Cerca:legend

UK techno legend Mark Broom returns to Rekids ahead of new album with ‘100% Juice Album Sampler’.

Following the acclaimed ‘Funfzig LP’ on Rekids in 2021 as well as his ‘Mutated Battle Breaks’ series on the techno focussed sub-label Rekids Special Projects, UK stalwart Mark Broom returns to Radio Slave’s Rekids with ‘100% Juice Album Sampler’, a four-track taster for his next album titled ‘100% Juice’, scheduled to be released in April.

Leading the A-side is ‘100% Juice (Sampler Mix)’, a jacked-up take on the album’s title track, with chunky kicks, off-kilter stabs, and crunching claps kickstarting the record. ‘Contigo’ follows, with trippy synths providing a dose of silliness alongside razor-sharp drums. On the flip, ‘Nod To The D’ pays homage to classic Detroit sounds, as light arpeggios and bright synths weave their way through silky pads before closer.

‘Spiked’ sees a funk-laden groove take charge as unruly leads flutter atop the jacking groove.
Releasing on labels such as Rekids, M-Plant, and Blueprint, the wildly prolific Broom has consistently been at the forefront of the techno scene for decades with his gritty, groove-based output while, away from the dancefloor, his The Fear Ratio project with James Ruskin continues to win critical acclaim.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

Prolific punk pioneers Penny Rimbaud and Youth proudly present their collaboration album ‘Corpus Mei’, out November 19th via One Little Independent Records, with limited edition grey vinyl available from January. Vinyl edition is limited to 500 units. Recorded and mixed over the year 2011 and then remixed in 2019 (it took all that time to see the depths), 'Corpus Mei' brings together two disparate elements and makes them as one – Penny Rimbaud and Youth. Rimbaud is perhaps best known as a founder member, drummer, and lyricist of the seminal anarchist punk band Crass. Since those times, he has dedicated his life to the headier pursuits of poetics and philosophy. Youth, whose post punk band, Killing Joke, remains a vibrant musical force, has at the same time become one of the most sought-after record producers of today. Realising from the outset that they shared an interest in the creation and promotion of “matters spiritual”, these two now legendary

It was certainly unpredictable that a legendary jazz drummer would record one of spiritual disco's most revered songs twenty-three years into his career, but that's exactly what happened when Idris Muhammad laid down the epic "Could Heaven Ever Be Like This" in 1977. Hailing from New Orleans, Muhammad always had more than a touch of funk to his rhythms, and by the late '70s his collaborations with master engineer Rudy Van Gelder on recordings for the CTI and Kudu labels had gelled perfectly with the reigning jazz-funk sound of the day. Arranger Dave Matthews (famously part of the James Brown stable) collaborated with lyricist and former Long Island record store clerk Tony Sarafino on writing the song, which on the original recording unfolds over a nearly 9-minute build. Appearing at the crest of the disco movement, "Could Heaven Ever Be Like This" was an immediate hit with David Mancuso and the attendees of his loft parties, quickly spreading to other venues and even making a small climb up the Billboard R&B charts. For this new issue on Most Excellent Unlimited, Danny Krivit, whose own career as a dancefloor orchestrator from the DJ booth has paralleled the timeframe of the song's existence, has replaced the original loose introduction with a mix-friendly steady groove that maintains the unstoppable pulse of the song while maintaining the cathartic mid-song break and giving the track potential for even more momentum.

Another percussionist is responsible for our flip side track, "Magic's in the Air." Vince Montana was not only an in-house arranger and producer for Philadelphia International and other Philly soul labels, but was an accomplished vibraphone player. His talents are on display and doubly emphasized by Mr. K in this overlooked cut from Ronnie Walker, a falsetto singer who draws a rather strong comparison to the best songs of fellow Philadelphians Blue Magic with this uptempo, subtly synthy 1975 track. Never having appeared on a 12-inch, and indeed never having appeared even on a full-length album, Krivit's edit is the first extended mix of "Magic's in the Air" to date. Alongside "Could Heaven Ever Be Like This," itself notoriously difficult to find in 12-inch form, this latest from MEU's long running series with Mr. K is a bonafide must-have for the discerning DJ.

High Focus ​Records linchpin ​Fliptrix announces his 8th solo album ​‘Light Work’. The 16-track project is a complete representation of ​Fliptrix as both an artist as well as reflecting the person behind the artistry. The album tackles deep rooted issues within society, the current state of the world as well as portraying an overarching message of peace, openness and optimism.

“Light Work is the culmination of years of experience, emotion, research and love. Crafted to heal, fulfil my desire to create and further raise vibrations.”

The London born, Brighton based lyricist’ creative CV has become one of legends. His long-standing trade as a solo artist is paired with him being one-quarter of the acclaimed collective ​The Four Owls (Big Owl)​, adding in Founder and Director of ​High Focus Records and not to forget becoming a first-time dad earlier this year. Operating at this level has been achieved by years of self-development and his mission is to pay it all forward.

Both Fliptrix and High Focus Records have been irreplaceable cogs in the UK HipHop machine for well over a decade. He and the label have been there for the hard times and the glory days but have never sought out fame or verification. Albums such as ​‘The Road To The Interdimensional Piff Highway’ and ​‘Patterns Of Escapism’ ​were pioneering amongst peers and resulted in multiple global tours and a dedicated fanbase across the world.

Kicking off the album is the title track ​‘Light Work’ which starts with faded, eerie laughter whilst Fliptrix unleashes a barrage of flows ending with “DMT be elevating my consciousness​”​. An introspective cut,

‘Light Work’ expresses his undeniable passion for his craft whilst tackling personal demons and overcoming them through altered states of consciousness. ‘​Multicolour’ paints a raw psychedelic picture and encourages us to think outside the box and not take everything for face value. His vivid storytelling continues throughout with feelings of being burnt out expressed in ‘​Broken Glass​’ whilst ​‘Powerizm’ ​switches up the tempo and he conveys his daily grind whilst paying homage to his fallen friend and legendary London graffiti artist ‘POW’ as well as his recently born first child. Tracks ‘​Problem, Reaction, Solution & ​The Realisation Part 2​, tackle the world's current situation head-on with a no holds barred viewpoint. Coming full circle, ​Fliptrix closes the project with ‘​Vibes’​ which is full of positivity and hope.

