Cerca:on air

For RE:WARM 006 we present a collection of music from one of San Francisco’s best kept secrets, Dr Robert Blackman. “The Unimaginable DreamWorks” is a collection of five tracks from three musical masterpieces he put out between 1983-1985 on his own ‘Riverwinds’ imprint. A practising chiropractor by day with his own holistic health centre in San Francisco, these songs became his love, passion and focus. Together with Michael Pluznick, a very accomplished percussionist they painstakingly put together an ensemble of musicians to bring the tracks to life. The melting pot for this body of work was Hyde Street Studios which still today is based in deepest San Francisco and has seen names such as Neil Young, Earth Wind & Fire and John Waters to name a few grace its studio space. Singers and musicians alike came together from all over the world to bring Robert’s vision to reality. This included an Australian didgeridoo player, an electric violin and piano player from Paraguay as well as singers and a choir from the surrounding local churches. Together through Dr Robert Blackman’s eyes they created a fabulous sound of twisted disco punk funk like no other that still sounds relevant today as it did back in the eighties. The energy and the stories are clear to hear throughout the five tracks which make up “The Unimaginable DreamWorks” of Dr. Robert Blackman 1983-1985. Artwork was key to the releases and the “Peace Is Alive” painting incorporated on the label of the release appeared in TIME magazine in 1984 when Dr Robert Blackman was treating combat vets, suffering from PTSD and this was the name of the job fair for veterans he set up. To promote the album at the time Dr Robert Blackman flew up over San Francisco in a single engine prop airplane loaded with 50,000 leaflets

For Indie Stores Only. Joan Shelley’s out of print 2014 album is repackaged here in a deluxe tip-on jacket and pressed on purple vinyl. Limited to 2,000 copies worldwide. Electric Ursa was recorded out of the spotlight in Louisville, Kentucky. A quiet, 8 song record which owes much to the post-rock history of its hometown on songs like “Something Small” and “Rising Air”, while “River Low” and “Electric Ursa” hint at the brilliant Over and Even waiting just around the corner. Electric Ursa brought Shelley to the national stage. Rolling Stone noted that the songs project “a huge, resplendently pained serenity” while Pitchfork declared that while the album “isn’t her debut, it is her absolute arrival.”

Paper Birch is a collaborative experimental noise rock duo formed by Fergus Lawrie (Urusei Yatsura) and Dee Sada (NEUMES / An Experiment On A Bird In The Air Pump) in May 2020. United by mutual feelings of despair, fragility and hope, they passed ideas and sounds between London and Glasgow whilst the UK was in lockdown. The resulting 9-track debut LP morninghairwater is set to be released on vinyl, CD and digital. A melting pot of genres, morninghairwater twists and turns through moments of 60’s inspired
indie-pop, fuzzed out angular shoegaze and glitchy electronic soundscapes with astonishing ease. This album draws not only on the influence of both Lawrie and Sada’s individual back catalogues but which at times echoes with everything from Heavenly to Joy Division. The album also marks the beginnings of a collaborative relationship with renowned visual artist, Thomas James who has created thrilling films for Ghostpoet, Paloma Faith and most recently, The English National Ballet. Whilst morninghairwater may be a product of the universally challenging time in which it was recorded, the duo has already started work on their second album and Paper Birch looks set to be an enduring fixture of the UK experimental scene. Press and radio coverage for Paper Birch “an intoxicating squall of noise pop” - God Is In The TV “Sada’s signature softly cooed atmospheric translucent vocals prove a congruous fit with Lawrie’s
deeper, more grunge-y despondency; sounding at times like Psycho Candy-era Jesus And Mary Chain in harmonious matrimony with Mazzy Star, or, the Pop Group hooks up with MBV” - Monolith Cocktail “mixing in disparate elements from classic 60s pop to glitchy electronica to transportative effect” – Joyzine “with a strong baseline and a sea of roaring guitar, a bit like The Pastels vs My Bloody Valentine (nothing wrong with that!)” - Is This Music “The texture is suggestive, the atmosphere hypnotic and the climate oppressive” - Sun Burns Out “A true jewel of modern and underground psychedelic pop” - Acute Pop

Nice Swan Records announce the release of
compilation LP ‘Nice Swan Introduces Vol.1’.
Introducing a wave of new and exciting talent
including the likes of Jelly Cleaver, Courting,
Sprints, Hallan, Malady, Mandrake Handshake and
Anorak Patch.
The upcoming compilation solidifies Nice Swan’s
growing status as one of the UK’s most reputable
indie labels, with further signings and releases set
to be announced in the coming weeks.
Launched in 2016 by North West duo Pete
Heywoode and Alex Edwards, Nice Swan’s initial
aim to become a platform for discovering and
nurturing new talent soon attracted widespread
recognition, with the subsequent success of
signees such as Sports Team, Pip Blom, FUR and
Hotel Lux building momentum at an impressive
rate.
Instilled with a passion to push emerging artists on
a monthly basis, ‘Vol.1’ marks the next stage of the
cult indie label’s development. With several acts
already becoming mainstays on the BBC Radio 1 /
6 Music airwaves and gaining extensive
tastemaker approval, the compilation could not be
arriving at a better time.

Since its inception in 2019, Beartrax’s Melodize imprint has consistently pushed deep, musical house and techno with contributions from John Tejada, Fort Romeau, Carl Finlow, and many more standing alongside Beartrax’s original productions throughout the label’s back catalogue.

Leading the sixth release, ‘Phantom Night’ sees haunted atmospherics nestled amongst ethereal synth licks, before a cinematic violin takes centre stage. Johannes Albert’s remix peppers elements of the original with slick acid lines and punchy drums, re-imagining the dramatic violin for a fresh and highly entertaining take.

