Cerca:no hands

Shifted offers the latest distillation of his trademark sound.

Following on from the recent release of “The Dirt On Our Hands” – Guy Brewer’s fourth studio album and the first to arrive on his own Avian imprint, “Constant Blue Light” – another full length, explores new avenues in caustic minimalism.

Eschewing the booming effervescence of his own more plosive dance floor material – Shifted takes a no less nuanced, but decidedly more introspective angle on this new LP. At the centre of Brewer’s practice as an artist, there has always been a sense of dedication to the refinement of a singular idea. In some ways “Constant Blue Light” represents a move closer to the apex of this approach.

Opener “Slowly Counting Backwards” creates the framework for the record – reduced and meditative, owing somewhat to previous work, but still crisper and more precise. “Natural Elevation” riffs on airy patches that hiss and bend while “The Weight of It” transmits an unsettling hysteria with flanging leads and untethered rhythmic components. On the B side, the ominous dirge of “Soft Palate” brings a kind of uncanny energy to proceedings before “Into Your Ocean” utilises exquisite FM tones to create a captivating sonic montage. “Several Instances” hinges on dense low end and scattering white noise, before giving way to the machinations of “Clotting Time”. Closing piece “This I Know” offers a stunning, crystalline finish to the LP – upping the ante in its final minutes before giving way to a hiss of delay trails.

A continued exploration from a focused and diligent artist that provides yet another fully formed and beautifully articulated component to his own discography and that of the Avian label.

With his ongoing commitment to like-minded archivist label Finders Keepers Records, industrial music pioneer Steven Stapleton further entrusts us to lift the veil and expose “the right tracks” from his uber-legendary and oft misinterpreted psych/prog/punk peculiarity shopping list known as The Nurse With Wound List.
Following the critically lauded first instalment and it’s exclusively French tracklisting both parties now combine their vinyl-vulturous penchants to bring you the next ‘Strain Crack & Break’ edition which consists of twelve lesser-known German records that played a hugely important part in the initial foundations of the list which began to unfold when Stapleton was just thirteen years old.
From the perspective of a schoolboy Amon Düül (ONE) victim, at the start of a journey that commenced before phrases like kosmische and the xeno-ignant Krautrock tag had become mag hack currency, this compendium is devoid of the tropes that united what many would accurately argue to be the greatest progressive pop bands in Europe
(namely CAN, Neu! and Kraftwerk) and rather shatters the ingredients across a ground zero landscape for both inquisitive fans and socially rehabbing musos to begin to assemble a unique self-styled identity. If Krautrock was the music that journalist told us lurked behind schlager (German pop) in the 1970s, then this record includes the music that skulked behind Krautrock and perhaps refused to polish its backhanded name belt.
Including lesser-known artists like the late Wolfgang Dauner, whose career proceeded and outlived the kosmische movement while consistently informing and outsmarting them whenever they got stuck in their metronomic ruts, or how about Fritz Müller, the man who
was to Kraftwerk what Stuart Sutcliffe was to The Beatles but had more in common with Yoko and quite rightly couldn’t give a stuff about the Fab Four’s Hamburg roots.
Elsewhere we have a plethora of German bands made for German audiences as they try and shed secondhand flower power Americanisms and feel the benefits of much harder drugs and the realisations of difficult second album budgets while Kommune 1
newsflashes wipe smiles from everybody’s faces and replace them with opioid chic or acid-sarcastic grins. Bonzo Cockettes show us their Big Muffs and drummers ask for extra mics while Conny Plank goes for parliamentary office and gives babies good firm handshakes for the camera.
‘Strain Crack & Break: Volume Two’ is the sound of Steve Stapleton’s sponge-like mind and the dividends of anyone who was brave enough to even peek inside those brick-thick gatefold covers never mind drop the needle.
Over forty years since Nurse With Wound’s first album was released, Finders Keepers Records and Steve Stapleton take connoisseurs of our kind of music back to the disused elevator shaft towards ground zero. Arriving at the same checkout from different departments, Finders Keepers and Nurse With Wound continue to sing from the same hymnal with this ongoing collaborative attempt to officially, authentically and legally compile the best tracks from Steve’s list, where many overzealous erds have faltered (or simply, got the wrong end of the stick).
After ‘Strain Crack & Break: Volume One’ merely scratched the surface of this DIY dossier of elongated punk-prog peculiarities, this second lavish metallic gatefold double vinyl compendium drives a much deeper groove which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of German origin - the country whose music forged the prototype of the NWW inventory in the form of his secondary school vinyl wantlist in the early 1970s, comprised of disassembled free jazz, unshowered stoner psych, hypnotic prog, deranged monk funk and fuzzed out Deutschmark bin bonzo beats.

Kojaque follows his critically acclaimed cult concept record, ‘Deli Daydreams’, with an
expansive, urgent debut album. In this landmark debut, Kojaque mines both his
emotional interior as an artist, and the external forces of a love triangle barrelling
towards chaos. ‘Town’s Dead’ is a mind-bending, explosive and expansive trip,
documenting a tumultuous love triangle that unfolds across New Year’s Eve in a
place where gentrification poses as much a threat as the violence of street dealers.
Sonically, the record smashes any previous expectations, stretching an aural palate
that leaps from rage to solace, from clattering musical combustions to tender
ruminations. The tremendous scope and scale of ‘Town’s Dead’ demonstrates an
artist utterly untethered to assumptions about what a particular voice or genre should
be, and instead explores radical musical territory. Dark corners of parks, bedrooms,
clubs, streets and psyches are excavated and pouring over the rubble is an artist
who refuses to conform, unafraid of the vulnerabilities that are exposed when the
voice rings true, because there’s just no point in being anything else.
Kojaque is part of a new wave of Irish artists flooding the world with blistering and
sophisticated literature, film and music - ideas and work that emerged from a social
revolution stonewalled by late-stage capitalism. Welcome to that state of mind, where
the path less travelled is the only one worth taking.
On the announcement of his debut album Kojaque has said: “‘Town’s Dead’ comes
from the potential that I see in Dublin and in the people I’m surrounded by day in and
day out. There’s nothing but talent and ambition among young people, I’m constantly
reminded of that through the art and music that I see being made but I think so often
the city grinds you down, it takes your hope and your ambition. I know that it can
change because so many of my friends express the exact same wants, desires and
frustrations with living in Ireland. If so many of us are on the same page then I know
that things can change, there just needs to be some sort of catalyst to kick start that
change and for me that’s always been art and music. Time and time again, amazing
art continues to be made in spite of the struggles and setbacks that are presented
when living here. The title track and the album is a fight against what can sometimes
feel inevitable, it’s a rejection of what people tell you is your destiny as a young
person in the city, Town’s NOT dead it’s just Dormant.”
CD housed in digisleeve containing 12-page lyric and photo booklet.
Black double vinyl housed in 5mm wide spine single sleeve with 12-page lyric and
photo booklet.
“Hints of Odd Future and its offspring... Kojaque is not your average rapper” - i-D
“Dublin’s hip-hop community are making waves right now... an intimate introduction
to the world this bold artist inhabits” - Clash
“Social realist rhymes set to silky hip-hop” - NME
“Likeable and funny” - Trench
“The Dublin MC forcing us to face real life; both the gory and the glory” - Wonderland
“Ireland’s freshest hip-hop hope, Kojaque, serves ‘soft hip hop’ with a side order of
poetry and performance art” - Notion

Heavy music’s evolution has always been a murky swamp of sub-genres. So, combining Thin Lizzy’s glistening twin guitar harmonies with Melvins- grade sludge and a hearty dose of proto-metal psych probably shouldn’t sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound.
Waste, the band’s sophomore album and first for RidingEasy Records, is anything but. The 33-minute, 7-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, COC grunge and punk fury all rear their head at times, sometimes all at once.
Though you wouldn’t be able to tell by the concise structures and well- crafted songs, a lot of Deathchant’s music is improvised, both in the studio and live. That’s not to suggest their songs are jammy — they’re very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended.
“Improv is a huge things for us and always has been,” singer/guitarist T.J. Lemieux says. “The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.”
Likewise, the band itself is similarly amorphous in its membership. “We run the band with an open door. No lineup is definitive,” Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar.
Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. “We packed a big-ass van and set up in the living room and kitchen,” Lemieux says. “Tracked it live, with overdubs after.” The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band’s 2019 self-titled debut album.
“I’d say it has sort of a DIY LA punk aesthetic,” he adds. “Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.”