No stranger to talking openly about his mind-altering experiences, spirituality, quest for knowledge and dedication to the exploration of consciousness, Fliptrix’s raw flow and intricate lyricism perfectly portray the albums hard hitting narratives and set him apart from the rest of the scene. Self-reflection, personal improvement, determination and revolution are at the core of ​‘Light Work’ and they come together harmoniously under one roof.

>>>>Cryovac Recordings is allowed to exist by artists and craftsmen that take up the cause and come together to share their skillset. A Cryovac artist is a master of their own style. They are heros that represent the best of Detroit’s spirit. From Dietrich to Desmond to the house of Archer, Cryovac is a product that is crafted at each step by years of know-how. The Cryovac machine continues its course through an ever changing technosphere.

>>>>James “jit” Pennington a.k.a. The Suburban Knight has the honor of techno nobility; with a warrior ethos he loyally defends Detroit around the world. The Knights tracks are legendary and his service to the underground code compels him to come to the aid of Cryovac. ”Lectrasonic” activates a hypersensitive conga rattling the night air and through swelling synth predatory melody becomes prey to a breaking kick.
>>>>Mike Petrack is a cool customer with an easy style and his tracks are the same. Petrack’s Info Lines record label is the latest concoction from this ever innovating techno collaborator. “Holy Redeemer '' rises with an infectious melody through bossa nova rhythm to a point of spiritual awareness inside a natural funk.
>>>>a.garcia & M. kretsch are a team that have learned to work in unison to develop all parts of a space with sound. Their construction and deconstruction of the techno sound is a reflection of a spartan Detroit ethos. “invasion” is a 4/4 minimal rocker that rings to life with an eerie synth attacking with waves of effect bringing a tone of other worldly dread.
>>>>Mollison folson a.k.a. Body Mechanic brings his gregarious personality to all genres he delves into. He is a musician of instrument and computer with a focus on freeky love music. “Everything” is a smooth and jazzy minimal mover that harmonizes synth over a funky bass line.

Alister Fawnwoda melds an abundance of influences into a sound that is expansive, ambitious, and authentic to its core. With a creative practice that flows between painting, production, DJ’ing, and beyond, Alister is committed to exploring the boundaries of his talents and potential. Working with an impressive array of unexpected collaborators, including most recently with the legendary Omar S. His upcoming collaboration with Suzanne Ciani and Greg Leisz to be released through AKP Records as an album, “Milan” furthers the very timely discussion of new ambient composers and how they are reflecting our presently tumultuous world through sound experimentation. Alister is persistently building his repertoire as he makes a name for himself as one of the most promising artists in the City of Detroit. For lovers of classic house, experimental ambient, and everything in between, Alister’s music presents the possibilities of creative exploration.

Disco Segreta teams up again with Miro (b. Mario Baldoni) in the re-release of his 1970s-80s productions, after the italo-disco burner Stranamore by Brina (DS M 002) and the tropifrutti balearic italo-house smasher Tobago by Pat & Pats (DS M 006), we are back introducing to italo-disco connoisseurs a truly atomic jam !

“Passion Night” was originally written by Miro in 1985. Story goes that envisioning a release by 1987, Miro teamed up with legendary south-african sound engineer Allan Goldberg, in light of their previous Vedette Records disco-infused collaboration for the “Slang“ studio project and the “Real Life Games” LP. The team featured also track co-writer Gregorio Puccio, ready to unleash the synths (Roland JD800 + D50, Yamaha DX7, Oberheim 12, Prophet 5), along with two young vocalists, Giulia Fasolino and Silver Pozzoli, later to become household names for the italo-disco heads.

As a special feature on the track, Miro brought in the studio contribution of the top italian jazz contralto saxophone virtuoso of the era, Massimo Urbani.

In September 1987 a session at Pomodoro Studio had the track recorded on a 24 tracks tape, where has been sitting unreleased for 35 years, until now !

Within its cross-genre blend of synth-pop, italo-disco and jazz, “Passion Night” is an outstanding musical time capsule, a picture-perfect vivid snapshot of year 1987, with the additional historical value as a document itself: it’s the only strictly non-jazz project in Massimo Urbani’s repertoire, in a revelatory performance shedding a light over an unusual facet of Urbani’s versatile talent, regardless of boundaries, a few years before his untimely passing.

Three years in the making for this first-ever release, so that we could bring you “Passion Night” in its original 1987 version from the actual multitrack master, with our usual respectful treatment, plus three remixes: the balearic infused “Miro Smooth Jazz Remix” and a remix by highly acclaimed musician and producer Giulio d’Agostino aka Julyo, who can claim a plethora of collaborations for artists as diverse as Aphex Twin, Goldie, and Michael Brecker.

Legendary Swedish outfit Frak for the 20th installment of Libertine Records Traditions series. Extraordinary, classy, and timeless music from recovered 80s tapes. From freaky Acid to New Wave, Electro and Industrial, high-quality standards for a future underground classic release!

Calibro 35, the legendary crime funk combo sampled by Dr.Dre and Jay-Z, announce the reissue of "Traitors", their iconic fourth album, on Crystal Red vinyl and digital deluxe edition with bonus tracks.

Record Kicks proudly presents the reissue of CALIBRO 35's fourth legendary long-time sold out album "Traditori Di Tutti" (Traitors) on March 04thon limited edition crystal red vinyl and digital "deluxe" edition with bonus tracks.The publication is part of "The Record Kicks Trilogy" that follows the reissue of the first three albums of the band, released in 2020. This time, Milan label Record Kicks will repress on wax of three different colours and on digital deluxe edition, the fourth, fifth and sixth legendary studio albums of the Italian cinematic-funk cult band. The digital deluxe edition of"Traditori Di Tutti" includes 2 bonus tracks: a crime funk cover of "Get Carter", originally released as a b-side of the "Butcher's Bride" 45 vinyl, and the unreleased funky stormer "Milan, Michigan".

"Traditori Di Tutti" is the fourth album by Milan's combo, inspired by noir masterpiece novel "Betrayers"published by the father of Italian noir, award-winning crime fiction author Giorgio Scerbanenco. The album contains only band's original recordings, from floor-shaking first single "Giulia Mon Amour" to groovy "The Butcher's Bride", from deep funky "Filthy Bastards" to the dancefloor jazz madness of "Mescalina 6". The five-piece pays homage to "I Maestri" such as Morricone, Micalizzi and Bacalov with 12 tracks full of funky beats, heavy guitars, groovy bass lines and fuzzy organs.