On the flip, the uplifting ‘Valor’ runs through a series of modulating basslines, glistening pads, and sizzling drums, topped off with a majestic cello performance throughout.

Rounding out the release, Lauer adds rubbery low end, floating keys, and hands-in-the air piano stabs to ‘Valor’ for a high-energy end to another stellar EP from Melodize.

The second compilation EP to commemorate the 20th anniversary of the establishment of Sound Of Speed!

A-1, by UK Kieron Ifill K15 (WILD OATS, EGLO, APRON) with an impressive sophisticated electric jazzy track that symbolizes the label.

The debut work "Wait" from DISTANT HAWAII is a cult hit, and also from RHYTHM SECTION INTERNATIONAL and MOODS & GROOVES.

A-2 by HIDDEN SPHERES from Manchester, who has release experience and has an impressive unique rhythm composition and airy synth usage.

The Japanese twin duo SATOSHI & MAKOTO, whose two albums released from YOUNG MARCO's label attracted a lot of attention.

Sapporo's KUNIYUKI participated in the music of his brother SATOSHI as percussion, a 90's synth riff reminiscent of the dawn of Detroit techno.

KUNIYUKI from Sapporo, who has live experience on the world stage, participated in the percussion with an ambient feeling that delicate keyboard

work is folded in multiple layers.B-1, which weaves a groove in a quiet humor, a masterpiece electric jazz world that draws you in from the beginning

of the song and gets caught up in the world view in a blink of an eye

Includes 4 songs including KUNIYUKI TAKAHASHI's new song B-2, which has been developed and acclaimed by DJ Sprinkles. KUNIYUKI is in charge of mastering.

Limited edition LP - 180g virgin vinyl - deluxe gatefold sleeve
original artwork.
Produced by Creed Taylor, engineered by Rudy van Gelder, arrangements
by Eumir Deodato and featuring among others: Joe Farrell, Hubert Laws,
Ron Carter, Hermeto Pascoal, Airto Moreira, and Joao Palma.
Reissue of the 6th studio album by Brazilian jazz legend Antonio Carlos Jobim.
Released in 1970 on A&M Records, this instrumental Bossa Jazz masterpiece
was produced by Creed Taylor and engineered by Rudy Van Gelder. It features
the arrangements of Eumir Deodato (who also conducted the band) and includes a plethora of sidemen from the U.S. jazz scene, such as Joe Farrell, Hubert Laws and Ron Carter, as well as Brazilian stars like Hermeto Pascoal, Airto
Moreira and Joao Palma.

Hospital Records are extremely proud to present ‘Smile & Wave’, the
second studio album from drum & bass’ friendliest MC, Inja.
With the biggest smile on his face, the lyricist, vocalist, poet, artist and storyteller delivers
16 tracks, seamlessly weaved together through Inja’s infectiously feel-good flow and sincere
wordsmithery. The entire album was produced by Whiney, further cementing their relationship as one of the most untestable dance music pairings. Also featuring Charlotte Haining,
Eva Lazarus, DRS, Fox, Cleveland Watkiss, Singing Fats, and DJ Marky.
Album title track ‘Smile & Wave’ is the musical embodiment of Inja’s playful demeanour.
Known for being the world’s smiliest artist, Inja wrote and recorded this feel-good bouncer
alongside his daughter who is “pretty much the first person to hear anything” he’s up to
musically. Expect a rude bassline and infectious wordplay.
Teaming up with superstar singer-songwriter Charlotte Haining, ‘Reach Out’ sees two of the
most distinct voices in dance music come together over a bittersweet wobbler written about
times when you feel “so out of place, out of reach” in the words of Inja. Having worked
alongside an impressive array of electronic artists including Hybrid Minds, Sub Focus, My Nu
Leng and Friction, Charlotte’s delicately powerful hooks are the perfect counterpart to Inja’s
heartfelt flows.
Luscious pads and dubbed out pianos and guitars set the scene on ‘Baby Angel’ featuring the
worldwide wave-maker Eva Lazarus who returns to Hospital Records for the first time since
featuring on Etherwood’s ‘Light My Way Home’ back in 2015. Having worked alongside staple
figures including Mungo’s Hi-Fi, Zed Bias and Gentlemen’s Dub Club, Eva infuses her reggae,
hip-hop and jungle flavours alongside Inja’s humbling storytellings.
Inja’s “personal favourite to perform live as it smashes every and any system”, ‘Explode’, is a
140BPM anthem featuring flows that will ignite any room and a killer instrumental that will
have you bobbing no questions asked. Proving himself to be a versatile and skillful microphone controller, Inja’s ability to shell down any tempo is ever more apparent on this upfront
banger.
Three legendary MCs unite on ‘Hands, Lights, Flames, Phones’ where Inja joins forces with
two of Manchester’s very finest - DRS and Fox. Sharp lyricism is rife as the triple threat of
three titan wordsmiths link up, seeing energetic bars bouncing off each other over a cold-cut
drum & bass roller. This is a combination not to be tested.
Inja has established himself as a pinnacle figure within the realms of drum & bass. Loved for
his ability to express his thoughts into honest, relatable lyrics in ‘She Just Wanna Dance’, a
spoken word piece for Amnesty International that was a viral online hit in 2017, and more
recently switching it up to ‘We Just Wanna Dance’ during the UK lockdown, expressing his
desire to be reconnected with ravers again. Then picked up by BBC News and Sky News.
On top of being the MC of choice for drum & bass powerhouse group Kings Of The Rollers,
Inja is no stranger to tearing things up on the airwaves with support from the likes of DJ
Target, Rene LaVice and Danny Byrd on BBC Radio 1 over the years. Since his debut ‘Blank
Pages’ album on Hospital Records in 2018, Inja has flourished as a multi-talented MC, vocalist, singer and songwriter with a series of singles including the Beatport Drum & Bass charttopper ‘Game Face (Stay Alert)’ alongside Whiney, as well as the infamous ‘Lumberjackin’’ on
Serum’s Souped Up.
"To all the supporters that enjoy anything I’m a part of, I would never have had the opportunities to see as much of the world as I have without you. My gratitude has no bounds and I’d
love to share a smile with you all one day.” - Inja

