they were an acoustic duo, they could easily carry their instruments in public transport. Vuorinen got excellent feedback from organizers. Rosanna and Zélia were good performers, but also really nice people.

With the income from their summer gigs, Rosanna and Zélia could buy a PA mixer and other musical equipment. When the summer 1990 turned to autumn, they continued their journey from Seinäjoki to Germany where they settled down."

In 1975, under the oppressive air of military dictatorship in Brazil, brothers Lelo and Zé Eduardo Nazario invited bassist Zeca Assumpção to join their musical experiments in a basement under Sao Paulo’s Teodoro Sampaio Street. As teenagers, the trio had already been playing together in Hermeto Pascoal’s Grupo, alongside guitarist Toninho Horta and saxophonist Nivaldo Ornelas, and it was while working together under Hermeto’s direction that the Paulista rhythm section (as they were then known) began to realise their own potential.

With many nightclubs and venues closed in the mid-70s and government censors dictating the output of radio, TV and art galleries, many Brazilian artists fled during the years of dictatorship. But underground, Grupo Um were fusing avant garde ideals with contemporary jazz and Afro Brazilian rhythm; making phenomenally free and expressive music - in stark contrast to the sterile, conservative conditions being imposed above ground.

Just like Hermeto Pascoal’s Viajando Com O Som from the following year, Starting Point was recorded over two days at Vice-Versa Studios, by revered engineer Renato Viola. The studio was one of the best in Sao Paulo and musicians communicated with engineers through cameras and a monitor, allowing the group complete immersion in the process. They also made use of the studio’s hemispherical tiled room, which served as an acoustic reverberation chamber.

The album begins with Zé Eduardo Nazario’s thunderous drum solo on “Porão da Teodoro”, before clearing the clouds with the lone Berimbau which opens “Onze Por Oito”. Built around a hypnotic electric bass line, heady Fender Rhodes improvisations, and more rip-roaring drums, it’s a rapturous, electrifying freak-jam in 11/8.

Like some invertebrate deep-sea curiosity, the free-form “Organica” is made up of Lelo Nazario’s playfully eerie prepared piano, with Zé Eduardo’s percussion flurries darting around Assumpçao’s double bass. The equally non-conformist, percussion-only piece “Jardim Candida” features many of Zé Eduardo’s home-made instruments, including a long saw blade played with vibraphone sticks and violin bow. While working with Hermeto, Zé Eduardo famously built his own all-in-one percussion set-up known as the “Barraca de Percussão” (Percussion Tent) - the first of its kind in Brazil, which he would also use on Hermeto Pascoal’s Viajando Com O Som and throughout his career.

“Suite Orquidea Negra'' (Black Orchid Suite) was written by Lelo Nazario as the score for an imaginary movie - the story of a rare, black orchid which produced a substance meant to cure all diseases, but which had mysteriously disappeared from the laboratory… “As a screenplay it’s not very good” reflects Lelo in jest, “but the music ended up being very interesting, the way its parts are chained to one another carries a little of the mystery I imagined for the movie.”

The album closes with the triumphant “Cortejo dos Reis Negros” (Procession of Black Kings) - a groovy variation on the Maracatu rhythm, with a two-note bassline underpinning piano improvisations, exultant wordless vocals, cuicas, slide-whistles and a very special guest appearance from Zé’s dog Bolinha.

Starting Point was to mark the inception of one of Brazil’s most daring instrumental groups. Their debut now sits in the lofty echelon of otherworldly 70s Brazilian music, alongside the likes of Marcos Resende & Index’s self-titled debut, Cesar Mariano & Cia’s Sao Paulo Brasil, Azymuth’s debut and indeed Hermeto Pascoal’s Viajando Com O Som. But just like all of those titles, which were either shelved or largely ignored at the time, Grupo Um - so radically ahead of their time - struggled to find a label to release their debut album. So Lelo kept the tapes safe in his archives, which is where they sat for almost half a century. Finally, almost fifty years later, this mesmerising piece of history is here, and it was only the beginning...

Grupo Um’s Starting Point will be released by Far Out Recordings, on vinyl LP, with an insert featuring unseen photos and liner notes by the Nazario brothers, as well as a CD on 17th February 2023.

Wax Tailor announces the release of his new album "Fishing For Accidents" on February 10th, 2023, accompanied by a new international tour.

