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After a long hiatus, Romain Azzaro is reactivating his Rouge Mécanique Musique imprint with an exciting collaborative project, exploring new musical territories.

As the world started to flip on its head early in 2020, a quintet of musicians formed in Berlin : Paul Behnam (guitar), Sacha Hladiy (grand piano), Nicolai Johannsen (vibrating metal plates), Ruth Mogrovejo (viola), and Azzaro himself (zither) recorded their first album over 3 months in Azzaro’s living room, studio and basement. In Hladiy’s words, “a magical musical circus”. The collision of these different personalities and sensibilities makes Colours Of Now a singular, spontaneous and inimitable object, exploring neoclassical, ambient and experimental music.

“Romain had a wide open vision for a brand new project, connecting musicians from different horizons,” says Paul Benham, “a lot of different processes and beautiful vibrations were shared at this moment in his place.”

Nicolai Johannsen adds: “Colours Of Now is a portrait of a time which was and wasn’t; an alternation between existence and its opposite. The album is a collective formation, realized through different energies drawn to the same centre.”

“This album has become a compilation of people,situations and emotions to me,” explains Ruth Mogrojevo. “2020, the year in which we all met, has been an orderly metamorphosis from which we cannot exclude our professional activities. We all met playing music and deep down we knew that the whole project could be something great and actually meaningful.”

« Colours of Now » is a quintet that formed in early 2020 during quarantine in Berlin. The self-titled album, produced and mixed by Romain Azzaro, explores the different shades of sound in a time where uncertainty leads to the present moment.

The popular mixture of extreme metal mixed with timeless melodies, driving riffs and epic parts as well as the aggressive screams and the choral vocals was retained and expanded with a lot of flair by several nuances. WOLFCHANT was founded in 2003 in Sankt Oswald, Lower Bavaria by Lokhi, Skaahl, Gaahnt and Norgahd. After the two demo self-productions "The Fangs Of The Southern Death" and "The Herjan Trilogy" WOLFCHANT signed their first record deal in 2005. With the albums "Bloody Tales Of Disgraced Lands" (2005) and the groundbreaking "A Pagan Storm" (2007) WOLFCHANT was able to gain a large fan base. This was shortly thereafter expanded internationally with the albums "Determined Damnation" (2009) and "Call Of The Black Winds" (2011) and the band played more tours, concerts and festivals in other European countries. The typical melodic pagan metal of Wolfchant was strengthened from this point on by the clear vocals of Michael Seifert (Rebellion) and the epic factor of the songs was expanded. After the release of "Embraced By Fire" (2013) and "Bloodwinter" (2017) WOLFCHANT managed to take another big step forward and further develop their fanbase worldwide. In addition to festivals such as Wacken, Summer Breeze, the 70000 Tons Of Metal (USA), WOLFCHANT played numerous national and international festivals, concerts and tours and earned a place at the forefront of German Epic Pagan Metal. In 2020 the band signed a new contract with REAPER ENTERTAINMENT and for 2021 the new disc "OMEGA : BESTIA" is now in the starting blocks waiting to be released. Blurb IG#1: With their first single "Komet" epic metal heroes WOLFCHANT strike back with everything they have! Blasting straight into the listeners ears "Komet" might become a new WOLFCHANT classic. Blurb IG#2: Der Geist und die Dunkelheit: A powerful hymn with a groovy and driving riff, combined with superb guitar playing and a epic chorus and lyrics in german!

DEVIL SOLD HIS SOUL (London, UK) blend huge soundscapes, earth-shattering riffs and soaring melodies.
DEVIL SOLD HIS SOUL begin a new chapter in their highly-acclaimed career, signing to metal heavyweights Nuclear Blast Records. 2021 will see the band release their fourth studio album ‘Loss’, their first with the dual vocal attack of Ed Gibbs and Paul Green.

DEVIL SOLD HIS SOUL burst onto the UK underground metal and hardcore scene in 2004 growing a cult following from their first record, ‘Darkness Prevails’ EP released through Visible Noise (BRING ME THE HORIZON) in 2005. Their debut album, ‘A Fragile Hope’ saw the band take their position as one of the most respected underground bands in the UK with their visceral and captivating live shows. DEVIL SOLD HIS SOUL’s sophomore album, ‘Blessed and Cursed’, elevated their sound and audience to new heights, voted into RockSound Magazine’s top 10 albums of 2010.
In 2012 the band unleashed their self-produced third album, ‘Empire Of Light’. Received to critical acclaim across the board, the album cemented their position as one of the UK’s most respected and revered metal acts.
With Ed Gibbs departing the band early in the year, 2013 saw the first new material featuring singer Paul Green with single ‘Time’, followed by 2014’s ‘Belong Betray’ EP and 2016’s ‘The Reckoning’. After welcoming Gibbs back to sing on the 2017 ‘A Fragile Hope’ anniversary tour, the band asked Gibbs to continue the dual vocals with Green for the remaining festivals and tours that year, with the line-up then becoming a permanent fixture.
2018 saw the band travel beyond Europe with their first touring in Asia, they also began to put the foundations down on what would become their new record ‘Loss’. Written about the grief and struggles faced in recent years, ‘Loss’ treads old ground and explores exciting new territories for DEVIL SOLD HIS SOUL, including for the first time the dual vocals of Gibbs and Green on record. Recorded, engineered and mixed by guitarist Jonny Renshaw at his UK based Bandit Studios, DEVIL SOLD HIS SOUL have poured heart and sincerity into every atom of this their fourth album, with songwriting elevated to new levels.
Having toured with the likes of CULT OF LUNA, ARCHITECTS, NORMA JEAN, BRING ME THE HORIZON, UNDEROATH, GALLOWS, ENVY and EMMURE, as well as headlining a stage at DOWNLOAD FESTIVAL l (UK) and numerous European festival appearances including SUMMER BREEZE and WITH FULL FORCE (Germany) and PUKKELPOP (Belgium), DEVIL SOLD HIS SOUL have built a huge reputation for their captivating live shows, over 16 years:

Orions Belte: «Villa Amorini» Jansen Records 2021 Do you remember the time the doorman ran after some drunken kids around the lake outside the club? As he dives into the lake, he scrapes his stomach on a sharp object in the water, but catches up and returns with one youth under each arm. At the same time the singer from the band playing inside, jumps from the loft hoping that the chandelier he grabs will hold him. It doesn’t. Endless afterparties and constantly trying to avoid visits from the police or the liquor control. Still nothing? This was the 90’s club scene in Bergen, and Villa Amorini was the place where everything happened. Starting as an 80’s fine dining spot, it evolved into an extravagant club with tons of artists and DJ’s in screaming shirts and oversized sunglasses. This sets the scene for Orions Belte’s second album. Still a mix of all the sounds they like, reminiscing eras they haven’t experienced, trying to navigate in their own musical atmosphere. Chaotic and calm at the same time. Villa Amorini is recorded at Norsk Riksstudio by engineer Njål Paulsberg, making sure the sounds were on point while leaving the band alone to play together for hours upon hours, chiseling out the base for the album. Where the debut was summery and a bit brighter, this album tends to lean a bit more towards the big city, night life and leftover food from the fridge. Mixed as always by the magnificent Matias Tellez.

