Suche:le cliché

Clothilde’s new album sounds like a constant departure from almost everything. Up until now, her music pieces seemed uncontrolled, a total commitment to the machines. She was, somehow, in between us - listener, audience - and the idea of a machine producing sounds she doesn’t seem to control. Of course, none of this was entirely true, she was mostly in control, but the fantasy, the orchestration of it was beautiful. It was sci-fi-ish, Metropolis-magnificent.

In “Cross Sections” everything is purposely under control. We feel, without being told, that Clothilde is directing the narrative, inviting us to partake of this raw and austere electronic sound, forcing us to learn to enjoy it. This is new. Whereas before she would expect you to stay put and listen, eventually you would understand and give in. Or your body would. Now she is telling you to be there, she doesn’t want to be alone, she wants us to feel this subterranean urgency at all costs.

The real eureka moment comes with “Medullary Rays”, when we start cohabiting with the sounds, when they feel familiar. The darkness becomes real; it is palpable how she is stretching each sound and making them come to life at every moment. It is violent, brutal. Like every track, it's a relief when it ends, it's like coming out of a car crash alive. Much of the A side of is Clothilde pushing the boundaries of her sound. She is not testing but finding new ground and sharing it with us. She is exorcising, demolishing and building over and over again, she is crying and screaming, dozing off with the demential levels of bass, making us constantly listen to alarm bells. She is scaring the shit out of us.

The B side keeps the levels of anxiety high up, especially on the 13-minute “Ring”. Surrealistic drones come and go, every second sounds like the end of something, the accumulation of tension is torrential and it never, never stops. We hope there is a conclusion to this. But there is not. “Cross Sections” builds and feeds on this darkness but, in a way, it is self-contained. Never explodes, never releases itself from itself. It is a continuous process of catharsis that it is never over. It never aims to be. Like, you know, life itself.

We've all been there. It feels familiar. Now it has a sound, or sounds. It can be heard and it is outer dimensional. “Cross Sections” is a tremendous effort from an artist trying to survive something. You never know what is. You don’t need to know what it is. It is just there. Cliché but it has to be said: highest possible volume on this one.

Beyond the Valley of the Murderdolls is the debut studio album by American horror punk supergroup Murderdolls. It was released in 2002. The album reached number 40 on the UK Albums Chart, and sold over 100,000 copies in the U.S.

Murderdolls are a side project for Slipknot drummer Joey Jordison and Static-X guitarist Tripp Eisen.

The music on the album is fast and macabre, stuck in a time warp that hurtles them backwards to the decayed sounds of the '80s. Call it gutter-punk, glam rock, or hair metal, every style is displayed here in its despondent glory, bearing close comparisons to shock-punkers the Misfits. The Murderdolls draw inspiration from movies such as Friday the 13th, Night of the Living Dead, and Phantasm. The 15 tracks found here are full of tongue-in-cheek horror clichés.

Beyond the Valley of the Murderdolls is now available on black vinyl and contains a 6 panel insert.

Water ripples all around, and echoing sounds stretch out into a shady sub aquatic habitat. Its dark corners slowly burst into view as cresting noises reveal fresh caverns teeming with liquid life. This is Sueños acuáticos, the latest sonic exploration from Lamina, a musical project by French artist, Clarice Calvo-Pinsolle. Built from years of carefully gathered field recordings, the album constructs immersive, detailed soundscapes where watery environments, caves, and forests intertwine with digital manipulations.

Rooted in the myth of the ‘Lamina’, a creature from Basque folklore, the project blends this oral tradition with technology to build a geological myth. The Lamina’s world—a nocturnal ecosystem of water and stone—serves as the foundation for the album’s sound design. Lamina reshapes these natural recordings into something new: stretching, pitching, and layering them to build intricate sound environments that feel simultaneously organic and synthetic. “I transform these sounds much like I would sculpt in ceramics,” explains Calvo-Pinsolle, “by adding, removing material, and imagining landscapes.

Drawing from hydrofeminist and posthuman ideas, particularly those in Astrida Neimanis’ Bodies of Water, the album treats sound like water—shifting, flowing, connecting, and buoying life. Tracks flow into one another without clear boundaries, much like the natural currents they represent. The result is a continuous listening experience, inviting deep focus on texture above melody.

Lamina is exploring the potential of the field recording as a compositional tool. Natural sounds, like trickling water or wind through trees, are processed out of recognition—or cliché. A sense of weightless immersion takes hold as Lamins’a music unfolds, and listeners float freely and choose their own adventure in the Lamina’s home. Less a set of songs than its own evolving environment, Sueños acuáticos (‘Aquatic Dreams’ in English) is a meticulously constructed work in which we can freely float.

25 years ago, this record sprang on the scene— a record holding a voice impossible to draw comparison to, and lyrics and stories alien to anything that resonated from The Opry’s stage beforehand. Mary was the first openly queer person to play The Opry, and for us at KRS, this record encapsulates things new, exciting, bold, while being an absolute standout to what the realm of Americana has to offer. This is an authentic American experience, cliches weren’t needed. Mary is a legend. This record will always feel new, exciting, and bold.

2024 coloured (violet) vinyl repress for this year's Sonic Cathedral's 20th anniversary! Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year's If Not, When? EP. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. "The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs_ basically every cliché topic that you could think of," reveals frontman Ryan Smith. "But that doesn't mean they ever stop being relevant. It's a fucker growing up, but I'm lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I've ever met." And that band name, in case it needs explaining, is pronounced the same way as the album title. "I never thought I'd get to the stage where I would have to explain it so much," says Ryan. "We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We're all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title." He's right. The perfect title for the perfect debut album. "A modern day shoegaze classic" - NME "The general roller coaster of being twenty-somethings in post-Brexit England who find themselves awash with a shimmering soundscape that recalls Oshin-era DIIV, Deerhunter's Microcastle, or even The Cure at their most ambiently grandiose" - Under The Radar

15 years onwards from the original release in October 2009, "This Is …" by Gizelle Smith & The Mighty Mocambos remains a classic in its genre. Upfront, raw and melodic, this super sister funk album has not aged at all. Now, in 2024, it is time for a proper re-release with unreleased bonus tracks, rare remixes and a limited edition double vinyl album. Welcome to the deluxe version of "This Is …" by Gizelle Smith & The Mighty Mocambos.