There's one thing that Italians do better than others: funky soundtracks. Quentin Tarantino knows best: soundtracks from Italian movies of the '60s and the '70s are the THING! "Calibro 35 does with music what Tarantino does with films". They borrow what they love and they make it their own. With Rolling Stone magazine words "Calibro 35 are the most fascinating, "retro-maniac" and genuine thing that happened to Italy".

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their fourteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Orange Vinyl

WRWTFWW Records is very happy to announce the release of the new album from legendary Deee-Lite member Towa Tei, celebrating the 30th year of his career. It is available on (orange) vinyl for the first time outside of Japan.
The album, simply titled LP features Japanese music icons Haruomi Hosono and Yukihiro Takahashi (Yellow Magic Orchestra), Yasuaki Shimizu (Kakashi), fellow METAFIVE colleagues Tomohiko Gondo and Yoshinori Sunahara, HANA, Wataru Iga, Shunji Mori, Hidefumi Ino and more.
It was mixed by famed engineer Goh Hotoda and the artwork comes from painter Tomoo Gokita.
Poppy, catchy, dancy, and very funky, Towa Tei’s 10th solo album is 100% delirious ride and a testament to the Deee-Lite member’s ever-expanding creativity, combining simplicity and experimentalism in the most feel-good ways. Indoor, outdoor, and every day of the year, this one will make you dance and smile!
This release is a collaboration between legendary Japanese label Nippon Columbia/Better Days and WRWTFWW Records.

Repressed !

Hear & Now's Story Is One Of Friendship And A Shared Passion For Music. It Began With A Chance Meeting On The Dancefoor At Red Zone In Perugia, One Of Italy's Most Legendary Clubs
Of The 1990s. Nearly Three Decades On, These Glassy-eyed Clubbers Have Joined Forces To Deliver One Of The Most Magical And Sun-kissed Albums That Claremont 56 Has Ever Released. By The Time Ricky L And Marcoradi Frst Joined Forces In The Studio In 2016, Both Had Become Established Producers Within Italy's Vibrant Deep House Scene. Between Them, They'd Released Records And Remixes On Such Labels As Ibadan, Uomo, Reincarnation, Top Tracks, Restricted
Tracks And Vega. Keen To Step Away From The Dancefoor, They Decided To Simply Create Beautiful Music For Bleary-eyed After-hours Sofa Sessions, Lazy Summer Afternoons And Early
Mornings Spent Blinking At The Rising Sun.
Aurora Baleare, Their Debut Album, Follows On From A Fantastic Double A-side 12' For Claremont 56 In February 2017. Those Two Tracks Take Pride Of Place Amongst An Eight-track Selection Simply Brimming With Evocative Workouts, Gentle Soundscapes And Noon-bright Sonic Bliss. While You'll Fnd Luscious Instrumental Cuts Designed To Inspire Baggy, Glassy-eyed Shuffing - See The Mid-tempo, Spine-tingling Brilliance Of salsedine', Mind-massaging hirundo' And Dreamy Slow-house Treat sabbia Magica' - It's The Effortless Brilliance Of Marcoradi's Improvised Guitar Playing And The Duo's tmospheric Approach That Really Catches The Ear.
Check, For Example, The Heady Horizontal Shuffe Of trasimeno', Where Poignant Ambient Chords, Jazzy Electric Guitar Solos And Deep Space Electronics Tumble Down Over Shuffing Beats And A Squeezable Synthesizer Bassline, And The Sun-down Adriatic Wonder Of stella Dei Venti', A Track So Effortlessly Loved-up And Blissful That You Might Be Overcome By Emotion (it Certainly Had Us Daydreaming Of Days Spent Exploring The Intense Natural Beauty Of Italy's Adriatic Coast).
Moments Like This, Where The Duo's Dreamy Electronics And Smile-inducing Melodies Seemingly Shimmer Across The Sound Spectrum, Can Be Found Dotted Throughout Aurora Baleare. There's The Darting Digital Synthesizer Motifs, Sparse Hand Percussion And Ricocheting Solos Of airone', The Italo-disco-inspired Chugging Positivity Of la Marsa' And The Title Track's Humid Beachside Breeze, Where Intertwined Electronic And Acoustic Lead Lines Seemingly Glimmer Like Rays Of Sunshine Bouncing Off The Surface Of A Becalmed, Crystal Clear Ocean. Their Roots May Be On The Dancefoor, But Hear & Now Are Fast Becoming Down Tempo Masters. You Can Dance If You Want To, But You May Just Want To Hug A Stranger Instead.

Clear Vinyl

Early last decade, Brooklyn based .thejass. created two, out-of-body, hour length recordings as part of the Slabs of the Tabernacle mix series, with the now legendary, 'Murdered Out Techno' Volumes 1 and 2. Several years on .thejass. returns with their full-length debut LP entirely in keeping with their 'Murdered Out' sound. Putting the listener in an almost sleep paralysis state, without any sense of time or space, the only constant being a pulsing throb from within. This record is a mesmerising and at times terrifying experience which immerses you deeper with each listen. Transparent crystal vinyl, 200 copies.