KingUnderground releases Other Mirror’s debut record. The album is mixed by legendary engineer ‘No Sleep’ Nigel, who has worked with a plethora of the UK Hip-Hop scene since the late ‘80s.
Other Mirror are James Tilley, Amelie Chevalier and Jonny Cuba. The 3 formed the band in 2018. They had talked for many years about starting a project together and after several years of pursuing their own creative endeavors, the school friends found themselves reunited and finally creating music with one another. Although the Self Titled LP is Other Mirror’s band debut, they’re far from newcomers. Jonny Cuba has been an active musician since the late 90s, with other collaborative highlights including The Herbaliser, Mike James Kirkland, and production for legendary British Library labels KPM, Bruton, and Cavendish. Tilley has had multiple releases with his first band, Fabric, from the early, to late 90s, and has collaborations with DJ Food, and recording sessions with John Peel. Chevalier is an accomplished vocal coach, dancer, and choreographer with various session work, including live shows at Glastonbury Festival, and Bestival. Rounding out the trio with her mystical vocal delivery and groovy bass lines.

The results of the band’s initial collaborations feel reminiscent of a Quintin Taratino movie, cinematic and groovy in nature. Other Mirror are particularly drawn to the power of music within film and TV. It’s ability to support and affect the narrative is similar to how the band taps into direct emotions.

“The music can be partially improvised with unexpected sections. Like films are made in the edit, we follow a similar approach when we are composing.” - Amelie Chevalier

The Other Mirror debut reflects the bands long standing rapport together. It often feels like there is a conversation happening within the music between the old friends. Their unconventional approach to composing adds a familiar flavor in each track on their self-titled LP.

For our first release of the year we present to you our fourteenth 7”, a new collaboration between Ojah and Don Fe.

The A side contains the track “Lockdown Hope”, which was written and recorded during the first lockdown of 2020. It’s an uplifting track that invites the listener to dance and dream, bringing optimism with a mix of tough yet alluring militant drums that contrast with the ethereal and inspiring melodies of Don Fe’s flute.

On the B side we find “Lockdown Dub” a stripped down dub version mixed by Ojah that we hope will give you that Sound System dance vibe that we’re all missing (we can’t wait until those days are back!)

Hand-stamped and served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Flute by Don Fe, recorded at Don Fe Studio, Murcia, Spain
Mixed & mastered by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, 2020.
Graphic design by Victor Castro.

‘Cuba: Music and Revolution’ is a new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that explores the many new styles that emerged in Cuba in the 1970s as Jazz, Funk, Brazilian Tropicalia and even Disco mixed together with Latin and Salsa on the island as Cuban artists experimented with new musical forms created in the unique socialist state of Cuba.
The album comes as a deluxe double CD and heavyweight triple vinyl, complete with extensive sleeve notes, jam-packed with heavy basslines, synth and WahWah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known throughout the world.
The album is released to coincide with the massive new deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, which is also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) and which features the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.
The music on this album features legendary Cuban groups such as Irakere, Los Van Van and Pablo Milanés, as well as a host of lesser known artists such as the radical Grupo De Experimentación, Juan Pablo Torres and Algo Nuevo, Grupo Monumental and Orquesta Ritmo Oriental, groups whose names remain largely unknown outside of Cuba owing to the now 60-year old US trade embargo which remains in place today and which prevents trade with Cuba - and thus most Cuban records were only ever available in Cuba or in ex-Soviet Union states.
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s - who were all searching for a new Cuban identity and new musical forms that reflected both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music - and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades - Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records.
Press - Reviews & features in Mojo, The Wire, The Guardian, The Times, The Telegraph, Pitchfork, Irish Times, The Observer, Clash, Vice, Metro, Record Collector, Uncut, Independent, Q.

Back in stock! REPRESS WITHOUT bonus 7"/ prod.by J Dilla / mixed by DJ Pete Rock / feat. Black Thought (The Roots), DOOM, M.O.P. and others / 25 track collection of unreleased Dilla beats and productions mixed and arranged by Soul Brother #1, DJ Pete Rock!

Real Real World is the first collaborative effort from Nantes-based Australian drummer/percussionist Will Guthrie and Australian keyboardist/composer James Rushford. Primarily recorded in a fluid, spontaneous studio session in Nantes, with overdubs added later in Melbourne and Nantes, Real Real World presents five spacious, unhurried pieces that inhabit a unique sound world characterised by wheezing, half-voiced organ chords, chiming metal percussion, and eruptions of small sounds. Beginning with the eerily beautiful, shakuhachi-esque sound of Rushford performing on detuned portative organ, the opening title track is abruptly transformed by the entry of Guthrie’s sizzling cymbals, deep gong strikes, and rustling hand percussion. On the epic ‘Lumbering’, which occupies the majority of the record’s first side, organ chords define a space in which a kaleidoscopic succession of amplified thuds, chiming bells, rustled and dragged objects, and abruptly silenced clusters advance and recede in an oneiric blur, eventually making way for a passage of Guthrie’s virtuosic polyrhythms, itself unexpectedly overtaken by waves of melting fairground organ. The record reaches an energetic climax mid-way through the second side with the stunning ‘Slakes’, where lugubrious chords in the organ’s lowest register are joined by Guthrie’s skittering rhythms, which somehow manage to call to mind both the most chaotic moments of Balinese Gamelan and the stochastic breakbeats of late-90s Autechre. On this piece, Guthrie and Rushford are joined by Melbourne saxophone maverick Scott McConnachie, who contributes an alto sax solo of burning precision, working with a single-minded palette of piercing long tones and wild intervallic leaps. Though it makes extensive use of overdubbing, Real Real World retains a strong sense of having been performed, rather than constructed: while at times the fleeting succession of events can recall electroacoustic music, its primarily acoustic nature and unhurried pace is also reminiscent of the music of AACM affiliates or Marion Brown’s classic Afternoon of a Georgia Faun. Immediately engaging while also hiding countless details in the folds of its polychrome fabric, Real Real World is a relaxed and joyous document of collaborative musical invention.

Artwork by Patrizia Bach. Layout by Lasse Marhaug. Mixed and mastered by Joe Talia at Good Mixture, Berlin.

