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Keeping the faith and facing the future, Times Are Changing puts a full stop on pandemic talk for unstoppable indie-pop four-piece Lottery Winners, as the four-piece release the fizzing anthem into a newly optimistic world. The first single from their newly


announced, upcoming, second studio album, Something To Leave The House For, the band has penned the soundtrack to hugging old friends, the rebirth of live music and those summer festivals just around the around the corner.

For front man and songwriter, Thom Rylance, working through the darkness of Covid meant surviving Covid, tying the threads of an unravelling mental state into a new body of work now emerging as bright, arms-aloft bursts of positivity. His famed ‘note to self’, the emotive An Open Letter To Creatives and the band’s sensational, viral collaboration with Nickelback with the Rock Star Sea Shanty were just two moments of levity in a time dominated by the dark clouds forming overhead. Now he and the band are moving on and moving up.

“If something so bleak and harrowing can hit us all, totally out of the blue, and change our lives, then by definition that must mean that something beautiful can too.” says bassist and vocalist, Katie Lloyd (bass and vocals) as Lottery Winners start the next leg of their adventure with Times Are Changing, reflective, ready to party and no less ambitious than before.

Their mammoth, 14-track new album, Something To Leave The House For, follows their 2020, self-titled UK Album Chart Top 30 debut with a Fri 24 September 2021 release via Modern Sky UK, promises to document the tumultuous times and the path back from despair. In true Lottery Winners style, every truth and life lesson is dressed in glass-half-full, wildly optimistic, radio-friendly pop, hip-swinging beats and bittersweet tenderness.

Effortlessly hopscotching between vintage acid and 80s Rn’B, insouciant Francophone pop and twinkling electro house, Lou Hayter has delivered something at once utterly unique and defiantly timeless with her much anticipated debut solo LP, released on Skint Records. It has been a long time coming for London native Hayter, who first made her mark professionally as keyboardist for New Young Pony Club, one of THE bands at the epicentre of the white hot day-glo nu rave scene alongside the likes of the Klaxons and Test Icicles in 2006. But, to fully place her debut album in context, it is necessary to rewind a little bit – to the very beginning in fact, with Hayter growing up on a diet of Bowie, Prince, Human League and Jellybean-era Madonna while concomitantly learning classical piano from the age of five. The flames of this deliciously varied musical palette were further stoked by trips to record shops in Soho with her brother (Soul Jazz was a particular obsession), but it was while studying in Cambridge that the match was well and truly struck – she used her student grant to buy a set of Technics and started putting on club nights, before moving to London and working at Trevor Jackson’s seminal Output Recordings, placing Hayter smack bang in the middle of all the action, with disco punk fever hitting full force and bands like the Rapture and LCD Soundsystem first breaking out.

The hugely successful, Mercury-nominated New Young Pony Club followed shortly after, but it’s through her subsequent output that she started to distil and refine her idiosyncratic tastes. And certainly, you can hear hints of both the New Sins, the 80’s New Wave duo she formed with Nick Phillips, and Tomorrow’s World, the swooning Gallic pop act she fronts alongside Air’s JB Dunckel, in her remarkable debut. Full to bursting with evocative electro-soul love letters to her home town of London alongside addictive disco torch ballads, it’s like Kylie meeting Mr Fingers or, Jam & Lewis producing Jane Birkin – something beautiful and melancholic yet sharply modern and new. From the warm, woozy, lysergic harmonies of opener “Cherry on Top”, which sound like a beloved old cassette unravelling, to the fizzy, infectious “Cold Feet”, which calls to mind Lisa Lisa & Cult Jam at their most heartworn, taken in toto the album perfectly nails the essence of gorgeously nostalgic synth-pop with a twist; crisp, stylish and sophisticated music which heralds the next chapter of Lou Hayter quite nicely, actually. Her retro-futuristic results will give 2021 the pop fix it so desperately needs.

We are thrilled to announce the first release in 25 years on Suzanne Ciani's Atmospheric label, which focuses on her live electronic music. Improvisation on Four Sequences was performed live in quadraphonic on the Buchla 200e and the Animoog at Festival Antigel in Geneva, Switzerland on January 25th, 2020. This record is specially encoded to be played back in quadraphonic sound and is also stereo compatible.

ADSX / Hanoben jump da Berlino to Rimini sul train degli Acidio !!

Sina's Freun is all fidanzato fidanzato v 303 303 303. Luv ov my livvvvve.

Werner's Spiel acido bumbles, taglia and incolla. Boogie boogie.

Elvira's Katzenfisch inno elettronico Krautrock. Synth anthem !!

Infine, Mund. Punk slap. Basso. All join hands with...

ACEEIID !!

Here's a brand new EP for the italo lovers. Released for the first time
in 1982 on Full Time Production off-shoot Good Vibes, 4 M
International's "Space Operator" is repressed on hand-numbered limited edition vinyl on Mr Disc Organization!

This special EP includes the Techno producer Donato Dozzy cadillac
rhythms reshape and the vocal and instrumental versions of the record.

Spaced out disco electro. The mysteriously named 4M International was a side project of the production team behind the Italo group Trilogy ("Not Love", "Black Devil" etc). "Space Operator" is the only record the outfit recorded and is an ultra spacey, pitched down, cosmic anthem with a wealth of killer sound FX, synth washes and sinister vocoded voices inviting us to join them in some intergalactic space travel!

A three track 12” running at 45 rpm throughout.
Limited 300 copy run pressed to 180g (+/- 5%) virgin vinyl, clear outer bags, cover and label, deluxe antistatic sleeve.
Custom special marble vinyl.

Tape

Pauline Oliveros and Guy Klucevsek's "Sounding / Way" was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing.

The Sounding / Way concept was simple. Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's Tremolo No. 6 performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition The Tuning Meditation, also performed by both Pauline and Guy.

This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros.

Guy Klucevsek is one of the world’s most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn.

Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others.

Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

The Toolroom Family is happy to announce the release of KC Lights' brand new single 'Cold Light' that lands as the highly anticipated follow up to his global hit 'Girl’ which, in spite of the global shutdowns of clubs and festivals last year went on to be the ‘stay at home’ summer anthem for 2020.

