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Sixteen great tracks, a dozen of which were Muddy Waters most successful recording for Chess Records, including 'Hoochie Coochie Man' and 'I Just Want To Make Love To You', staple repertoire of British blues bands during the 60s.

Bonus CD includes the complete album 'The Best of Muddy Waters' plus fourteen bonus tracks. Digipak presentation with updated liner notes.











[k] 11. I Want You To Love Me [aka Mad Love]

"This may well be Baker's best LP so far. He plays throughout with more virility than often heretofore; his tone is fuller with a cheering diminution of wispiness, and, withal, he has been able to retain the lyricism that is his primary identification." - Nat Hentoff, DownBeat

Recorded at a show in February 1992, Ann Pebbles and the Hi Rhythm Section on a bill with Otis Clay called an Evening of Classic Soul. The show was spectacular as the Hi Rhythm Section locked in as they did when they recorded her albums. joining her that night was a crack horn section and her background singers including the equally soulful David J. Hudson. They cruise through hit after hit with Ann showing why she was one of the all time great female vocalist.

The Hi Rhythm Section is Leroy Hodge (bass), Charles Hodges (keyboards), Howard Grimes (drums), Thomas Bingham (guitar).
As you listen to Ann and the amazing supporting cast it's clear that this was An Evening Of Classic Soul.

"Every now and then, a singer comes along with a heart of gold who seems to contain the entire world's sorrow and can express it in just a couple of lines of a song."- Far Out Magazine

"The exquisite corpse shall drink the new wine", wrote the French Surrealists almost 100 years ago, and from this missive stems the parlor game in which we partake here. Through obscuring the tower itself, they cobble together meandering staircases in which to ascend with absent-minded haste; spontaneous line-weaving amasses figures and phrases into new planes of thought, therefore holding captive the illusion of creative reciprocity. Although housed in unrecognizable quarters, dull rain now tallies itself upon your window panes just as it once kept count on theirs. Apparitions unknown sound instruments of winding origin in celebration of the ink dry in the well. A graffito of tea leaves stains the porcelain cup.

This cloven tall-tale traces an epistolary journey between id and consciousness upon a page that has been adorned and wiped clean again and again and again. The wet meadow expands and contracts within a breath, moving through the windpipe to expel upon the glistening dew. From this dew rises anthills of diminishing complexity, and busying themselves within insanity, the occupants labor to hold fast against the unseen wave of oblivion.

An exercise in aleatoric sentence-finishing between two aligned performers, The Exquisite Corpse Shall Drink the New Wine mimics the economics of unconscious beauty-making to such a degree that light will neither pass through it nor divert its path. Draw upon it what you will, and ready yourself for the unrelenting ataraxy.

Swiss musician Delia Meshlir didn’t realize what her voice could do when she started out playing music. Through such groups as the drudge-rock Cheyenne and experimental Primitive Trails, Meshlir let the music lead her singing along. It wasn’t until she began writing the songs for Calling The Unknown that she started allowing her vocals to preside. Unbounded by structure, Delia Meshlir’s first full-length under her name brings layers of beauty, intensity and strength, all coming to a head with her striking vocal delivery.

Having acquired a stocking job at Irascible, a label based in Lausanne, Switzerland, dedicated to promoting local talent, Meshlir had the ideal launching point for her music. Now, in coordination with Irascible, Ba Da Bing will be releasing Calling The Unknown in North America.

Meshlir lost her grandmother while preparing the album, and many of the tracks reflect seeking a path through grief with love. On “A River”, she explores where feelings can exist when they are for someone who has passed. She sings: “I’m calling the unknown / but no one remains.” As the first song on the album, it serves as a perfect introduction, with refined drumming, reverb-wrapped guitars and tasteful saxophone lines. At command of a full band, Meshlir never abuses the opportunity, often having members hold back in restraint and add mere touches of color to her songs. However, when more urgency is required, she adapts beautifully, as on the raw and driven track “Dirty Colors”. Ultimately, the album is an invitation to peace after suffering.

Delia Meshlir is a trained visual artist who is creating her own videos and doing her own artwork for Calling The Unknown. It is a singular artistic work with stunning breadth.

The Line Is A Curve is about letting go. The core of the record is that the pressures we face do not always have to be heavy burdens, but can be reframed; the more pressure a person is under, the greater the possibility for release.