The brand new UKHC band featuring Pierre Mendivil (Knuckledust), Nick Barker (Brujeria, ex-Cradle Of Filth/Dimmu Borgir/Testament) and members of Dripback and King Of Pigs. BORSTAL are set to release their much-anticipated debut EP titled "At Her Majesty's Pleasure" via 4 Family Records on April 1st. 6 tracks of vicious hardcore/metal. The EP was recorded, mixed and mastered at Monolith Studios by Charlie "Squid Commander" Wilson in Tottenham (September 2020). The EP also features a cover version of The Last Resort's "King Of The Jungle", featuring a guest appearance by non-other than Brit Oi legend, Mr Arthur Kitchener, father of Lee Kitchener (BORSTAL guitarist). This is the gold coloured LP version

Robert Zimmerman, aka the rock-folk singer-songwriter Bob Dylan, was born in Duluth, Minnesota in 1941. His first three albums – Bob Dylan, The Freewheelin’ Bob Dylan, The Times They Are A-Changing – reoriented both folk music and rock. His early songs were largely inspired by Woody Guthrie, and in turn provided inspiration (and soon a religion) to many music fans around the globe.

There is no doubt that the baby-boomers of 1968 – a whole generation – were seeking an ideal, and the promise of change in Dylan’s first songs transformed a merely average nasal-toned folk singer into a figurehead of the protest movement, and later one of its high priests.

But there are also those who will remember how Dylan invented his own life-story as an orphan with Indian blood who spent his childhood in a circus/ Or how he happily explained to 'Time' why their magazine was pointless (and to CBS News why opinions expressed by media were useless and harmful.) Of course they were, and so Bob was there to change the world. Times, indeed, they were changing, and Bob began wearing silk shirts way before he was handed the Nobel Prize for Literature. We need more Jesus Christs and Bob Dylans as world-changers.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

Sam Gendel’s new album, DRM, is the follow-up to his Nonesuch debut, Satin Doll, released earlier this year. DRM features Gendel’s solo musical experiments with vintage instruments such as a forty-year-old Electro Harmonix DRM32 drum machine, antique synthesizers, and a sixty-year-old nylon-string guitar — accompanied by his voice. While Satin Doll was a futuristic homage to classic jazz, DRM includes just one cover song: Lil Nas X’s ‘Old Town Road’, which Gendel interprets as an instrumental, playing the melody on an old German analogue synthesizer. The album’s accompanying short films were directed by Marcella Cytrynowicz and filmed at various locations around Gendel’s home state of California during COVID lockdown.



“I’m imagining people listening to DRM and thinking, ‘What the hell is this?’, like they’d just encountered some sailing ship in the sky,” Gendel says of the new work. “I imagine it as if someone many years into the future listened to the popular music of today and then tried to recreate it, without any of the tools or the understanding. Stylistically, it’s not too far from so much contemporary pop-rap music that you hear on the radio. A lot of those electronic backgrounds and instrumentals you hear today are tending towards something really out-there and experimental. It’s rhythmic and pointillistic, collaging different, seemingly unfitting elements together in cool ways. The visuals aren’t necessarily dictated by the music, but they both share the same slightly surreal feel, like I’m a video game character, inhabiting all these different backgrounds,” says Gendel.



Gendel is best known as a world-class saxophonist — it’s the instrument with which he’s led most of his bands, as well as the instrument on which he’s guested with the likes of Vampire Weekend, Ry Cooder, Moses Sumney, Sam Amidon, and Louis Cole’s Knower — but DRM is saxophone-free. “There was no active effort on my part not to include it; it just wasn’t part of the equation when I started recording it,” he says. “I just found a formula, working around this DRM32 drum machine, and rolled with it. I don’t consider myself just a saxophonist, I’m just someone who works in music.”



DRM was recorded in one sixteen-hour session, and then manipulated by Gendel with electronic percussionist Philippe Melanson. It was mixed by Blake Mills, and mastered by Grammy-nominated engineer Mike Bozzi. Gendel’s previous discography includes 2018’s Music for Saxofone & Bass Guitar with bassist Sam Wilkes, 4444, and Satin Doll, which the Los Angeles Times called “a woozy, blissfully twisted album.” He also performs on two other Nonesuch releases this month: Joachim Cooder’s Over That Road I’m Bound and Sam Amidon’s new self-titled album.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

Vertaal first mixtape, Paradigm Shifting had a soft digital released on the 23rd April 2020, on Vertaal’s Empty Quarter Tribe imprint.

Self-produced, recorded and mixed in their own studio, the EP was nominated by Jazz Revelations for EP of 2020 and produced

four singles, ‘Polar’, ‘Duels, ‘Drop Off’ and ‘Dilla5’.


2020’s lock down led to a completely remixed and partial re-recording of the mixtape into a full, seamlessly mixed double LP with 6 additional

tracks and a further 6 musical ‘skits’ recorded separately by all the contributor musicians on the album during lock-down.
The limited edition numbered coloured vinyl 2LP will be released on March 26th 2021 supported by a fifth single, Alcazar b/w Husky on April 2nd

with promo video directed by Ben Sommers (Smoke No Pony Productions) whose previous credits include Mary Epworth, Archive, Young Knives and many others.



Vertaal have been an increasingly notable presence in the nu-jazz scene over the past 3 years.
Tipped as “ones to watch for 2019” by Jazz Re:freshed, Vertaal played an exclusive pick of sold out shows at prestigious venues such as Ronnie Scott’s, Pizza Express Soho and the Jazz Café.

They have also supported the likes of Mark Guiliana (David Bowie), & Pete Ray Biggin (Level 42) and finished off 2019 guesting for Richard Spaven at The Cambridge Jazz Festival.



Of the six tracks on the current mixtape, first single ‘Polar’ was played on the uber-cool Deeper Cuts show by DJ Karl Bos who described the track as an “incredibly produced record.”

Tony Minvielle (Jazz FM) urged his listeners to “…hunt this down. They’re making incredible music!” after playing two tracks from Paradigm Shifting on his show,

and the mixtape has garnered similar excited responses from many DJs and reviewers (press list below).



Paradigm Shifting will be released on March 26th. The shrink-wrap will be stickered with full information and press quotes.

"Terrific!"- Steve Lamacq, BBC 6 Music. Double header 7" from NY production duo The Still Brothers. 'Wake Up' Mixed by Skinshape. The Still Brothers are Andrew LeCoche (Ula Ruth) and Evan Heinze (The Shacks). 'Wake Up' was created in a New York winter on a cloudy day. The song's bones were sculpted in the classic Still Brothers' fashion making use of a collection of favourite sounds. It came to life when Brazilian friend and collaborator Marina B heard the track in her sleep and thought of the song's lyrics as she woke up. It might take you to that place in-between dreams and the waking life, where you are pulled in and out of a state of slumber. It incidentally speaks to the abrupt change that was about to fall upon the world in early 2020. Between the singing in Portuguese and the sounds of subway doors, the song is just alienating enough to make anyone these days to feel right at home. 'Wake Up' was mixed by Will Dorey aka Skinshape and mastered by Alex DeTurk. The cover art was designed by Sofia Ohanna. Inspired by subway preachers, jazz funerals and Hip-Hop 'The Deep' serves as an introduction to the dazzling skills of New York production duo The Still Brothers. Their debut track breaks open with a reverend crying out about the transgressions we have committed against each other. He then observes that so many of us are throwing up our hands in an act of surrendering. A poignant sentiment in these troubling times and one that will resonate throughout the world.