"The starting point of this record is a quote from the film director Orson Welles, which evokes the notion of accident in the creative process. I always thought that accidents were an integral part of creation and the job of a film or music director is also to know how to capture them in order to make the accident an artistic intention. I decided not to follow a well established concept but this more instinctive guideline and to go fishing for accidents".

In this new opus, Wax Tailor explores with his sampler a world of vinyls and cinematographic references, brandishing as a flag a stamped musical culture and multiplying references to the 7th art in a music written in 33 rpm and 24 images seconds. After the dark "The Shadow Of Their Suns" released in 2021, Wax Tailor takes us with "Fishing For Accidents", on a brighter and more colorful side without ever betraying his universe and his convictions.

A multi-recidivist talent scout, he gathers around him a prestigious cast ranging from hip hop (Mick Jenkins, Mr. Lif, Kuf Knotz, Lojii, Napoleon Da Legend, Ill Conscious, Voice Monet, David Bars, Mattic) to the indie rock scene (Jennifer Charles, singer of the legendary band Elysian Fields and Victoria Bigelow).

With one eye on the past and the other on the horizon, Wax Tailor instills the incandescence of an organic sound and distills his art of sound anachronism in a wide gap between nostalgia and modernity that has made him one of the leaders of the international electro hip hop scene for over 20 years.

Musique Pour La Danse is proud to present the Donkey Kong Country 3 OST Recreated of the much appreciated and globally followed Donkey Kong Country OST recreation project led by NY-based composer and producer Jammin’ Sam Miller.

Using hex SPC data crudely converted to MIDI, Jammin' Sam Miller painstakingly recreated DKC's soundtrack note by note, by finding the original equipment used to create it, translating the MIDI into a modern studio context, adding in keyboard samples, and re-mixing the sounds with added effects and mastering. To find out more about his process watch an explanatory video here: cutt.ly/ulUHE6J

Remastered for vinyl, licensed, and presented in a limited edition blue cascade double LP.

COLLECTION OF SIGH'S EARLY DEMOS, EP & RARITIES ON VINYL -
INCLUDES AN INTERVIEW & LINER NOTES COURTESY OF MAINMAN
MIRAI KAWASHIMA ON THE FORMATIVE YEARS OF THE JAPANESE
LEGENDS.
Cult Japanese black metal legends Sigh formed in 1989/90, featuring
mainman Mirai Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought into the band. It was following this shift that the band set about recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence Productions, going on to become one of the country's greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a
vital creative force in the avantgarde field. However, at its core, Sigh has always remained true to its roots of old school metal.
'Eastern Darkness' contains a collection of Sigh's early rare works showing their swift musical evolution as well as the strong utilisation of keyboards in their compositional process throughout. The collection includes the band's legendary demo tapes, 'Desolation' & 'Tragedies', plus their 'Requiem For Fools' EP, along with the 'Far East Gate In Inferno' version of 'The Zombie Terror'. 'Eastern Darkness' is presented on the vinyl format & includes an interview with Mirai Kawashima about the early years of the band, along with his recollections of the origins of each title contained within the release, three decades on from Sigh's formation.

Trinitas unites three prominent artists in one flow of energy constructed from three strong sequences with no dissipation: Kalve, Colapso and Hæresis. This collection of works is composed by SKD, Sturqen and label newcomer Purgate, the latest project of Frederic Arbour of Stärker (Hospital Productions) and Visions (Cyclic Law). *Note, only selected tracks are on vinyl.