The album plays like a chronicle of pressures - the mind-numbing pursuit of a comfortable life, the eternal striving for more, the pressures of the city, the country, the times. The pressures of maintaining relationships, of battling illness, addiction, poor mental health, the vacuous life of our online selves. As we move through these chronicles though, the mood brightens. The musicality becomes more expansive as the lyrical horizon broadens and we glimpse coastlines, high streets, scrap yards, train stations in the rain; the entire album begins to let go. We encounter the contributions of artists who I love and admire, guest vocalists and instrumentalists, and so we defeat the sense of isolation felt in the opening track with a sense of deeply connected community. More Pressure, the penultimate song, is the essence of the whole album and the epiphany that leads to Grace, which is a prayer, a surrendering; ‘Please move me, please move through me, please unscrew me, please loosen me up.’ But once we get to the end of Grace, and the album, we loop back to the start – to ‘Kiss off the day with a mute mouth. Pass the commute like I can die faster than you.’ Because no matter how much a person grapples with, realises, deeply understands, about life and their place in it, we still wake up in the morning back to square one. Life isn’t solved the minute you figure something out about it. It’s a daily operation to increase your resilience, cultivate a deeper acceptance, let go of what’s chasing you and lean in to the pressures. It’s cyclical, as I believe all things are. And instead of trying to fight the cycles, this album asks us to surrender to them. To let go.

These general themes, of acceptance, resilience, surrender are also about where I’m at in my personal life, in my journey towards a greater acceptance of myself as an artist and as a human being. Being more honest with the world and my community about who I am and letting go of some heavy heavy shame, which is a glorious thing.

This album has a beautiful heart, there is so much love running through it and I can’t wait for people to experience it.

Fresh Afro-Soul Music - Ghana’s Highlife going by the heartbeat of 70s Soul Music. Jembaa Groove is a multicultural band founded in late 2020 by bass player and composer Yannick Nolting, and singerpercussionist Eric Owusu.

Speaking the same musical language, they quickly realized the fruitful
outcome of their musical encounter and decided to spend a couple of
months composing their original music. Digging deep into both their
backgrounds and musical identities, they came up with an organic result both like to label as Afro-Soul.

After seeking for the right companions for the upcoming journey and
stumbling on a few of Berlin's finest musicians, they finally formed Jembaa Groove, a 7-piece band that combines fresh sounds from Berlin's underground music scene with traditional West-African sounds from Ghana and Mali, such as Highlife, Adowa and Wassoulou. Their aesthetic vision is inspired by soul music from the ‘60s and ‘70s and avoids overly-produced commercial arrangements while merging driving bass grooves and steady drum patterns with fresh horn lines and catchy melodies. Produced by Yannick Nolting. Composed and arranged by Yannick Nolting. Vocal
arrangements and lyrics by Eric Owusu.

Es gab vereinzelte Gerüchte, nun ist es offiziell: Am 29. April 2022 erscheint das neue Rammstein-Album »Zeit«!

Der achte Longplayer der Berliner Musiker folgt auf das unbetitelte Nummer-Eins-Werk, mit dem die Band 2019, nach der längsten Album-Pause ihrer bisherigen Karriere, auf Anhieb 14 Spitzenpositionen der
internationalen Charts erreichte. Zwei Jahre haben Till Lindemann (Gesang), Paul Landers (Gitarre), Richard Z. Kruspe (Gitarre), Flake
(Keyboard), Oliver Riedel (Bass) und Christoph Schneider (Schlagzeug) an den elf Songs des neuen Albums gearbeitet. Zur Seite stand ihnen erneut der Berliner Produzent Olsen Involtini. Aufgenommen wurde »Zeit« in den La-Fabrique-Studios in St. Rémy de Provence, Frankreich.

Linda Fredriksson (they/them) shares their debut solo album "Juniper" on We Jazz Records, 29 Oct 2021. Linda (of Mopo and Superposition) has been working on the compositions heard on the album for several years, composing them mostly on guitar, keys and by singing. Only later have they been arranged for the band heard on the album, including Fredriksson on saxes and various instruments, Tuomo Prättälä (of ilmiliekki Quartet) on rhodes, moog and piano, Minna Koivisto on modular synth, moog and OP, Olavi Louhivuori (of Superposition) on drums, and Mikael Saastamoinen (of OK:KO and Superposition) on bass, plus featuring the Swedish artist Matti Bye on piano.