While most fans know that Che Noir, Ransom, and Klass Murda all fall under the TCF Music Group umbrella, many were unaware of Street Justice’s long-standing affiliation with the label until he appeared on two cuts on 38 Spesh x Big Ghost Ltd’s album A Bullet For Every Heathen. His standout contributions to that lauded project made a strong impression on listeners, which led to high anticipation for his solo debut, Community Service. So, with Spesh providing guaranteed fire on the production side of things, Street was free to focus on giving heads the kind of introspective, gritty poetry the game needs right now. Guests spots from Eto, Planet Asia, Che, and Spesh himself all help insure Street’s initial offering is a must-hear.

On the heels of Spesh’s Interstate 38 album, Benny’s The Plugs I Met 2, and their joint drop of Trust The Sopranos, 38 Spesh is giving fans what they’ve been demanding, a new single with his day-one Benny The Butcher, Stash Box. Spesh handles production duties here and utilizes a sped-up vocal sample that gives the track an early 2000s vibe that is reminiscent of classic joints by Kanye and Dipset. Both emcees wax nostalgic about their come-ups and assert that they're still in the streets to this day. On the B-side of this 12" single is a non-album exclusive titled “Better Music”. This cut is only available on vinyl and cannot be found on digital or streaming sites. Benny and Spesh continue their historic run with this limited 12”. Upstate NY continues to impress.

Che Noir has been gaining momentum with each new release. Critics have hailed her as one of the best emcees of the new generation. However, her latest drop "After 12" announces her arrival as a producer. She provides the beats for all seven tracks, proving she's just as nice on the boards as she is on the mic. With the help of 38 Spesh, Ransom, RJ Payne, Sa-Roc, The Musalini, Jynx716, and Amber Simone, Che delivers a project that conveys what life is like after midnight on the block.

Some years ago I happened to see Paul Thorn performing on an outdoor stage at a street festival in the heart of a small Mississippi town. Suddenly, in mid song, Thorn stopped playing and looked down at the upturned, sugar-splattered face of a fan on the front row. “I sure would like me a funnel cake,” Thorn announced. The crowd exploded with laughter. By the end of the next song, someone in the audience had responded, and soon Thorn was happily munching on the doughy confection. And that, dear people, is one more shining example of how Paul Thorn is able to breathe in the air around him, everyday and commonplace, and exhale something original and often side-splitting funny. It’s a kind of genius, and it’s there plain to see, in his music, his art and through his performances, which not only showcase his chops as a singer-songwriter, but as a pitch-perfect improv comic. His audiences love it. And they come back for more because no two Paul Thorn performances are alike. For further confirmation of this, check out Thorn’s YouTube videos, though I warn you. You will find yourself a long time in this rabbit hole. We live in a world where the terms “artist” and “genius” have been rendered meaningless through overuse. To use either in describing Thorn, though, is not overreach. Pick up any of his dozen or so CDs. The evidence is plain to see. Just listen.

Most fans of hardcore Hip-Hop know and love Benny The Butcher and 38 Spesh's 2018 joint album Stabbed & Shot, yet many aren't aware that before that there was Cocaine Cowboys. The duo dropped this potent joint mixtape back in 2008. They split the project into two parts and added a couple hard-to-find bonus cuts for the vinyl release. Plus, new alternate art by the one and only Manuel "Cep" Concepcion only available on this second edition re-release. Cocaine Cowboys 1 features some early production from Spesh himself, Rick Hyde, and Beat Butcha, as well as some of Benny and Spesh's rarest freestyles. This is a must-have for TCF Music Group, Griselda Records, and BSF Records collectors.

Most fans of hardcore Hip-Hop know and love Benny The Butcher and 38 Spesh's 2018 joint album Stabbed & Shot, yet many aren't aware that before that there was Cocaine Cowboys. The duo dropped this potent joint mixtape back in 2008. They split the project into two parts and added a couple hard-to-find bonus cuts for the vinyl release. Plus, new alternate art by the one and only Manuel "Cep" Concepcion only available on this second edition re-release. Cocaine Cowboys 2 features a number of weight moving anthems like "Cocaine Wishes," "American Dopeboy, and Spesh and Benny's earliest collab with Conway The Machine, "Trapping." This is a must-have for TCF Music Group, Griselda Records, and BSF Records collectors.

Having produced full albums for numerous buzzing names in the last couple of years, 38 Spesh has become recognized as one of the most prolific beatmakers in the new era of hardcore Hip-Hop. So, to mark this achievement, he has decided to start giving fans the instrumentals to their favorite songs with a new series titled Speshal Blends. The first volume of the series includes beats off of Che Noir's Thrill of the Hunt II, Flee Lord x 38 Spesh's Loyalty + Trust, 38 Spesh's 5 Shots EP, and more. The title of the series is a homage to MF DOOM’s classic instrumental collection, Special Blends. The album art also references DOOM’s series, but instead of playing on the Zig-Zag motif, the Speshal Blends covers riff off the logos of popular cigar brands most commonly used for blunts