Heavy music’s evolution has always been a murky swamp of sub-genres. So, combining Thin Lizzy’s glistening twin guitar harmonies with Melvins- grade sludge and a hearty dose of proto-metal psych probably shouldn’t sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound.
Waste, the band’s sophomore album and first for RidingEasy Records, is anything but. The 33-minute, 7-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, COC grunge and punk fury all rear their head at times, sometimes all at once.
Though you wouldn’t be able to tell by the concise structures and well- crafted songs, a lot of Deathchant’s music is improvised, both in the studio and live. That’s not to suggest their songs are jammy — they’re very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended.
“Improv is a huge things for us and always has been,” singer/guitarist T.J. Lemieux says. “The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.”
Likewise, the band itself is similarly amorphous in its membership. “We run the band with an open door. No lineup is definitive,” Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar.
Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. “We packed a big-ass van and set up in the living room and kitchen,” Lemieux says. “Tracked it live, with overdubs after.” The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band’s 2019 self-titled debut album.
“I’d say it has sort of a DIY LA punk aesthetic,” he adds. “Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.”

I Be Trying might be the title of the new record from two-time GRAMMY nominee Cedric Burnside, but it's also a mission statement in an era when plenty of us have discovered what "the blues" really means. Recorded over three days at Royal Studios in Memphis (the home studio of Al Green and Hi Records in the 60s and 70s), this album is the ultimate statement of purpose for a critically acclaimed artist who has proudly carried the mantle of Mississippi Hill Country blues around the world. Over thirteen tracks, Burnside delivers his bruised but unfettered truth over blistering guitar and deep pocket drums-a sound birthed in his soul but developed and perfected on the road. But no matter how far he travels, the righteous sound he makes could only come from one place. I Be Trying is the sound of modern Mississippi. Produced by second-generation Memphis soul trailblazer Boo Mitchell ("Uptown Funk") and featuring guest appearances from Luther Dickinson (North Mississippi Allstars) and Zac Cockrell (Brittany Howard), I Be Trying takes the sound that Burnside learned from his grandfather, blues legend R.L. Burnside, and reinterprets it into a modern, bold Black American sound that expands the sonic landscape while respecting and honoring its roots.

I Be Trying might be the title of the new record from two-time GRAMMY nominee Cedric Burnside, but it's also a mission statement in an era when plenty of us have discovered what "the blues" really means. Recorded over three days at Royal Studios in Memphis (the home studio of Al Green and Hi Records in the 60s and 70s), this album is the ultimate statement of purpose for a critically acclaimed artist who has proudly carried the mantle of Mississippi Hill Country blues around the world. Over thirteen tracks, Burnside delivers his bruised but unfettered truth over blistering guitar and deep pocket drums-a sound birthed in his soul but developed and perfected on the road. But no matter how far he travels, the righteous sound he makes could only come from one place. I Be Trying is the sound of modern Mississippi. Produced by second-generation Memphis soul trailblazer Boo Mitchell ("Uptown Funk") and featuring guest appearances from Luther Dickinson (North Mississippi Allstars) and Zac Cockrell (Brittany Howard), I Be Trying takes the sound that Burnside learned from his grandfather, blues legend R.L. Burnside, and reinterprets it into a modern, bold Black American sound that expands the sonic landscape while respecting and honoring its roots.

Purple Vinyl

Even if you're well-acquainted with composer and multi-instrumentalist Colin Fisher's richly varied output, his gentle fifth solo album, Refections of the Invisible World may come as a surprise. Psychedelic lyricism has always been a fundamental aspect of his sonic signature, but his second collaboration with producer Jeremy Greenspan (Junior Boys, Jessy Lanza, Morgan Geist) finds the Toronto native luxuriating in expansive atmospherics for its full duration.
That's not to downplay the eclecticism he finds within this ethereal landscape. Each track tills its own discrete sonic acreage, and while every one emanates from a clear focal point, the spontaneous impulse that drives Fisher's more audibly improvisational music always remains close at hand. Some pieces unfold rippling aquatic vistas or delight in prismatic guitar arpeggiation, elsewhere his plaintive, blues- infected tenor saxophone wafts like some strange jazz apparition, or becomes a chorus of cosmic murmurs. The presence of electronics is undeniable, but equally irrefutable is the organic instrumental sources of these disparate hues. In fact he's discovered a rare balance: no matter how effects-saturated, every gesture on the record feels palpably sculpted by Fisher's hands and breath. As such, Refections of the Invisible World carries a sense of intimacy at the heart of its diffuse, dream-like sonics.
Fisher has a been a major presence in Canada's music community for more than twenty years—particularly in more experimental and improvisational circles. Nothing short of a guitar virtuoso, he also wields saxophone, drums, and various other instruments with similarly refined musicality, vivid textural imagination, and sometimes feral abandon. His one-man-band tape Garden of Unknowning for Manchester's Tombed Visions, showcase all of this as he spars with different iterations of himself. The Quietus' cassette critic Tristan Bath extolled it as "miraculous," adding that "it’s a visceral experience soaking up this record, and it’s all down to Fisher’s utterly innate sense of musicality." He subsequently cited it in his 2018 contributor's year-end chart for the Wire.
In 2014 his partnership with Nick Millevoi's trio Many Arms on Suspended Defnition (Tzadik) prompted Spin's Brad Cohan to remark "Many Arms have dug even deeper into math-metal wizardry, bolstering their already imposing lineup with gale-force blowing guest saxophonist Colin Fisher, thus blasting their outré sonic blitz into a fire-breathing free jazz otherworld." Fisher later engaged the band's bassist, Johnny DeBlase, to team up with him and Kid Millions (Oneida, Man Forever) as Monas. As an ongoing collaborator to introspective dance music auteur Caribou, Fisher frst appeared in offshoot project Caribou Vibration Ensemble, and subsequently on acclaimed albums Swim and Suddenly. He's also made two duo albums with celebrated Nova Scotian jaw harp innovator chik white for Dylan and Lisa Nyoukis' Chocolate Monk label. In addition to performing alongside the likes of Jaime Branch, Joe McPhee, William Parker, Laraaji, Gerry Hemmingway, and Fred Frith, he has contributed to recordings by the Constantines (Sub Pop), Bernice (Arts & Crafts), Rhys Chatham (Table of the Elements), Born Ruffans (Warp), Anthony Braxton and AIMToronto Orchestra (Spool), and many more.

Soul Jazz Records' new Studio One release Rocksteady Got Soul is a collection of uplifting and superb rocksteady and soulful reggae from the late 1960s and early 1970s. Studio One is the number one label in the history of reggae and he album features - as ever with Studio One - an impeccable and unbeatable line-up of reggae superstars, all soaring at the height of their creative powers. Alton Ellis, John Holt, The Heptones, Jackie Mittoo, The Ethiopians, Lee Perry and more. The album is a mix of classic tunes and rhythms alongside super-rarities that were released in a dazzlingly complex web of Studio One labels and issues, deftly navigated with new sleevenotes from author and Studio One authority Rob Chapman. But enough with the chatter, just spin the platter - these tunes rule the town, hands down! This Soul Jazz/Studio One album is released as deluxe gatefold double-vinyl + house inners + download code. Also as jewel case CD housed in card slipcase. Both formats come with full sleeve notes/discography and exclusive photography.