Read here what the original release sheet said about the album:

"Strong album – packs a serious punch" Craig Charles Funk and Soul Show, BBC 6 Music

"A breath of fresh air" Keb Darge

"Really amazing stuff, full of killers" Nick / Record Kicks

"Definitely recommended" Peter Wermelinger, Funky & Groovy Music Records Lexicon

"What a fantastic album – this is proper funk" Tobias Kirmayer, Tramp Records

Ever since their first collaboration on the "Mocambo Funk Forty Fives" compilation, things have gained momentum for Gizelle Smith, the "Golden Girl of Funk", and the much respected Hamburg-based label and live band The Mighty Mocambos. Their first single "Working Woman" became an overnight smash and a prime-time club favourite of funk & soul DJs from all over the world. Initially released on the Finnish private press label Old Capital, producer legend and Grammy nominee Kenny Dope (Masters at Work, Bucketheads) picked up and remixed the song for his own label Kay Dee Records. Gizelle Smith & Mocambo now step up with a full-length album of bonafide sister funk. In the days of digital recording and Pro Tools editing, they show true exception to modern techniques and create their highly regarded, unique and raw soul sound, by making use of simple dynamic microphones and reel-to-reel tape machines. In a genre which is often littered with overused clichés of the past, the charismatic Gizelle Smith adds a lot of her own flavour rather than slavishly copying icons of bygone decades. The result is a refreshing alternative to post-millenium plastic pop without being a mere retro rip-off. From the heavy and determined "Gonna Get You" to vulnerable, gospel-tinged laments such as "Coffee High", "This Is Gizelle Smith & The Mighty Mocambos" is just as deeply rooted in the music from the golden era of soul as it is a modern masterpiece in its own right. Blazing horns, soulful guitars, driving drums and basslines combined with Gizelle's gripping and powerful voice all weave together to create a long player that is varied and coherent at the same time.

Sunset Rubdown are set to release their fourth studio album_the first in fifteen years!_Always Happy To Explode.Twenty years ago Spencer Krug began using the name Sunset Rubdown for his solo bedroom recordings, experiments too low-fi and odd for what was then a blossoming Wolf Parade, but by 2005 Sunset Rubdown had evolved into a full band, with Michael Doerksen, Jordan Robson-Cramer, and Camilla Wynne joining Krug on stage and in the studio. The band recorded their third critically-acclaimed album, Dragon Slayer, in Chicago in 2008, then went on to play their last show in Tokyo in 2009, with the implicit knowledge it was their last. They broke up quietly, their certitude that they'd never reunite growing as the years rolled on. Then one night more than a dozen years after their final show Krug had a dream (he really did) that the band reunited, and the first thing he did upon awakening was email the band to see if the dream might be made real. The answer was a resounding yes, and soon enough Sunset Rubdown was onstage again. The first show in fourteen years was in Montreal, where they had formed so long ago. The tour was a success, most crucially in terms of having fun, the main condition of their continued pursuits. This fun was thanks in no small part to their blithesome new member, bassist Nicholas Merz. And thus they decided to make a new album together. The record is composed of nine songs cherry-picked from demos that Krug has been posting to his Patreon page over recent years, with the songs in many cases being pared down from their previous incarnations, yet no less lush. Being a band is no easy feat, perhaps especially as members age and spread across the continent, but it certainly is a privilege. With Always Happy to Explode, Sunset Rubdown have made something that captures their gratitude and the energy of their joyous (and sometimes difficult) reunion.

Volume Two in the Electro Sampler Series of Nijmegen's finest Shipwrec. Another compelling electro V/A with tracks by Konerytmi and Ian Martin, amongst others. SES1 set out what quality electro means for Shipwrec. The first in the series brought together six musicians from far and wide, musicians who journey through the colder edge of their analogue instruments with a clear ear for the floor. SES2 starts where its predecessor left off. The genre bending Ian Martin opens with the frigid funk of "Metaphysical Travellers." Stripped back, the track is bare in terms of its elements. Despite such meagre ingredients, Martin concocts an engaging and rich work of darkened grooves and sinister undercurrents. o-0._.0-o is the playful pseudonym of acid freetekno enthusiast Owen. His contribution, "Acidrobotik", releases a free and wandering 303 lines that forges a bubbling path through crisp percussion. The flip brings an artist better known for his work in techno. Cliche Morph delves into the clinical side of his palette and emerges with the stunning "Placebo." Balancing alienated and arctic blasts with a thawing warmth, the outcome is pure classic electro. A rising star of machine music follows, Fleck E.S.C. A dirty bassline is further sullied by layers of gritty distortion and glitched vocals in this re-wired work of ghetto. A legend of electronics closes, Kirill Junolainen. Under his lauded Konerytmi moniker, this synthesiser shapeshifter delivers "Kuva Alkio." Stuttering bass and tight drums are the foundation from which sci-fi inspirations take hold, sailing strings tethered by a terse snare as SES2 is brought to a triumphal close.