At heart, "Juniper" is a "singer-songwriter album", performed by an instrumental jazz band. The end result is unique, personal, and as Linda themself puts it "quiet and introspective". The first single from the album is "Neon Light and the sky was trans", "a song from the shining streets – the beginning of something new", featuring field recordings of rain falling down behind the window of Linda's Helsinki working space.

It's a fitting introduction to an album full on wonders and carefully crafted secrets ready to be discovered. "Juniper" is a world unto itself, and Fredriksson describes the process as one of isolation and of learning slowly to do new things. After the demo stage, the songs were taken to the full band, but what's on the record often stays true to the minimal nature of the early demos. Linda credits their co-producer Minna Koivisto as a key ally in the process of maintaining the demo sessions' fragile beauty on the actual finished record.

With regards to instrumentation, those who have heard Linda Fredriksson in Mopo and Superposition are likely to be surprised by their credit listing including not only alto and baritone saxophones, plus bass clarinet, but also guitar, Rhythmic8 synths, ambience recordings and drum programming. Linda describes the way of finding new sounds through their beloved old guitar as follows: "It's an old acoustic guitar that has been hit by a car and is literally full of holes, but that makes the sound just perfect for this album and you can hear the instrument on 'Pinetree song' and 'Lempilauluni' (Finnish for 'My Loved Song')."

In fact, Linda began their music-making with guitar and vocals, and the debut of the hole-filled vintage acoustic guitar makes perfect sense here, while also describing the album's immediate sound perhaps better than any other individual instrument used. The influence list for the album name checks the likes of Feist, Neil Young, Susanne Sundfør, Alice Coltrane, Pharoah Sanders, Eric Dolphy and Fever Ray, yet the number one inspiration for Fredriksson prior to making the album was "Carrie and Lowell", the 2017 album by Sufjan Stevens. Different as the albums are in terms of instrumentation and general scope, it's fascinating to draw parallels between them by listening to the quietness and immediacy of the music. "Nana – Tepalle" also relates to the world of "Carrie and Lowell" in being a dedication to a lost family member, Linda's grandmother (she is featured in the digital single artwork).

Throughout the album, Linda plays their saxophones in a way that is serving music first and foremost. The musician's ego, so often at the forefront in jazz, takes a backseat, and the songs themselves remain. Linda thinks as a composer, utilising their instrument where and how necessary, not presenting "chops". "It's sometimes hard to play simple," they say, "but I tried to follow my instinct about what the songs need. The mood rules here, any solos or improvisations happen around that at all times."

"Juniper" can still be heard as a jazz album, but perhaps one reminding that the word doesn't need to mean any one thing in particular. At its best, jazz music is highly personal and "of the moment", both true on "Juniper". The album has been made in two different studios, three homes, two summer cottages and four working spaces. It was recorded with professional studio equipment but also with an iPhone and on a basic built-in laptop speaker. With that, "Juniper" stands as a remarkable musical diary of a creative musician and composer during the early 2020's.

Peruvian cumbia, also know as "chicha", brings together tropical music styles from Colombia and Cuba, Western influences such as 60s beat and psychedelic rock, and mixes them with indigenous melodies from the Amazonian jungle and traditional Andean songs. The result is a unique and vibrant style of music which reverberates with life. Vampisoul's compilation includes tracks by the most important bands of the genre. Peruvian cumbia is currently being rediscovered by new audiences and there exists a thriving club and live venue scene in cities like New York, London and Madrid.
36-page booklet with extensive liner notes in English and Spanish plus photos and memorabilia.

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

Fresh new collaboration between friends Handy x Shall Not Fade, bringing together artists from each label to produce a side each for the VA.

Lining up for Shall Not Fade we have London's 9th House & Berlins Ruff Stuff and batting for Handy we have Trouble Makers Adam Curtain, Bobby Cazanova & a collab from Arthur Dudley and the ever on-form Retromigration.