A few months ago, Dj Schwa & Name Does Not Matter rumbled through the timbers with their latest EP on RFR Records. For all of you, who like to get physical, we are now offering two Tracks of the digital EP including two brand-new Remixes on Vinyl.

Follow the “Ape King” and jump into the frying acid pan! Straight forward stomping on the beat section, pretty classic when it comes to the bassline. And whilst the 303 is continuously marching towards our cortex, shit kicks in with a nonchalant melody part. Wait, are the old Djax Up days back?

London’s Posthuman is delivering the perfect Remix for “Ape King” qua musical self-definition. His analogue machine park powers the Original with an even deeper drilling bass line, reduces the melody to its essence and nonchalantly sets the groove between classic Chicago and UK Hardcore influences.

“Obsolete” is a true feast for lovers of classic Electro. And despite of the title, all its ingredients are perfectly well balanced. Sounds like Aril Brikha, Nitzer Ebb and Clarence G. (RIP) joined forces in the studio and filtered the essence of one of our favorite genres.

We stay in London. Jerome Hill lays hands on “Obsolete” and proves from the very first second that there is absolutely no space for compromise. This is all about straight Techno and the feeling of being exposed to a stroboscope in a dark basement while the first rays of sunlight are already penetrating through the crack of the door.

Includes Download Code and Special Insert Drawing !
Quindi Records continues to yield intriguing prospects as we reach the third edition, moving from Woo's astral ruminations via Cabaret Du Ciel's sonorous meditations on to the dusty, dusky mantras of Dead Bandit. Maintaining the ambiguous creative practices of the label's previous releases, From The Basement r eaches to the earth for the malleable grit of post-rock while making the most of the broader sonic outlooks afforded by kosmische and electronic effects processes.
Dead Bandit are Chicagoan songwriter Ellis Swan and Canadian multi-instrumentalist James Schimpl. Swan has previously released solo works including the stunning, inward-looking album I'll Be Around, a lo-fi Southern gothic dragging the husk of country ballads through battered signal chains. In Dead Bandit, Swan and Schimpl's artistic vision casts its gaze outwards on a vast expanse, where the distortion has space to stretch its legs and the drums pound out into open space. There's a common tonality at work here, the duos guitars telling a thousand hard-bitten tales where Swan's voice falls silent. It's no surprise to learn Swan and Schimpl's reference points include Neil Young's Dead Man soundtrack, SF noise rockers Chrome and the imperial work of the late, great Mark Sandman of Morphine.
You can sense Jim Jarmusch's America just lingering behind the road-weary thrum of 'These Clouds' and detect the shadow of Tom Waits lurking in the raunchy lurch of 'FF M'. The pointedly titled 'Sedated' calls to mind the slowcore movement and its rejection of rock n' roll's fixation on speed. Instead, tonality and atmosphere are key across From The Basement , although the ambient lull of 'I See Her There' is the exception rather than the rule. Dead Bandit's desert sound has vibrancy and immediacy to match its moodiness, from the sultry swagger of opening track 'Mud' to the bold and borderline bombastic 'When I Looked Around'.
Like the previous Quindi releases, this record is inherently experimental in nature, but not at the expense of its warmth and instant appeal. From the basement, an inquisitive pair with primitive tools look out and imagine a colossal plain as the canvas on which to paint their picture

With a 20-year-experience each in the music production, Digital Cut & Dance Soldiah are joining forces for an ambitious project entitled “Kensei/Sensei Riddim”, supported by Canna France, to be released on June 18, 2021. This double “One Riddim” album brings together 21 international artists of 6 different nationalities on 20 titles. The project is built on an innovative concept as 10 tracks are from female artists and the other 10 from male artists. Equality and parity is the essential value placed at the center of this new project.

Women are represented by the artists Khalia, Denyque, LMK, Sophia Squire, Thaïs Lona & Myriam Sow, Queen Omega, Ikaya, SumeRR, Bad Gyal Jade, Nattali Rize & Minori and men by Pressure, Jah Vinci, Blacko, Million Stylez, Skarra Mucci, Turbulence, Stranjah Miller, Riflah and Charly B.

The complementary sounds of the 2 instrumentals (or "riddims") will delight all Reggae/Dancehall fans and purists. The artwork is signed by the artist KAMO, one the French leader in manga culture, who created 2 original illustrations for the occasion.

The first music video taken from the project was released in February 2021 with the track “No Better Day” by Jamaican rising star Khalia. The track is already airplayed on radios in more than 40 countries around the world and is set to become a real hit in Jamaica. The second single highlights the French female artist LMK with a beautiful video shot in Colombia. The entire album will then be released on June 18, 2021 and more music videos will follow !

Reissued for the first time.
Double vinyl that includes their critically acclaimed and highly sought after debut album ‘Glasshouse’ from 1985 and the 1986 follow up ‘Simplicity’. Presented in a gatefold sleeve adorned with the artwork from the Glasshouse EP, which features in the Prints & Drawings collection at the Victoria & Albert Museum.
With printed inner sleeves and a download code for all 31 tracks on the double CD. Including all tracks from the singles and EP’s plus unreleased recordings
Pressed on colour vinyl. Disc 1 is Purple. Disc 2 is Gold.

Formed in Barnsley in 1981. Party Day, with their bass led rhythms and sharp powerful drums gigged extensively and released their debut single ‘Row The Boat Ashore’ in 1983.
Their brand of Post-Punk Indie Rock with Gothic overtones soon got the attention of DJ John Peel and sold out almost immediately.
The follow up single ‘Spider’ from 1984 again received extensive airplay from John Peel and received rave reviews from the national music press. “Mouthy pellets of malevolence” NME “Excellent punk junk howl” Sounds.
Their self released debut album ‘Glasshouse’ was released in 1985 to glowing reviews and has gained popularity over the years. Now very collectable, it exchanges hands for big money on the second hand market.
The Glasshouse EP followed later in 85 heralding a more commercial approach and widening appeal.
Their second album ‘Simplicity’ was released in 1986
“Proving that they’ve grasped more than an inspirational nettle, the recurrent throb finds their trousers igniting during the quite punctilious rawk of the title track, the urgent prodding of ‘Career’, which reminded me uncomfortably of early Killing Joke and the attractive, though slightly over-wrought black sheep, ‘Glorious Days’, which could have brought a lump to Mario Lanza’s trousers.”
Party Day Split in 1987.

JANA IRMERT – THE SOFT BIT

"The compositions for this album were shaped over the course of one year, at first without a concept or storyline as a starting point. Yet what I became increasingly interested in was a kind of sensory aspect of sounds. I felt I wanted to get closer so the sounds, feel their structure and surface and how they contrast each other."

stick your hands into the sand and feel the grains against your skin.

"Throughout the musical process, I used materials like metal, water, sand and air in a very direct and maybe more raw way to create and record sounds than I did in previous works, where I had often manipulated field recordings that had a more ambient character and thus strongly carried the location of origin in them.So in a sense, for the compositions of this album, I used sounds without a place, or just an expression of the sound of the particular material itself."

submerge yourself in water and listen to the sounds you hear.

"It turned out the processed sounds resulting from hard materials would often have soft and tonal qualities whereas those made from "soft" materials like water or air would ultimately be of percussive or harsh and noisy character. Finishing the compositions was like feeling along the surfaces of the single pieces with closed eyes, making out their shape and outline inch by inch. Maybe this is why to me, some of the compositions feel solidified like pieces of rock, while others seem to be ready to evaporate into air."

stand as still as you can and feel the air moving against your face.