The latest full length album from Detroit mainstays Slum Village, F.U.N., has now made its way to vinyl. The 12-track project is their first album in nearly ten years and includes fresh collaborations with Larry June, Cordae, Eric Roberson, Robert Glasper , Karriem Riggins, Abstract Orchestra, Sango, Phat Kat, Daru Jones, Earlly Mac, The Dramatics and more. 2015's critically acclaimed Yes! further cemented T3 and Young RJ's ability to effectively carry on the legacy of the seminal rap group, retaining its essence while evolving its sound with fresh new energy. However, with last year's sold out tour in Europe, and the release of the Larry June and The Dramatics-assisted "Just Like You", it was revealed that the duo was back in the lab together working on a new Slum Village album. F.U.N. finds Slum Village expanding on their signature certain sound, but still staying close to their hometown roots: Young RJ explains- “We wanted to just try something new, so we focused on making Disco-inspired music,” and T3 notes that the recording process all “began with collecting old Disco records.” For fans who wonder why the sonic shift, and why the long hiatus between proper albums, T3 says “Slum is still here. We’re still relevant and we’re still trying to push the envelope. Sometimes people put too many rules on music, and without sounding cliche, we wanted to just have fun with this album.” F.U.N., indeed.

Pirates Press Records is proud to re-release Close My Eyes, the 2002 album by NYC ska-reggae legends The Slackers - a complex and nuanced album that shows the band's versatility and capacity for both commentary and introspection. It is often said - to the point of cliche - that New York City is a "character" in the work of the city's most noted filmmakers. A similar statement could be made about the artistic symbiosis between the city and The Slackers. From the Bronx-born accent of lead vocalist Vic Ruggiero to the band's embrace of cosmopolitan musical traditions from a melting pot of cultural origins, New York defines The Slackers at least as much as the band have contributed to defining the sound of New York for well over 30 years.Therefore, it bears mentioning that - aside from a 2002 collaborative album by "The Slackersand Friends" - Close My Eyesis the band's first proper studio LP released after the traumatic terrorist attacks on their home city in 2001, and the band took enough time to reckon with the global fallout of this tragedy. "So feel free go steal and rob, revolution ain't my job," sings Ruggiero on the title track. "And if I sing your happy song, please don't tell me I am wrong." It is the statement of an artist searching for a way to still sing about joy and life in uncertain times of great upheaval. And ultimately the band must reckon with these times. On "Real War," toaster Marq Lyn takes lead vocals as the band addresses the march to war that was omnipresent in those early days of the 21st century, stating in no uncertain terms that it was "Time to fight the real war_ Against hunger and poverty_ For racial equality." The Slackers make it clear that while the machinations of hawkish politicians grind on, the real needs of people all over the world are left behind. This tension between a dangerous world and the struggles of one's personal life are present throughout the record, and the band weaves stories from the whole spectrum of human emotion, war, heartbreak, joy, and everything in between. Bookended by instrumental tracks, opening with the energetic "Shankbon" and ending with moody dub reggae, these veteran virtuoso players ultimately take listeners on a masterful journey through the human experience.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


"Since 2012, New York City singer-songwriter Nate Amos (Water From Your Eyes, My Idea) has recorded and self-released hundreds of songs under the This Is Lorelei moniker, and perhaps surprisingly, after a decade plus, ""Box for Buddy, Box for Star"" marks the first attempt at a traditional, intentionally written full-length album. Amos describes the bulk of This Is Lorelei’s discography as “unedited diary entries,” written and recorded without much forethought, regard for genre or reverence for albums as thematic bodies of work, so oddly enough, ""Box for Buddy, Box for Star"" is both a fresh start and the culmination of years of diligent, interesting songwriting.

""Box for Buddy, Box for Star"" embraces traditional pop songcraft and a confessional, carefully written brand of lyricism, dabbling in the kind of classic singer-songwriter cliches he never imagined toying with—but not without the counterbalancing force of shitpost-y irony, which listeners have come to expect from Amos. Inspired by the gritty romanticism of Shane MacGowan and the Jim Croce mimicry of Tim Heidecker’s ""What the Brokenhearted Do…"", the LP exudes both a grizzled charm and youthful intensity. Sonically, Amos adorns the record with quaint country gestures—a full-circle artistic choice for Amos whose father is a veteran bluegrass musician.

And it wouldn’t be a Nate Amos release without a few curveballs, like “Dancing in the Club,” a bouncy auto-tuned pop song, which he likens to Bruce Hornsby-via-Blink-182, or “Perfect Hand,” an intimate piano-led track with vocal samples, alarm bell-like effects and skittering electronic beats. He also mischievously opens the album with a red herring of sorts, “Angel’s Eye,” a twangy sci-fi country duet about an angel who abducts a cowboy and unintentionally falls in love."

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

The music from LES TONTONS FLINGUEURS (aka Crooks in Clover aka Monsieur Gangster) is as instantaneously recognizable as the James Bond theme thanks to a short and recurring melodic motif that can still stick in the heads of 21th century kids. Monothematism is a word used by musicologists to refer to the use of stylistic variations based on a single musical theme as can be heard in the Tontons : on the banjo, during the nose punch sequences, played jazz, blues, gloria or Hully Gally style. Though the Tontons music may on first listen sound nothing different than a straightforward yet catchy soundtrack, it turns out to be a real exercise in style. When reading Michel Magne's autobiography " L'amour de vivre " it clearly appears that mixing folk music and sound experiments was a mindful artistic choice. In the movie, Antoine Delafoy (Claude Rich) who is engaged to Patricia (the Mexican's daughter) is merely a Michel Magne caricature. He embodies a contemporary music composer in search of the " absolute anti-chord " by using a water tap. " We don't really know what it is but it's amusing ". In reality and despite his classical musical education, Michel Magne has indeed had a venture into avant-garde music, going as far as organizing an infrasounds concert at the Salle Gaveau venue (Paris) on July 15th, 1954. Infrasonic frequencies which quickly made the audience run for the toilets. On December 3rd,² 1956 his low-frequency sounds contributed to an " empirique " show at the Théâtre des Trois Baudets (Paris) with Alexandro Jodorowsky, Jean Michel Rankovitch and Tinguely. At the same time he wrote music on words by Françoise Sagan for Mouloudji. Again with this desire to cross the boundaries of musical genres. He recorded in 1959 an album of " musiques tachistes " from which a show with dances was staged by Michel Descombey. His taste for provocation and avant-garde did not prevent Michel Magne from composing and arranging popular music. He hence wrote the music for six Georges Lautner movies including the famous Tontons Flingueurs in 1963.Being part of the avant-garde long-haired world what could Michel Magne think of Michel Audiard ? A most kind character who had nevertheless been burned by supporters of the " nouvelle vague " including journalist Henry Chapier who described Les Tontons Flingueurs as being " chansonnier " cinema (in Combat 1963), meant for disenchanted quinquagenarians. Audiard had responded to Truffaut, another of his dispisers : " Dad's movies filled theaters, son's movies empty them. We should have been warned : with its seaside sounding name the Nouvelle Vague (new wave) drove millions of viewers out on the countryside ". In between melodic effectiveness and daring arrangements and tonality, Michel Magne's work is worth being listened to with fresh ears, cleared of clichés !