‘Girl’ dominated the airwaves with BBC Radio 1 daytime playlist inclusions, KISS FM, Capital Dance, Sirius XM in the US and specialist playlists all over the world. It has now amassed over 5m streams on Spotify alone and still going strong.

As we move further into 2021, timed right on the back of some of his most recent stellar remixes for James Hype, Topic, Blinkie, Lost Kings and Nightlapse, KC Lights returns to lift our bleak spirits with the aptly named ‘Cold Light’.

He has collaborated with UK singer, songwriter Leo Stannard, who is being hailed as one of the most talented and exciting songwriter / vocalists to emerge in recent years, which is quite impressive during these times of quarantines and lockdowns. Most recently, Leo featured on CamelPhat’s track ‘Blackbirds’ which is featured on the Camels album, ‘Dark Matter.” He may also be recognized for his work with Maverick Sabre, Tom Odell, Rae Morris, Lewis Mokler and many more.

‘Cold Light’ is signature KC Lights with a stripped back groove and tribal drums complimented by Leo’s sublime vocal which takes the track to a whole new level! It’s feels like another anthem in making from this emerging star and with a club mix and a 6am remix, it really is the perfect tune to take us into the promise of lighter and warmer months ahead.

due.sound introduces the first catalog of the label releasing an EP by NDR including remixes from Neel and Antonio De Angelis.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Earnest Vocation is part of the new “Behind The Dykes” series where we unearth rare and sought-after albums from the Netherlands.
It’s the second and final studio album of the Dutch beat group Ro-D- Ys. The band started making music professionally in the late sixties and was well received within the Dutch psychedelic movement. Earnest Vocation was recorded with original singer Harry Rijnbergen.

Burning Injustice’, the second album by Torn Relics, forthcoming on the Berlin based label Instruments of Discipline, weaves mythical and futuristic elements of an unknown world. Haunting, visceral and diverse in production styles, the duo continues to pave their own musical territory. This album was written between 2017 – 2021, in which the music produced reflects the decay of the political and social landscape in the UK, from the Brexit divide to covid isolation. This music serves as antidote in these turbulent times. Torn Relics are an experimental electronic duo based in London, composed of Romek Boyer (AKA Rommek) & Aimée Mullen. The body of their work is a mixture of cyber-punk electronics with tribalistic violin, rhythms and tones. Their debut EP, The Poisoned Chalice, was released on Sacred Court in 2019 and included a remix from SNTS. Abolish The Dogma, the duos debut 8-track album was released in 2020 on Leyla records, which showcases the diversity of their production styles.

HIGHLIGHTS: Two head-nodding psych anthems from Peru mixing surf guitars with fuzz effects, fierce Latin percussion_ making them sound as if Hendrix and Santana would have joined a cumbia combo! Another exciting dig into the hidden musical treasures of late '60s Peru. DESCRIPTION: Los Sideral's were a Peruvian band founded in 1967. Their first recordings are heavily influenced by the surf intrumentals and tropical sounds, mastering the cumbia guitar like few others. At the edge of the new decade, psychedelic and funk ingredients were also incorporated. 'Dongoh' is the result of this musical journey, as if Hendrix and Santana would have joined a cumbia combo, mixing surf guitars with fuzz effects, fierce Latin percussion_ 'Vírgenes del Sol' is a surf-guitar driven dancefloor anthem that became their most popular song. Both recordings see now their reissue on a 7" vinyl for the first time. Another exciting dig into the hidden musical treasures of late '60s Peru.

Blue Vinyl

Park Hye Jin hat gestern ihr mit Spannung erwartetes Debütalbum, „Before I Die“, angekündigt, das am 10. September 2021 bei Ninja Tune erscheint. Das Album - komplett von der in Südkorea geborenen und nun in L.A. lebenden Produzentin, Rapperin, Sängerin und DJ geschrieben, produziert und performt - folgt auf die Veröffentlichung ihrer sehr erfolgreichen EP, „How Can I“ vom letzten Jahr, sowie auf eine Reihe von Kollaborationen mit Künstler*innen wie Clams Casino & Take A Daytrip („Y DON'T U“), Blood Orange („CALL ME“ Freestyle) und Nosaj Thing („CLOUDS“), sowie auf den Remix von Galcher Lustwerk für „Can You“.

Seit gestern Abend ist die Leadsingle und der Album-Opener, „Let’s Sing Let's Dance“ zu hören, ein wehmütiger Dance-Track, der Hye Jins mantraartigen Gesang über Klavierakkorde und wummernden Bässen platziert. Auf den anderen Tracks des Albums demonstriert sie eine deutlich erweiterte Klangpalette, in die sie eine Reihe von Einflüssen aus den Bereichen Elektronik, Hiphop und Downtempo einfließen lässt, um die bisher vollständigste Vision ihres Sounds zu präsentieren.

„Before I Die“ wird am 10. September 2021 auf Ninja Tune veröffentlicht, anschließend geht Hye Jin später in diesem Jahr auf Tour in Nordamerika, darunter eine Co-Headline-Show mit Shlohmo in New York, sowie Shows in Toronto, San Francisco, Miami und New Orleans.

Ihr Debütalbum folgt auf ein paar unglaubliche Jahre für die junge Künstlerin, in dem sie ihre gefeierte „How Can I“ EP auf Ninja Tune veröffentlichte. Eine Platte, die von Rolling Stone, Pitchfork („25 Most Anticipated Albums of the Summer“), FADER, i-D, Resident Advisor und vielen anderen hoch gelobt wurde und in zahlreichen „Best Of“-Listen 2020 von Billboard, The Guardian und anderen vertreten war. Auch in Deutschland fand die EP sensationellen Anklang, mit lobenden Artikeln und Beiträgen in u.a. Süddeutscher Zeitung, Rolling Stone Deutschland, im Missy Magazin, im Deutschlandfunk Kultur, im BR2, bei Radio Fritz oder im Musikexpress, die sie ebenfalls in ihre Liste der hoffnungsvollsten Newcomer*innen für 2021 aufnahmen.