In February of 1976 Eddie Carmichael left the group “The Voshays” after catching the bandleader/manager stealing from the band. Derry Shepherd and Duncan Bethel left at that time also. About a week later I asked Derry if he would be interested in starting another band and he said sure. At that point Duncan Bethel agreed to participate and he recruited his friend Flynn Emanuel to play trombone. Derry was the manager of the cafeteria at Sears Department Stores in The Pompano Fashion Square Mall and he met Sandy Ficca who was the manager at Chess King Men’s Clothing Store in the same mall. Sandy also agreed to join the group and we auditioned bass players and chose Dave Segal and only one keyboard player auditioned and that was Bob Groszer. We now had all of the personnel for the group and we commenced rehearsing in the recreation center in Pompano Beach, FL at Westside Park. We did a few “Chitlin’ Circuit“ gigs to fine tune the band and music and then moved over to the beach circuit. While there we would perform spring and summer months at “The Ocean Mist” on the Strip in Fort Lauderdale, FL and for the fall and winter months the Big Daddy’s 8600 Club on Miami Beach. After 18 months of constant gigging I suggested that the band go into the studio and record some original music. Now all we needed was some serious financial support and songs. I met a man by the name of Jerry Bullard and convinced him to back the project. We formed our own independent label “Get Off Records” and publishing company “Situated Music”. At that point Dave Segal and Sandy Ficca left the group and Bruce Saddler who was the drummer for The Voshays joined us on the drums for the first two recordings. Sandy Ficca returned as drummer and brought in his old friend and bandmate Daryl Walker to play Bass on five of the six remaining songs. We recorded the entire album in five days at SRS Studios and Triad Studios both in Fort Lauderdale, FL in August of 1977. The first single “Give It Up (Let Yo Funk Fly Free) was a winner released only in the New York tri state area where in two weeks it reached number 16 in the top 100 and was poised to go number one nationwide on the R&B charts in the next two weeks. Henry Stone, owner of TK Records in Hialeah, FL wanted to sign the group as did many other major record labels including Maurice White of Earth, Wind & Fire. But the usual problems of the music business reared its ugly head and the record was pulled from all radio airplay and the group who became disenfranchised with the business of the industry decided to call it quits. Derry Shephard went into Gospel Music production, Sandy Ficca went on to become the drummer for the Pop/Rock recording artists “Firefall”. Daryl Walker is a session player and music teacher, I did studio sessions and played in several cover bands and toured internationally. Bob Groszer toured with Sly Stone and other legendary recording artists. Dave Segal went on to start New York Bass Works in New York. Flynn Manuel became a music teacher in The Broward County School District and Bruce Saddler and Duncan Bethel left the Music industry completely. We were young and not good business people at that time and did not understand the rules of do’s and don’ts of the music industry. But we had three talented songwriters, a great arranger, a killer band and all the financial support that we needed. Looking back if we only had an experienced manager I truly believe Mirror would have gone on to create some great music over the years that followed.
Peace and love all the time,

GRAMMY-nominated saxophonist and composer Melissa Aldana joins the Blue Note Records family with the release of 12 Stars, her debut album as a leader for the legendary label following her appearance on the acclaimed 2020 album by the collective ARTEMIS. The Brooklyn-based tenor player from Santiago, Chile has garnered international recognition for her visionary work as a band leader, as well as her deeply meditative interpretation of language and vocabulary. 12 Stars grapples with concepts of childrearing, familial forgiveness, acceptance, and self-love, and was inspired by her deep interest in tarot. The album was produced by guitarist Lage Lund, who also performs as part of a remarkable quintet with Sullivan Fortner on piano and Fender Rhodes, Kush Abadey on drums, and Pablo Menares on bass.

Strut presents the first compilation of legendary Afghan Ghazal singer Dr. Mohammad Sadiq Fitrat a.k.a. Nashenas, recorded at the Radio Afghanistan Studios and later released on singles by the Royal label in Iran. Nashenas first made his move towards music aged 16 in 1951 when he approached Afghanistan’s national radio station, Radio Kabul, with an idea for a broadcast and, impressed with his language skills, they offered him a permanent job. “I was in close contact with some of the big names in Afghan music like Jalil Zaland,” Nashenas explains. “My father had a gramophone and we listened to other singers like Ustad Qasim Khan and Kundan Lal Saigal.” After unsuccessful initial forays into singing sessions for the station, he honed his skills as a writer, singer and musician, playing the harmonium. Inspired by a movie he had seen at the cinema, Nashenas wrote a new poem and sang on air again after the evening news, using the name ‘Nashenas’ (meaning ‘unknown’) for the first time. Following a wave of positive feedback from the public, he was given a new weekend slot and built his reputation through film song interpretations, famous poems set to music and his own compositions sung in Dari and Pashto. Nashenas would witness turbulent times as Afghanistan found itself caught up in the Cold War and the early ‘90s civil war until it became too dangerous to stay in the country. Through a friend in the U.N., he was able to seek asylum for himself and his family and take up residence in London, continuing to work as a musician and giving concerts globally. Most of Nashenas’ recordings during this period were only made for broadcast, later surfacing on singles through the Royal label in Iran. Life Is A Heavy Burden is compiled from these singles by Chris Menist and Mads Jensen. All tracks are remastered by The Carvery and both formats feature new liner notes including an interview with Nashenas. The album is part of the new United Sounds of Asia series curated by Chris Menist and Maft Sai of Paradise Bangkok.

John Illsley, Bassist der Dire Straits, meldet sich mit seinem 8. Studioalbum 'VIII' zurück, das nach Veröffentlichung seiner erfolgreichen Autobiographie 'My Life in Dire Straits' Ende 2021 ohne Umschweife an den legendären Sound der Band erinnert und alte und neue Fans begeistern wird. Das neue Werk enthält 8 brandneue Songs sowie eine neu aufgenommene Studioversion des Beatles-Klassikers 'I'm Only Sleeping', den John auf dem virtuellen 'Dear John' Konzert im Jahr 2020 anlässlich des 80. Geburtstags von John Lennon zum besten gab.

As a confluence of ideas and methods, WILD ROCKET endeavour to interpret the subtle signals of the universe - the interplanetary vibrations - and present them as brash manifestations of sound. Scientists and Shaman alike have endeavoured to interpret the universal whispers, to elucidate meaning from the measurable and the sensible. It is known that to measure and interpret is to alter and colour those signals and this is what drives the development of WILD ROCKET's sound and interpretation.
FORMLESS ABYSS showcases the band's unflinching pummelling style, drifting from repetitive blows to unhinged swirls of din yet always remaining innately infectious and perhaps surprisingly danceable. The record is presented as a continuous piece in three parts.
The title track A FORMLESS ABYSS appears here for the first time in recorded form – a behemoth of a tune which builds around a drone, joined by dual drums and minimal bass locked into a repetitive groove. A groove that is slowly expanded via multiple guitars and synthesis. Vocals eventually join at just the right moment imploring the listener to “leave your criticisms down” and realise “we're all equal now” in the formless abyss or the place between worlds where our earthly preoccupation with human differences are meaningless. We're all in it together, whether we realise it or not.
The second track INTERPLANETARY VIBRATIONS may seem familiar to some in a simpler form. The expanded line up and extended development of the core theme brings a new interpretation and experience that is more than worthwhile. The track's vocals juxtapose the hybrid Germanic language of English with the ancient native Irish language of Gaeilge. Both used to promote meaning and interpretation of the interplanetary vibrations felt by all. The track features large dynamic shifts and changes of pace as the message that “it's time to leave” propagated by the Earth itself becomes more frantic and more desperate. The track culminates in a wash of smashed gongs and distorted guitars, leaving the listener to interpret the message for themselves. Should we leave, to protect ourselves or the Earth itself?
The final track FUTURE ECHOES is a doom/kraut juggernaut coming in at just under twenty minutes. Only one question is asked and none answered, are we doomed to repeat the mistakes of previous civilisations over and over, or can we find the cracks of light that echo through and show us a new way forward? We're left in a swirling formless abyss to consider who we are and where we're headed. Will we ever reach the cosmic truth? Or will we be continuously mocked by the cosmic trout?
WILD ROCKET have proven themselves on the live circuit, playing with such visionaries as Ufomammut, Slomatics, Earth, Boris, The Cosmic Dead and old school rock legends Girlschool. One of the heaviest bands to emerge from the melting pot of talent in the Irish music scene, WILD ROCKET's reputation precedes them wherever they travel and audiences and venues alike are left to piece themselves together in the discombobulation.