As it says on the tin – “Keep it in the Family”

Following persistent requests, Mr Bongo has finally relented and dedicated an edition of their popular Brazil 45s series to Orlandivo Honorio de Souza, a composer, singer and percussionist whose 1977 album Oelandivo remains high on my collectors' wants-lists. Wisely, their A-side pick is 'Onde Anda O Meu Amore', a cosmic and spacey fusion of samba-soul and jazz-funk rich in ethereal flute lines and intergalactic keys. This time round it comes backed by the equally as impressive 'Gueri Gueri', an insatiable samba-rock number wrapped in heady accordion, jangly acoustic guitar and punchy horn sounds.

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

Repress

Founded in October 2017 and known in first place as a party series in Essen, The Third Room expands its spectrum with their debut as a label and mastering studio as well. Those three disciplines going hand in hand and forming our vision as a creative collective. Creating, crafting and sharing the passion that drives us.

After a bitter series of event cancellations caused by the corona pandemic we had to find a way to overcome this financial crisis which has put lot of people in a difficult situation who are driven by love and dedication for what they do. In first place we wanted to give all ticket buyers who waived their refunds for the cancelled The Third Room x Bassiani event at UNESCO World Heritage's Mischanlage a "thank you" gift in form as a Fundraiser Compilation. We wanted to preserve what we have built up over the years at our home base. Because we do believe that the Mischanlage is maybe the most aesthetically-techno place we've ever seen.

We, the founders Ahmet Sisman & VNNN., reached out for artists we have invited on our events, build up a strong relationship and sharing the same ambition for what we stand for. Not only regular guests such as Dax J, Ellen Allien or SHWD & Obscure Shape who have accompanied us over the years, but also new friendships have risen up with artists like Henning Baer, Hector Oaks or Markus Suckut. Or collectives such as Lebendig, R-Imprint, Brutalism, Purify and Acid Wave Records. It is safe to say that we have our own special story with each artist on this compilation and it shows once more that music unites us in these hard times. If you like what you hear, buy the music, support the artists and the local scene. Everyone who has held their T3R x Bassiani Tickets will get a download link of the compilation.

"Way back in the 1990s, Mark Hand, Neil Iceton & Jez Nicholl channelled their love of sci-fi-fired Motor City techno into a string of inspired releases under the alias Cubic Space Collective.

After reuniting for a memorable machine jam at Freerotation festival in 2016, Hand & Iceton headed back into the studio for a one-off session and recorded 'Holiday in Beta Centauri', a musical love letter to Mad Mike and the rest of Detroit's most militant futurist techno crew.

Sending us surging skywards via 'Binary System', where lilting lead lines, fizzing electronics and enveloping chords dance atop a snappy, cymbal-heavy drum machine rhythm, before 'Arps in Hyperspace' sees them step things up a notch via layered waves of synths, sparkling melodies and a driving, hyper-speed groove.

The North-East-based twosome then attempt to warm us to the core in the shape of 'Rigil': restless organ stabs, undulating Michigan bass, alien electronics, psychedelic acid lines and Galaxy 2 Galaxy style chords catching the ear. Bringing us gently back down to earth, they complete their deep space mission with 'Beyond The Nebula (Holiday in Beta Centauri)', a bustling electro number full of stabbing analogue bass, star-burst electronics, meditative ambient chords that shimmer full of night-sky melodies.

A fine return to action for this Teesside UR-loving techno twosome... 3,167 miles away in Detroit, their achievement will be noted."

LDI Records serves up a celebration of The Hague's famous electro sound with native Cliff Dalton aka Sander Evers behind four originals and fellow West Coast legends Legowelt and Rude66 both remixing. Cliff Dalton is a relatively new project from a long-time Dutch music great. Sander Evers is the drummer in psychedelic stoner rock band Monomyth and has played with other notable groups including 35007 and Gomer Pyle. Next to those projects, he has always had his ear tuned into the region's enduring techno and electro scene and now offers up his own fresh take on it. The EP's title refers to the fact that all these artists are bound by geography, but is also a nod to the fact that The Hague is the largest Dutch city by the sea. The opener 'We Are The Little Ones' is about an evil robot factory in a futuristic dystopian city. It is a coruscated electro-funk workout with crisp analogue drums and nimble bass overlaid with withering sci-fi melodies. 'We Don't Need A Real World' is a superbly cinematic eight-minute excursion with widescreen synth work taking you to the stars as you ride an elastic bassline. The majestic 'City Under The Sea' then layers up neck-snapping snares with cosmic arps and plunging bass and 'Cleopatra's Matrix' soundtracks an ancient Egyptian city with its mystic leads and eerie pads luring you into a late-night electro trance. West Coast pin-up and hugely prolific electronic innovator Legowelt remixes 'We Are the Little Ones'. His version has plenty of his textbook intrigue, lo-fi texture and magical synth charm, and finally key Bunker Records associate Rude 66 flips 'City Under The Sea' into a snaking dub rhythm with hypnotic acid lines and seductive vocal whispers woven in deep. The Blue City EP is a timeless package of West Coast electro direct from the source.