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists.

“Fela Kuti meets Aphex Twin”
This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Following his meeting with Mathias Duchemin, founder of the Circus Company record label and a keen enthusiast of the new Israeli jazz scene, Yuval chose to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums.

While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.

Vana is a true Estonian lowkey gem, a duo (Ajukaja & Edith Karslon) who deal boldly with pop music clichés. On their debut 7” they cue up a track by beloved 80’s Estonian beachtown band to give it some new attire. A version & context of their own. They manage to lift a pseudo reggae track to present day & make it resonate here & now. Easy does it.

The B–side sees Vana on a pop trek. “Kuu Maa” is a real heart melter with its dreamy vocals, arousing piano line, guitar licks & funky bass. Grab that dictionary to catch each & every chunk of emotion on here. Or just let it slowly sink in. Lets go!

Loup Vert is the first jazz album of French pianist Julien Grassen Barbe, joined for the occasion by double bassist Sébastien Bacquias and drummer Fabien Duscombs. Conceived and composed in the Pyrenees mountains, recorded around Paris, it is an album of twelve tracks that came as a response to the proposal of Julien Galner (producer, founder of HIDD label). Loup Vert is the name of a fetish, a creature that breathes inspiration. Informed by many influences, from Frédéric Chopin to Morton Feldman, from Erik Satie to Herbie Hancock, through Keith Jarrett, Madlib and Naftule Brandwein, Julien Grassen Barbe's music opens a space dedicated to improvisation, melody, and the exploration of textures. Trained in classical music, graduate of the conservatory of the Hautes-Pyrénées region, where he is originally from, Julien Grassen Barbe is a songwriter and a musician, but also an ethnomusicologist, specialist in Jewish music, and a published author. A trip to New-York, land of Thelonious Monk, had a deep impact on him. He used it as a time for jam sessions, lessons with some of his favorite musicians, Aaron Parks, Aaron Goldberg, Barry Harris. Between 2014 and 2016, he explored pop, invited by Chateau-Marmont and Exotica to collaborate on two records as a keyboardist. It is on this occasion that he got closer to Julien Galner, producer, founder of the HIDD record label who asked him to record a jazz record. They entered the studio to record Loup Vert, a project that is a cross between impressionism, cinema, be-bop, mathematics and improvised music. Most of the pieces were written by Julien Grassen Barbe, mixing acoustic and electric/electronic worlds.

Perc Trax hits 100 releases with Perc returning with his first album in seven years. 'The Cut Off' is Perc's fourth album following 'Wicker & Steel' (2011), 'The Power & The Glory' (2014) and Perc Trax's best ever selling release 'Bitter Music' (2017).

'The Cut Off' see's Perc deliver his most dance floor focused album to date, serving up enough energy to keep contemporary dance floors moving, whilst avoiding both the cliched 90's throwback hard techno formula that is dominant right now and the stuckist 'real techno' blueprints that are still endlessly regurgitated having been established over 30 years ago.

Across the album Perc's well established industrial credentials collide with giant sized synth riffs, driving acid lines (a first for a Perc album) and all manner of drones, choral performances, urban textures and even a dentist's drill (on 'Static'). Gliding arpeggios and slow moving melodic lines feature more on this album than ever before without dulling the sharp edges of Perc's music.

'The Cut Off' more than any previous Perc long player is an album that focuses on the club, the dancer and the dance floor. Yes, there are moments of respite between the classic Perc percussive workouts, but they are far outnumbered by the varied collection of club tracks that come at the listener from every angle.

Collaborations include Sissel Wincent, a regular collaborator with Peder Mannerfelt. Perc remixed Peder & Sissel's 'Sissel &Bass' track to great effect in 2019 and now Sissel returns the favour appearing on 'Static', the album's only full vocal track. Also collaborating with Perc is EAS, one of America's fastest rising techno artists who delivers the raw acid lines that power album highlight 'Cold Snap'. Finally London based metal vocalist Leandro Bastos adds his abrasive vocal tones to 'Imperial Leather', the first single to be taken from 'The Cut Off'.

The 'Cut Off' was recorded in Perc's own studio and mixed by Perc at Map Studios in London. The album was mastered by Matt Colton at Metropolis Studios. Album design was handled by Lucas Grassmay, who previously worked on I Hate Models' debut album on Perc Trax in 2019. The album will be supported a run of dates around the world where Perc will be performing a special live set based around the album as well as his infamous DJ sets.

During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch’s shouted lyrics matched by her non-conventional use of electric guitar. The group’s self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it’s an awesome disc that rebuffs punk’s easy cliches and refuses to be categorized. This reissue also includes the ‘Pre’ EP and the tracks from the legendary No New York compilation.

Dancefloor fire bombs from Kolt, a DJ and producer thus far mostly operating under the crew name Blacksea Não Maya (with Perigoso and Noronha). This is his first Retirement record. No quotation marks here, Kolt is actually stepping down from a fruitful decade-long career as DJ and producer.