Red Vinyl

In 2021 Bristol Hip-Hop duo Ree-Vo released two singles from their forthcoming album ‘All Welcome On Planet Ree-Vo’. The first was the Electro-Hop, LFO-surfing ‘Combat’ with a remix by SURGEON. The second -dropped as a digital double A-side in December - was the dark, submersive ‘Groove With It’ remixed by New Jersey’s legendary Dälek and ‘Protein’ remixed by The Bug (who released what many considered to be 2021’s album of the year ‘Fire’). smartURL.it/EDDA56

Ree-Vo begin 2022 in contrast with this their hookiest track on their album, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.

“Lift off, blast off, shirt off, pants off, bra off, Dance off! Naked in the dance hall SPACE BOX!”
is the beamed mantra, rapper Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.

Helping them on this seven’s mission are two remixes, one by NØISE (the musical collective of Joe Cassidy, Shepard Fairey, Merritt Lear and John Goff) and BATBIRDS (the duo of Joe Cassidy and Aaron Miller). Common to both of course is Joe Cassidy who recorded for Dell’Orso (as well as Rough Trade and Dedicated) as Butterfly Child. These mixes were made at the end of 2020, the record sent off to print in February 2021, five months before Joe’s incredibly sad departure from this planet, at least physically. So for all of us involved it’s a very bittersweet release, but another piece of art that Joe was undoubtedly thrilled to be involved with.

Reissue of a 1969 trio recording by American guitarist Jim Hall, who
resides at the top of the jazz guitar pantheon
At the time of his death in 2013 at the age of 83, he had long been considered
one of the jazz greats, a major influence on generations of jazz guitarists. It
seems that virtually every major musician wanted to play with Hall. His work as a
sideman ranged from swing era giant Ben Webster to new music pioneer Ornette
Coleman. HIs recording credits include a series of classic albums with groups
headed by Jimmy Guiffre, Sonny Rollins, and Bill Evans; Hall often spoke of
Rollins and Evans as two of his major influences.
This intimate June 1969 musical get-together was due in large extent to the close
friendship between the Hall and legendary German writer/ critic and producer
Joachim-Ernst Berendt. As Hall, his wife and daughter were visiting him in Berlin,
Berendt noticed that, although he had been recording extensively with a number
of major jazz figures over the last years, including several collaborative gettogethers, Hall had not recorded an album solely under his own name in over a
decade. Berendt immediately set up a trio recording for Hall that included two
internationally renowned musicians with whom Hall had previously worked, the
American expatriate bassist Jimmy Woode and Swiss- French drummer Daniel
Humair.
In such a transparent setting, Hall unfurled his finest qualities. Humair
perceptively summed it up: Hall played with "more clarity, more purity, more
sensitivity" than any other guitarist of the period. It resulted in an album of
intensely introspective music.

On the cover of their debut album "Wilde deutsche Prärie" (Wild German
Prairie) from 2018, we saw a burning house surrounded by apparently
insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries

On the cover of their debut album "Wilde deutsche Prärie" (Wild German
Prairie) from 2018, we saw a burning house surrounded by apparently
insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries

GRAMMY-nominated saxophonist and composer Melissa Aldana joins the Blue Note Records family with the release of 12 Stars, her debut album as a leader for the legendary label following her appearance on the acclaimed 2020 album by the collective ARTEMIS. The Brooklyn-based tenor player from Santiago, Chile has garnered international recognition for her visionary work as a band leader, as well as her deeply meditative interpretation of language and vocabulary. 12 Stars grapples with concepts of childrearing, familial forgiveness, acceptance, and self-love, and was inspired by her deep interest in tarot. The album was produced by guitarist Lage Lund, who also performs as part of a remarkable quintet with Sullivan Fortner on piano and Fender Rhodes, Kush Abadey on drums, and Pablo Menares on bass.

Back in stock! Ghanaian Afro-Rock From Producer/Composer JJ Whitefield, Inspired By His Karl Hector & The Malcouns And Whitefield Brothers Projects JJ Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for over decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the Original Raw Soul anthology. He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu. The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers). This is what was oft-called “Afro Rock” at the core, with the possibilities to stretch out into swinging highlife, sweet soul or psychedelia . The results, point at a new direction for the music inspired by the Great Continent. One that takes a direction once mocked as derivative and asserts its importance on the globe’s current musical stage.

From the meeting of the legendary Tsugaru Jamisen Maestro Chisato Yamada with volcanic mind of the composer Tasheshi Terauchi and his Oriental Fantastic Orchestra, a collaboration and a unique record, a conceptual work, is born in which innovative songs transcend the boundaries of traditional music by mixing modernity, rural and electronic atmospheres, local arias and contemporary music.
A record with strongly evocative and cinematic sounds.

Comes with OBI and a two-panel fold out sheet with original liner notes of the time translated in English that explains in an exhaustive way the inspirations from tradition and popular music and the very accurate digital recording techniques of the time that make it a record sought after by audiophiles looking for sounds unedited in the Western tradition.

Originally released in 2010 on their own label, Brooklyn nu-disco group Escort’s ‘Cocaine Blues’ is lovingly revisited by Glitterbox Recordings over a decade later, re-introducing the dancefloor essential to a new generation of disco fans. A loose remake of disco-reggae classic ‘Cocaine in My Brain’ by Jamaican DJ Dillinger, Escort’s ‘Cocaine Blues’ with its relaxed, disco approach and catchy vocal soon became a hit. Now arriving in a 12” package, up first, legend of NYC’s house and disco scene John Morales delivers his M+M Mix. A long-time friend of Glitterbox, this is John’s first release on the imprint, with the signature sparkling sound that brought him to prominence in the 80s sounding fresh as ever on this remix. Up next, original Escort member JKriv revisits the track on his funk-filled Disco Bumps Mix, before regular Roísín Murphy collaborator Crooked Man delivers his Crooked Line 1 and Crooked Line 2 versions, gloriously deep fuelled by bumping bass and attitude. Crooked Line 2 is exclusive to this 12”. Sounding just as good as it did when it first hit dancefloors, this unmissable vinyl remix package gives ‘Cocaine Blues’ another lease of life.