CLEAR WITH HI-MELT WHITE

Manslaughter 777 is the new collaboration of drummer/percussionist Lee Buford (The Body) and drummer Zac Jones (Braveyoung/MSC). Debut album World Vision Perfect Harmony follows a decade of collaborations starting with The Body and Braveyoung's Nothing Passes. For their debut as a duo, Buford and Jones blend bracing and imaginative takes on rhythmic-centric forms from dub, breakbeats, hip hop and beyond for a phantasmagoria of bristling drumscapes. Manslaughter 777 pulls together a vast array of disparate percussive traditions and patterns into a veil of dark, propulsive energy. Recorded and mixed by Seth Manchester at Machines With Magnets, the album's mélange of live and sampled beats fizzle, splat and rupture with an edge. While there are sounds that could be at home on a record by The Body, Manslaughter 777 inhabits much more open spaces. The duo's music is based primarily on drums and eclectic samples, shifting melodic ideas to the overtones and resonances of their respective percussive thuds or clicks. Buford and Jones incorporate hybridizations of live, sampled, and electronic percussion obscuring their boundaries while highlighting their specific tonal and timbral qualities. An alchemical balance of detailed and dynamic production guides each element to the fore in steady waves of relentless momentum. Taken as a whole, World Vision Perfect Harmony is a cornucopia of rhythmic texture. Manslaughter 777 channels a deluge of kineticism into a web of syncopated grooves that are equally entrancing and provocative. Audacious sound architects, Buford and Jones built an album that passionately revels in the world of rhythm. Manslaughter 777's constructs glide as gracefully as they rumble. Together, they are a monument to the power of percussion.

MJN RECORDS Trondheim Jazz Orchestra & The MaXx / Live ‘Live’ with
Trondheim Jazz Orchestra & The MaXx is really a story of three young
Swedes, Oscar Gr nberg, Petter Kraft and Tomas J rmyr meeting in college
before starting their formal jazz education in Trondheim.
When The MaXx won the prestigious Jazz talent award (JazZtipendiatet) at
Molde International Jazz Festival in 2017, they decided to use the opportunity
to invite some of their best friends and amazing musicians from their college
years, both guitarist Anton Toorell and trombone player Petter H ngsel met the
guys from The MaXx at Fridheim Folkh gskola in 2006. A few years later Oscar,
Petter and Tomas reunited in Trondheim, and The MaXx was born.
The MaXx developed the music on ‘Live’ through hours of jamming in their
studio in an old German bunker in Trondheim. Simultaneously with the music
slowly taking shape, a theme dealing with the youth’s fascination for dystopian
sci-fi, involuntary heroes and time travels evolved. Combined with their love
for rhythmical riffs and extreme musical shifts a new piece of music appeared.
Some people have called it an abstract rock opera. The MaXx tells us that what
this project is really about is to amplify the undisguised energy and joy that
always has been the core of band.
Advice: Live is grasping the steaming atmosphere in the theatre a hot summer
night in Molde, and should be played on a high volume!
TJO & The MaXx:
Oscar Gr nberg - keyboards; Petter Kraft - guitar, tenor saxophone and vocals;
Tomas J rmyr - drums; Mia Marlen Berg - vocals; Thomas Johansson - trumpet;
Petter H ngsel - trombone and recorder; Mette Rasmussen - alto saxophone;
Kjetil M ster - tenor saxophone; Anton Toorell - electric guitar; Anja Lauvdal -
keyboards; Mattis Kleppen - electric bass; Recorded by Tor Breivik Mixed by H
vard Soknes.

Prince Far I was a Jamaican reggae DJ and producer, and a well-known member of the Rastafarian movement. Known for his distinctive voice. Far frequently used his music to criticise the Jamaican government. On his ninth album Jamaican Heroes, he collaborated with musicians like Roots Radics and The Flying Lizards. The album was mixed by Anthony “Crucial Bunny” Graham at Studio One in Jamaica. Each song has something special, and revolves around topics that were close to Prince Far‘s heart. That makes this record a must have for everyone who is interested in reggae music and Rastafarian culture. It’s available as a very limited edition of 750 copies on orange vinyl.

Written, recorded, and mixed in spring 2019 by Dynamo Dreesen
and Sven Rieger after DRESVN's first live tour in Japan. limited
hand-printed edition

This EP is a collection of Deep, Dark melodic and soulful Techno
All of the tracks were composed, mixed and produced by Matt Dubspun, a Long time Chicago DJ and Producer.

We start with “Nu Day” and are elevated to “Gracie” and on the flip we groove with “There Will Come a Time” and it’s rounded it out with Detroit Techno jam “Amid”.

All the tracks were created with hardware synthesizers and drum machines and are also available on Matt’s Apple Music debut album “The Quest For Soul”

Back in 2019, Ravioli Me Away debuted their hyper-surreal operatic work 'The View From Behind The Futuristic Rose Tellis' across the UK, including two sold-out shows in London. Difficult to contain, and wound-up with a truant's sense of narrative, it presented a wondrous cacophony of erupting media and performances patched together with wit and existential alarm. A suite of songs circling themes of aspiration and the everyday run through the opera, and these were released in parallel by Wysing Polyphonic, one of the commissioning institutions. A selection of these songs were then reinterpreted and reshaped into forms that befit a club setting, debuting at Supernormal festival in the same year. Entitled 'Naughty Cool,' Alter now presents these collective club reworkings by HMS RMA for the first time on vinyl and digital formats. Uplifting and delightfully crooked throughout, the tracks are shuffled together and stitched as a 'DJ mix.' In six segments of vocal-led missives and soft drops, the sunniest hooks of early Chicago house are recalled, all cross-pollinated with the collective rhythms and tones of the UK's rave subconscious. A freeform, DIY rowdiness lurks around every corner, equally evoking punk's flings with disco. The familiar sound and presence of Ravioli Me Away's Alice Theobald, Rosie Ridgway, and Sian Dorrer aren't lost in the edits and adaptations, and they come backed-up with Tom Hirst (Design A Wave), opera singer and artist Siobhan Mooney, and Dean Rodney Jnr (The Fish Police), all of whom took part in the original opera itself. "Naughty Cool" was engineered by John Hannon at No Recording Studios and mixed and mastered by Amir Shoat in London. This record is dedicated to the memory of Donna Lynas.