Hye Jin wurde auch in die NME 100-Liste der „Essential emerging artists for 2021“ und in die „Generation V“-Serie des V Mag aufgenommen. Auch die britische GQ und Stereogum bezeichnen sie als „one to watch“. Die Lead-Single der EP, „Like This“, wurde auch im Soundtrack von FIFA 2021 verwendet und erhielt große Unterstützung von BBC Radio 1 und 6 Music, war #1 der „Top Electronic“ in den NACC-Charts (North American College and Community Radio) und in den „Top 200“ insgesamt, mit weiterer Unterstützung von KEXP, KCRW, SiriusXMU und mehr.

After several features and single releases UK's up & coming producer K, Le Maestro finally releases his highly anticipated debut album “WHIP MUSIC” via Jakarta Records.

Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece Obnoxius. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade’s first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Today, very little is known about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. One rumour claims he died in a car accident shortly before the album’s release, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. The political turmoil from which the album emerged is significant also; recorded during an era of oppressive state censorship, the album, like all the Quartin catalogue, is the result of steadfast defiance in the face of a crushing military dictatorship. While many musicians of the era fled the country, preferring their prospects in the affluent, liberated USA, rebellious, young musicians like Mauro chose to stay and reflect their anger at the authorities through thinly veiled protest songs such as the stirring ‘Apocalipse’. Herein lies the basis for a more dramatic theory; that Mauro was in fact abducted by the military! Whatever the truth, the mystery remains unsolved, and all that remains is his bewitching music, all of which is composed by Mauro and Ana Maria Bahiana. Production on the record was cancelled after Mauro’s death and it was never sold commercially until its rerelease decades later. What appeal does Mauro’s music hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else that sounds much like it all. Take the title track of ‘Obnoxius’. A wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.

Today, Obnoxius retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…

Spectra! represents a lone, anomaly release by illusive producer and recording artist J. Walker of Perth, Western Australia. Recorded and produced in 2016, Spectra! comprises a collection of 12 instrumental works composed in response to an imagined brief investigating the refined shades and pigments of colour.
Whilst stylistically somewhat comparable to library music recordings from Europe released throughout the 1980’s, Walker’s compositions never step too closely toward facsimile. Instead, they maintain a unique sense of identity, one closer akin to a born-too-late contemporary interpretation of the sentimentality and lost moods that allowed library music it’s point of difference and charm in the first place. Unlike many modern artists who flirt with the past, Walker isn’t concerned with carbon copying the sound palate and tape hiss of yesterday. In these works, antecedent emotional and harmonic bodies are given new life and form by means of modern studio hardware, musical equipment and compositional techniques. Recommended for fans of the Coloursound Library and Joël Vaandroogenbroeck.

Masters within the evolution of ambient and experimental music over the past forty years, Michal Turtle and Suso Saiz come together for the first time for ‘Static Journeys’, a full-length collaborative album. Unfolding over six diverse tracks, Turtle and Saiz imagine the memories, journeys and textures of half-a-dozen cities borne only of their imagination. Developed closely alongside Swiss agency and label PLANISPHERE, the music was premiered in it’s completed form during a performance installation for ON at Kunstmuseum Basel, a transdisciplinary event designed that featured live visuals from Ezra Miller and more.

While both wildly prolific, the music of both Turtle and Saiz was previously the domain of specialist collectors and obsessive record enthusiasts. Since 2015, a series of reissues on labels such as Music From Memory and reinterpretations of Turtle’s music on Planisphere have brought the back-catalogue of these artists to a much wider audience, and to each other. Far from nostalgic and fundamentally curious as expected, ‘Static Journeys’ captures these innovators transferring their unique chemistry into an ambient tete-a-tete rich in detail.

‘Static Journeys’ was recorded throughout 2019 over two individual recording sessions, each lasting a number of days. The first took place in Turtle’s infamous ‘living room’ studio, his cosy and domestic atmosphere providing the initial foundation for the pair’s long-form improvisations; Saiz focused on synthesis and modulation, Turtle providing hypnotic, looping percussion. Later, in a studio in Madrid, the roles became less defined. Saiz’s textures, musical time standing still began to kindly interweave with Turtle’s offbeat melodies.

The results of these meetings are blissful and adventurous. Following the welcoming undulations of opening track Buonovintra Beckons, ‘Missing Papotl’ dives into soaring, new-age percussion underscored by wistful melancholy. ‘ Returning to Brendelton’ unfolds as analogue tropicalia, static indistinguishable from tropical birdsong. ‘Hattalcuia Awaits’ is bound by mystery and anticipation, whereas ‘Leaving Okovozi’ presents a quietly spectacular exercise in minimalism, led by yearning bass and whistling chimes. Finally, ‘Caravan to Inek’ allow for a dense, hopeful finale, incorporating electronic guitar and the afterglow of new connections forged.

Blissful, diverse and occasionally sublime, ‘Static Journeys’ combines experimentation and creative trust to deliver a timeless musical meeting.

Stepping up with an astounding collection of first-class sonics, Fred V’s
highly anticipated debut solo album, ‘Radiate’ is on the horizon for the
summer of 2021, on Hospital Records.
Consisting of 15 tracks that feature exciting collaborations with Millbrook, Zara
Kershaw, Vonn , Lottie Jones and SAYAH. Fred V’s first-ever standalone longplayer is everything you’d hope for and more, built from an infusion of electronic
influences from the past, present and future.
Expect an up-close and intimate insight into the Exeter-based multi-instrumentalist, as he continues to carve out his unique musical identity through ethereal
soundscapes and melancholic climates.
With his debut album marking a fresh chapter in his career as a solo artist, Fred
V’s journey so far has been a remarkable one. From his decade-long collaborative project alongside Grafix which saw many world tours, live shows and three
studio albums.
Since embarking on his individual venture Fred V has put out a string of successful releases which have drawn support from airwave tastemakers Annie
Mac, Ren LaVice, MistaJam, Charlie Tee and more.
Diving deep into the exploration of his own sound, expect to find Fred V playing at Hospitality Bristol BBQ in August, Hospitality Weekend In The Woods and
Sundown Festival in September.