Weird.ltd presents its second reference in the hands of the AREA 51 duo made up of Camilo Gil & Rodrigo Valdivia.

Four fresh house cuts in their deep nuances, and hypnotic cuts of minimalism with a South American flavor.

Plus two remixes, like ASTRAL, by UK legend TOMMY VICARI JNR.
And the Venezuelan based in Berlin, ARGENIS BRITO.

Undoubtedly a must for lovers of dance worship.

Here I leave you the support, and the feedback from the djs, so you can listen, and hopefully these days contact Jordan, to make that possible.
support of Djs such as:

Rick Wade - Dj Aakmael - Dorian Paic - Maher Daniel - Sascha Dive - Jef K - Norm Talley - XDB - Delano Smith - Politics of Dancing - Djebali among others ..

Feedback:
Jorge Caiado: Remix for Argenis its for me.
Dorian Paic: Remix for Vicari Jnr Killer!
Gari Romalis: All the stuff its for me, thanks
Amir Javasoul: A2 and B1 for me, strong stuff.
Mariano: All tracks for me !!!
XDB: argenis brito did a killer remix --- from first listen seems to be a dancefloor weapon,
Norm Talley: World of deep, yeah!
Peter Grummich: Solid Ep, Remix Argenis Brito its for me
Djebali: "Love the Ep, great music with superb remixes! Will play"

The final album in Pastor T.L. Barrett’s 1970s four-part suite of gospel funk LPs, Do Not Pass Me By finds the fiery preacher getting spaced out on God’s love. Accompanied by his Youth For Christ Choir, the eight-song record is buoyed by the seven- minute opus “Father Stretch My Hands,” later sampled by Kanye West on 2016’s The Life of Pablo.

I tend to exist in the darker parts of the psyche, Jim Ward admits. “That’s where I’ve always been.” And yet what makes the musician so unique and downright compelling is how exactly at the moment when the world joins him in the darkness — take, for example, the ultra-challenging year that was 2020— it’s then Ward is able to claw his way back into the light. “All I was doing was basically meditating with a guitar,” Ward says of how every night during the pandemic,armed with a guitar as well as a bit of time and purpose, this prolific musician was able to churn out several riotous riffs that ultimately transformed into one of his most personal and profound albums to date. “I’ve always used music as an outlet for anxiety and frustration,” notes Ward, who has played in a slew of monumental bands, from the iconic post-hardcore band At The Drive-In to Sparta, aswell his alt-country project, Sleepercar. In fact, it’s this healing power of music, Ward offers, that led him to Daggers, the lauded musician’s new solo record set for release in 2021 via Dine Alone. “When my world has upheaval, it becomes about doing the work in front of me,” he adds. “And this record was pure joy: talking to my friends on the phone, swapping ideas with them, going into my head for a while, coming out with something.” So while Daggers is officially credited as a solo work, and Ward never entered the room with any of his collaborators due to the COVID-19 pandemic, he’s effusive in his praise for them: notably the twin team of Incubus bassist Ben Kenney and Thursday drummer Tucker Rule, both of whom took Ward’s guitar riffs and helped propel them into fully fleshed-out songs. For Fans of: Sparta, At The Drive-In, The Mars Volta, Thursday, Incubus, Frank Eiro, Bear vs Shark, Glassjaw, ...Trail of Dead, Deftones, Jimmy Eat World, Taking Back Sunday, Queens of the Stone Age, Thrice, The Smashing Pumpkins Key marketing highlights: - Jim Ward is the lead singer and guitarist of Sparta and co-founder of post-hardcore band At The Drive-In. - Ward has toured with the likes of My Chemical Romance, Deftones, mewithoutyou and many more - Ward has received acclaim from Pitchfork, Consequence of Sound, Brooklyn Vegan, Alternative Press, Guitar World, Billboard and more. - Ward has performed on the late night TV programs of Conan and David Letterman. - Ben Kinney From Incubus playing bass on record and Tucker Rule from Thursday playing drums on record

A collection of songs / mixtape from Sunun + Jiinx - made up of all their own material, a combination of fully realised songs (some of which you might recognise from earlier outings on BKV, Idle Hands, Euphonic Rhythms etc) as well as unheard demos / ideas and alternate versions. The mix was compiled by Jiinx over a period of nightshifts - sat in his (now cubed) car with the computer running through the stereo. You can hear the dry eyes as the tape moves through sleep deprived jungle to new-age and ambient interludes - with voices (including Sunun's own) moving in and out like real world sounds intruding into a dream (there's also a cameo from Jiinx's daughter). The tape operates in the spaces between waking and sleeping and night and day - and manages to walk the line between euphoric rave afterglow and sleepless sickness and disorientation. Definitely one for the shift workers / ravers / insomniacs. Dedicated to the roofless Beemer.

Music on Hold deliver an LP with strictly "only the hits" in updated graphics and soundbite studio wizardry. It's the shinning neon-colour video game classic you never played in your youth in the arcades. You only dreamed about it after too many bong hits. You think you've heard these songs before? Ha! You've never heard them better brother. Gary Wilson called, and sung you a melody and the Human League stole the synth lines.. then The Spits put lead guitar in slow-motion. This is a record for all four seasons in all TV Colours and black and white nouvelle vague romance. This LP is the first baseball bat you take you A Ferrari parked outside a strip club. This is the flock of seagulls that exploded in the sky The project once a solo affair is now a power-trio featuring funky starship troopers Guillaume Mobstaire and beloved cult-hero Mathis (Police Control, Skategang) in the shuttle. And as they blast off into cyberspace, tThey toss this their first greatest hits out of the cockpit and into your hands.

Exclusive premieres scheduled in Music is My Sanctuary and Les Yeux Orange and heavy dj support including Groove Armada's Tom Findlay, Blessed Madonna, Erol Alkan, Dino Soccio, Tricky Disco, Leo Zero and many more

"In The Dark", is the new release from Casbah 73. A sensual, sinuous disco affair dealing with touch, human contact and yearning. Three different versions, each a completely different dancefloor proposition and ranging from organic and soulful disco, to hands in the air, uplifting funky horns to searing club banger, all crashing pianos, fierce bass, deep Moog and wild, dubby vocals. It is, in a nutshell, what we need now.

Following on from his recent debut release on Defected/Glitterbox Records, Spanish/US DJ and producer Casbah 73 continues from strength to strength with this, his latest offering, out now on his spiritual home Lovemonk Records.

Recorded locally with a group of top flight musicians and featuring a stellar vocal performance from Angela Gooden.

Following a limited 7” vinyl release of SunPalace edits in 2020, BBE Music finally delivers the full-length versions of Moodymann and Kenny Dope’s ‘Rude Movements’ remixes, alongside brand new interpretations by François K, Frankie Feliciano and OPOLOPO, plus a special edit by Phil Asher.
François Kevorkian needs no introduction to fans of House and electronic music. Featuring keys by Eric Kupper, his ‘SATS Dub’ and ‘TradMix’ versions of ‘Rude Movements’ are simply classic works, summoning House music’s golden era forward in time, to the here and now.
Bonus spaced-out ‘Flerken Space Bubbles’ and beat-less ‘Atmosphere’ revisions are also included in the digital version: both invaluable tools for DJs. Ricanstruction label founder and
long-time champion of the good groove, Frankie Feliciano delivers a slick and faithful update of ‘Rude Movements’, with a slight Latin soul twist. Swedish mix-king OPOLOPO turns in a typically live-sounding, funky and dancefloor-ready jam (ready whenever the dancefloor is,
anyway) The full, extended version of Moodymann’s remix retains the original ‘jammed’ feel of Rude Movements, adding stellar flute, sax and piano solos to that hypnotic vibe. Kenny Dope’s Afro-Latin inspired ‘Dancefloor Powder’ version is joined this time by a rough’n’ready, street tough ‘O'Gutta’ mix; calling all b-boys and b-girls! For the expanded digital package, we are also including a special edit by our sorely missed brother Phil Asher, created for his
own DJ sets and now available to all.
Made famous by David Mancuso at his New York Loft Parties, ‘Rude Movements’ was an obscure Brit-funk b-side recorded in the home studio of Mike Collins. The track’s unique sound, coupled with pristine sonics and production values caught the audiophile ears of
Mancuso, and the rest is history. Soon the track found its way into the hands of Loft Party denizens Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit and continues to influence House and electronic producers through to this day.