Consolidated, the political dance/industrial music band from the early 90ties joined again for a studio session in San Francisco last summer, resulting in a new album. 'We're Already There'. The first release on Consolidated's own label 'The End Of Records'. What else to expect, the new recordings are an innovating mix of industrial, to hip-hop, to rock and funk with mixtures of live instruments and electronics. Topped with left political activism and politically radical lyrics address issues such as America, Covid and ecocide with song The Flood, demand *'Free Music, Stop America'* with Musica Sin Frontieras & welcome guest vocalist GRETA THUNBERG on the track The 'ol Mass Extinction Blues. The album starts in 'traditional Consolidatedgroove' with the song 'Capitalism A.F.', a mix of beats, industrial sounds and hiphop. Followed by funkypop songs, danceable industrial jams, techno beats, reggae and blues influences plus a remarkable noise track. Main musicians are Adam Sherburne (guitar/vocals) and Mark Pistel (synths/beats) backed by Lynn Farmer (Meat Beat Manifesto) on drums, who replaces the original drummer Phil Steir. The complete album is recorded, mixed and mastered by Mark Pistel at 'Room 5' in San Francisco. The cover shows art paintings from Ayelet Hay (front) and William Kendall (back). On 'We're Already There' Consolidated plays more music than ever. "I have zero interest in being in a band, especially my own_" "I had to develop a different way to be involved with music for aesthetic and mental health reasons_" "FREE MUSIC! is not to the detriment of artists, it's literally the end of artists-as anyone perceives them in the last 500 years" -Adam Sherburne - Consolidated are known for their live performances, in which a microphone is passed among audience members to discuss, rebut, argue or elaborate on song topics. Consolidated: Adam Sherburne & Mark Pistel.

A quick, spontané voyage to the French Riviera ca. 1968, good times long before things went south, Organi’s “Parlez-vous Français?” is a woozy, tripping, soothing sojourn: DIY dream pop, hazy psychedelia, blurred-but-steady beats dripping down the golden boulevard, complete with mystical chants, a dash of half-remembered Franglais that goes down like some vintage eau-de-vie. There’s a fine massage waiting behind those venetian blinds. Pay half an hour, you’ll be relaxed and revived after 22 minutes. Très irrésistible when streamed, Organi’s haunting, hard-boiled French lesson is even better with that classique vinyl crackle in the mix.

Following the cinematic title skit with its bass loop appendix, Oakland-based producer and multi-instrumentalist Mike Walti (and his songwriting partner Maryam) aka Organi invites singer Jessica Bailiff along for the majestic entrée, an interpretation of Philamore Lincoln’s 1970 tune “The North Wind Blew South” (doesn’t it always?), adding anticon. heavyweights Jel and Odd Nosdam on synths and bass for à la mode enhancements and additional bric-à- brac.

Whereas the theme tune “Organi” comes with big drums, big organ, seductive overtones, pure hypnosis, “Whispers” is the soundtrack to some kind of psychedelic campfire tableau vivant: all brumeux, hazy, with spare guitar, Gauloises or Gitanes dangling, a glass of Bordeaux waiting on the dusty old amp, and featuring guest vocalists Yea-Ming Chen & Susy Borhan. It gets even more Parisienne after that: a French woman just knows how to look classic, even when all she’s got is some attitude, a ramshackle tambourine, a craving for old Sukia weirdness and those budget-couture “4 Dolla Jeans”...

Clearly in love with analog equipment, Organi turn The Vaselines’ “Slushy” into a slow- moving, bottomless lullaby – “... you'll never miss what you never had” –, and the femme fatale minimalism of “Stay The Night” is too magnétique and alluring: A fuckin’ sexy chanson, très léger and yet such a hard-knockin’ head-nod anthem, it’ll make you stay for sure, hungry for la petite mort.

Before the expansive denouement – a bank robbery in style: with bangs and a bucket bag (“Danger Walked In”) – the session gets super loose on “The Getaway,” head scarves and berets shimmering in the cabriolet, and featuring Jena Ezzadine on vocals & Headnodic on bass.

Mike Walti aka Organi is an Oakland-based musician and producer. A third generation Bay Area native, Walti has been running wyldwood Studios in Oakland CA for 10+ years (recording artists like Why?, Latyrx, Del, Dan The Automator, and Big Freedia, to name but a few). A longtime friend of Odd Nosdam, he loves to work with analog equipment (“We just love us some analog!” “Just listen to those relays purr...”). Recorded and mixed by Mike Walti at wyldwood, and mastered by Odd Nosdam.

It took Sibille Attar five years and a lot of soul searching to produce Paloma’s Hand, the 2018 EP that served as the long-awaited follow-up to her debut album, Sleepyhead. Both that record and her first EP, 2012’s The Flower’s Bed, seemingly left her with the world at her feet, with widespread critical acclaim, television appearances and a Swedish Grammy nomination for Best Newcomer. The years that followed, though, involved both creative and personal turmoil, and left her feeling increasingly adrift musically as the uglier side of the industry reared its head.

“For a long time in my life, I tried to sit in certain constellations to please other people,” she says. “And it didn’t work, because I could only do it for a little while before I’d get frustrated and want to do things my own way. There was a time when I felt like I couldn’t trust the business, and it was draining me of my love for the music. Eventually, I realised you can’t live your life trying to fit into somebody else’s mould all the time.”

Paloma’s Hand, a six-track pop odyssey that slalomed through genres, brought years of struggle to a long-overdue end. Just as importantly, though, it served as a much-needed palate cleanser for Attar, breaking through the barrier of writer’s block. Just two years later, she’s back with her second full-length, the aptly-titled A History of Silence, a reference to that long period of searching for her voice. “I thought about calling it A History of Violence, because in many ways, the album is like a violent attempt to tell my own story when I’ve been silenced,” she explains.

Key to the pace at which she was able to work this time around was a realisation that she functions best on her own - “I just felt like, “fuck it - I can’t be bothered dealing with other people and their opinions.” Accordingly, A History of Silence was written, recorded and mixed entirely by Attar herself, and where she needed a little bit of outside help - sweeping strings on the epic "Dream State", for instance - she penned the arrangements herself and had friends record them exactly as directed. “It seems like that’s the way I have to work to get things done, and it helped things come together really quickly - the first song was done at the start of 2019, and the last one was finished around the time the pandemic was taking hold. It was frantically fast, but I work one song at a time, so it was never too chaotic."

The album never sounds too chaotic, either; like Paloma's Hand, it takes a broad approach to pop, but one that’s anchored by the key through-lines of sharp melodies and atmospheric soundscapes. Largely recorded in Attar’s Stockholm apartment, A History of Silence finds room for everything from sparse alt-rock ("Go Hard or Go Home") to spacey, electropop (the Madonna cover "Oh Father"), via the more up-tempo likes of "Somebody’s Watching". “On some tracks, I had really specific influences in mind,” says Attar. “There’s a lot of eighties stuff going on, and I was deliberately tracking down those kinds of synthesizers to try to capture that sound.”

Attar shies away from talking in too much detail about the themes that run through A History of Silence - she wants the record to be received as universally as possible - but it’s clear that the album marks the beginning of a hugely exciting new chapter after the rebirth that Paloma’s Hand represented. “If anything, it’s like a preacher’s album,” she says. “I’m preaching to myself, teaching myself, telling myself off in the lyrics. It’s about accepting loss of power, changing expectations, and getting rid of some heavy baggage. That’s the way I made the album, and it meant I had no limits - every single idea I had, I tried. When I said I was falling out of love with music, that feels like a very long time ago now.”