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

The Jamaican reggae and dub musician Linval Thompson's career began around the age of 20. He has done much work to shape the reggae music during the last centuries. He collaborated with many of the greats of Jamaican music recording. I Love Marijuana was his first self-produced LP in 1978 and featuring some of his well-known tracks, like the title song, the funky 'Dread are the Controller' and 'Just Another Girl.' One of the nation's best bands, The Revolutionaries, is backing him up. It's one of the finest recordings by Linval, before he moved on to become a prominent record producer.

I Love Marijuana is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

VINTAGE CROP serve to serve again. Over the last four years the Geelong group have become a burgeoning force in the Australian punk scene. Their burly, brusque yet supple songs have evolved from the garage rock of 2017’s ‘TV Organs’ album into the post-punk panic attack of last year’s ‘Company Man’ EP. Now they’ve sculpted their sound further, the barrage now offset with robust songwriting, their full-pelt bounce tempered with flailing guitar lines and sardonic commentary. Bringing to mind Wire tackling tracks from early 7”s by The Yummy Fur, it’s an inspired approach, both striking and effortlessly mirthful. Vintage Crop still dish-up plenty of commanding stomp, their lyrics remain as keen-eyed as ever, but now they’re unafraid to mess with the tempo and drive their point home.
‘Serve To Serve Again’ is Vintage Crop’s third full-length album. It was recorded by Mikey Young after a year of playing solid shows, including tours in Europe and the UK alongside Louder Than Death and URSA and some of the band’s biggest shows to date in Australia with Amyl & The Sniffers, R.M.F.C. and The Stroppies. This allowed Vintage Crop to nail the songs live before committing them to tape, pulling and pushing ideas, stretching them into new-found territories. ‘First In Line’ races off the blocks with its sawtooth riff and splintered beat, all jagged edges and ragged vocals. Quickly follow a pair of totemic bruisers in the guise of ‘The Ladder’ and ‘The North’, both brimming with a nigh anthemic quality, confident in their faculty to rouse the rabble. ‘Jack’s Casino’ is a lurching romp about gambling, ‘Streetview’ is similarly propellent, only choosing to meander and divert itself with cryptic trips around the neighbourhood: “He only moved to that side of town because the postcode is worth it’s weight in gold”.
There’s no better poised nod to frustration than ‘Gridlock’ - “the hustle and bustle of inner-city traffic is driving me nuts because the radios on static”. Guitar lines entwine and wriggle wildly free from the song’s pouncing rhythm and potent vocal, making for the most vigorous of rackets. ‘Just My Luck’ prowls with a shared thrumming verve, whilst ‘Everyday Heroes’ closes out the album with measured flair. Skewed and fervent, rangy at times yet always assured in its intent ‘Serve To Serve Again’ is long-legged leap for Vintage Crop into the delirious now. These songs strive to make sense of futility, they criticise the chain of command, question privilege and most importantly make us want more from life. Now all we have to do is turn up the volume!

Acclaimed saxophonist, producer and composer Yasuaki Shimizu will release Kiren, his unreleased album from 1984, on the Palto Flats record label on February 25, 2022.

Liner notes by music historian Chee Shimizu, and credits in both Japanese and English.