Shura announces a deluxe version of her acclaimed 2019 album
‘forevher’, released via Secretly Canadian.
‘forevher: Deluxe Edition’ is released on cassette and features the
eleven original album tracks with nine extras. These include acoustic
versions of five album tracks recorded and produced with Sam Evian
and featuring Hannah Cohen on backing vocals, previous Bandcamp
single ‘magazine launch (demo)’, last year’s collaborative single
‘elevator girl’ featuring Ivy Sole and two unreleased tracks including
‘obsession’.
On ‘obsession’, Shura explains: “‘obsession’ was one of the songs I
wrote whilst I was writing ‘forevher’. I always wanted it to be a duet
between two women but it never came to fruition during the recording
process. Then, when I toured ‘forevher’ in Europe, Rosie Lowe came
with us and we’d always spoken about wanting to collaborate on
something together and I suddenly remembered this song, which I loved
but had somehow never finished. I sent the track across to Ro and when
she sent back her rough take I was like ‘YES. this is it.’”
With ‘forevher’, Shura’s immediately identifiable way with love, touch and
how we talk about it reached even greater creative heights. Having
moved from West London to New York following her adored 2016 debut,
,Nothing’s Real,, it’s all mirrored in a lyrical journey from rejection and
loss to desire, long-distance love and the prospect of how we make
something real actually work.
In 2020, Shura emerged as one of contemporary pop’s accidental
trailblazers. A frank, funny voice in the LGBTQ+ community whose
contribution to the paradigm-shift in the cultural landscape cannot be
underestimated.
Written primarily about Shura’s relationship with her girlfriend and their
long-distance conception, ‘forevher’ traces everything from the initial pull
of desire to that first real life meeting (‘the stage’), before recognising
when the connection develops into something scarily meaningful. It’s a
classic NYC-to-London love story but one told through the totally modern
filter of dating apps, unanswered texts, Skype chats and MUNA gigs.
And whilst how to live - and love - as a queer woman has always been
integral to Shura, it’s remarkable to hear these stories twisted through
such a gorgeous amalgam of influences: Joni Mitchell and Minnie
Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through
these inspirations, Shura’s own modern, outlier perspective found a
newer, more daring approach to sound and song.

Outside Ludlow / Desert Disco is the first major solo release from Australian performer-composer Sam Dunscombe, now based in Berlin after residing for the past decade in San Diego and Tokyo. A virtuoso clarinettist who has performed in composed and improvised settings with artists such as Klaus Lang and Taku Sugimoto, their practice also embraces computer music, lo-fi electronics and field recordings, in addition to their long-term commitment to archiving, studying and performing the work of Romanian spectralist composer Horatiu Radulescu.
The two side-long pieces presented on this LP began from a chance encounter in a specific geographic location (documented in the photographs that grace the record’s sleeve). Exploring California’s Mojave desert with a friend, Dunscombe made the unlikely discovery of a tangle of quarter-inch tape snared on a cactus. The digitised version of this tape, variously edited and processed, as well as Dunscombe’s own transcription and embellished performance of some of its material on Hammond organ, makes up one of the main ingredients of the LP’s first side. The other is a field recording of the area outside the ghost town of Ludlow, where the tape was found, where haunted silence is punctuated by freight trains and clusters of explosions from gold mines and the local marine corps. Far from any kind of documentary approach, the resulting composition reaches back to the smeared atmospherics and overdriven tape crunch of Hands To, Small Cruel Party or Joe Colley, before the Hammond organ rises up to cast a spectral shimmer reminiscent of 1960s tape music classics like Arne Nordheim’s ‘Warszawa’.

On ‘Desert Disco’ (its title perhaps a clue to the content of the mysterious tape), Dunscombe zeroes in on a single fragment of the tape, accompanying it with analogue synthesis to craft an immersive work based on a single chord. Throughout the course of this work, the monolithic opening sonority gradually splits apart, revealing an infinity of rhythmically phasing lines that swarm like a cloud of insects and patter like falling rain, placing Dunscombe’s piece in a lineage of patient electronic exploration that includes landmarks like Costin Miereanu’s Derives and the contemporary work of Jim O’Rourke.

Limited edition vinyl with images by Sam Dunscombe and design by Lasse Marhaug. Mastered by Joe Talia at Good Mixture, Berlin.

Returning with their first new music in 8 years, Stubborn Heart have announced their anticipated new album 'Made Of Static'. Luca Santucci and Ben Fitzgerald, who have spent the last few years developing the ten brooding electro-soul tracks that make up the successor to their lauded 2012 self-titled debut, have once again struck a fine balance between ominous synth-soundscapes and introspective songwriting. Balance is the key theme here. With Fitzgerald leading the production and manning the machines, the sound is rawer than on their previous album. Left-field pop with dark, icy edges, it finds a home somewhere in between r&b and cold wave. Santucci brings the heart and with it his aching, obsessive lyrics and a desire for something grittier in its presentation. The duo's talents complement each other perfectly throughout. Santucci has amassed an impressive list of writing and vocal credits in his time, with the likes of XL and Warp signee Leila Arab, Plaid, Riton and Soulwax amongst them. Fitzgerald has also been hard at work at his home studio programming various styles of music for artists and producers from around the world. As Stubborn Heart, they come armed with some serious experience and a wealth of influences. There's an honest simplicity in the way they create, with lyrics written in an immediate, direct fashion with the aim to catch a feeling rather than emulate one. On their first album Stubborn Heart garnered praise from the likes of Pitchfork, NME and the UK broadsheets. It was named album of 2012 at Gilles Peterson's Worldwide Awards and Rough Trade placed it in their top 20 best albums the same year. However, it's now that we're presented with an album they feel better represents their dynamic - an album born from the duos combined creative static - as such, 'Made Of Static' is the first fruit of their reunion, aiming to step on from where they left off, and with the promise of much more to follow.

Aparde's new album, Alliance sees the German musician retreat from his recent experimentations with avant-gard pop music back into the world of deep, and oftentimes dark, electronica. For his previous album, Hands Rest, Aparde ventured outside Berlin's club scene through the use of his voice, which gave his music a softer and more intimate edge. Alliance is no less intimate, except this time the musician's vulnerability seeps through the cracks rather than taking center stage. With Alliance, Aparde brings listeners deep into his soul, a soul that is at times conflicted and agitated and at times low-key and solemn. And as he does so, the listener's own mood is muted and lifted in a journey of quest, dance and healing.

If you mention the name of Metamorfosi in front of any fan of Italian progressive rock, you get a unique effect: awe, wonder, united to the memory of the masterpiece that firmly established them as fundamental exponents of the genre. We are obviously talking of "Inferno", published in January 1973 and inspired by the eponymous first poem of the Divine Comedy by Dante Alighieri.