British musician, multi-instrumentalist, producer and DJ cktrl returns with the release of his new EP ‘Yield’. Born from a desire to change the narrative around contemporary Black British music, the boundary-pushing musician aims with this project to prioritise the art of bonafide musicianship. A stark departure from cktrl’s previous work, ‘Yield’ is a celestial and palpably more inward body of work that harkens back to the pre-electric age of modal jazz while simultaneously pulling in elements from the disciplines of classical and baroque music. Speaking on the project’s sonic identity, cktrl says: “I want to be able to show that you can make things from scratch again that have that feeling and beauty without having to sample an old record. Even though that’s an art-form within itself, I want to show raw orchestration and instrumentation can be the sole source” The origins of the title came from a period where cktrl was looking to find solace in himself after an introspective period of grief and heartbreak. As an intentionally instrumental project with minimal vocals, cktrl wants prospective listeners to see these new songs as guided meditations where they can wholly insert themselves in it. Eliciting and reaping whatever feelings come to the fore. Speaking on what ‘Yield’ means to him as a concept, cktrl explains: “Some people who I've asked to define the word ‘yield’ have looked at it from a harvest point of view, whereas others have seen it as something to submit to, to render, like you're giving up yourself. I see it as a barometer for how you feel - no matter if you're at your lowest or your highest vibration, you still need to show up for yourself. You still have to be present. It’s about getting the best from yourself no matter where you are in life” The new project is the follow up to last year’s ‘Zero’ which featured collaborations with esteemed contemporaries like the GRAMMY-nominated Mereba and anaiis. Upon the project’s release, it was met with a plethora of critical acclaim from highly regarded publications and platform such as British Vogue, Dazed, CRACK Magazine, Resident Advisor, NOTION, Harper's Bazaar and ES Magazine for its sprawling and experimental scope, spanning avant-garde jazz, classical music, alternative R&B and electronica. cktrl has a tune for every occasion: as content making beats by himself at home in Lewisham as he is amongst this generation’s fashion and cultural vanguards. Music has been a part of his life for as long as he can remember: from clarinet lessons throughout his school life to fond memories from his NTS days. Moulded by a unique blend of his West Indian heritage, years of classical training in both the clarinet and saxophone, cktrl strives to do what hasn’t been done before. His approach to creation is decidedly wide-ranging and broad. In fact, where sonic descriptions might fail to encompass the breadth of cktrl’s scope, three words surface when he unpacks his musical aims: freedom, range and feeling. Elsewhere, throughout his career, cktrl has been recognised and heralded by fashion and film VIPs as he firmly embeds himself within the black cultural renaissance emerging here in Britain. Acquiring a global network of creatives that include the late Virgil Abloh, Bianca Saunders, Tremaine Emory, Saul Nash, Maximilian Davis, Ahluwalia, Stephen Isaac Wilson, Sean Frank, Campbell Addy, Ib Kamara and Jenn Nkiru who secured him a cameo in Beyoncé’s ground-breaking film ‘Black Is King’.

Tod Dockstader's Aerial series, an electronic/drone masterpiece, is cherished among fans of the artist's work and this second volume is available in an audiophile quality double LP edition.

Tod Dockstader's Aerial series is sourced from his life long passion for shortwave radio. Dockstader collected over 90 hours of recordings, made at night, and comprised of cross signals and fragments plucked from the atmosphere.

Opening with airwave drones, Dockstader gradually allows elements to slowly come and go, summoning an ominous atmosphere of ethereal cloud clouds. Malignant placidity continues, giving the feeling of eavesdropping upon late-night audio activity not unlike discovering number stations while sweeping the dials. These sounds pull you in as their density and rhythms come and go.
Backward voices, deep echoing choruses of conversations flowing under the surface, ocean sounds, pulsing electro-rhythms, all seem to be created via the collaging of many hours of source recordings. A masterwork of collage and juxtaposition by an overlooked pioneer of American electronic music.

Artwork by John Brien (Imprec) is inspired by the propagation of shortwave radio signals throughout the earth's atmosphere.

"This return of Dockstader is something to cherish, not just because his output has been so limited and scarce but because what we do have is so intriguing, persuasive and cliche-free; the music of an inspired explorer who trails in nobody's slipstream." The Wire

"One of the great figures of musique concrete composition." Dusted

The Aerial project

I've written before of my interest in shortwave radio, in the notes to the Quatermass CD. Also, in the notes to the Omniphony CD (which has my first "Aerial" mix, "Past Prelude," in it), I mentioned "The Aerial Etudes," which was my working title for what became the three CDs you have. And, at the end of an interview with Chris Cutler (which can be found in the "Unofficial TD Website"), the piece I mentioned I was starting to work on at the time became Aerial.) When I was very young, people got most of their entertainment from radio. They called it "playing the radio," as if it were a musical instrument. That's what I've tried to do in this piece. About this time, a few people encouraged me to look into using a computer for this work.