The Bright Lights of America is the seventh album released by American punk rock band Anti-Flag. Released in 2008, the album marked a change in the band’s sound: although still very much punk, the album is their first to feature a string section and child choirs. Two singles were released from the album: both the title track and “The Modern Rome Burning”. Other popular songs from this album are “Good And Ready”, “Spit In The Face” and “Vices”. Produced by Tony Visconti, Anti-Flag sounds fiery and angry as ever on this album.

From the depths of an ancient dark underworld, Nigh/T\mare has conjured a powerful offering of burning emotions that light the fires of one's demons and invite the beginning of an epic journey through the unknown. Via Threnes Records from Switzerland, this offering is on point with their consistent releasing of top quality industrial/experimental techno. Entitled "Katharsis", this artistically crafted set of tracks in the form a debut album twists and turns its way over tribal rhythms with dynamic feels and beating drums that break down anything standing in the way. A powerful offering from the depths of the soul.

"Impure" is a powerful opener, like an army banging its drums and marching towards the fight, this track sets the stage from the drama to come. Like a speeding train through dystopia the injection of adrenaline comes in the form of "Self Immolation" which makes the heart beat with the force of a 100 pounding drums. Tribal percussion keeps banging its way through "Anti Balaka" before slowing into a deep melancholic track by the name of "Unarmed". Slowly building out of the calm "Unavoidable Unveiling" creates tension with droning notes and broken industrial percussion laying the soundscapes. "Doomed to Struggle" Feat. Prophan is a dramatic pushing and pulling of the hard hitting sounds and ritualistic chanting before diving into the galvanic rhythms of "The Summoning" Feat. LAIR. "The Path of Moans" brings the mood to a sombre place where the whispers from the demons below can be heard alongside the chiming of distant bells. Pact Infernal's remix of "Impure" demands attention as it offers chaos into the fold along with viciously delicious synths. Torn Relics remix of "The Summoning" builds into an onslaught of relentless percussion and deep howls from the underworld which leave you with chills running down your spine. A fitting ending to an impressive array of dynamic tracks, this is an experience never to be forgotten.

Originally from Philadelphia, invited to New York by Miles Davis, playing at Antibes in 1960 with Charles Mingus and Eric Dolphy, here is trumpeter Ted Curson in 1971... in Paris. With him, a legendary trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). A new transatlantic alliance in the service of jazz of all kinds: classic, modal, fusion and even free... Pop Wine is – between Coltrane and Miles with a nod to roots in the club the Caveau de la Huchette – an explosive cocktail but which leaves no stains!

In 1960, trumpeter Ted Curson played with Charles Mingus and Eric Dolphy on stage at the Antibes jazz festival. Eleven years later he was in Paris to record one of the gems of his discography, with a hard-hitting French trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums).

Arvanitas was also someone who had travelled widely. Originally from Marseille, he had accompanied visiting American musicians in Paris before moving to the States. It was when he came back that the charismatic trio was created with Samson and Saudrais and who recorded, in 1970 on Futura, the unforgettable In Concert and then, the following year, Pop Wine with Ted Curson.

Pop Wine: don’t be fooled into thinking you are going to hear jazz musicians trying to play pop after uncorking too many bottles. For, although the album occasionally tends toward fusion, it is first and foremost a wonderful jazz recording; and a recording with enough fizz to make your head spin!

There are five tracks in total: Quartier Latin reminds us a little of Olé Coltrane (Curson, like the saxophonist, is originally from Philadelphia), Flip Top where the trumpet and piano play out a chase scene through the streets of Paris, Pop Wine where funk and cool jazz meet on the barricades of black and white, L.S.D. Takes A Holiday which breaks out in a style close to free jazz, and finally Lonely One, with the impression that ends this unclassifiable album. Unclassifiable, unless we decide to elevate Pop Wine to the rank of a great vintage.

It was once said that listening to ‘Antiphonals’ was, “like listening to a
progressive rock album except it’s just the keyboard parts.” As the
second full-length LP on Late Music, Davachi offers here a slow and
sedate solo affair composed with the various horns and woodwinds of
the mellotron alongside organs, pianos, harpsichord and more quiet
delights.
CD in 4 panel gatefold lancing pack.
LP in standard 3mm spine printed sleeve, poly-lined inner bag and
digital download card.
As a composer and performer of both acoustic and electronic music,
Sarah Davachi’s work is concerned with the close intricacies of
intimate aural space, utilizing extended durations and simple
harmonic structures that emphasize subtle variations in texture,
overtone complexity, psychoacoustic phenomena and temperament
and intonation.
Similarly informed by minimalist tenets of the 1960s and 1970s,
baroque leanings toward slow-moving chordal suspensions and
experimental production practices of the recording studio
environment, in her sound is manifest an experience that lessens
apprehension of consonance and dissonance in likeness of the
familiar and the distant.
Davachi has toured extensively across the globe and has shared the
stage and collaborated with artists such as Grouper, William Basinski,
Ariel Kalma, the Bozzini Quartet, the London Contemporary
Orchestra, Oren Ambarchi, Donald Buchla, Suzanne Ciani, the BBC
Scottish Symphony Orchestra, Jessica Moss, Áine O'Dwyer,
Alessandro Cortini, James McVinnie, Ian William Craig, Kara-lis
Coverdale, Aaron Dilloway, Robert Aiki Aubrey Lowe, Ellen Arkbro,
Loren Connors and filmmaker Paul Clipson.
Between 2007 and 2017, Davachi had the unique opportunity to work
for the National Music Centre in Canada as an interpreter and content
developer of their collection of acoustic and electronic keyboard
instruments. In 2020, she established her own label, Late Music.

Edu Lobo has to be considered one of the great mysteries of MPB. Already in the early hours of Bossa Nova, he has mainly worked for the renewal and development of the Brazilian Bossa Nova post. Edu Lobo remains a character in the shadows, discreet but effective. Known as a writer "complex and sophisticated", he is part of the circle of composers "melodist" like Tom Jobim, Marcos Valle and Francis Hime. On this 1981 album the duo with Anton Jobim works perfectly, offering classical repertoire played in sobriety. The complicity between the two composers is sincere and it is quite fascinating to see that they interchanged easily their seats.