First ever vinyl reissue of rare private pressed Florida Funk/Soul from 1980. Featuring founding members of 'The Winstons' (the 'Amen Break', most sampled track in electronic/hip hop music). 180g Black Vinyl Edition limited to 500 copies, comes with obi strip and insert featuring unseen pics & liner notes. Streetlife was a short-lived soul-funk band from the Tampa Bay area and released just one album in 1980. The group was composed out of several dynamic musicians (ranging from street players to college professors) but at that time nobody knew (yet) that their Nite Songs LP would become such a much sought-after private pressed holy grail within the record collecting community! Streetlife was founded in 1979 by Sonny Pekerol and Phil Tolotta who were both members of the top-selling 1960s Washington DC Grammy Award-winning hit band 'The Winstons'. Their track Amen, Brother is the most widely sampled instrumental in the history of the electronic music & hip hop genres_it would become known as the Amen Break. When `The Wintstons' story came to an end, Sonny Pekerol (founding member and originally playing the bass - then successfully evolving into the manager and promoter) and pianist/vocalist extraordinaire Phil Tolotta would continue their musical friendship/collaboration under the name `Streetlife'. Their high-energy sound got the attention of local crowds in no time_so the decision to record and cut a vinyl album came as a natural thing. Nite Songs (produced by Sonny & Phil, who also wrote the bulk of the songs) saw the light in 1980 and quickly gained attention and airplay (receiving radio & television coverage nation-wide). Described as the hottest band from the state of Florida, `Streetlife' had the magnetism to captivate you, be it on concerts, nightclubs or on vinyl. Other members included: Octavia (responsible for the amazing lead & backing vocals on the album), Mark Halisky (on keyboards & the writer of two songs on Nite Songs), Ray Butler (on drums), Mike Milhoan (on trumpet), Bryan Mann (on the guitar) and Stephen Nathan (playing the trombone, flugelhorn & doing the arrangements). Charles Davis also played bass in the band for a while (he and bandmate-drummer Ray Butler were members of the `Washington Jamb Band' back in 1977). Mike Flore (Sax) and Ramon Lopez (from the well-known `Stan Kenton Orchestra') would also join them on the Nite Songs recordings. Collectively `Streetlife' had more than 75 years of experience_and these extraordinary talents (with almost as many varying backgrounds) are meticulously coming together on the album we are presenting you today. The entire album is filled with sexy (yet strong) unique vocals that make the listener experience a lot of emotions, aggressive `slap & thumb' bass lines & small yet groovy horn sections _one can clearly hear the influences of artists like Otis Redding, Curtis Mayfield, as well as several Motown, acts like Marvin Gaye softly slipping in. If you like your songs either slow, sexy and groovy or prefer them fast-paced and more experimental & cosmic_look no further, Nite Songs has it all. This is THE perfect combination of slick soul, blasting Hammond B-3 organ funk, smooth jazz and melancholic R&B piano works. This album just begs for a prominent space in record collections fans and crate diggers worldwide!

Unveiled Nuance is the newly founded imprint by Manchester’s Means&3rd, a platform solely for his own productions. The Eastern Bloc Records staff member inaugurates his debut vinyl release with 3
tracks covering a balance between hypnotic and driving techno, in keeping with his adopted style of recent years.

‘Thought contortion’ opens the EP with a thunderous low end, propulsive rhythms and immersive sweeps of sound design, teamed with modulated synth patterns that assist the unfolding of its persistent structure. ‘Fragility of perception’ follows with its elastic 3 step synth groove and reverb rich textures which provide the bed while the percussion provides an airy dynamic. ‘Aural Dissociative’ closes the EP with an all together headier affair, a dynamic drone providing the backdrop while flickers of rhythm supplement its evolution and heavily modulated lead lines take the focus.

Pressed on 140g Black Vinyl, reverse board full colour print sleeve with poly-lined inner sleeve

THE BEST OF SURF MUSIC IN AN EXCLUSIVE 3 VINYL COLLECTION ! BETWEEN CLASSICS AND RARITIES, BE CARRIED AWAY BY THE WAVE OF SURF ROCK !

The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil’s all-time funkiest low-end licks), a horn section including Valle’s go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you’d expect from the Brazilian titan, and it’s fresher than a fruity caipirinha in the Copacabana sunshine.

Updating Marcos Valle’s seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output. ‘Estrelar’ (1983), for example, an ode to the joy of exercise, has become one of the biggest Brazilian disco hits of all time. But lyrically the new album is more closely reminiscent of Valle’s progressive early seventies’ releases. Heralding love, tolerance and living in the present, while satirising political corruption, the new release recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985.
The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit ‘Olha Quem ta Chegando’ and the infinitely classy ‘Vou Amanhã Saber’, to the nine-minute synth heavy instrumental funk stepper ‘Odisséia’, which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss, by London based producer Daniel Maunick (son of Incognito frontman Bluey). More moments of boogie delight come in the form of ‘Minha Roma’ (a musical nod to the famed ‘Estrelar’), and the sunshine anthem title-track ‘Sempre’.

Translating as ‘Ever’, Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle’s astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the sixties, writing the world famous bossa standard ‘Summer Samba (So Nice)’ for his sophomore album ‘Samba 68’. After a brief stint in the States, Valle returned to Brazil, and the early ’70s saw the release of four ground-breaking Valle albums which incorporated progressive rock, psychedelic influences, pop, jazz, soul and cinematic arrangements. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento’s backing band Som Imaginaro, the prog-rock band O Terco and jazz funk legends Azymuth. Returning back to the US in ‘75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, before returning to Brazil once more, where after releasing a handful of hit pop records, he took a hiatus from recording.

Since the mid-nineties, Marcos Valle has been experiencing a renaissance with London based label Far Out Recordings, where his approach to music has remained, as always; decidedly open to new influences, possibilities and technologies. Sempre is Marcos Valle’s fifth album for the label, following 2010’s critically acclaimed Estatica.