Dream Violence, Michael Beach’s fourth full-length, is an epic album that explores the duality of the human condition. Or, as Beach himself puts it, the album is about “human futility, passion, desire, anger, frustration, and the struggle to maintain hope in a somewhat hopeless time.” Dream Violence, then, addresses the existential crisis of being an artist in 2020.

Known for his work touring with the Australian guitar pop band Thigh Master and the late, brilliantly eccentric Israeli guitarist Charlie Megira, currently the focus of a number of reissues by the Numero Group, Beach is the architect of a sound that is both well-built and ramshackle, straightforward and indeterminably complex, out of the norm yet familiar in all the best ways.

Dream Violence unfolds like a revelation, filled with sonic tumbleweeds that reference Neil Young’s On the Beach, Bruce Springsteen’s Nebraska, the Velvet Underground’s Loaded, and the Go Betweens’ Before Hollywood. Influences ranging from the enigmatic outlier Megira to Glenn Branca to the Oblivians are combined to create a new, exhilarating sound, part of the path that Beach has been on since 2008’s Blood Courses. A veteran of year-end indie rock round ups beginning with Golden Theft in 2013 and continuing with Gravity/Repulsion, released in 2017, Beach distills the best of those early albums and adds sharpened intent.

Dream Violence works beautifully as a start-to-finish album. There are magnificent stand-alone moments: “Spring,” a raggedly building ballad that perfectly captures the ennui attached to new beginnings; “De Facto Blues,” a born-to-lose anthem that, says Beach, “is the sound of people totally at their wits end;” “Curtain of Night,” a simultaneously derelict and bright tribute to the late Megira, which sounds like it could’ve been cut at Muscle Shoals Sound Studio after the Rolling Stones wrapped up sessions for Sticky Fingers; and the delicately vulnerable “You Found Me Out,” which evokes equal parts Lou Reed and Joni Mitchell. On the latter, the lyrics “You found me out, on a ship at sea, you pulled me in, made a wreck of me,” encapsulate “the aimless of a modern world view in a future without hope and the draw/dependence of love in those times,” Beach explains.

Through music, Beach strives to convey both passion and compassion, energy and action. “My hope is that something gets communicated that makes people think outside of themselves or their surroundings,” he says. “To ask questions, and consider the effects of their decisions. To communicate some essential part of the human spirit that understands intuitively how to feel connected to each other rather than divide, exploit, separate, ignore, and all the other heinous shit we have the ability to do with each other.”

Recorded on two continents, Dream Violence documents Beach’s move from Oakland, California to Melbourne, Australia as he navigated a new music scene, plenty of bureaucratic red tape, and, ultimately, citizenship. Parts of the album were recorded and mixed at Tiny Telephone Recording in Oakland, at the end of a 2019 tour with Kelley Stoltz producing. Other tracks were recorded at Beach’s new home in Melbourne, where he could be “relaxed and sloppy in all the right ways,” and partially remixed at Phaedra Studios.

At the Memphis-based Goner label, Beach joins an increasingly unique roster of international musicians that reaches far beyond garage or indie rock to encompass artists like gospel singer Rev. John Wilkins, Kentucky rockers Archaeas, New Orleans iconoclasts Quintron and Miss Pussycat, and no-wavers Optic Sink.

*Repress*


The iconic album series Back to Mine returns in 2019, to mark it's 20th anniversary, with the indomitable Nightmares on Wax, to share his personal collection of music for after hours grooving. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

Building on Back To Mine's heritage for quality this edition comes as limited edition heavyweight vinyl and extra thick cardboard sleeve with full coloured bespoke artwork, commissioned from illustrator Rich Fairhead, depicting the artist's influences along side personal sleeve notes form Nightmares On Wax.

The collection includes three exclusive tracks, one new track from Nightmares on Wax, along with a remix from the man himself of seminal band Fat Freddy's Drop and brand new project Creative Principle. The album is impeccably mixed and blended, as you'd expect from a DJ and collector of George's pedigree. His selection includes a strong representation from his roots in Northern England. Opening with respected Manchester soul duo Children of Zeus, Hull's Steve Cobby provides his own 'Lefthanded Books' featuring Crazy P's Danielle Moore and also introduces his chuggy-disco project Chieftain. There's also room for the recent Nightmares on Wax recent single 'Look Up'. Moving internationally; there's Greek producer Dim Zach who doffs a cap to Imagination on the synth-heavy 'Innocence', US-born/Colombian based Afro/Latin/disco/funk producer Bosq, Italy's Massimo Vanoni with the slo-mo funk 'Exciting Groove', the deep and jazzy 'Gotta Have It' by Berlin's SoulPhiction side project SBM and two tracks by New Zealander Ladi6.

This first re-instalment of Back to Mine is a triumphant return for the iconic and music loved series. Nightmares on Wax delivers an incredible selection of tracks that gives the listener a real insight into the artists personal and extensive taste. To coincide with the series release, Nightmares on Wax will embark on extensive Back to Mine worldwide DJ tour which sees the producer touch down in various cities across Europe and USA, including six dates in the UK.

'I always hoped that when the time was right I would be asked to do a Back To Mine release and so when the call came there was absolutely no hesitation'. - Nightmares on Wax.

Swedish producer and electronic enthusiast Rivet (Mika Hallbäck Vuorenpää, Malmö) joins the Editions Mego fold with a dynamic and diverse album that pivots between the punctuated pop of Ivan Pavlov's COH project, the chromatic slink of Chris and Cosey whilst also bearing a degree of fruit birthed from Hallbäck's home country Sweden in skewered pop such as The Knife.

This is electronic music born from the worship of machines and the spirit of punk, mood music brooding with sophistication and subversive twists all underscored with a deep industrial pulse. Are these songs? Are these lyrics? Words melt as beat perpetually takes us deeper into flight.

Interpretation is flung open as the audience are invited to gauge what on earth is going on here. Are Sooty Wing Flecks a minuscule species of half keyboard half vocoder chatter? Is Gleitende Liebe to be trusted or simply laying out a guide for disorientation? Pearling Woes is a queasy ballad sung by a robot on a very special comedown. Keloid knows exactly where the party can be now whereas Sodden Healer is an uber ride sans mask to destinations dark and unknown. Throughout this trip sharp snares punctuate ghost melodies as vocals rise and vaporise. Shadows hover the walls leaving holographic traces of the duality between fun and fear, the unexpected drifts diagonally across the audio plane teasing and taunting the listener in a unique blend of industrial, techno, pop and experimental forms.

On Feather and Wire album is a deep absorbing trip through multiple moods, genres and guises, as mysterious as it is engaging and one to ingest in a single sitting, lying back, sitting up, standing up and yes, even dancing. Let the angels and angles, the voices and distorted faces take shape before your mind. Who is Ordine Kadmia? What are they saying to me, here we go, on and on...

With it's haunted vocals, coded linguistics and dark sensual propulsive atmosphere On Feather and Wire is a sublime contemporary techno pop trip both psychedelic and subversive.