Limited Edition Vinyl LP – 1971 album cover, thick tip-on sleeve, 700 copies only

Finally putting an end to a long wait for library music lovers, Four Flies Records is proud to present the first reissue of Piero Umiliani's Paesaggi – a record that, despite remaining for many years pretty obscure compared to other titles in the maestro's discography, is now regarded by collectors and experts as the gold standard in Italian library music.

Originally released in two versions with different sleeves, the first on Liuto Records in 1971 and the second on Ciak Record in 1980, the album features tracks composed by the maestro himself (under his alias Zalla) and performed by the legendary super-group of Italian session players I Marc 4, this time with Angelo Baroncini instead of Carlo Pes on guitars (which probably explains the name being spelled with a 'k' instead of a 'c' on the album cover).

The Italian word paesaggi means "landscapes", and that is exactly what the music in the album has been designed to evoke – a journey of moods and emotions, through exotic and pastoral scenery, with loungey sounds that caress your ears like the song of an enchanted nightingale. Mysterious yet captivating soundscapes transport you to a faraway and peaceful place, possibly somewhere in rural Asia. While listening to the record, you'll feel as if you are sitting under a pavilion, right in the middle of a tea plantation, enjoying a freshly brewed green tea and watching the calm sunset.

In addition, Paesaggi is paradigmatic of Italian library music and its genre-defying nature. By using a multitude of instruments, such as flute, vibraphone, harpsichord, sitar, gong and others, it brings together a variety of arrangements, styles, and genres spanning from bossa nova to jazz, easy listening to psychedelic, Latin, exotica, and many more.

Under Umiliani's brilliant direction, the pianos and keyboard instruments of Antonello Vannucchi, the guitars of Angelo Baroncini, the bass of Maurizio Majorana, and the drums of Roberto Podio dance together and – enriched by other instruments played by top session musicians like Bruno Battisti D'Amario (sitar), Franco De Gemini (harmonica), or Franco Chiari (vibraphone) – create the sound that makes Paesaggi so unique.

With the honour of reissuing this masterpiece so many decades since its release comes a responsibility to do full justice to one of the greatest Italian composers of the 20th century and his now celebrated legacy. Four Flies have done their best to put out a record that replicates as closely as possible the value of the original as a cultural artefact, providing Italian library connoisseurs and novices alike with an exquisite sonic, and tactile, experience.

Chet Baker’s work is legendary and the arrival of this previously unreleased live set, recorded at Palermo’s Brass Club in 1976, is a real delight for his fans. Here Baker’s marvellous trumpet revelry is matched by the rest of his dynamite Quartet, this time featuring the esteemed composer and vibraphonist Enzo Randisi on piano (his only collaboration with Baker), Vito Tommaso’s brother Giovanni making full use of the fretboard on melodic stand-up bass, and Gianni Cavallaro taking an unusual approach with the drums. Their keen musicianship helps spur Baker to squeeze the best from his horn, and there’s a rare take of the ballad ‘I Can’t Get Started’ too, making this a must-have for all serious Chet devotees.

This is a very special EP. As many might know Toy Tonics started as a sublabel of now sleeping German indie dance label Gomma records. Gomma, along with DFA, Output Records and a few other was knownn for a very ecclectic, different approach in dance music. On this LOST GOMMA MIXES EP you find 4 now lost tracks that came out ca 10 - 20 years ago on Gomma, but fit very well in today’s zeitgeist again. Pete Herbert, In Flagranti, Jacques Lu Cont are featured. Who knows about modern disco - knows these producers. And there is a very special name here too: Nicky Siano. The now legendary New York DJ used to be resident at Studio 54 and other legendary NYC venues of the 1970ies and 1980ies. One of his are remix works was for the Gomma rcords band The KDMS. Pure disco euphoria.

Porter Ricks is a collaboration between Thomas Köner and Andy Mellwig. After the Re-release of the legendary album "Biokinetics", which is superb subaquatic dub techno, we re-release Porter Ricks first album on Mille Plateaux. The album demonstrates the move to a kind of discoid funkyness with an underlying almost organic rhythmight. But still its not music for beautiful souls. Instead, it combines funkyness with alien sonic fluxes and the rhythm of a killing mover.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that’s showing no signs of slowing down as we start the new year. Born out of a lifelong affair with the many shades of electronic rhythm and an obsession for collecting records that first started in 1988.

As a label owner, his mission couldn’t be clearer: releasing new music for heads - old and new. Fresh cuts aimed squarely at the dance floor, your front room or even just the headphones! Rather than staying too hung up on the past, he’s very much focused on serving up the best in new Acid, Electro, Techno, Deep House along with the odd slice of Downtempo goodness.

Sticking to the trusted format of 4 different producers, all serving up high grade electronic explorations, WGD 006 launches with another stellar line up. Headed up by the foreboding sounds of Versalife with “Omikron” on A1, spacious atmospherics and half-step beat usher in a gnarled bassline that simply won’t let go. As delicately placed melodic touches light up an otherwise pitch black soundscape and open up the spaces in between, it’s a superb reminder of the Dutchman’s majestic talent. Accompanied with an outing from Belgium’s rising talent Mariska Neerman, snappy percussion and machine pulses greet you from the off on A2 “Twin”, evolving into a fully emotive and uplifting ride. Leading with layered synths, Neerman demonstrates her sparkling knowhow for drenching you in heart warming pads and strings that harmoniously sing.

Written under his Analogue-1 alias, head to B1 for the legendary sounds of James Zeiter shimmering through on “Counterpoint”. A subtle and stripped back 4/4 trip into the lighter side of acid inspired grooves that shuffles out into the unknown: tweaking all the way as the intensity build. Powerful stuff at the right moment, do not underestimate the alchemy at work here. Last but not least, newcomer Morthen Kiang leaves us on a punchy 909 driven martian inspired work out, that fully summons the vibe of our Red Planet friends. A perfect ending note packed full of machine oscillations and cosmic waves.