Just in time for summer, Sempre is out on Vinyl LP/ CD on 28th June 2019 on Far Out Recordings, and Marcos Valle and band will be touring Europe in May /June (see below for dates).

Adam Beyer invites the legendary DJ Rush to make his Drumcode debut, as the pair link for a stirring maiden collaboration, ‘Restore My Soul’.

The DC boss holds a deep respect for the iconic Chicago artist, the relationship stretching back 25+ years to their time touring the German techno circuit in the 90s.

The title track builds dramatic tension via elastic synths that oscillate alongside Rush’s vocal, taking things to heady levels. ‘Control’ is a thick wedge of industrial-edged rhythms, with Rush’s famous vocal providing a commanding presence throughout.

On the B side, ‘Take Me There’ is stirring in composition, transitioning from crushing percussive loops to deep techno funk, before working towards a teased out crescendo as Rush’s hypnotic refrain echoes in the air. A deliciously pumping DJ Rush remix of ‘Restore My Soul’ rounds out the package.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52's. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece's only full-length statement.

Suburban Lawns' asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group's male vocals – courtesy of Frankie Ennui, Vex Billingsgate and John McBurney – maintain the satirical themes of Southern California's postwar mirage of limitless sprawl.

Suburban Lawns' catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on "Anything," which could have easily come out on any purely Punk label from LA at the time, while Tissue's deadpan delivery on "Janitor" glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured "Boom, Boom, Boom, Boom."

From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns' lone LP remains in a class with precious few. It's not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

Tape

"Precision ambient might be a suitable genre description for metra.vestlud's work. Every element has a clearly delineated meaning and purpose, and the precise interaction between these elements makes the musical pieces seem more like songs rather than Eno-style ambiences. From flowing water, to nervous birds and rich emotional textures, ∞ sends us onto a deep and thoughtful sonic journey about the flow of life and the many springs therin."

Artem Dultsev was born in 1993, in Revda, Russia. In 2010 he started to write music and later released under different aliases: Artem Dultsev, Moon Rabbit, Virusmoto. In 2017 he founded with a friend Daniil the label Faktura, where they began to release records from the Urals region. The history of metra.vestlud began In 2019 with the release of the album - Hydrogen Lifeforms (Faktura).

metra.vestlud began as a protest against the standard principles of sound recording and musical theory. All the rules and boundaries were shifted towards the unconscious - that something unique would emerge. But on the album ∞ - the other side of this sub-personality showed itself, the sensual side. The music of metra.vestlud is inspired by the eco-futurism and new age of the 80's-90's.

“The album is dedicated to my wife. In April 2021 we had a son.”

"Two days before the birth of our first child, I was sitting at home alone while my partner was already in the hospital. I wasn't able to visit due to Covid restrictions. Anxiously waiting for any updates, while Germany being in complete lockdown, searching for distraction, I did something I rarely do: look into the public-facing email account of my previous label. Normally, I only find spam in there, but this time there was an email that looked different, it was a demo I was supposed to consider for release. I could tell this person had listened to previous music I had been involved with and deliberately chose to send this to me. I could also tell right away that something special was being sent to me. I downloaded the music, listened to it, and to my surprise, was moved to tears. This was on a Friday night in Leipzig, around 32 hours before our child was born.

Sometimes this world can be incredibly strange but in the most beautiful way. For some reason, someone from Yekaterinburg in Russia, close to where the European and Asian continental plates meet, decided to send me an unspeakably beautiful album for release on my new label (which I technically hadn't even founded yet). The album is centered around love and birth, and it sounds like emotion-fueled beginnings, like a meta-version of spring you can visit any season you like. And I received it less than two days before the birth of our child and a couple of months before the birth of their child - what are the odds? And not just that, I had visited Yekaterinburg many years ago with my parents due to a somewhat mysterious obsession my father had with the place and it had left quite an impression on me. There are some moments in life where you think: "please just pinch me". I am just not sure anymore how much of all of this can be attributed to chance. Probably a lot, but if so, it also means incredibly unlikely and beautiful things do happen even if they probably shouldn't.

In any case, I am grateful metra.vestlud reached out to me at this very special moment in time and I am grateful we have created something that will forever document a very special time in our lives. And we are incredibly happy that we are able to share this document with the world." - kofla tapes

∞ is dedicated to metra.vestlud's wife, In April 2021 they had a son.

Heralded by critics as one of the best albums of the sixties, Happy Sad saw Tim Buckley exploring his jazz roots and combining them with his signature folky sound. Released after the massively successful Goodbye & Hello, his third album was produced by Jerry Yester and Zal Yanovsky, who gave the album a loose, open sound, which makes every listen like a breath of fresh air. Once you get drawn into Buckley’s world, it’s simply a mesmerising experience. Two sides just don’t seem enough!

Arriving at a time of considerable uncertainty in the world, Son Lux's multi-album 'Tomorrows' is ambitious in scope and intent. Born of an active, intentional approach to shaping sound, the music reminds us of the necessity of questioning assumptions, and of sitting with the tension.

Ryan Lott, Rafiq Bhatia, and Ian Chang train their sights on volatile principles: imbalance, disruption, collision, redefinition. But for all of its instability, Tomorrows’ exploration of breaking points and sustained frictional places is ultimately in service of something rewarding and necessary: the act of questioning, challenging, tearing down and actively rebuilding one’s own identity.

The band remains audibly indebted to iconoclastic artists in soul, hip-hop, and experimental improvisation who themselves carved new paths forward. Distilling these varied influences, Son Lux searches for equilibrium of raw emotional intimacy and meticulous electronic constructions.