Fat, techno-ish, idiosyncratic big room afro mind melt sounding like no other hyped or non-hyped dance cuts out there. Futuristic and decidedly non-European in structure, this set of 4 tracks carries a more synthetic DNA than previous material, if we exclude his quasi-gothic slow burners in BNM's "Máquina de Vénus" LP. But in "Verdadeiro" Kolt is all virtual open arms and bare chest, appearing to satirize this idea of the megastar DJ. But what comes across is distinctive and alive (consequently deadly on the club sound system), wiping out the floor of any zombie-preset-DJ vibes.

Take "Bateste" as an example: an evil bassline, wtf beeps, a vocal snippet prodding the dancers and a final blissful 30 seconds to ease you out. "Shaman" is the final track, its title just maybe nailing the atmosphere felt by people on the dancefloor. Shamelessly epic and in your face, a simulation of a throwback to a more clichéd clubland but just so left of centre that one can't find a complete correlation to fit the picture. Yes, we all go OMG.

The debut album by musician and producer GO.SOUL.MAP. is a little gem in which pop and soul intersect and the clichés between
mainstream and underground leap. A sexy and pensive nocturnal journey, immersed in thirteen songs between soft bass and space disco trips, with the voice of Londonbased Derane Obika of Living Sounds.
The selection of songs in this album were made with the hope to bring the listener to deep thought, the lyrics and melodies seamlessly
married to tracks that drive the listener's emotions.
Produced, written and performed by Derane and Salvo, they came together by chance and were inspired to make the album making
sure to balance the sound between the Lyrics, Melody and Music to insure that not only the songs are heard but the experience
remembered and both spirit and soul are touched.
The album is truly "Music From The Heart"
Behind the alias GO.SOUL.MAP. hides one of the most authentic and purest talents of the current Catania music scene. Of which,
moreover, under other guises and names, he has been an indispensable pillar for over a decade. An artist of immediate sensitivity, not only artistic. His training is fairly canonical: as a child, he studied piano. From there, as if following the movements of concentric circles, the passion for synths, drum machines, the world of samples and the recording studio. Above all, an uncommon ability to breathe in music. Accepted and found without prejudice, but always with the need to reveal a distinctive track, a signature. Touring between bars, streets, concerts and clubbing. An experience very consistent with the subject matter of this disc. Which is, in fact, the debut of a nonrookie. An ambitious record, because it possesses a sound that is as sexy as it is thoughtful and a writing style, exemplary, that lies on that borderline that, in the stereotype, defines underground and mainstream. Fields that instead it crosses naturally and between which it moves without any particular problems. After all, the music comes not from the malice of the intellect but from the nuances, tender or vehement, of naivety.
Peaceful Sound For Broken Minds is a pop record, pop soul, of modern urban pop. Yes, labels, even in the sense of tags, are definitely that. Of course, it is the way in which ideas are rendered that makes the difference. The record is about the need to find one's peace, but it is the fall that it shows and not the landing. With honesty and, above all, style. That is, mastery of means and an important file work with which to decline that therapeutic soul pain in which his songs are immersed.
We wait for hours more, the initial Fall Into The Flame and I Am Believe seem to tell us from there we move on. Hold The Line is where trip hop forgets itself, immersing itself, to the point of blurring, with the retro atmospheres of someone like Curtis Harding. Pushing has a space disco cadence that, more pronounced, we also find in the lunar expedition sound of Watergate. The exotic visions of Back In Underwater, between the stardust of Air and the innocence of Plone, become more jazzy in Cat With Camera. Just as in the urban streaks of Don't You Worry, which in upbeat mode would sound like a great reggae song, or Are U Ready, or in the disco funk of Right Of Me, the soulful accent of Derane Obika of Living Sounds emerges, a Londoner of Nigerian origin who grew up listening to gospel, Prince and Stevie Wonder, whose voice guides us through the songs of Peacefull Sound For Broken Minds. Which is a new point for that work of redefining the standards of pop today that Space Echo is doing. Throwing the clock overboard, because the time it wants to capture is nothing more than the movement of its hands.

REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

LIMITED RED COLOURED VINYL!
REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.

Indie darlings Peaness are aiming high once again with charming, harmony-driven pop perfection in the form of two original Christmas classics this festive season. Both songs “Kiss Me Sweet Pea” and “Sad Season” will be released on their own label Totally Snick Records.

Lead single “Kiss Me Sweet Pea” is an unapologetic pop-produced single embracing many of the Christmas cliches - including sleigh bells, a key change, and a nod to the classic Noddy Holder scream. B side and second single “Sad Season” follows a more sombre style with its stripped-back jazz standard approach to production and songwriting, which gives a more intimate piece of work from what we’ve come to expect from Peaness, with front person Jess Branney featuring alongside a piano and a string arrangement.

Before he was in Sugar or became the Drive-By Truckers’ producer-of-choice throughout their career,
David Barbe led the Athens, GA trio Mercyland, who made one minor classic with 1989’s No Feet On
the Cowling. The legendary Athens, Ga post-punk band’s sole album originally released in 1989 has
been fully Remixed & Remastered. For this 2023 Reissue, Barbe went back to the master tapes and
was able to remix the album to the robust sound that he intended it to be back in 1989. The "lost
American Underground classic" album now sounds bigger and better than ever. Finding a raw but
tuneful midpoint between British post- punk and American rock & roll, the band never sacrifices
melody for power (or vice versa), adding counterpoint vocals and lyrics that explore the human
experience without falling into obvious clichés.