Written and produced by Mika Hallbäck Vuorenpää

Post-production by Mika Hallbäck Vuorenpää and Benny Liberg at Inkonst Studio Malmö
Mixed by Oscar Mulero at Dead Souls Studio Gijón
Mastered by Stephan Mathieu
Images by Dimitrios Bizios
Artwork by Nik Void

OMEN Recordings welcomes a new artist for their 17th release. Since the last few months, AAHAN has been storming the world techno scene with his unique style. The Canadian producer contributes two excellent driving tracks, featuring a hard-hitting masterpiece remix by long time running UK techno champ, PERC, plus another rendition by our very own AXKAN.a


We’ll Rave Again - Pushing forward at a tempo that will get you sweatin’, mixed with rolling hi-hats and catchy leads, this will be a favorite to get everyone back on the dancefloor, again.


Crossing The Rubicon - A river of flowing melodies with hard underlining kicks that pulse makes this track sound big and dancers to lose themselves. There’s no turning back.


We’ll Rave Again (Perc Remix)- Storming out of the gates faster than anyone is this rager of a remix. When the hi-hats start to enter you know you’re about to be hit hard with even more. This piece promises to be a dancefloor peak time favorite.


We’ll Rave Again (AXKAN Remix) - Starting with voices from the outerworld and delivering heavy rounded kicks is this beast of a mash-up. Analog noise and crunch take the spotlight.


a2 Crossing The Rubicon

Statistique Synthétique draws as much from the history of computer sound synthesis as from its latest developments. But well beyond developing simply as a proof of concept, this piece aims to transcend the abstract status of synthetic sound objects and lead them to a properly hallucinatory state, that is to say to a meeting point where the object and perception dissolve into each other, in a sort of transcendental field. Beyond, also, hylomorphism, to reach the world of matter-form fusions, where perception knows how to see "shoulders of hills", as Cézanne wrote.
Teum (the Silvery Slit) is, as the title suggests, an overture, an opening to the game of multiplications, fragmentations, duplications. But it is also the opening understood as the void that blossoms between two borders, a break from which escapes a double tension, both the pulling force of these two edges which move apart and the opposite force of reconciliation, of compression. Okkyung Lee invites us to a truly telluric moment, a rare moment of expression where tectonic movements and shear stresses become music. If the earthquakes were, as we thought in the 18th century, due to underground thunderstorms, there is no doubt that this piece of music, both celestial and continental, could have been their audible manifestation.
Text by François Bonnet


HeckerStatistique Synthétique2020 / 25'15Computer-generated sound with resynthesized situated texture recordingsWritten and produced by Florian Hecker, 2019 - 2020Texture analysis and resynthesis algorithm: Axel Röbel, Analysis/Synthesis Team, IRCAM, ParisMastered by Rashad BeckerPhoto by Mauricio Guillén, 2019
Thanks to Axel Röbel for his commitment to the project and special appreciation to GRM, Luke Fowler, Mauricio Guillén, Dirk Mayer and Porta33
Location Texture Recordings, using DPA 4060, DPA 4017B, DPA 4021 and DPA 4060 microphones to Sound Devices 702 recorder; except segment 04:31 - 05:37, recorded by Luke Fowler, April 2019 using Sony M10.
00:00 - 02:00 Lopud, Croatia, June 200802:00 - 03:12 Ponta do Sol, Madeira, ER 101, April 201903:12 - 04:14 Prentiss St, Cambridge, MA, February 201504:14 - 04:31 Anjos, Ponta do Sol, Madeira, ER 101, April 201904:31 - 05:37 Atelier Cézanne, Aix-en-Provence, April 201905:37 - 08:31 Anjos, Ponta do Sol, Madeira, ER 101, April 201908:31 - 09:46 Praia dos Anjos, Ponta do Sol, Madeira, ER 101, April 201909:46 - 10:39 Private garden, Kissing, September 200910:39 - 11:15 Praia dos Anjos, Ponta do Sol, Madeira, ER 101, April 201911:15 - 15:11 Porto do Paul do Mar, Calheta, Madeira, April 201915:11 - 16:53 Prinz Eugen Strasse, Vienna, June 200816:53 - 24:27 Risco, Rabaçal, Madeira, April 201924:27 - 25:15 Bois de Boulogne, Avenue du Mahatma Gandhi, Paris, September 2015
:::::::::::::::::::::::::::::
Okkyung LeeTeum (the Silvery Slit)2019 / 20'03Performed, recorded and composed by Okkyung Lee (ASCAP)Mixed by Lasse MarhaugMastered by Guuseppe IelasiPhoto by Lasse MarhaugPart of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.

Cut by Andreas Kauffelt at Schnittstelle, Berlin, September 2020Sleeve design by Stephen O'Malley

Young Knives will announce their fifth album, Barbarians, to be released on 4th September 2020. The announcement will be accompanied by a single, ‘Sheep Tick’, and its extraordinary video.

Barbarians was written, recorded and mixed by Young Knives (brothers Henry Dartnall and The House of Lords) in their studio near Oxford, UK. John Gray’s book Straw Dogs inspired the brothers to dial into the ultra-violent, brutal nature of human beings. Our progresses in science and knowledge have not made us any less barbaric: our entertainment is obsessed with it, our world is full of it. What if cruelty to others is just part of who we are? How do we live with that?

Building on a base of loved hits from their early work last decade (Voices of Animals and Men, Superabundance, Ornaments from the Silver Arcade) and the metamorphosis of 2013’s Sick Octave, Barbarians is a leap into sonic experimentation by a band who love to confuse and entertain in equal measure.

As a rock icon and filmmaker with a unique vision, ROB ZOMBIE has continuously challenged audiences as he stretches the boundaries of both music and film. He has sold more than fifteen million albums worldwide, and is the only artist to experience unprecedented success in both music and film as the writer/director of eight feature films with a worldwide gross totaling more than $150 million.
ROB ZOMBIE has achieved great success in the music industry, first as a member of the multi-platinum band WHITE ZOMBIE and later as a solo artist with even greater results collecting numerous multi-platinum and gold albums along the way including Hellbilly Deluxe, The Sinister Urge and Educated Horses. In 2013, the seven-time GRAMMY® nominee released his fifth solo album, Venomous Rat Regeneration Vendor, on his Zodiac Swan label through UMe. The album debuted at No. 7 on the Billboard 200 and spawned two Top 10 Active Rock singles, “Dead City Radio and the New Gods of Super Town” and Zombie’s spin on GRAND FUNK RAILROAD’s anthemic “We’re An American Band.”
In April 2016, ZOMBIE released his 6th studio album, The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser. The album debuted at number six on the Billboard Top 200 making it the sixth consecutive release to debut Top Ten. Produced by Zeuss, it was recorded and mixed at Goathouse Studios. A full return to form by the rock icon, The Electric Warlock… features John 5 (Guitar), Piggy D (Bass) and Ginger Fish (Drums).
October 2020 sees the release of the first new ZOMBIE track and video in over four years — “King Freak: A Crypt Of Preservation And Superstition” off of the forthcoming full-length album entitled The Lunar Injection Kool Aid Eclipse Conspiracy. A classic ZOMBIE album through and through with high-energy rages like The Eternal Struggles of the Howling Man and Get Loose to heavy-groove thumpers like Shadow Of The Cemetery Man and Shake Your Ass-Smoke Your Grass. This new slab of ZOMBIE madness hits in early 2021
For the past two decades ROB ZOMBIE has also directed dozens of music videos for himself as well as other artists including Ozzy Osbourne. ZOMBIE was also the first self-directed artist to win an MTV Video Music Award. He’s also directed a special episode of CBS’s CSI: Miami, two Comedy Central specials, and uncharacteristically macabre commercials for various brands.