- Tomorrows I-III, triple physical album, released previously digitally only
- Featuring the singles “Plans We Made”, Only, Prophecy, Live Another Life and A Different Kind Of Love
- More than 90 minutes music on 3CD and 3LP

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

With the Buena Vista Stars, including Candido Fabre. Based on a true story and filmed in the exotic countryside outside Havana, this remarkable and engaging film will move both your spirit and your feet with its unforgettable passion and intoxicating music. The soundtrack and live performances in the film include some of the legendary Cuban artists who appeared in the box office smash, Buena Vista Social Club.

MAMBO MAN is packed with musical contributions from Cuban legends including; Candido Fabre, Maria Ochoa, Alma Latina, David Alvarez, Arturo Jorge, Omara Portuondo, Eliades Ochoa, Juan De Marcos Gonzalez and the Afro-Cuban All Stars.

REVIEWS Rome Prisma Independent Film Awards

“There is rather the mature and conscious gaze of two authors who want to represent Cuba, and the story of the protagonist, with truth and love. With this awareness, each shot conveys a charm superior to that of a good staging. This film, made with passion, penetrates the audience to the rhythm of music and tells us about a whole, small, precious universe, absorbing its beauty and misery. “Mambo Man” is a bit like Cuba: beautiful, kind and melancholic.”

J.B. Spins, Joe Bendel

“It’s a dynamic, colourful film, with bustling markets, lively clubs, friendly outdoor cafes, and—best of all—a remarkable soundtrack of classic Cuban music, which is a focal point of the film.”

NNA Tapes is thrilled to present brand new music from percussionist and
composer Booker Stardrum.
Over the past decade, the Los Angeles and New York-based musician has built
a language of sounds as a solo artist, frequent collaborator, and improviser.
‘CRATER’ is the artist’s third full-length album on NNA, beginning with 2015”s
‘Dance And’ cassette, and followed up by the 2018 limited edition vinyl release
‘Temporary etc.’
The worlds of electronic music and free jazz firmly root Stardrum’s unique
musical syntax; as ‘CRATER’ unfolds, a torrent of microscopic, staccato musical
gestures collide and coalesce into a singular whole, while jagged and angular
sounds coexist harmoniously with their smooth, polished counterparts, creating an auditory balance and swaying symmetry.

‘Medieval Femme’, Fatima Al Qadiri’s new ten track suite inspired by the classical poems of Arab women, invokes a daydream through the metaphor of an Islamic garden, at the border between depression and desire, where the present temporarily dissolves, leaving only past and future. Mixing neon drones and the faint outlines of Arabesque melody, ‘Medieval Femme’ reveals a fully-realised, dreamlike setting, shaded with colour and subtle friction. Conveying a thematic state of melancholic longing, Fatima seeks to transport the listener to a place of reverie and desolation, to question the line between two seemingly opposite states and rejoice in celestial sorrow. ‘Medieval Femme’ takes instrumentation from music of the Middle Ages, recast in a futuristic setting; soft-synth lutes, organs and pipes reverberate in space while gauzy pulses ripple in response. Fatima's vocals of repeated, mantra-like phrases are sometimes pitched and altered, drawing out increasingly intense peaks, angelic choruses and yearning incantations. On ‘Tasakuba’, Kaltham Jassim’s recitation of a couplet from the 7th century poet Al-Khansa', the sorrow of her words are given a turbulent, hallucinatory setting, before the album resolves on the final song, the limpid, airy ‘Zandaq’.

Repress on black vinyl, comes in Flatlfife label sleeve.

The 4th acid compilation is definitely a collectible! With an explicit track from Eat Static which is produced back in the 90s and has that oldschool goa touch and rave breakbeats - we love it!!! 303 Airline has his tribute on Flatlife with an excellent pounding acid techno banger which can be played loud in clubs. Together on the A-side with DJ Wank; a great acid techno producer from Sweden; pounding driving acid techno. Then last but not least; label owners Jack Wax (Flatlife Records) & Sam C. (Dosis Decibel / Cat in the Bag) team up; with this excellent dark acidcore track "Missing" - which is the 1st track they ever created together!! 4 styles of acid again on 1 vinyl! Enjoy this one!!!

Housed in a label sleeve and comes on solid blue and yellow mixed vinyl.

In 2020, 4AD turned 40. Never one to be on time for a party, the label is
commemorating that landmark this year with the release of ‘Bills & Aches & Blues’.
The compilation features 18 of its current artists covering a song of their
choosing from 4AD’s past: a creative experiment rooted in the spirit of
collaboration and a snapshot of 4AD, 41 years after its inception.
‘Bills & Aches & Blues’ will be released on double CD and double LP. The
first 12 months’ profits from ‘Bills & Aches & Blues’ will be donated to The
Harmony Project, a Los Angeles-based after-school programme for children
from communities and schools that lack equitable access to studying the arts
or music.
‘Bills & Aches & Blues’’ 18 recordings contain fascinating connections
between artist and track. The earliest song chosen (by U.S. Girls) is The
Birthday Party’s ‘Junkyard’, from 1981; the most recent are the two Grimes
covers (‘Genesis’ and ‘Oblivion’, respectively by Spencer. and Dry Cleaning)
from 2012. Suitably, for the one band that bridges 4AD past and present, The
Breeders are all over ‘Bills And Aches And Blues. They’re covered three
times - ‘Cannonball’ by Tune-Yards, ‘Mountain Battles’ by Bradford Cox of
Deerhunter and ‘Off You’ by Big Thief, whilst The Breeders cover ‘The Dirt
Eaters’ by their ‘90s contemporaries His Name Is Alive.
Landmark songs such as ‘Cannonball’, ‘Song To The Siren’ and Pixies’
‘Where is My Mind?’ will feel comfortable to casual fans, however by
contrast, much joy can be found in the album’s surprise choices, such as Air
Miami’s ‘Seabird’ and the Lush B-side ‘Sunbathing’, covered respectively by
new signings Maria Somerville and Jenny Hval.
‘Bills & Aches & Blues’ is named, arguably (as Elizabeth Fraser never
published the lyrics), after the opening line of Cocteau Twins ‘CherryColoured Funk’. Perhaps too unique and uncoverable in their own right, their
legendary take on Tim Buckley’s ‘Song To The Siren’, under the name This
Mortal Coil (along with Buckley’s pre-Starsailor acoustic version) informs
SOHN’s cover.
Some tracks unearth hitherto hidden shared DNA, such as Future Islands’
and Colourbox’s ‘The Moon Is Blue’; other tracks are more akin to
reinvention. Aldous Harding distils the melodic essence of Deerhunter’s
‘Revival’ and recasts it in her own uncanny image. U.S. Girls’ future-disco
‘Junkyard’ and Bing & Ruth’s neo-classical instrumental ‘Gigantic’ are even
more radical interpretations. Leading off the album, Tkay Maidza brings both
her Art Rap and R&B game, but also an unexpected ‘80s synth pop template,
to Pixies’ ‘Where Is My Mind?’, a perfect title for these chaotic times.