By the early 1980s Yasuaki Shimizu had established himself on the Japanese new wave scene, producing many important experimental pop records and releasing several albums as the bandleader of
Mariah. Following the release of his widely regarded solo classic Kakashi, from 1982, and the otherworldly Utakata No Hibi, by Mariah in 1983, he went into the studio the following year with frequent
collaborators, producer Aki Ikuta and Morio Watanabe (bassist of Mariah), to record a mystifying collection of experimental dance music. Utilizing cutting-edge technology and studio trickery, Kiren
showcases Shimizu's trademark playfulness, marrying richly layered production techniques to off-kilter, sometimes traditional sounding rhythms and melodies. Portending his work with the Saxophonettes as well as forecasting trends in techno, new wave, and futuristic rhythmic music, this formerly lost album represents an important period of Shimizu's artistic expression, an artist at his peak, while successfully exploring the intersections of fusion, synthpop, new wave, and jazz.

As Chee Shimizu (no relation) writes in the liner notes, Kiren, and his concurrent release Latin were “born out of a free environment of collaboration that existed between Yasuaki and Aki Ikuta ... (exemplifying) his most energetic works.” In listening to Kiren, we might share with Yasuaki Shimizu the joy and excitement of experimentalism and movement that went into the making of this album, now released for the first time many years later.

Repress

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

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

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

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

A fresh re-press of an Italo Disco club classic: My Mine - Hypnotic Tango. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed in 1982. Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out.

“Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 legendary DJ Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” named after Knuckles' club the Power House, the mix has added vocals by Frankie.

This reissue also includes the “Hypnotic Mix” released in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli.

Double-LP on 45rpm 180gm black vinyl, housed in a gatefold jacket with printed inner sleeves. Alternate cover artwork & 20 page lyric book.

2020’s A Hero’s Death saw Fontaines D.C. land a #2 album in the UK, receive nominations at the GRAMMYs, BRITs and Ivor Novello Awards, and sell out London’s iconic Alexandra Palace.

Now the band return with their third record in as many years: Skinty Fia. Used colloquially as an expletive, the title roughly translates from the Irish language into English as “the damnation of the deer”; the spelling crassly anglicized, and its meaning diluted through generations. Part bittersweet romance, part darkly political triumph - the songs ultimately form a long-distance love letter, one that laments an increasingly privatized culture in danger of going the way of the extinct Irish giant deer.

Clear Vinyl

Written and conceived by Stephan Crasneanscki, ‘LOVOTIC’ is a concept album by Soundwalk Collective, composed in collaboration with lauded actress and singer/songwriter Charlotte Gainsbourg. Featuring veteran techno stalwart AtomTM, rising singer/composer/performance artist Lyra Pramuk, celebrated actor Willem Dafoe, and writer/philosopher Paul B. Preciado, the album is released by the new Berlin-based Analogue Foundation.

Inspired by a relatively new field of research that seeks to explore and develop the possibilities of sexual and emotional relationships – and even love – between humans and robots, ‘LOVOTIC’ interrogates the impulses, ideas, and needs underlying this phenomenon. The project ventures into a future where sex, intimacy and desire are reformulated through the connection of humans, robotics, and artificial intelligence.

In an age of such hybrid entanglement with the machine, human identity requires the construction of new forms of intimacy, gender, and sexuality. At present, however, such technologies are primarily used to produce programs of limited sexual iterations that do not question the preformatted categories of gender and sexual orientation. In contrast, on ‘LOVOTIC’, Soundwalk Collective ask whether the future of sex and sexuality could instead be an exponentially expanding kaleidoscope. Where does the impulse of preference come from? What sets of words from our vocabulary can be communicated to the AI mind to generate a new identity for desire? Could the machine be another technology that brings us closer together?

Sonically ‘LOVOTIC’ is unidentifiable, artificial, and genuinely futuristic, occupying an amorphous androgynous netherworld at the borderlands between biotic and android. Traditional musical signposts are virtually non-existent, instead offering a mercurial, formless sound which mirrors the flourishing of gender fluidity it suggests could be on the horizon.

The production tangibly evokes the odd, rubbery textures of faux flesh, the slick virtual glide or glitchy mishaps of software, and the sleek shine of hardware. Gleaming sound design creates shard-like surfaces redolent of Alva Noto and Ryuichi Sakamoto’s ‘Glass’, the slippery stretched sonics Gabor Lazar, and the unsettling dark ambience of TOWERS and Hallmark ‘87.