But the musical maturity of "Inferno" had not come immediately, at least not in discographic terms, as it happened for example in the case of Alphataurus, Biglietto per l’Inferno and Campo di Marte, typical meteors of Italian prog that made their debut with a bang and then dissolved into thin air for decades. In fact, Metamorfosi debuted with a work that was indeed less complete, but not negligible.

“...e fu il sesto giorno” is born after two years of gestation, since the singer Jimmy Spitaleri joined the band I Frammenti in 1970. It is the period of maximum splendour for the music which at the time was called ‘avant-garde pop’ and that only later would be labeled as ‘progressive rock’, a music scene in which the Metamorfosi of the beginning just partially fit in as they were partly still anchored to old beat styles, and as they engaged in the exaltation of the Catholic faith at the textual level. The religious content of the album is substantially unequivocal from the cover, in which Jimmy Spitaleri is portrayed in a symbolic laying on of hands to the rest of the band, his disciples and fellow adventurers.

If it is true that the weakness of the Italian prog scene has always been found in the singing, Spitaleri is a notable exception, who does not show any shortcoming throughout the disc. In addition, some elements - the guitar solos, the interventions of flute and keyboards, a solid rhythmic base, a sometimes unpredictable song structure - anticipate what will come from there after a few months. "...e fu il sesto giorno" is, therefore, contrary to what is often said, a major premise, a flower waiting to bloom and show everyone its own beauty.

Folk-minimalists announce vinyl issue for breakthrough album, Animalia.

"The semi-classical drums/sax/piano trio Mammal Hands mutate into a high-volume rave act" The Guardian

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from adisparatearray of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own.

Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contribute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their recordsare entrancing and beautiful affairs,while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Over the course of three albums, Animalia, Floa and Shadow Work they have built a committed following and established themselves as one of the finest live bands in Europe. But while Floa and Shadow Work were both issued on vinyl this is the first time that Animalia has been committed to wax.

Produced by Matthew Halsall and recorded at 80 Hertz Studio, in Manchester, and engineered by George Atkins, Animalia features the band breakthrough hits Mansions of Million Years, a slow building tune that takes it's name from Egyptian mythology and draws the listener into the band's distinctive sound world. And the gorgeous hooky Kandaiki which makes stunning use of looped melodies in different time signatures, creating a wonderful interplay between the parts.

Other highlights include Snow Bough a short, melancholic, but moving, ambient composition, the Irish folk music inspired Spinning the Wheel, which also features drum beats inspired by chopped up electronic drum patterns and hip hop instrumentals. The jaunty Bustle and delightful Inuit Party and Street Sweeper. Finally the album closes with Tiny Crumb, which explores melodic ideas inspired by Alice Coltrane and Joe Henderson and builds in intensity from a quiet start to a powerful collective improvisation and heavily features Jesse's Tabla.

Aparde’s new album, Alliance sees the German
musician retreat from his recent experimentations
with avant-gard pop music back into the world of
deep, and oftentimes dark, electronica. For his
previous album, Hands Rest, Aparde ventured
outside Berlin’s club scene through the use of his
voice, which gave his music a softer and more
intimate edge. Alliance is no less intimate, except
this time the musician’s vulnerability seeps through
the cracks rather than taking center stage.
As impressive sonically as it is technically, Aparde
used a mixture of electronic sounds, analogue
equipment and his own voice either as a sound
element or lyrical component to explore this duality
of sound. “This album was about focusing on
something that calmed me down and brought me
away from reality,” says Aparde. When the musician
says ‘away from reality’, he doesn’t mean into
dreamy, ethereal soundscapes, but rather a deep
dive into dystopian atmospheres of drone sounds
and chewed-up drum machines. Alliance’s second
track, Allies has a dire beginning and one might
even be tempted in skipping it if it weren’t for
Aparde’s hushed voice shining through the
shadows, melancholic yes, but also warm. Despite
the album’s focus on electronic gear the music isn’t
exactly dance-able, tracks have a ruminative pace,brooding even, “I wanted to make the tracks with
more breathing space between the atmosphere
and silence. There are fewer elements but more
impact, I think,” says Aparde.
Things change gears toward the middle of
Alliance, with both Lined and The Shift representing
the colder, club-ier tracks of the album. For
both of these tunes, any emotionality gets
converted into a dense and thumping energy that
is released in a cathartic fashion. It is, as Aparde
describes, music “for you to move to when you
have a good moment or a mental crisis”. But
Aparde doesn’t leave it at that frequency; he closes
off the album courageously by letting listeners in,
once again, to his own world and emotions. While
still a driving electronic track, Hole is framed
around melancholic piano keys that bring the
mood down, and prepare listeners for Know you,
the album’s most intimate, and vulnerable piece. “I
never felt alright,” Aparde admits open-heartedly
on the track.
With Alliance, Aparde brings listeners deep into
his soul, a soul that is at times conflicted and
agitated and at times low-key and solemn. And as
he does so, the listener’s own mood is muted and
lifted in a journey of quest, dance and healing.

Classic funk / soul LP from 1977 repressed by Unidisc, Canada for 2021.

ARTS is glad to present the very first full length work from one of our most unique artists in the roster, after a few records on the label and an impressive impact on the scene, KRTM worked on a larger project that aimed to express freely something deeper, and most likely something that was inevitable and that needed to get out into the sun. Despite the format, this is little more than a usual LP, the entire body of work is larger, but essentially presented in a very personal way in each single part of the elements and written tracks, we are glad to give you "It Will Make The World A Better Place", there are not many words that are needed to describe what you are going into, we hope that this piece of art will sign your future as will sign ours.

Several years ago, the Disco Records DJ Crew members got their hands on a couple of original 70s obscurities, while these standout records shone brightly in their own right, the team finally decided to put them out as those obscure old records fetch eye-wateringly high prices on the second-hand market. Due to popular request & lovingly mastered to the highest possible standards, they are now available to play and share in very special moments at parties around the world. This will surely be one of the most keenly anticipated disco release of the year. For our first release, we are extremely proud to bring you at last, three very hard to find disco anthems on sides A & B in their glorious full extended versions

Every now and then a release comes along which is destined to unite, bring down the walls and basically, be a force for good. Your Kissing by Belcampo does just that, and with a style and panache which defies it’s lo-fi, handstamped limited white label aesthetic. The beauty of Your Kissing is in the way it successfully melds together elements of deep house, disco and the French Touch sound to form a track which will appeal to anyone who simply likes decent music. Belcampo keeps things stripped back just enough to give that beautiful, rolling, hypnotic atmosphere, whilst remaining lush, warm and uplifting, constantly teasing us with the repeated filtering guitar and string hook. Legendary British singer and songwriter Elisabeth Troy provides the cherry on top with her sweet vocal line giving us the hook which will get under your skin in all the right ways.

In addition to the main vocal mix we have a Belcampo Remix going heavier on the filters and pumping groove, calling to mind the glory days of Cassius, Motorbass and Super Discount with that distinctive feel-good French sound of the 90’s.

Closing out the EP we find Delisei which cranks up the jackometer for a peak time slice of looped-up heads down filter madness guaranteed to nice up the dance.

Having already explored the archives of a number of overlooked Greek composers, Into The Light is now turning its attention to the uncharted territory of Greek film soundtracks of the 70s and 80s - a boom period for mystical, transcendental arthouse cinema in Greece.

GOST: A Spiritual Exploration into Greek Soundtracks (1975-1989) is a passion project from the Greek filmmaker and composer Yannis Veslemes, that took years of engagement, exhaustive research and persistence. The collection features a mixture of rare, hard-to-find and previously unreleased material from musicians and composers including Yannis Kostidakis, Thesia, Dimitris Papadimitriou, Michalis Christodoulides, Stamatis Spanoudakis, Haris Xanthoudakis, Vangelis Katsoulis and Charlotte Van Gelder . All material is accompanied by detailed linear notes from the curator Veslemes, explaining the stories behind the tracks and the movies they first featured on.