Dead Nature, the solo project of former Spring King singer and prolific producer (The Big Moon, Calva Louise, Circa Waves, Dream Nails, Genghar, Police Car Collective) Tarek Musa, is announcing the release of debut album Watch Me Break Apart, and sharing the video for new single “Hurricane”. It follows the boisterous, sky-high indie-pop dramatics of recent single “Red Clouds”, which drew support from BBC Radio 1, BBC 6 Music, Clash, DIY, Dork, The Line of Best Fit, NME, The Independent, and The i Paper.

Producer and songwriter Tarek Musa has for a long time placed himself at the centre of other artists’ worlds, helping to hone sounds and build scenes through his production work for artists such as The Big Moon, Genghar, and Dream Nails, Calva Louise, Police Car Collective - as well as providing remixes for the likes of Circa Waves. As BBC Radio 1's Jack Saunders noted recently on-air, "we owe a lot to him out here... he's putting the passion from Spring King into the future of the alternative music that we love." With Dead Nature, Musa allows himself to step back from his role as architect for others and set about pursuing his own creative impulses.

Throughout Watch Me Break Apart, internal anxieties are made external, and re-purposed into a carnival of multi-coloured, fuzzed-up indie-pop. The strain of social media and a whirlwind news-cycle compound on the album’s cartwheeling title track, pairing thoughts of sleepless nights with isolated imagery (“A car waits at the lights, no one’s in the driver’s seat / In the ocean stands a tree”). "50 Foot Wall" and the paradoxically light-hearted "Hurricane" were both written against the backdrop of a growing climate crisis, and "Ladlands" zeroes in on social and political struggle, the rate at which change is happening, and the reality-warping nature of the echo-chamber.

Guro Gikling from All We Are sings backing vocals across the whole album, except for Hurricane which Jess Allanic from Calva Louise appears on.

Dead Nature, the solo project of former Spring King singer and prolific producer (The Big Moon, Calva Louise, Circa Waves, Dream Nails, Genghar, Police Car Collective) Tarek Musa, is announcing the release of debut album Watch Me Break Apart, and sharing the video for new single “Hurricane”. It follows the boisterous, sky-high indie-pop dramatics of recent single “Red Clouds”, which drew support from BBC Radio 1, BBC 6 Music, Clash, DIY, Dork, The Line of Best Fit, NME, The Independent, and The i Paper.

Producer and songwriter Tarek Musa has for a long time placed himself at the centre of other artists’ worlds, helping to hone sounds and build scenes through his production work for artists such as The Big Moon, Genghar, and Dream Nails, Calva Louise, Police Car Collective - as well as providing remixes for the likes of Circa Waves. As BBC Radio 1's Jack Saunders noted recently on-air, "we owe a lot to him out here... he's putting the passion from Spring King into the future of the alternative music that we love." With Dead Nature, Musa allows himself to step back from his role as architect for others and set about pursuing his own creative impulses.

Throughout Watch Me Break Apart, internal anxieties are made external, and re-purposed into a carnival of multi-coloured, fuzzed-up indie-pop. The strain of social media and a whirlwind news-cycle compound on the album’s cartwheeling title track, pairing thoughts of sleepless nights with isolated imagery (“A car waits at the lights, no one’s in the driver’s seat / In the ocean stands a tree”). "50 Foot Wall" and the paradoxically light-hearted "Hurricane" were both written against the backdrop of a growing climate crisis, and "Ladlands" zeroes in on social and political struggle, the rate at which change is happening, and the reality-warping nature of the echo-chamber.

Guro Gikling from All We Are sings backing vocals across the whole album, except for Hurricane which Jess Allanic from Calva Louise appears on.

Clear Vinyl

Hitting us with a double LP of sublime dance music lingering on the border of ambience, Interstate is the alter ego of DJ Swagger. Earlier this year, he graced Shall Not Fade's Time Is Now sub label in collaboration with DJ Aedidias for four feelgood UKG cuts - now returning for the second album in the Seasons Series, expect something a little different. Dominion Swing is his first LP under the Interstate moniker.

The four sides of vinyl hold their fair share of punchy kick drums and funky melodies, though across them is a blissed out ambient softness that comes to the forefront by the end. "Doublet Doureet" is a low end groover driven by skippy percs, the speedy bass melody chilled out with some lingering natural chords. "Second Mass" is futuristic and clean cut, tickling the ear with panning synth stabs and a powerful electro bassline that cuts through the track sharply, giving memories of the dancefloor while perfectly leading into "Habitat" - the sustained ambient shimmer that closes the A side.