Disco is back! From Paris to Melbourne, Berlin or Athens, a new blend of 70s inspired disco sound is currently taking the dancefloors by storm with artists like Monika, L'Impératrice or LeonxLeon, creating a stir on the international scene. Paying their dues to the pure form of Disco, these new artists, far from mimicking the clichés, are adding an unmistakable millennium twist to the genre. This is Disco 2.0

Behind the alias GO.SOUL.MAP. hides Salvo 'Dub', one of the most authentic and purest talents with a marked sensitivity,
not only artistic, of the current music scene in Catania, of which, under other guises and names, he has been an indispensable pillar for over a decade.

The debut album of this project is anticipated by two preview tracks that will be released not only digitally, but also in physical format on 7" / 45 rpm.

The launch single is 'Pushing', an explosive track in a Nu-disco key, modern but firmly rooted in the past, with a production that enhances the sound of the keyboards; full of 70s/80s Funk and Soul, it also has a Disco-Pop vein that makes it perfect for radio. The track is excellently performed by Derane Obika of Living Sounds. A Londoner of Nigerian origin, as well as an exceptional singer, Derane is also the author of the song's melodic lines and lyrics, which can be interpreted as a dialogue between an imaginary interlocutor and his spiritual guide journeying through the maze of life.

The 'Pushing' 45 will feature as a B-side an exclusive instrumental version (the one sung by Reiwa Pia will be included on the full-length) of 'Back In The Underwater', a track that combines a Hip-Pop groove with cinematic atmospheres.

GO.SOUL.MAP.'s debut album is titled 'Peaceful Sound for Broken Minds' and is scheduled for release February 28th 2024, a little gem in which pop and soul intersect and the clichés between mainstream and underground leap. A SpaceNu-Disco, Soul and R&B journey in which Derane Obika's fundamental contribution to the lyrics and melodies of no less than nine tracks out of twelve stands out! - This is a greatly anticipated album made for the ears of music lovers performed and produced by musicians with same love for the art of music.
Dont miss it!!!!!!

Fire and water collide again: On her latest album "Wandering Through Time", Swiss sorceress ASHTAR opens up a menacing yet ethereal world of opposing forces, fans of emotional yet dirty Blackened Doom Metal should willingly enter. ASHTAR - a duo at first - emerged on the scene in 2015 with their critically acclaimed debut album, "Ilmasaari", voted by Tom G Warrior (Celtic Frost, Triptykon) as one of his favorite albums of the year in Deaf Forever magazine The follow-up, "Kaikuja", released in 2020, took the project's unique blend of black and doom metal to the next level. Since then, ASHTAR has shared the stage with renowned bands such as Inter Arma, Primordial, Bell Witch, Bolzer, and Schammasch.

Now, with "Wandering Through Time", frontwoman Witch N. takes the helm as a one-woman band, pushing the limits of her creative expression to new heights. On her latest offering, she aims to express the darkness, power, and magic of most notably female forces in nature in a saturnine and poetic way. The deeply personal songs take listeners on a journey through the darkest corners of the human soul while embracing the beauty of the natural world. They never fail to showcase Witch N.'s accomplished songwriting and her talents in delivering tortured, gritty screams as well as super- heavy, leaden guitar riffs. Consequently, she names metal masters such as Winter, Darkthrone, and Black Sabbath as her major influences.

From the gloomy and depressive "Into the Gloom" to the tragic tale of the Waterman in "The Submerged Empire", each track is a cathartic work of art. The lyrics transcend metal-cliches of fantasy and lore by telling stories about personal growth, finding soulmates within a cold world, and keeping one's own inner black flame alive. Recording and mixing of the album were handled by V. Noir at Inferno Studio in Switzerland. He also provided additional guitars and jaw harp. The album was mastered by Greg Chandler (Esoteric) at Priory Recording Studios in Birmingham, UK. The front cover photo was captured by Raphael Wolf, while Anti Graphic laid his skilled hands on the new logo design. For Fans of: Oranssi Pazuzu, Wolvserpent, Mizmor, Mantar, Blut aus Nord, Dark Buddha Rising, Eagle Twin, Glorior Belli

It’s frequently been difficult for us, as a band, to limit ourselves to “normal” pop song lengths and structures….as evidenced in pretty much all of our releases to date. From time to time we feel the need to loose the ropes that bind us and let our Long & Tedious flag fly freely. Truth Or Consequences, New Mexico is the result of said untethering.

We’ve always found the idea of exploring a single note over long stretches of time interesting and this song is that idea taken to an extreme logical conclusion. It’s an exploration of the note A in all it’s possible variations.

Lyrically the song is an extravaganza of navel gazing. There’s a cliche in the literary world nowadays of authors writing novels about the trials, tribulations and rewards of writing a novel. Truth Or Consequences, New Mexico is just as sickeningly self-referential, exploring the obsessive urge to create art of all kinds and how it turns into a cycle of imbibing real life experiences, then spitting them back out in whatever artistic discipline you happen to find yourself practicing. A kind of snake eating it’s own tail….but with the kind of self pitying pretentiousness that only folks who think they’re very clever indeed (that’s us) would want to impose on themselves.

Glasser, the elevated electronic project from Cameron
Mesirow, releases her anticipated third album, ‘crux’, via
One Little Independent Records.
 ‘crux’ takes Glasser’s entrancing blend of dreamy
experimental pop and layered electronics to explore
themes of personal identity, emotional vulnerability, and
the human experience. The album maps journeys of selfdiscovery as she unpacks intimate experiences with a
maturity and cathartic outlook. Specifically, the tracks on
‘crux’ discuss the death of an old friend, her meditations
on the fragility of life and the delicacy of relationships in
times of uncertainty.
 More than anything it’s about the importance of creativity
and writing while healing, and on an individual level,
looking inward and the examination of one’s grief, anxiety,
and insecurities. Musically it searches outward, it includes
the use of traditional folk, Celtic to communicate her
Scottish roots, and Eastern-European styles, all introduced
to her lush, atmospheric production, intricate vocal
harmonies, and complex rhythms.
 “Soaring vocals with free-flowing, rhythm-obsessed
eclecticism that make for a notably welcoming collection of
atmospheric, electronics-brushed pop” - Pitchfork
 “It’s Glasser’s sonic constructions which holds our interest
first and foremost; a bolder and more up-front sound” -
The Line of Best Fit
 “Potent, sexually charged and teeming with life. Make no
mistake, this isn’t sex as male-gaze-pandering titillation,
packaged in clichéd, chart-friendly couplets, but sex from a
singular female perspective: intimate, all-encompassing,
ecstatic. This is pop for consenting adults: music for awake
minds” - Dazed