The compilation celebrates the inventiveness and experimentation of Greek soundtrack composers in the ‘70s and ‘80s, by presenting a surprising mixture of musical hybrids that bridge the worlds of electronic and acoustic music, and compositions that bring together Western and Eastern musical traditions, in uniquely idiosyncratic ways.

Osaka-born and New York-based pianist Erika Dohi is a multi-faceted
artist with an eclectic musical background. From highly polished
raditional classical to bold improvisation, she is a dynamic performer
whose timeless style and unidiomatic technique sets her apart in
contemporary NYC avant-garde circles.
Dohi’s vast repertory is impressive but what makes her truly such a
barrier-defying artist is what lies ahead. ‘I, Castorpollux’, Dohi’s debut
solo album, is a profound personal excavation set to a gripping
andscape of wild, genre-fluid composition, a virtuosic but emotionally
generous convergence of the technical and the spiritual. With
understated piano and keyboards at its centre, ‘I, Castorpollux’ is
equal parts hazy nostalgia, science-fiction soundtrack and
electroacoustic experimentation.
The project features contributions from Channy Leaneagh (Polica),
Andy Akiho and Immanuel Wilkins, among others, and is produced by
William Brittelle.
The central theme to the album is the ‘split-self’ and variable
perceptions of time that Dohi has faced at formative moments in her
ife. She experienced the 1995 Kobe earthquake at age 7. Hiding
under a table during the worst of it, she later emerged to find the
world around her crumbled. In her immediate vicinity, a fixture of her
childhood remained standing. The Tower of the Sun, a type of three
aced time machine itself from Expo 70, designed by artist Taro
Okamoto, is a trail-marker on Erika’s journey, a stand-in sigil to
unlock the mysterious sounds of her work, with 70s synths and retro
sci-fi aesthetics permeating the album’s narratives.
Much of the album was written while living in Texas where the split
between her Asian self and the idea of being an American
necessitated a near mountain of self-discovery to reconcile how she
elt and who she was within the social backdrop of a strongly
conservative environment. It is no wonder that the character of the
Dioscuri, Castor and Pollux from Greek and Roman mythology
esonate so deeply with her, or Haruki Murakami’s Two Moons and
heir strange light.
From her contributions to various projects and her participation in the
Artist in Residency collaborations, Erika has become a staple of the
37d03d community.

The Place Beyond the Pines is Derek Cianfrance 2012 crime drama film. The critically acclaimed film reunites Cianfance and Ryan Gosling, whom had previously collaborated on 2010’s Blue Valentine. It also stars Bradley Cooper, Eva Mendes, Rose Byrne and Ray Liotta.
The daring movie is a sweeping emotional drama powerfully exploring the unbreakable bond between fathers and sons. It tells the story of a motorcycle stunt rider (Gosling), who considers committing a crime in order to provide for his newborn child, an act that puts him on a collision course with a cop-turned-politician (Cooper).

Mike Patton, American singer-songwriter and multi-instrumentalist best known as the lead singer of the alternative metal/experimental rock bands Faith No More and Mr. Bungle, delivers a sweeping and brooding score. Like a red thread, his music guides the audience through this multi-generational story often linking characters and locations.

“Some of the most extraordinary songs I’ve heard in years.” Brian Eno

Les Disques du Crepuscule presents The Salt Garden (Landscaped), an album of extended pieces by acclaimed quiet music ensemble Fovea Hex, featuring longform remixes by British songwriter and producer Steven Wilson and Serbian soundscape artist Abul Mogard, as well as a previously unreleased mix by Peter Chilvers.

Formed in 2005 by Irish musician Clodagh Simonds, Fovea Hex have since released 3 albums (Neither Speak Nor Remain Silent, Here Is Where We Used to Sing and The Salt Garden), drawing favourable comparisons with Nico, This Mortal Coil, Ligeti and even Schubert.

The Salt Garden (Landscaped) is pressed on crystal clear vinyl, and comes packaged with a CD version featuring 4 tracks in total. The outer sleeve is printed in white reverse board and features an image taken by Crepuscule designer Joel Van Audenhaege during a recent trip to Greenland. The inner bag offers detailed liner notes as well as an interview with Clodagh.

As well as Steven Wilson and Abul Mogard, other high-profile admirers include film director David Lynch, who invited the group to play at his Cartier Foundation exhibition in Paris in 2007, and Brian Eno, who has described Clodagh’s work as “some of the most extraordinary songs I’ve heard in years.”

The Salt Garden (Landscaped) gathers together 3 long ambient remixes of tracks from the Salt Garden EP trilogy, originally released between 2016 and 2019. The core album is pressed on crystal clear vinyl and showcases ‘Solace’ and ‘Is Lanza Light & Given’, both re-worked by musical polymath Steven Wilson. “I’ve long been a fan of Fovea Hex,” explains Steven, “which for me is some of the most sublimely beautiful music ever recorded. It’s a mix of electronic and acoustic sounds played on instruments ranging from state-of-the-art to ancient and arcane.”

As well as the two tracks reworked by Steven, the bonus CD enclosed with the vinyl album also finds room for ‘We Dream All the Dark Away’, the widely-acclaimed re-interpretation by Abul Mogard of ‘All Those Signs’ from the Salt Garden II EP. By turns haunting and sinister, but always beautiful, the piece features vocals by both Clodagh and Brian Eno, as well as cello by Kate Ellis, and modular synth and effects by mysterious soundscaper Mogard.

An additional special bonus track on the CD is an unreleased remix of lesser -known 2015 digital single ‘By the Glacial Lake’ made by musician Peter Chilvers, best known for his collaborations with Brian Eno, Karl Hyde, Chris Martin and Tim Bowness.

“I feel truly honoured!” says Clodagh Simons, who began her career in cult folk-psyche band Mellow Candle, and since then has guested on albums by Mike Oldfield, Thin Lizzy, Russell Mills, Matmos, Current 93 and Steven Wilson. “It’s been fascinating to witness how these pieces have been so imaginatively and skilfully revisioned in the hands of Steven, Abul and Peter. Each piece has emerged into a completely fresh new light, with a different vibrancy, yet remains grounded in what was there before.”

Limited edition to 500 copies vinyl + 16 pages comic.

Record Kicks presents the reissue of the rare and in-demand Calibro 35 EP Dalla Bovisa a Brooklyn on vinyl. The EP includes an original Calibro 35's comic and is limited to 500 copies, which makes it an instant collector's item.

Originally recorded in 2012 in Brooklyn during the sessions for their third studio album Any Resemblance, Dalla Bovisa a Brooklyn (literally 'from Milan's district Bovisa to Brooklyn') came out in that same year as a limited edition 10". The EP contained an original comic by Italian gurus Gianfranco Enrietto and Marco Philopat that tells, between reality and fiction, the experience of Calibro 35 in the Big Apple. Rapidly gone out of stock, the original copies are rare to find and change hands for big money amongst record collectors and Calibro fans. Following the re-release of the first 3 Calibro 35 studio albums, now also Dalla Bovisa A Brooklyn sees the light again on the superior 12" format that includes a restored colored version of the original 16 pages comic. From the opening "Broccolino funk" to the last track, the 6 minutes of the afro-funk winner "Bushwick, Nigeria", on the six tracks on the EP the band sounds as groovy as ever, serving another funk-filled journey, full of fuzz guitars, distorted organs and brooding bass lines.

Active since 2008, Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their thirteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionadosin every corner of the planet.