The longstanding DJ comes through with a brand new album for the modern times, keeping the tradition alive through a stacked tracklist of heavy hitters. With an extension of the popular posse cut, “Rolling 25 Deep,” DJ Kay Slay ups the ante with an 18 minute anthem, “Rolling 50 Deep,” featuring the likes of Benny The Butcher, Bun B, Styles P, Ghostface Killah, Raekwon and more. He further adds to his track record of pairing together artists for hit records with cuts from Ghostface Killah & Busta Rhymes, Conway the Machine & Sheek Louch, and Juicy J & Jim Jones.

Assemble Music returns in 2021 with its 25th release: a 5-track heavyweight compilation featuring a handful of the finest electronic acts in Portugal and two well sought after internationals.
Population One a.k.a. Terrence Dixon, having released in iconic labels such as Metroplex, Tresor, Rush Hour and Jeff Mills’ imprint Axis in the last decades, kicks off this record with ‘Unfolding’ some Detroit Techno cargo (A1), followed by a hypnotizing, spiraling acidic Techno bomb - ‘Acid Grind’ (A2) - courtesy of the Algarve duo Roundhouse Kick. Prolific Portuguese DJ and producer, formerly based in The Netherlands, Lake Haze finishes off this first side with the Electro infused, twisted ‘Acid Warfare’ (A3).
Over to the B side, Roma Zuckerman, originally from Siberia and also releasing a double LP on Nina Kraviz’s трип this year, pulls off a classic fast-paced Acid groove on ‘We Call Its Acidomine’ (B1), while the Lisbon duo 2Jack4U takes us to a dream party land with the anthem ‘Acid 00010’ (B2)
Surely a must-have tool for an upcoming post-pandemic rave!

Peggy Gou returns with 'Nabi' - her first single in over two years and the follow up to 2019's global crossover, 'Starry Night'.

'Nabi' is an incredible piece of slow-burning, 98bpm electronic pop, inspired by 80s synth classics, the piano pieces of renowned composer Erik Satie and the 80s and 90s Korean songs Gou’s mother used to play at home during her childhood. Showcasing a less familiar side of Gou’s diverse sound and influences, it retains the hallmarks of her unique take on electronic music; at once both nostalgic and totally modern.

‘Nabi’ - which translates as ‘Butterfly’ - is also Gou’s first ever vocal collaboration, as she teams up with fellow Korean sensation OHHYUK, the lead singer and guitarist in Hyukoh. It’s set to build on the widespread acclaim for her 2020 production collaboration with Baltimore techno legend Maurice Fulton (on his ‘Jigoo’ release for Gudu), ‘Nabi’ is the first of two songs Peggy Gou will release over the coming months.

While the forthcoming follow up is set to dial up the tempo, kicks, 808’s and 909s to soundtrack a summer where we can all (hopefully) dance together in our thousands again, ‘Nabi’ is very much the sound of now – a lowkey anthem fuelled by feelings of hope, freedom and positivity for what’s to come.

Power punks, Hot Milk, have announced their second EP, ‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD” via Music For Nations.

It follows the success of the band’s first EP, 2019’s ‘Are You Feeling Alive?’, a fizzy collection of gutsy emo-pop which established them as one of the most exciting new bands in the UK. Their 2019 was a whirlwind year that saw them tour with Foo Fighters, Deaf Havana and You Me At Six, as well as playing some of the UK’s biggest festival stages.

The band were formed in 2018 by vocalist and guitarist duo, Han Mee and Jim Shaw, two friends who met working behind the scenes in the Manchester music scene. Yet they yearned to be in a band themselves. “We got to the point where we were why not? What else have you got to lose?” says Jim. “We thought, we can go for this or we can get to 60 and know we didn’t do right by ourselves.”

Debut EP, ‘Are You Feeling Alive?’, which was penned during a drunken songwriting session, was an effervescent refusal to settle for second best in life. “We’ve both realised that life you don’t get another face,” Han continues. “You get one face and then you’re done, and you will never exist ever again.”

That sense of not letting life slip through your fingers is at the core of Hot Milk’s punk-indebted ethos. And having taken a leap of faith to grasp their platform, the band, completed by bassist Tom Paton and drummer Harry Deller, aren’t about to let it go to waste. “Art is about your interpretation of your own experience,” adds Jim. “The first EP was written five years ago. We’ve grown up and realised who we are and what the world is like right now.”

‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD’, which was produced by Jim Shaw, is another vivacious call to arms, rammed with sharp hooks and huge, catchy choruses, to encourage everyone, everywhere, to follow their dreams. But elsewhere, the lyrics are more personal, with the band bottling the anxieties and frustrations of their everyday lives. ‘Woozy’ openly tackles depression, ‘Good Life’ takes on societal corruption and the distribution of wealth, while elsewhere the band address the pursuit of happiness in a modern world.

“These songs are honest,” says Han. “I have nothing to hide. Everyone’s on antidepressants these days. It’s the world we live in, it makes people sad. Capitalism. Is it broken? 100 per cent. I’m angry that the fact that we’re sold a world that actually doesn’t make your inner peace happy. Humans need love and community and a lot of the time, there is no love and the community has dissolved.”

“The anger resides in us at the unfairness of the world,” adds Jim. “Online communities are all about flexing and battling your peers to look or sound a certain way that is better than everyone else. It’s constant and it’s dangerous. You’re teaching kids that to be content, you have to be best. It’s a question again. Are you really living?”

“We’re angry, both politically and existentially in terms of the system we now live in. But also, we’re angry at the fact that we’re sad quite a lot,” continues Han. “But we’re trying to not just sit there and take it. We’re trying to fix it, by building a family through this band.”

Walk into any Hot Milk show and you will feel that sense of community. Through their honest lyrics and inclusive approach, the band say their aim is to create an “aggressively space safe” where fans are empowered to be themselves, “authentically and unapologetically”, as well as opening up a dialogue for people to talk. That will become clear later this year when the band get their chance to air the new material. This summer, they will return to Reading and Leeds Festivals, this time to play the main stage, as well as embarking on a headline UK tour in September. And believe, when the times comes to finally get back into those sweaty pits, these new songs will provide the perfect, life-affirming soundtrack.