I'd never used one, but I saw it would allow me to keep my mixes digital - no more transfer losses. So, at the end of 2001, I got a computer and an editing program for it, and spent what seemed a long time learning it. I began selecting mixes and loading them into the computer in late March, 2002. Out of the 580, I selected 90 "best" mixes - eventually reduced to 59, the ones on the CDs. Finally, in assembling the CDs, I followed David Myers' suggestion to allow each piece to flow into the next - making a continuous journey to the end. Tod Dockstader, 14 september 2003

About Tod Dockstader: Dockstader moved to New York in 1958 and became a self-taught sound engineer and sound effects specialist and apprenticed as a recording engineer at Gotham Recording Studios. It was around this time that he started to use his off-work hours to experiment with mixing and manipulating sounds on magnetic tape (musique concrète). By 1960 he had amassed enough material to assemble his first record Eight Electronic Pieces which was released on the Folkways label in 1961 (this would later be used in the soundtrack of Fellini’s Satyricon). The last of the eight pieces was later re-worked into his first stereo piece. In 1961 he applied to use the facilities at the Columbia-Princeton Electronic Music Center and was denied access by Vladimir Ussachevsky. Ussachevsky’s official reason was the “overstrained” scheduling of the studios, although many suspect that Dockstader’s lack of academic training was a factor in the decision. He continued to create music throughout the first half of the 60s, working principally with tape manipulation effects. His last piece at Gotham was Four Telemetry Tapes in 1965, after which he left to work as an audio-visual designer on the Air Canada Pavillion at Montreal’s Expo ‘67. It was around this time in 1966 that some of Dockstader’s pieces were released on three Owl L.P.s, and his work became known to a larger audience. He achieved modest recognition and radio play alongside the likes of Karlheinz Stockhausen, Edgard Varèse, and John Cage.

Official AFRODELIC reissue of the ultra-rare Tunde Mabadu’s debut album. Originally released in 1978 on Blackspot label (DECCA’s West Africa division), Bisu, which includes the supergroovy ‘Red Jeans’, differs from the later 1980 ‘Viva Disco’ album by a much more pure African style.

A beautiful and soulful production in which Tunde’s deep voice and sax move on the excellent horns arrangements, percussions, the wahwah rhythm guitar and weird keyboards and synths (at times psychedelic as in the ‘Blue Bird’ 9 minutes).

As wrote on the original liner notes of the era “His music will mesmerize you from the first track. A dedicated Musician especially to his African Roots with so much to offer Musically”.

Repressed for the first time. Limited Edition.

18 track compilation of cult '80s French rock band Les Calamités,
includes their biggest hit "Vélomoteur" and tracks with the bands the
Dogs and The Barracudas Available as a digipak CD with 36-page booklet and vinyl with 8 page booklet and download code, with liner notes in French and English. Wouldn't it do them justice to rid Les Calamités (literally "the calamities") of the embarrassing phrase "girl band", durably stuck to their skins and plaited skirts? It's nothing but a pink puffy cloud obscuring their true importance as a "band" full stop, as well as their fleeting though mind-bending trajectory. In just a few months after going on stage with a handful of original songs recorded here and there, they became, from Dijon to Rouen, Paris to Toulouse, Bordeaux to Strasbourg, the darlings of an uncompromising rockers' demanding scene. Tolerated by some, maybe, they were also consecrated, certainly (should they have needed the accolade). The trade-off was a succession of quick and distinctive verse-choruses for which the adjectives "fresh" and "light" seemed to have been invented again.

They delivered just as many covers, which gave an idea of the origins of their songwriting: one foot in the fifties (on the dancefloor), the other in the sixties (in the garage). All of this leading to their final hit, a successful incursion in the top sales with a popular song for everyone to hum at ease, from seaside campsites to the cool kids of the capital.
Everything the Calamités touched, with their classy, rigorous, casual ways - plus just enough amused detachment - turned into gold.

Re-mastered from original masters
- Heavyweight 180 gram vinyl (including download coupon)
- CD special digipak edition also available with bonus video footage.
- Liner notes by Kurt Cobain (written in 1993).
- Additional song "Fairytale in the Supermarket" included.

1 Fairytale In The Supermarket 2 No Side To Fall In 3 Adventures Close To Home 4 Off Duty Trip 5 Black and White 6 Lola 7 The Void 8 Life on the Line 9 You're a Million 10 In Love 11 No Looking

Formed in New York in 1985, The Optic Nerve were children of Nuggets who dreamed about the Velvet Underground but looked like the Byrds.

Their take on '65-66 jangly garage-folk-rock was unrivalled.

Lotta Nerve collects their fabulous early 45s plus studio tracks for what should have been their aborted first album.

Originally released in 1994 and out of print for many years, here’s a new vinyl edition with new artwork and remastered sound.

*Insert with detailed liner notes and photos

*Digital Download Card

RIYL: Byrds, Love, Gene Clark, Leaves, Dylan, Emitt Rhodes...