Womack updates his material for the 80s, creating grown-up sensual soul.

The passion for earthy R&B seemed to have dimmed as the 80s began.

Synthesised confections abounded and veteran Bobby Womack, the Midnight Mover, was at a crossroads. His peers were either in the wilderness (Marvin Gaye, James Brown and Isaac Hayes) or otherwise indisposed (Sam Cooke, Jackie Wilson, Sly Stone), so it was left to Womack to fly the flag for down-to-earth, quality soul.

Womack had been a recording artist for best part of two decades when he made The Poet. After making his name with The Valentinos in the 60s, he cut a string of heartfelt, emotional albums for Minit, United Artists and Columbia throughout the 70s. The Poet was written with great optimism; Womack was out of contract and was approached by agent Otis Smith to set up on his new label, Beverly Glen.

Working with Patrick Moten, Womack crafted eight songs that sounded breathlessly contemporary. If this material had been put in the hands of a soul crooner, it could have sounded perfunctory. The Poet works because of the juxtaposition of Womack’s feral growl with the album’s sweet, smooth, urbane soundtrack. This is grown-up, sensual music; from So Many Sides of You to its epic closer Where Do We Go From Here, this is a luscious collision of Womack’s soul mastery and slick musicianship. It rises and falls, with Womack sidestepping cliché thanks to his preaching, heartfelt delivery. For example, when he cries “I wanna dedicate this song to all the lovers tonight / And I expect that might be the whole world,” on If You Think You’re Lonely, it sounds honest, simple and sincere.

The Poet put Womack back on the map, and gave him his first US R&B chart-topper and first mainstream top 30 album. It was adored in the UK, and sent many back to investigate his grittier 70s heyday as an albums artist. The album became the best-selling record of Womack’s career

Womack cut the equally sublime follow-up The Poet II, released in 1984.

Daryl Easlea – BBC

Ryley Walker currently resides in New York City. But his latest LP is a Chicago record in spirit. The masterful Course In Fable, the songwriter’s fi@h solo effort,
draws from the deep well of that city’s ferCle 1990s scene, when bands like Tortoise, The Sea and Cake and Gastr del Sol were reshaping the underground,
mixing and matching indie rock, jazz, prog and beyond.
Walker spent his formaCve years in Chicago, absorbing those heady sounds and finding ways to make them his own. Even though he emerged at first in folkrock
troubadour mode, it makes sense that he’s arrived at this point; each LP has grown more intricate and assured, his influences disClling into something
original and unusual. To put it simply: Course In Fable is Walker’s best record yet, full of acCve imaginaCon and endless possibiliCes.
Last October, Ryley went straight to one of the primary architects of the Chicago sound to make the LP. John McEn:re, Course In Fable’s producer/engineer/
mixer, can rightly be called a legend for his work with Tortoise, Stereolab, The Red Krayola, Jim O’Rourke and countless others over a prolific career that now
spans more than three decades. Seeing his name in an album’s liners is preVy much a trademark of quality.
Another Windy City exile, McEnCre is based on the west coast these days, working out of the Portland, OR studio he’s dubbed Soma West. On the seven songs
here, he delivers the signature shimmering and prisCne sonics he’s become known for over the years. But McEnCre was also inCmately involved with Course
In Fable’s overall creaCve process. “I told him to take the mixes and have at it,” Walker says.
The result is a rich, immersive affair — a headphones record if ever there was one. Course In Fable’s songs are twisty, labyrinthine things, stuffed full of ideas
(Walker half-jokingly calls it his “prog record”). But no maVer how complex it gets, the album is never overwhelmingly busy. Wiry guitars melt into gorgeous
string secCons (arranged by Douglas Jenkins of the Portland Cello Project). Tricky Cme signatures abound but feel as natural as can be. Melodies o@en dri@ in
unexpected direcCons but remain downright hummable. Like Walker’s beloved Genesis, the pop element is never too far from the surface even when shit
gets weird. (And speaking of weird, Ryley says that in addiCon to Genesis, much of the album’s inspiraCon comes from “Australian extreme scooter riders on
YouTube and balding gear heads on Craigslist.” Go figure.)
To help put together these various puzzle pieces, Ryley assembled a band made up of several longCme collaborators. Bill MacKay (another Chicago mainstay)
and Walker have made two excellent instrumental duo records of interlocking guitars and warm give-and-take — a rapport very much in evidence
throughout Course In Fable. The freakishly talented drummer Ryan Jewell has performed with Walker for years now in a variety of seangs, from
straighborward song-centric sets to blown-out improv extravaganzas. Bassist Andrew ScoJ Young (Tiger Hatchery, Health&Beauty) has logged many miles on
tour with Walker; he and Jewell are frequently astonishing, a buoyant-but-always-locked-in rhythm secCon, able to navigate someCmes dizzying turnarounds
with apparent ease. Listening to the interplay between Walker and these musicians and you might be fooled into thinking they’d spent a year roadtesCng
Course In Fable’s songs. But it all came together relaCvely fast, thanks to demos, rehearsals and the kind of musical empathy that comes from years of
playing together.
Beneath the wondrous interplay, you’ll find some of Walker’s most personal – if sCll typically crypCc — lyrics, hinCng at some of the trials the songwriter has
been dealing with in recent years. Balanced with necessary doses of dark humor and oddball poetry, Course In Fable feels most of all like a life-affirming
record, fresh air in the lungs, sun on your skin. “Fuck me, I’m alive,” Ryley sings at one point, a moment of both disbelief and pure joy.
Walker has released his albums on a who’s-who of independent labels over the past decade — Tompkins Square, Dead Oceans, Thrill Jockey and Drag City
among them. This Cme around, he’s doing it DIY-style, puang Course In Fable out on his own Husky Pants imprint. You’re in good hands. This is an album that
sounds great (mastered by Greg Calbi), looks great (artwork by Jenny Nelson and design by Michael Vallera). It probably even smells great. Whether you’ve
been onboard since the beginning or are new to the Ryley Walker universe, you’re in for a treat.

Music For Dreams proudly presents a limited Edition 7” from LIPS LIPS LIPS A 2 track release of tracks from his forthcoming album ‘Life Is Pretty Surreal’ (Co-Produced by Peaking Lights’ Aaron Coyles)

Behind LIPS LIPS LIPS is Danish musician, electronic producer and songwriter Søren Løkke Juul (previously Indians and Søren Juul, both on 4AD).

The A Side, In All Eternity, was written in 2015 on piano. It’s a love songthat seems arrested in a state of estranged wonder or bittersweet bliss. Piano stabs rise in a towering, stadium-leaning riff while the metronomic beat float beneath and strings swirl in supporting arcs.

Side B ‘Lifetime Girl’ is a more electronic indie dream pop love song reminiscent of early Air meets Beck in a Nordic forest.

With the debut album, LIPS LIPS LIPS launches an ambitious project of lush and melodic electronic structures layered around hypnotic vocals. The music is yearning and melancholic yet warm and hopeful. Rarefied yet expansive. Cerebral yet wired with pop charm.

Anessential difference from Juul’s previous work here has been the sense of easeand spontaneity with which the creative processes have flowed. According to Juul, this new sort of feet-on-the-ground freedom has helped develop a more physical side to his music.

While he hasn’t totally jettisoned the ethereal or spiritual qualities of earlier days, LIPS LIPS LIPS represents a much more pronounced rhythmic vision, materialized at the hands of Aaron Coyes (Peaking Lights), whose well- accomplished dub-engineering is layered deep into the texture of the album.

All recording on the album was carried out during a week-long refuge in co-producer Frederik Nordsø’s cabin in Sweden. The team included Juul, Nordsø, Coyes and label head and co-producer Kenneth Bager.