At turns intimate and inviting, with whispering-in-your-ears ASMR vocals evoking blissful, heightened sexual states, within ‘LOVOTIC’ there’s optimism, but also unease; As well as the positive, it implies the negative ramifications of technology. At points a synthetic siren’s call appears to lure the listener to a darker place, with audio malfunctions suggesting dystopian science. Voices morph from gentle to distorted – a glitch in the system causing the mask to slip, like virtual lizards – ‘They Live’ or ‘V’ (?), for the metaverse age.

Here, Charlotte Gainsbourg invokes a being of unknown identity – an artificial eve, the oracle and the portal – speaking from an unspecified time in the future. The voices of AtomTM, Lyra Pramuk and Willem Dafoe weave in and out of Charlotte’s, often overlapping, merging into one another, expressing the entity of a being that’s ephemeral and in constant flux, oscillating between the natural and artificial. The record’s other bonafide singer, Lyra Pramuk’s delivery alternates between spoken word, operatics and partially- unintelligible language.

A multi-media project, ‘LOVOTIC’ also features the work of writer, philosopher and curator Paul B. Preciado – a leading thinker in the study of gender and body politics. Paul contributes a post-apocalyptic, quasi scientific and fictional text, which adds further fantasy, artistic and intellectual depth, augmenting the listener’s experience. Like all the best Sci Fi, his words seem prescient, describing what could become a likely reality in the future. Paul performs his written texts on the opening and closing tracks of the album; ‘The Age Of Mutation’ (in Spanish) and ‘Primate Love’ (in English).

Soundwalk Collective is an experimental sound collective helmed by Stephan Crasneanscki in collaboration with Simone Merli, which operates in a continuously rotating constellation of sound artists and musicians. The Collective’s approach to composition combines anthropology, ethnography, non-linear narrative, psycho- geography, the observation of nature, and explorations in recording and synthesis.

“A lush, ornate, and elegant celebration of the oft-maligned pleasure of pure surface-level beauty”. Pitchfork

London independent imprint Lo Recordings are excited to announce that they will release a vinyl version of the ‘Symbol’ album by the late Japanese electronic pioneer Susumu Yokota on the 8th of April 2022.

Originally released in 2004, the special limited edition reissue comes in a newly designed and beautifully packaged gatefold sleeve with liner notes by Ben Eshmade and Tsutomu Noda.

The prolific Yokota rightly saw this album as his masterwork. An incredible kaleidoscopic patchwork of samples from classical recordings by the likes of John Cage, Meredith Monk, Prokofiev, Debussy, Ravel and Tchaikovsky are brought together and lovingly transformed in Yokota’s inimitable style to create what Pitchfork described as an "ecstasy album”

Each track is a firework of temporality, as ideas collide and briefly hold together in the fragile moment before decaying and decomposing. Sampling, the re-imagining of music, is very much the instrument of Yokota. Within the restricted seconds of a digital sample you hear a recording from a certain time, you hear the room, you hear the dust on the cello bow, and you can just about sense what the musician was feeling that day.

Co-produced with Metronomy's Joseph Mount, electro-pop artist TATYANA's debut album is a careful fusion of her classical harp training with her keen sense for pop production and songwriting. Inspired by late-2000s indie pop and Swedish pop auteurs, Treat Me Right is a sparkling, catchy collection of `80s synths and futuristic auto-tuned vocals. TATYANA has lived in Holland, Russia, Singapore, and Boston - where she attended Berklee College of Music on a full scholarship - before settling back in her hometown of London in 2018. The transient nature of her upbringing has certainly informed her music: from underground raves to viral YouTube covers to playing harp on tour with Neneh Cherry, there seems to be no scene that she doesn't thrive in. Last year, she released her thrilling debut EP Shadow On The Wall via Sinderlyn. The self-produced collection was met with praise from tastemaker outlets like NYLON, FADER, Office, Bandcamp, Line of Best Fit, and Crack, as well as an exclusive vinyl pressing with Vinyl Me, Please's Rising program. Treat Me Right is the irresistible product of these impressive first steps, the kind of precisely produced, impossibly catchy pop that takes other artists their entire careers to nail.

Aufgrund der hohen Nachfrage nun die Neuauflage des gefeierten Manimal-Albums "Purgatorio" auf Gold-Vinyl!