After the incredible success of Polygondwanaland in 2017, we want to give everyone a chance to get their lucky hands on these King Gizzard albums, so let’s make it real together one more time! MAKE IT VINYL!

Tracks 1-8 recorded some time in 2010 in Angelsea, Victoria, Australia
Tracks 9+10 recorded some time in 2011 in Carlton, Victoria, Australia

Mixed by Stu Mackenzie
Cover Design by Ahmad Oka

Argentinian producer Thissperso has been living in Barcelona for a good season while producing music that reflects what he experiences in his day to day life. His productions are harsh and violent, but they have a quality and energy that makes them contagious and addictive. This work, edited by NNY Records, compiles some old songs that have been revisited and remastered, which coexist with new compositions that continue to explore the most visceral and dark side of electronics. This is the work of a producer who is not tied to any style and who enjoys setting the dancefloor on fire when one of his songs is played. Producers like Parris Smith have already been able to verify it in the first person with a couple of songs from this new EP in which we find Electro mixed with Industrial, EBM, Acid and a punk and nonconformist attitude.

Pianist/composer Maria Kannegaard presents ‘Sand i en vik’, a rapid
follow-up to the album ‘Nadeslas’.
Where that latter album was an experimental and expressive affair, the former sees her return to more familiar musical pastures, although with a different viewpoint and attitude. Kannegaard’s piano playing remains immaculate, never cluttered or wasteful, always conveying the right mood or emotion, the perfectly balanced response to both the composition and the development of it.
The compositions carry their own moods and unique characteristics, their own internal tensions, sometimes haunting, sometimes exuberant, sometimes seeming stretched to a breaking point.
Plaintive ballads sit alongside riff-driven stompers, moments of abstract expressionism interweave with stop-start angular motifs, unexpected harmonizations, and moments that seem to be formless before revealing themselves to be details within a larger, clearer picture.
Frequently sounding like much more than a trio, the album is mixed and mastered by the award-winning Stefano Amerio at Artesuono recording studios.

Corvair is what happens when you trap two Scorpio songwriters in a house together. Comprised of a Portland-based husband / wife duo of two seasoned musicians (Brian Naubert and Heather Larimer), Corvair’s debut album charts a starcrossed love story over three decades, five cities, and six continents. Spanning from atmospheric pop to jangly confessional, 70s AM to 90s FM, this work is laden with stunning turns of phrase and prodigious melodies, two voices leaping to meet in the ether. Corvair’s debut album was largely created during the COVID pandemic shut-down of Spring 2020. It includes work with drummer Eric Eagle (Jesse Sykes, Wayne Horvitz) and Engineer Martin Feveyear (Brandi Carlile, Mark Lanegan, Mudhoney), who also mixed the record. Larimer explains, “Being stuck in a house together with very little outside influence made us more emotionally raw, definitely weirder, and also more patient and intricate in developing the songs. And because we were in a bubble, cooking dinners from paranoidly-disinfected groceries and listening to old records, really disparate references from some of our favorite music ended up colliding in odd ways--an emotional Judas Priest bridge, an anthemic Pixies outro, a spacey keyboard sound from Steve Miller, Jeff Lynne's acoustic guitar tone, a Carpenters-style lush harmony. I think it's a wonderfully weird record, but also very in-your-face pop because what else are you going to do when the world feels like it's ending?" Separately, Naubert and Larimer have created or appeared on more than 20 records. Heather’s musical mainstay was the garage pop band Eux Autres, broadly hailed as a “veritable cult classic” band, radio-debuted by the legendary John Peel, and featured in many shows, movies and commercials. Brian is a longtime fixture of the Northwest rock community, having played in vital bands such as Tube Top, Pop Sickle, and the critically-lauded Ruston Mire, since 1993. More recently, Brian released his first solo record, Hoffabus and a record with the NW Supergroup, The Service Providers. Naubert and Larimer’s decades of separate music making have finally combined, culminating in this tour de force from two formidable songwriters. Corvair sounds like nothing you’ve ever heard and everything you’ve always loved.
Press quotes: “Smart, infectious, jangly pop.” Everett True // “An irresistible set of bouncy indie-pop tinged with surf music and ‘60s girl groups, contrasted with the band’s often-biting lyrics.” KEXP.org // “One of the more exciting independent releases of the year...a veritable cult classic.” Under The Radar // “Three chord garage pop that hangs on a raunchy guitar line and crisp production from Janet Weiss (Sleater-Kinney, Quasi).” MAGNET Magazine // Brian Naubert - vocals, guitars, bass, keyboards, percussion. Heather Larimer - vocals, keyboards, percussion.

A new ship of fools sails on Bolombia lands! These strange people seem to celebrate the whole jazz universe and african idioms, but they've never been in Africa. The great continent, more than physical, is a mental place of encounter and psychedelic skids. Neurotic and schizoid sorcerers, a furious wind drags them towards the total effervescence of the groove: an unprecedented cauldron of dangerous substances, hybrid styles and influences mixed with secret recipe. Their music is an explosive bubble of expressions, a feverish, impulsive and unstoppable ritual. A cosmic attitude, such as Heliocentrics or Embryo, marries the majestic and floating sounds of synths and psych organs, acidified by toxic dub sparks and deadly funk forays. A crazy horn section travels without maps from Sun-Ra and Ethiopian echoes, hard-bop reminiscenses, to sudden and virulent Balkanisms, making this soup an indecipherable combination of flavors.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Those Once Loyal is the eighth and final album by the British death metal band Bolt Thrower. It was released on 11 November 2005 in Germany, 14 November 2005 in the rest of Europe and 15 November 2005 in the United States by Metal Blade Records. It was recorded and mixed at Sable Rose Studios in Coventry, England. It is produced by the band and Andy Faulkner. With Bolt Thrower deciding against releasing a follow-up to Those Once Loyal, it was Bolt Thrower's final studio album before breaking up a year after drummer Martin Kearns' death in September 2015. Like all of Bolt Thrower's albums, Those Once Loyal deals with war, specifically World War I. The cover shows a World War 1 QF 18 pounder field gun and its crew in action and is based on an original WW1 photograph. The picture is also found on the back side of the Guards Memorial in St James's Park in London.