“Life is fragile,” says Jim. “You can’t take things with you, but you can make the best memories. That’s the most important thing in life. Your currency is your memory.” “What you can take with you is something that absolutely makes the blood pump round your veins and gives you goosebumps,” agrees Han. “That’s what this band is to us. It’s our passion. That’s what this EP is about.”

Diana Ross sings “Thank You” to the world. “This collection of songs is my gift to you with appreciation and love. I am eternally grateful that I had the opportunity to record this glorious music at this time,” said Ms. Ross. Her new album, “Thank You” is scheduled for release this fall through Decca Records / Universal Music Group. The title track and first single,” Thank You,” will be available for streaming and download on June 17.

Recorded in her home studio, “Thank You" offers a powerful, inclusive musical message of love and togetherness. With its songs of happiness, appreciation and joy, it wholeheartedly acknowledges that we are in this all together. Her family, friends and loyal and loving audiences all around the globe have been an integral part of her wonderful life’s story. In this special moment, it is time to step into the light.

Ms. Ross co-wrote and collaborated on the 13 songs along with award-winning songwriters and producers including: Jack Antonoff, Troy Miller, Triangle Park, Spike Stent, Prince Charlez, Amy Wadge, Neff-U, Freddie Wexler, Jimmy Napes, Tayla Parx, Fred White, and Nathanial Ledgewick.

Let us come together in harmony and gratitude with Diana Ross now and for the future. “I dedicate this songbook of love to all of you, the listeners. As you hear my voice you hear my heart. "Let Love Lead the Way”

Spirits Having Fun records are ones made from and for shows and spaces—arrangements rooted in a deeply collaborative process, that come to life through intuitive and locked-in live improvisation. Following their 2019 debut Auto-Portrait, Two finds the New York and Chicago based four-piece continuing to challenge ideas of what a rock band can be, pulling apart their musical experiences and reimagining them as kinetic compositions, equally studied but palpably organic.

Two is constructed around gut feelings and strong grooves, elastic rhythms and playful pacing. Its twelve songs expand, contract, and make sharp turns between melodies under singer-guitarist Katie McShane’s meditative lyrics. “Broken Cloud,” which was also released last year on a compilation in support of Chicago Community Jail Support, offers a glimpse into her reflections on the natural world: "A city grew out of the ground / to a mountain it's only a blur."

True to its name, the internal logic of the band is also just a lot of fun, built on trust and deep-rooted musical relationships. Before there was Spirits Having Fun, McShane, bassist Jesse Heasly, guitarist-vocalist Andrew Clinkman, and drummer Phil Sudderberg had performed together in various arrangements over the years. McShane, Heasly and Clinkman met in a specific corner of the Boston underground in 2013, a time when a scene had coalesced around students from local music conservatories frequently collaborating with punk bands and noise artists, exchanging ideas and warping musical worldviews. Heasly and Clinkman played together in Cowboy Band, making mutant, free jazz-inspired takes on old country tunes. When Clinkman moved to Chicago, Heasly and McShane played in experimental groups like EKP and Listening Woman; in Chicago, Clinkman met Sudderberg playing in projects like jazz scene fixture Ken Vandermark’s high-powered band Marker.

Spirits first came together as an attempt at a long-distance collaboration among friends in 2016, driven by the simple feeling of missing each other; they’d meet up for marathon weekends here and there to practice, playing small loops through dive bars and art spaces around the Midwest—just enough for McShane and Heasly to afford plane tickets back home. Being split between Chicago and New York forced the project into a deliberate pace. “We tried to take it slow and let it be what it was,” said McShane. That sense of patience unexpectedly prepared them for March of 2020, when their planned tours and the release of Two were indefinitely delayed.

Two was mostly recorded in the summer of 2019 with the help of omnipresent Chicago engineer Dave Vettraino and DPCD’s Alec Watson, whose contributions on organ, synths, and piano are laced throughout the record. The album reflects a synthesis of solitary and communal songwriting processes—each song drawing on fragments written by individuals, which McShane threaded together and shaped through her distinct compositional lens, making the songs whole before returning to them to the band to mature collectively. When composing, McShane writes first on the keyboard before adapting parts for guitars played by herself and Clinkman. Their dueling approaches to guitar are complementary: McShane, being a newer guitarist, brings a freshness to the project (“I'm just discovering the whole time,” she says) while Clinkman has been playing since childhood.

“There's a lot more collaboration on this record,” says Clinkman, “in terms of all of us letting stuff bloom a little bit more.” The record’s first single, “Hold The Phone” is a good example of this process—it started with a playful intro riff from Clinkman, a melody and bridge added by McShane, a wobbly outro groove added by Heasly, which Sudderberg brought to life. Another single, the dynamic “See a Sky,” written primarily by Heasly, underscores the rhythm section chemistry at play across the record, the song ebbing and flowing around Heasly and Sudderberg’s eclectic percussive palettes.

“Entropy Transfer Partners” is the only song on the record with lyrics by Clinkman, and the album’s most politically direct—a call for solidarity in the face of systemic failures, an acknowledgment of the shared material devastation caused by our country’s ongoing healthcare and housing crises: “These are not things we're experiencing individually. We struggle through them collectively. And we could actually declare, all of us, that it doesn't have to be this way, and fight and organize to ameliorate some of those conditions.” (“We won't work to create the shit you monetize, to run our lives,” they sing.)

From front to back, Two is an absorbing listen simply for its impressive range. But as the members explain themselves, the complexity of the record is about more than its intricate riffs, or how often they count out an odd time signature, but how they reject the notion of boxing the songs in, letting the melodies take on lives of their own. “Making music that feels alive is important to us,” says Clinkman. “Music feels most powerful to me when it deepens our sensation of feeling alive and connected to other humans. It’s so easy to feel worn down and isolated; that your life’s value is fixed to your productivity at your job, or the things that you have or don’t have. Making music that feels joyful and fun seems like one effective antidote to that feeling.”