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Formed in Oxford where they lived, hung out and rehearsed
together on campus, eclectic group Mandrake Handshake
were christened after a song by The Brian Jonestown
Massacre, incorporating their influences of Krautrock, funk,
Japanese animation and Latin pastoral poetry to create a
unique brand of ‘Flowerkraut’ that vividly defines their sound.
 Having initially teamed up with the cult indie label for their
‘Nice Swan Introduces…’ series (in partnership with RIP
Records) late last year, the creative outfit have since found
labelmates in the likes of Courting, SPRINTS and Anorak
Patch, and fast established themselves as one of the most
enticing new acts in the UK psychedelic scene.
 With widespread acclaim arriving via multiple key indie press
titans (NME, NPR, DIY, The Line of Best Fit, Dork, So Young,
Clash, Loud & Quiet, Gigwise), the newcomers certainly
seem to be attracting the right kind of attention following the
release of mesmeric debut effort ‘Mandragora’ and
exhilarating follow-up ‘Gonkulator’, with their first few plays
on BBC Radio 1 (Jack Saunders) already opening them up
to a vast new audience.
 Detailing their EP, the band explained: “‘Shake the Hand
That Feeds You’ represents the culmination of many strands
of thought over the process of several months. It is designed
to announce the coming of the Mandrake in all her forms and
the ascent into her realm; as it soundtracks the listener
coming to know what will be expected of them for all future
sonic explorations.
 “No expense has been spared to bring the listener to the
zenith of psychedelic high-fidelity and have them fully
understand what they otherwise might only hint at knowing.
This is ‘Flowerkraut’. This is the beginning. This is the
Mandrake.”
 Recorded at Press Play Studios in Bermondsey with one of
their heroes - Stereolab’s Andy Ramsay.

The English synthpop, new wave group formed in 1977 in London and was led by Tony Mansfield, who later worked as a producer for furthermore Naked Eyes, a-ha and the B-52’s. Their success already kicked off with the first single, “Straight Lines” entered the UK Singles Chart within no-time.

Their second studio album Anywhere was originally released in
1981 and contained 12 tracks. The expanded edition contains 4
bonus tracks; “The Office”, “From The Village”, “Guitars” and the
12” version of “While You Wait”.

This expanded edition of Anywhere includes the corrected D-side and is available as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

Limited edition of 300 copies. Packaged in a picture sleeve

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

Pumpkin Soup; part 2 of the ‘Mask’ series; a spicy hotpot mixing ritualistic rhythms with gently simmering bass lines.

Norris Raider’s Trepan Retake adds an acid techno twist.

Artwork for the series by Sez K

Fueled on pizza and the spirit of dance music, Chef Sam O.B. has lovingly cooked up four courses for our aural connoisseurs to enjoy: "Just A Slice."

Like any good pizza, it all starts with the dough, and "Making Dough" gets us right on track. Borrowing elements from house classics of the past, it rises on a jackin' groove complete with a funky fermented low-end and dashes of vocals from the chef himself.

"Le Sauce" offers a tangy burst of flavor atop our dough foundation; a sort of subtle and seductive palate that only the most refined of sauces can provide. Twists and turns await as the layers of seasoned live instrumentation unveil themselves (best enjoyed past dusk).

Next, as you might have expected, is "Cheezin'" - many people's favorite part of a pie. This one is sharp; bursting with mouthwatering umami energy and, like any good chef, O.B. has added just enough to leave you wanting more of the catchy interwoven melodies and rhythms sprinkled within.

Finally, it's time to grab a piping hot "Just A Slice" out of the oven - an amalgamation of all groovin' ingredients added thus far and the title track. A bubbling and elastic bassline pairs with the percussion of various textures and savory synth lines, combining for a well-balanced meal sure to keep your senses engaged.

A satisfying listen, "Just A Slice" would do, but feel free to indulge in multiple spins.

Falk & Klou thrives in the glorious nostalgia of the golden age of grooving jazz, jazzy libraries and pfunky stuff, reimagined in the year of the Corona. The Swedish duo consisting of multi instrumentalists Carl Johan Fogelklou and Fredrik Segerfalk who haphazardly met over a pile of vintage synthesizers that required immediate attention, only to realize that they had a common goal in this life - to pretend that they were recording producers and artist in the seventies. The urge led to actual sessions, first only the two, later to be followed by horn players, drummers and other desperate pandemic struck musicians. In the end ten prominent tracks emerged, with the common denominator being the love of great music. The library of Falk & Klou.