The words legendary, seminal, and classic get thrown around at will these days, but Rudimentary Peni’s debut album is all of them. Recorded over two days at Southern Studios by John Loder and originally released in 1983 by CRASS off-shoot label Corpus Christi, “Death Church” showed a band moving away from the urgency of their two early 7”s and into their own realm. Creating a template that bands have been trying to replicate ever since, while ticking all the boxes to become a genre-defining album. Iconic artwork, a unique sound and their own lyrical universe. All merging seamlessly. Sonically the album is full of Nick Blinko’s extraordinary vocals and equally remarkable guitar, Grant Matthews’ big meandering driving basslines and Jon Greville's tight and relentless drum work which together made something intricate and hard hitting, with a sequence that makes the 21 songs on the album flow perfectly. Visually, the album is every outsider art lover’s wet dream. A six-panel poster sleeve with every inch covered in Nick Blinko’s claustrophobic black and white line drawings, while lyrically the songs deal with madness, religion, death, and questioning humankind from a dark poetic place rarely found in any art form. Remastered from the original master tapes by Arthur Rizk and housed in a replica poster sleeve, including the original insert, “Death Church” is back in print in LP, CD and cassette after nearly a decade of no official reissues.

Modern metallers DAGOBA are back! After putting their stamp on the metal scene with a unique blend of metal and neckbreaking grooves, relentlessly touring and sharing the stage with legendary acts like Metallica, Machine Head and In Flames, DAGOBA have signed with leading Austrian metal label Napalm Records and are prepared to hit the next level. The French four-piece returns with the band’s most ambitious material yet: punishing vocals, groove and modern metal infused guitars and hard-hitting production shows DAGOBA on top of their game, pushing boundaries and incorporating electronic elements seamlessly into a unique modern metal formula. Vocalist Shawter impresses with a high variety in his singing by covering a wide span from intense and deep growls, strong shouts and precise clean vocals. The album starts off with an electronic intro that bursts into the massive attack „The Hunt“, that has already been released in July 2021 as a standalone single and includes all the significant trademarks: melodic passages with clean vocals alter with intense breakdowns and all of this underlined with electronic elements. This mixture leads to a catchy sound as showcased on the dramatic „Bellflower Drive“ or the melodic „City Lights“. Furthermore the sound of DAGOBA stands out for dominant drumming that oscillates between double bass, blast beats and forward going up tempo drumming as it occurs on „The Last Crossing“ or „Sunfall“. Between all the action, there is also space for calmer parts such as the interlude „Break“ or the track „On the Run“ that begins with female vocals that gradually build up into another hymn lining up brilliantly with the other songs of the album. DAGOBA manages the balancing act between harsh breakdowns, dense soundwalls and grooving passages with ease. Even on its hardest passages, the album never gets too enigmatic - quite the opposite: One smashing track is followed by the next, the record just flies by and leaves no time to breathe. By Night is a beast of an album showcasing how far DAGOBA can take electronic influences on the upcoming material – a must-have for true fans of modern metal! alone!

Re-release of the third full-length album by the American grindcore legends! True to the American interpretation of Grindcore Terrorizer amalgamate the most forceful elements of Death and Thrash into a true juggernaut of Metal. Since their famed debut “World Downfall” (1989), this beast has been driven by the relentless and precise pounding of Pete Sandoval (Morbid Angel), who delivers yet another jaw-dropping barrage. Fans will be delighted to see Morbid Angel frontman David Vincent once more returning to play bass on this album. They will also be glad to hear that excellent singer Wolf aka Anthony Rezhawk (Resistant Culture), who already refined the highly acclaimed second album “Darker Days Ahead” (2006) is again adding his resonant and fierce growls as well. The new line-up is completed by Katina Culture (Resistant Culture), who is replacing the sadly late Jesse Pintado (August 28th, 2006) on guitar.

Four Flies is delighted to present a super juicy treat for all 7-inch vinyl devotees: the first 45 single ever to feature tracks from Giuliano Sorgini's masterpiece Zoo Folle. To ensure maximum DJing pleasure, we've picked two of the grooviest tracks from the original recording session, never before released in this format.

The psychedelic funk number "Mad Town", on Side A, drags you in with its infectious drum breaks and the rapid yet hypnotic flute of Nino Rapicavoli. "Ultima Caccia", on Side B, is sheer afro-tribal bliss, with drums by Sorgini himself and massive funky percussion by legendary session player Enzo Restuccia.

If you want an ace up your DJing sleeve, look no further.

Splash Blue is proud to present a brand new album borne from the latest collaboration between Jean-Paul ‘Bluey’ Maunick and Francisco Sales of Incognito – ‘The New Guitar Underground Vol 1’.

THE NEW GUITAR UNDERGROUND
The New Guitar Underground are Jean-Paul ‘Bluey’ Maunick and Francisco Sales of Incognito. Neither require introduction – Bluey – founder of the legendary Incognito, Inner Shade, CitrusSun and co-conspirator on the STR4TA project, solo artist, Composer and Record Producer & Francisco Sales, guitarist of Incognito and Citrus Sun, as well as being a solo artist in his own right, have come together to deliver a set of 10 highly crafted and accomplished tracks that lift the spirits and soothe the soul.
Inspired by the inspirational playing of the giants of the guitar world – Tony Mottola, Denis Budimir, George Benson, Bill Jennings & Melvin "Wah Wah" Watson to name but a few, the album reflects the deep love that Bluey and Francisco have for this multi faceted and beautiful instrument.
Guests on this album include bass players Francis Hylton, Hendrik Linder, Rui Pedro Pity and Julian Crampton, keyboardists Matt Cooper, James Berkeley and drummer Francisco Mendolia.
Of course the quality and depth of this musical composition should not be a surprise – given the pedigree of the artists involved, however, as Bluey says himself in the album notes, ‘’This is not a project seeking chart success. Just two guitar buddies having fun chasing musical waterfalls, and not sticking to the rivers and the lakes they’re used to.
We are just making ourselves happy. And if in doing so we make you happy too, then that, as they say, is "the payoff!" The result is an intoxicating fusion of guitars, samba, latin jazz, drum-driven beats, heavy bass lines - with some scratching and sampling thrown in for good measure!