'The Works and Days: The Black Sections' is a sound collage album that emerged out of the production material of the film, The Works and Days (of Tayoko Shiojiri in the Shiotani Basin). The film — winner of the Encounters Golden Bear for Best Film at the 2020 Berlinale — is the second feature of C.W. Winter & Anders Edström. It is an eight-hour fiction shot for a total of twenty-seven weeks, over a period of fourteen months, in a village population forty-seven in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer. A portrait, over five seasons, of a family, of a terrain, of a sound space, and of a duration. The film was named one of the Ten Best Films of the Year by critics at: Artforum, Cargo, Cinema Scope, Desistfilm, Filo, La Internacional Cinéfila, Mubi, Nobody, Senses of Cinema, and Sight & Sound.

The film is accompanied by this LP, TheWorks and Days: The Black Sections, by C.W. Winter, and the photo book, Shiotani, by Anders Edström. The album features musical excerpts from Tim Berne & Bill Frisell, Tony Conrad, Graham Lambkin, Mary Jane Leach, Alvin Lucier, Phill Niblock, Folke Rabe, Éliane Radigue, and Akio Suzuki. Producing, editing, and recordings by C.W. Winter. Mastered by Stephan Mathieu.

Winter & Edström’s first feature, The Anchorage, won a Golden Leopard at Locarno Film Festival and won the Douglas E. Edwards Independent/Experimental Film/Video Award from the Los Angeles Film Critics Association. It was named one of the Ten Best Films of the Year by critics at Cinema Scope, Film Comment, Senses of Cinema, Variety, and Indie Wire and was named Best First Film of the Year by The New York Times. Their first film, a documentary short called One Plus One 2 was made in collaboration with the late British guitarist, Derek Bailey. Their film/video work has shown at such venues as the Institute of Contemporary Art (Boston), Centre national de la photographie (Paris), Kunstmuseum Wolfsburg, Fotomuseum Winterthur, NRW-Forum (Düsseldorf), the Harvard Film Archive, Anthology Film Archives, the Wexner Center for the Arts (Columbus), Centre de cultura contemporània de Barcelona, the Tokyo Metropolitan Museum of Photography, and the National Museum of Modern Art (Kyoto).

C.W. Winter was born in California. In 2020, he completed his DPhil in Art Practice & Theory at The Ruskin School of Art at the University of Oxford. He received his MFA from California Institute of the Arts where he studied closely under Thom Andersen, James Benning, and Allan Sekula. His writing has appeared in Cinema Scope, Moving Image Source, Purple, and Too Much. He lives in the United Kingdom where he is currently a Visiting Professor at the Royal College of Art and a Lecturer at the University of Oxford.

Side A excerpts:
“Thursday, May 5, 1977 & Friday, May 6, 1977: Part 4” Performed by Tony Conrad. Used by arrangement with The Tony Conrad Estate
“Sethwork” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“Pipe Dreams” Performed by Mary Jane Leach. Used by arrangement with Mary Jane Leach
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“2011” Performed by Tim Berne & Bill Frisell. Written by Tim Berne. Published by Party Time Music BMI. Recording courtesy of Minor Music Records/Screwgun Records

Side B excerpts:
“Ceremoniolose” Recorded by Graham Lambkin. Used by arrangement with Graham Lambkin
“Kugiuchi” Performed by Akio Suzuki. Recorded live for TheWorks and Days Used by arrangement with Akio Suzuki
“Music on a Long Thin Wire (Side A)” Performed by Alvin Lucier. Used by arrangement with Alvin Lucier
“A Third Trombone” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“Triptych: Part 1” Performed by Éliane Radigue. Used by arrangement with Éliane Radigue

Nine Eleven Records’ sole motto is to spread out the word that broken beat and jazz are not dead.

For the first release of the “4 seasons” project, Autumn is in the spotlight. Imagine falling leaves creating an explosion of colors, the first frost of the year warmed by a ray of sunshine… This EP proposes a journey of a thousand shades into the universe of the label Nine Eleven: breaks, soul, and groove shaping an evolutive and captivating story. For this adventure, we surrounded ourselves with talented artists such as LBTQ, Sofatalk, Kaidi Tatham, and Footshooter. Together, we have created an anthem for this autumn season as a revival more than a fall.

If you embrace this experience, you will feel the energy of the earth’s continual evolution through your veins. All you need is to sit back and relax.

Constructed from the brains and limbs of Wayne Adams and Henri Grimes, Big Lad is difficult to frame in words and perhaps much better served by their actions. Their live show having been continually captured, cropped and chopped over the years since their formation in 2015.

The project was rather appropriately founded off the back of a chance email, when Drummer Grimes (formerly Shield Your Eyes) suggested that the duo collaborate on a crossover project, having heard Adams’ vast Breakcore back catalogue. Adams had, somewhat serendipitously, been busy writing a Drum Trigger programme shortly before the email had hit his inbox and he jumped at


the chance to test the creation in a practice room. With Grimes strapped into this new system, songs started to appear thick and fast, and Big Lad was swiftly born.

2015’s recorded debut announced their collaboration, consciously marrying the collective excitement of both underground Punk and Electronic subcultures. 2018’s Pro Rock saw Big Lad extend the euphoria of their live show, using primal energy as an antidote against the jargonistic culture of our present.

After a year away from the heat of the stage lights, 2021 sees the triumphant return of the duo, announcing a brand new LP titled Power Tools. It’s a collection that sits as an unashamed monument, chiselled and stripped back to present the raw strength of what Big Lad has become. The results range from more familiar high octane tracks that nod to history of the rave community, to more brooding moments that appear (and vanish) like the ghosts of warehouses long since vacated.

Hoodoo is the sixteenth studio album by Swiss hardrock/ heavy metal band Krokus. The album was successful across Europe, charting in Switzerland, Germany Greece and France. Hoodoo is packed with big hooks, arena ready anthems and catchy hard rock songs. It includes a cover of the Steppenwolf song “Born to be Wild”.