The album appeared suddenly - Within about a week, A Family Light was
pretty much fully written - "Despite the old cliche, the inspiration for this
album stemmed from heartbreak," describes band member Sergio
Trevino
"Fresh out of a failed relationship, I took to writing, resisting the temptation to
create bitter or angsty love songs. I tried to channel my emotions into something
larger. Looking back, with the benefit of time and distance from the album, I
realize that it kinda became a response to my observations of the family
dynamics, and how strange and complicated those predetermined roles are.

The Esbjörn Svensson Trio, e.s.t. for short, are still
celebrated today as one of the most important and
influential European jazz bands of the last 20
years.
 In 1999, the three Swedes achieved their
international breakthrough with ‘From Gagarin’s
Point Of View’. A star rose in the musical sky and a
unique world career followed. But sometimes stars
shine for much longer than one thinks. On ‘e.s.t.
Live 95’ there are recordings that prove that this
was also true for the Esbjörn Svensson Trio.
 The band, founded in 1993, found their very
specific sound early on but it was not initially
noticed outside its home country. In 1995, when
the trio’s namesake still wore long hair and a
headband, these recordings were made at various
locations in Sweden. And whoever hears how the
trio played back then is left breathless.
 Much of what distinguishes e.s.t. was already
strongly pronounced here: the coherence and
powerful grip of the playing; the catchy themes that
immediately jump out at the listener and yet do not
become clichéd; the fusion of the music of role
models like Thelonious Monk and Keith Jarrett into
a style of their own, always infected by the forward
thrust of rock. Magical moments were saved for
eternity by these recordings.
 Now this e.s.t. early work is available on double
vinyl.

Bonded over the struggles of the pandemic and a mutual love for Motown, Soul and Afrobeat, Denmark"s renowned outlet for jazz, April Records proudly presents "Moko Jumbie", the debut by it"s latest outfit "A Plane To Catch". The vibrant Danish jazz scene came to a crashing halt along with the rest of the world in early 2020, and a tight-knit community of up-and-coming musicians were thrust into a void, robbed of the largest part of their livelihood and joy, live performance. Gathering in a graffiti-smudged artist"s space in an old industrial facility in Copenhagen"s outskirts, they created a space for themselves to improvise in a funky, groove-based setting. What came out was an expression of longing for all that was lost during the pandemic - a musical antidote to the loss of fun, joy, community, movement, travel and youthful abandon that the pandemic had temporarily put a halt to. Exploring the rich exchange between West African musical traditions and Western funk and soul, this is music meant for dancing, transporting the listener to dance floors both real and imagined. Featuring warm, raw production the record creates a real sense of energy and intimacy, as if the listener is in a dark club with an electric jam band. Through the eight compositions the quintet joyfully navigates familiar harmonic clichés from 70"s soul tunes, a variety of infectious toe-tapping grooves, playful improvisations and melodic duo horn arranging. Explorations of darker tonalites popularied be Ethio-Jazz legend Mulatu Astatke provide a welcome departure through harmonic contrast and propulsive polyrhythmic groove. The title "Moko Jumbie" derives from a mythical character in Afro-Caribbean folklore. During carnival season masked Moko Jumbies can be seen dancing on stilts in colorful garments, towering over the crowds. Part gods, part healers, part ghosts, and most importantly: moving expressions of freedom and the perfect mascot for this celebratory album.

Repress coming!

High Focus Records is proud to present 'Put That Soul On Me' a brand new 3 track offering from arguably one of the best voices to emerge from these shores in recent years : Rag N Bone Man.
Since having been introduced to the world via High Focus Records in early 2013, Rag N Bone Man's career has flourished in an incredible way and it has become a widely known fact that, as cliche as it may sound, he is the next big thing. From gathering attention from the likes of tastemakers Zane Lowe, Rob Da Bank, Mistajam & getting daytime radio play on BBC Radio 1 among others to working with Hip Hop legend DJ Premier and touring all over the country with chart toppers Bastille, it is a proven fact that Rag N Bone Man's voice has the power to touch the hearts of millions no matter what genre of music you are into. With such a universally recognised talent, its going to be hard for nay sayers to deny the infectious flute grooves of 'Put That Soul On Me' or the slow pounding bass of 'Across The Sky'.
Dirty Dike, normally known for his outlandish lyrics and larger than life provocative character takes the back seat on this release, allowing his signature crunchy production to do the talking. Dirty Dike's instrumentals provide the perfect back drop for the smooth rumblings of Rag N Bone Man, the pair complement each other perfectly as the beat and the voice are just as heavy as one another, both putting on a fantastic display of skill and raw talent which has been synonymous with all High Focus Releases.
The title track, 'Put That Soul On Me' is a catchy celebration song, a festive underground tune praising 'that neat sweet soul' whilst denigrating those 'wack ass drums and played out synths' over swirling flutes. Following the festivities we have 'Across The Sky', a bass heavy downtempo number which explores the side effects of different drugs, upon which our protagonist asks for a helping hand before the heart wrenching saxophone kicks in. High Focus Records fans will be pleased to see that the infamous Rag N Bone Man 'exclusive Bars' from the HFTV channel is finally seeing an official release. 'My Business', which set the internet on fire upon its release on the channel, getting retweeted by the likes of super producers DJ Premier and 9th Wonder, is the third track on this project and features a guest verse from Contact Play legend Ronnie Bosh. With these three unmissable tracks on one piece of wax, The 'Put That Soul On Me' 12'' is going to be the soundtrack to your summer.