From Richmond, Virginia arrives Tempter, a soundtrack for end times hurtling along to the speed of global rage and impending doom. Merging the very best parts of crossover metal and hardcore from the 80s Japan, Sweden and UK, Tempter bring a new voice to a legendary sound. It comes perhaps as no surprise then that the group comprises of veterans of the hardcore scene from bands such as Candy, Division of Mind, Nosebleed, Ekulu and more. Instant bulldozers Sacricide and Pestilence, with their punchy riffs and wild solos bookend the S/T EP, whilst Uniformed Madness and Night Terror run along with at times almost apocalyptic walls of acidic noise. The production provides a dense atmospheric swamp of rage, mixed by Fucked Up’s Jonah Falco, providing a fitting soundtrack for Valentina Lopez’s huge vocal that sounds like 1000s of witches chanting. La Lluvia, with its use of samples and layers of synths, dances around spoken word sections that read out a poem of the same name by Roberto Bolaño, one of Chile’s greatest literary writers. Bolaño’s work fits perfectly with a biting satirical punk mood that Lopez exudes with every breath. He often questioned the privilege of making art whilst the junta would torture people in basements. Hardcore, punk and metal often likes to think of itself as a political act more than music, whether in its DIY ethic or protest lyrics. However, perhaps we find it too easy to fall into its angry embrace and eat each other alive whilst the world outside continues to fall. This music makes hell on earth that little bit more bearable, however ultimately Bolaño, and Lopez, call on counterculture music to have meaning and political action.

Curtis Godino’s first album producing for The Midnight Wishers. Mastered by Shimmy-Dic’s Kramer. “Golden Wish” Yellow Vinyl LP ltd edition of 500. RIYL: the Shangri-Las, the Chiffons, the Crystals, the GTOS, Ween. What if a cute girl group scored a hit song about a car crash, then actually died in a car crash, but decades later, David Lynch conjured their spirits for a beach-themed Halloween special? That’s a feeble attempt to describe the fun, spooky universe evoked by musician, songwriter and producer Curtis Godino with his latest project, Curtis Godino Presents the Midnight Wishers. “I’ve always been a fan of girl groups and old generic love songs,” says the Brooklyn-based artist, previously known around town for his psychedelic band Worthless and his ’60s-style light projection shows. “No matter how cheesy, they always get stuck in my head, so I decided I would try to make some of my own, with the help of my friends.” Chief among those friends are the Midnight Wishers: lead vocalist Jin Lee and backing singers Rachel Herman and Jessica McFarland, all of whom Godino recruited for the project. Lee also contributed lyrics, which she tends to recite as often as she sings in a dreamy, earnest voice. The trio are the perfect messengers for Godino’s tunes, visually as well as sonically. In photos, they pose before bubble-gummy backgrounds, playing with a ouija board by candlelight, elemental like a cartoon crime-fighting team with their respective black, red and blonde hair. But make no mistake: This project belongs to Godino, a musical ringmaster in the tradition of Phil Spector or more aptly Shadow Morton, whose noir sensibilities spawned such uncanny pop marvels as the Shangri-Las’ “Leader of the Pack” and “Remember (Walking in the Sand).” In this case, Godino built the wall of sound almost entirely by himself, recording on his eight-track tape machine during the pandemic shutdown. Starting with drum tracks from Andrew Max and Adam Amram, he would add picked bass guitar in the style of L.A. studio legend Carol Kaye, then go bonkers with fuzzy guitars, Farfisa organ, mellotron, analog synthe- sizers, glockenspiel, an arsenal of other percussion instruments and an array of mysterious electronic effects. To fully realize the vision, however, Godino knew he needed more firepower. The Wishers’ multilayered harmonies and other vocal tracks were recorded and engineered by his roommate, Paul Millar, at Millar’s Bug Sound East studio. “I'm sure all those incredible old records were recorded on a four-track or whatever, but I don’t have the same discipline,” says Godino, whose stated goal was to create “songs so sweet they’ll give you a cavity

Escape Music are pleased to announce the release date for Lonerider’s second studio album titled “Sundown" with 500 limited edition Vinyl “Smokey” colour all will be numbered 1-500 and will include an exclusive hand signed postcard from all members of the band! (limited edition 500 units in “smokey” colour). The Band is: Steve Overland: Vocals / Simon Kirke: Drums / Steve Morris: Guitars, Keyboards and Hammond / Chris Childs: Bass - In 2019 the debut album “Attitude” by Lonerider was released, a band that not only features Steve Overland (FM, Solo, Shadowman), Steve Morris (Heartland, Shadowman) and Chris Childs (Thunder) but legendary drummer Simon Kirke of Free and Bad Company fame. The band come across like Bad Company mixed with Shadowman and their debut “Attitude” was loved by many. Lonerider have the feel of that classic Bad Company that we know and love, yet the songs are modern, fresh and vibrant. Since 2019 the band have been working on a new release and it will be available in early 2022, entitled “Sundown”. This new album boasts 12 new tracks of classic rock in the same vein as “Attitude”, well why change a winning formula? - The vinyl version is a numbered edition of 500 and to make it special it has two different tracks to the CD, namely “Love to Love” and “Long Time Gone”. A great start to 2022.

Omowale is the powerful new album from Wildchild, one third of the legendary Lootpack crew and a formidable solo artist who released many projects on the iconic Stones Throw Records. Across the 15 tracks, the Cali rapper deftly explores what it means to be a Black man in the U.S. today with timely, poignant lyrics. It’s a hard-hitting look at this country and its decades of wrongdoing, all with an air of optimism for the future. This album is Wildchild’s first solo release since 2016’s T.G.I.F., though he’s clearly kept busy in the interim by working on Omowale and making a number of standout guest appearances. Many of his past collaborators are returning the favor, as we’re treated to dope features from Posdnuos (of De La Soul), Big Daddy Kane, Guilty Simpson, Ras Kass, Murs, and more. Plus, there’s head-nodding production from Madlib, Nottz, Georgia Anne Muldrow, and Mr. Brady, among others. They’re all bringing their A-game on Omowale, an impeccably produced album beyond its instrumentation and rhymes. Wildchild builds on the project’s narrative by incorporating audio from newscasts, protests, and other live events. He also brings that real-world feel to his lyrics, from joyful raps with his son (Black-ish actor/emcee Miles Brown) on the funky “G.O.A.T.” to raw rhymes about police brutality on “Breathe.”
When the album culminates with “Say Their Name”—a moving tribute to the rap legends we’ve lost over the years—Wildchild proves on Omowale that you can balance hope with the harsh, unjust realities of the world.