Avant-garde cosmic sounds from Senegal, Wau Wau Collectif's "Yaral Sa Doom" is a groundbreaking album spanning borders and musical scenes. Inspired from West African tradition, Sufi praise songs, spiritual jazz, and dub rhythms, the effect is a genre defying entry in outernational sound. Hypnotic percussion loops across sweeping pads, call and response chants echoes layer over electronic beats, and children's voices sing out to recordings of crashing waves. In 2018, Swedish music archeologist and leftfield musician Karl Jonas Winqvist traveled to Toubab Dialaw, Senegal, a small fishing village turned hub of Senegal's bohemian art scene. Over the next weeks, local musicians, percussionists, poets, and beat makers came together, sketching out ideas and recording free improvisation. Winqvist returned to Sweden, trading recordings back and forth over WhatsApp with Senegal based collaborator and studio engineer Arouna Kane. "Yaral Sa Doom" is a Wolof phrase that means "educate the young." Central to the album is this theme of education, with songs that directly address social issues facing contemporary Senegal, education, and immigration. "Today you must educate children with an instrument and art, when you teach them an instrument you teach them to use their spirit," says Djiby Ly. With over 20 contributing performers from Senegal and Sweden, Wau Wau Collectif's debut is layered and complex, yet maintains a central vision. "It's like diving into the sea," explains Kane. "There are all different species of fish swimming around, but together they make the ocean." Nonetheless, it's also a geographic anomaly, made possible only by exchange of the internet age. An exceptional recording on its own, "Yaral Sa Doom" is a visionary entry in the future of transglobal collaboration

A Massive Skanker on the B1 !

Don Tiki, the leaders of exotica's turn-of-the-21st-century revival, bring their soundtrack for a Technicolor Polynesian pop paradise to Aloha Got Soul in 2021.

Each LP includes a pair of custom Don Tiki 3D glasses.

Don Tiki debuted from Honolulu in 1997 with the album, 'The Forbidden Sounds of Don Tiki', featuring the legendary Martin Denny in what would become one of his final recordings before his passing. The group, led by Fluid Floyd (Lloyd Kandell) and Perry Coma (Kit Ebersbach), draws inspiration from the original masters of the exotica sound, Denny, Arthur Lyman and Les Baxter, to bring such evocative music into the 21st century.

Following 'The Forbidden Sound', Don Tiki's recordings further deepened the group's reverence for and exploration of the poly-rhythmic, mid-century sounds pioneered by Denny, Baxter, and Lyman. Those albums, originally available on compact disc, include 'Skinny Dip with Don Tiki' (2001), 'South of the Boudoir' (2009), 'Don Tiki's Hot Lava Holiday Songs' (2012), and a remix album entitled 'Adulterated' (2004).

'Hot Like Lava' collects the group's top instrumentals for an exhilarating, paradisiacal ride through the world of tiki subculture on lava-colored vinyl.

About Don Tiki:

"Tiki supergroup Don Tiki knows the world, the subculture of tiki…it really doesn’t get much better than this!” ~ Anthony Bourdain, No Reservations

"Don Tiki is providing the soundtrack for this Technicolor projection of a Polynesian pop paradise." ~ Sven Kirsten/The Book of Tiki

"A great band from Hawaii, friends of ours...keeping the spirit of Martin Denny alive." ~ Jimmy Buffett

Don Tiki is:

Kit Ebersbach – keyboards, bandleader

Lloyd Kandell – producer, congenial host
Lopaka Colon - congas, bongo, bird calls
Hai Jung - bass, vocals
Sherry Shaoling – vocals, dancer
Abe Lagrimas, Jr. – vibraphone, percussion
Ryoko Oka - keyboards
Bonny B. - drums
Tim Mayer – reeds
Violetta Beretta – dancer, costumer, vocals

Hold onto your hats! The Allergies are back in the building. Yes, the UK beatmakers have got an absolute one-two punch with this new 7" single, as both sides are fire-in-the-hole, future classics in the making, ready to soothe your soul and ignite the party.

Leading the way is the vintage funk and beefed-up breaks bomb, 'Love Somebody'. A mix of crazy up-tempo grooves and loops, snatches of reworked soul samples, deft scratching, and dancefloor energy up the wazoo. It's that unique Allergies signature sound, with a whole new splash of club-rocking polish smothered on top.

Oh, my… And holding its own on the B-side of this release is the title track from that feverishly anticipated full length album, 'Promised Land'. This beaty, meaty, Moby meets Fatboy Slim-style anthem, will have your loins stirred, and feet tapping with its next-level sampling skills, and hugs-all-around, end-of-a-festival wonderment.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

Produced by Benny Yurco (Michael Nau, Grace Potter & the Nocturnals), mixed by Dan Molad (Lucius, Emily King) and recorded live at Little Jamaica Recordings in Burlington, VT, Liz Cooper’s highly anticipated sophomore album Hot Sass marks multiple departures—from her nine-year home of Nashville, from her band addendum of the Stampede, and from the genre-based expectations she’s accumulated throughout her career. With these twelve new songs, Cooper comes into her own—both musically and as a person—embracing a newfound sense of independence, honesty, maturity and creativity. In addition to Cooper and Yurco, Hot Sass also features Cooper’s longtime bandmates and collaborators Joe Bisirri (bass), Ryan Usher (drums, percussion) and Michael Libramento (guitar, synthesizer). Reflecting on the album, Cooper shares, “It’s me learning about what kind of woman I am and it’s not pretty all the time…I’m still processing these songs. Still reflecting. And I think that’s the thing—Hot Sass is just a stamp in time of what was happening in my life. I just want to continue making art that displays myself, the moments, and the people around me.” The new record follows Cooper’s 2018 full-length debut album, Window Flowers, which was released to widespread critical acclaim. Of the album, NPR Music praised, “a gorgeously arranged and performed bouquet of psychedelia-tinged folk-rock,” while Rolling Stone hailed, “Cooper pushes her strand of folk rock deep into psychedelic territory by merging her idiosyncratic vocal style with swirling, droning guitar effects and lacerating solos that feel dusted with otherworldly magic,” and Paste declared, “If we’re lucky, we are going to hear a lot more artists in the future like Liz Cooper.” Originally from Baltimore and now based in Brooklyn, Cooper has continued to tour consistently since her debut, performing alongside artists such as Dr. Dog, Shakey Graves, Bermuda Triangle, Lord Huron and Phosphorescent as well as special festival performances at Austin City Limits, Newport Folk Festival, BottleRock Music Festival, Lockn’ and more.