A tale of two Indians recorded in Cologne, Stockholm & Berlin.
Anurag Choudhary & Pawas Gupta are Non Solo.
Friends from more than two decades, these gentlemen decided to bring together their knowledge of music at Anurag's apartment in Stockholm back in 2008. Anurag’s life journey took him to Stockholm,
Sweden and Pawas’ culminated in Berlin, Germany; both cities a cultural and a musical powerhouse in their own right. Anurag, a professionally trained Flautist (bamboo Flute or “Bansuri”) in the traditional Hindustani Classical Music and Pawas, someone who has been exploring the realms of electronic music since 1997 as a DJ and releasing records under different monikers since 2007 decided to bring in their forces on a gloomy Stockholm afternoon.

You may ask, why Non Solo? Well, for obvious reasons!
In traditional Indian classical music you are trained as a soloist, mastering a single instrument and each instrumentalist has a deep understanding of the common syntax and rules of engagement that produce some brilliant duets. Both Anurag and Pawas have been pursuing their solo music careers and mastering their craft. However, ‘Non solo’ brought these two (soloists) together to collaborate on something that has not been done before in this way so two soloists coming together and forming NON SOLO.
It all started over a “Fika” which translates to “ a concept, a state of mind, an attitude and an important part of Swedish culture. Many Swedes consider that it is almost essential to make time for fika every day.
It means making time for friends and colleagues to share a cup of coffee (or tea) and a little something to eat” in Anurag’s favourite Cafe, not to forget his exquisite palette for Coffee. After a short brainstorming on how to create something new and fresh without it being too cliched and with the help of impeccably roasted coffee beans that were freshly brewed, the men decided to jam it out to see where this goes.

The first attempt resulted in the second track on the record “Svar” which means “note or tone” which was a one take track. Motivated and excited, they both decided to continue working on this project.
A few months later Anurag visited Pawas' previous Studio in Cologne to record, where Sarang, Tandav and Bhoop were born. Even though the creation had happened, they felt it wasn't the right time to put
it out there just yet. However, time flew by and after almost 14 years of waiting, the men came back to what they had created and decided it was now the time to release it.
The title track “Sarang” is inspired by raga Brindavani Sarang, where Anurag infuses the romantic and mystical flavour of this raga with his flute and Pawas brings his deep repertoire of electronic grooves and
atmospheric sounds to create an intelligent track that touches the listeners.
Svara is inspired by raga Hansadhwani (translated ‘svan song’ or ‘sound of swan’) is an endearing melange of Indian classical and house music.
Tandav is a high energy track based on a variation of Sarang raga. With Pawas’ in-depth knowledge of both Indian classical percussion and electronic music….. This track combines multiple rhythmic layers
manifesting in one exhilarating track that is filled with polyrhythmic cadence and interludes.
Bhoop is melancholy and nostalgia infused into one melodious offering inspired by raga Boopali laid over a bed of organic drums and bass.

The Feel:
Svara is falling in love, the feeling you get when you are walking after that first wonderful date, smile on your face and so much anticipation and joy in the heart for all that excitement that is about to come.
Sarang is being in love, when you start to experience all those emotions you didn’t know even existed inside your heart. It is a complete journey.
Bhoop has a tinge of melancholy, longing and missing each other , while Taandav is coming back together after a long time away from each other. Re-discovering each other and re-experiencing all those
emotions at an even deeper level and celebrating the togetherness, be it in friendship or relationship.
Non solo is first in its kind to bring the melodious/musical depth inspired by the raga traditions to the exhilarating rhythmic world of deep house and electronica.
Available now in your favourite digital store and on limited edition Vinyl with an exquisite typographic artwork by Shantanu Suman in collaboration with Masala Movement's Manoj Kurian!

Band: VORNA Album: Sateet palata saavat Release Date: September 27th Clichés almost always have a true core. That artists from the (European) Far North tend to melancholy is one thing that has already been confirmed many times. VORNA is no different. The band from Tampere has been in existence since 2008, and still is today in its original line-up. The six-piece group is well-rehearsed and has continuously developed its sound over the years. With pride and self-confidence the musicians grasp their playing as "Finnish melancholic metal". This means songs with a dark mood and an emotional state-of-mind, which cause reactions from the developing atmosphere. The melancholy comes to bear on different levels, but without ever slipping into pessimistic gloom. VORNA's access to the heavy spectrum is broad and open-minded. The six musicians are guided by their emotions and transform them into dark tuned music. Starting from a base between Folk and Black Metal, the Finns have enriched their playing since 2008. The symphonic extension of the third album underlines the atmospheric and melodic composition of the songs. "Sateet palata saavat" means something like "Return to Rains". In other words: something is brewing before the sky opens its floodgates and the power of nature discharges. This picture fits very well to what VORNA musically have to offer. "Sateet palata saavat" develops to be tense and intense. VORNA's vocals, left in Finnish, don't compromise the access to VORNA's "Finnish melancholic metal". The underlying emotions can be empathized and create an interaction with the listener right from the beginning. The organic songwriting of VORNA underlines the down-to-earth approach, the Finns are following. Partially, however, "Sateet palata saavat" sounds uncanny and creepy.

Drawing influences from Doom, Psychedelia, Post- Metal, and Grunge, Burial Clouds' well crafted songwriting is ambitious in sonic scope. Heavy without being cliche, complex without falling into self-indulgence and epic without pretension.

Burial Clouds were originally an instrumental band, but have recently been joined on vocals by actor/ musician Michael Malarkey (Vampire Diaries, Project Blue Book). With this addition the band have reached a new level of expansiveness through Malarkey's crooning blues-esque vocals and blistering screams.