Onto the reverse side, "This Rather Than That" and "Misty" are glitchy, playful evening music, "Misty" leaning into a fun organ ditty. The almost imperceptible bassline of "Two To Get Ready" hangs in the air giving it a dub atmosphere.

More genre exploration is to be found on the C side, from the pulsing but delicate house of "Appliance" to the tranquil guitar-lead journey of "Condone The Drama", ending with a return to blissful, oceanic ambience in "Bubblebath".

The closing side of Dominion Swing stays in this vein - blissed out haze is soaked into summer sundowner "Ascension" and its romantic melodies. "Stigma" is built on misty ambient pads but carries a persistent heartbeat rhythm, fading slowly into album closer "Yosemites" tropical field recordings and scattered drum hits.

Certain Sound Records are pleased to announce the release of the brand-new album from Montener The Menace – Anyone Home?

Anyone Home is the hotly anticipated follow-up to “I Have a Hidden Hobby” and is comprised of 14 superb tracks featuring an ensemble of legendary figures from both the US and UK Hip Hop scenes with appearances by Masta Ace, Rah Digga, Craig G, Keith Murray, Edo.G, Micall Parknsun, Cracker John, AG & Guilty Simpson to name just a few.

Production is handled by such heavyweights as Domingo, Roccwell, Keynotez and all cuts are provided by the legendary JabbaThaKut.

The album campaign was launched with the release of 3 excellent singles – High Noon, The Struggle and Take it Back all of which were met with extremely positive reviews from blogs and magazines alike, in addition to this acclaim the tracks have received airplay on a global scale via stations such as Shade45 and Itch FM.

Montener showcases his massive progression as an artist since his previous release with great confidence while still maintaining his trademark sense of humour that fans have come to love and adore. He demonstrates great diversity throughout by being able to touch on some difficult subjects such as suicide and mental health and parenthood as well as his more traditional upbeat content.

“Its gonna make a great impact on the scene, just what we need, when we need it most.” – Skinnyman

CRESCENT was formed in 1998 by Ismaeel Attallah and Amr Mokhtar in Cairo, Egypt. It started as a Black Metal band influenced by the Swedish Black Metal scene. In 2014, the band released their full-length debut ‘Pyramid Slaves’, focusing on Ancient Egyptian history/mythology, which marked the band’s complete transformation towards Black/Death Metal infused with Egyptian elements. In the following years, CRESCENT was booked to major Metal festivals such as Wacken Open Air, Inferno Metal Festival, Fall of Summer festival among others . 2017 CRESCENT ’s much anticipated second full-length ‘The Order of Amenti’,a tribute to the Ancient Egyptian gods, showed more emphasis on the blackened death Metal epic soundscapes and thematic atmospheres while maintaining its primordial Egyptian Death Metal essence. CRESCENT’s new album 'Carving the Fires of Akhet' was mixed/mastered by Victor ‘Santura’ Bullok (Triptykon, Dark Fortress) at Woodshed studio. The artwork was done by Khaos Diktator (Thron) , which is a Baroque-style recreation of one of the most influential and ancient Egyptian relics. The album title acts as the thread that holds all tracks together. The Fires of Akhet represents the great divine will that was carved into humanity's history and future. A value that brought nations to their apex and brought others to their knees, and the cycle goes on. Lyrically, the album touches upon a primeval epic story that is full of struggle and blood. It also reflects drunkenness with divine power, and pure evil in its religious and historic form (and beyond). Finally, the album lays a dark path of philosophical and material decay. The themes will not only be represented by the sound, but also by artworks that relays the sub-themes. It manifests CRESCENT's growing identity and beyond any of its previous works, starting a new era for the band.

Romantic Images, Molly Burch’s third album, marks a distinct evolution for Burch, both emotionally and sonically. Recorded in Denver with Ten - nis’ Alaina Moore and Pat Riley producing, the collection celebrates the timeless delights of a well-crafted pop song, flirting with Blondie, Madonna, and even Mariah Carey as it forges a joyful soundtrack to liberation and self-discovery.

Burch deliberately worked with more women collaborators than ever before on the album, and the results are transcendent, reveling in the passion and the power of the divine feminine. The collection prioritizes ecstasy and escape, and Burch’s commitment to collective catharsis in her lifted, airy delivery manages to exude both thoughtful introspection and carefree abandon all at once. The shadow still lurks on the album, to be sure, but the light ultimately wins, and the result is an intoxicating collection all about coming into our truest selves.

Berlin’s Philipp Priebe delivers the ‘Ectoplasmatic Friends’ EP via his Stólar imprint early December.
Since the launch of Philipp Priebe’s Stólar in March 2020, the label has set the tone for its sonic palette which leans towards emotive deep house, dubbed out techno and hypnotic electronica. So far the labels has stood as a platform for Priebe’s own material while welcoming remixes from the likes of Just Another Beat artists Kim Brown and
Osaka, Japan’s Metome. Here the story continues with a fresh EP pencilled for 12’’ release in December, again showcasing more of Priebe’s work with accompanying remixes courtesy of Tilman and Lifestyles.
The original mix of ‘Dial 7 For Ghost’ is up first, featuring a robust drum groove, swirling resonant licks and chanting voices before the latter stages ease in a warm, atmospheric chord sequences to carry out the composition. Fine regular Tilman follows next with his take on ‘Dial 7 For Ghosts’, taking things down a typically soul laden house direction from the German artist as he merges the original’s airy atmosphere and bumpy drums with vocal stabs and a classic house bass line.
Lifestyles interpretation of ‘Dial 7 For Ghosts’ follows on the b-side, employing amen breaks, tripped-out warbling effects on the original pad line and a dynamic feel. The second original, ‘An Image Slowly Fades’, then wraps up the EP with cinematic, melancholic synth textures, low-pitched ghostly vocals and low slung drums.

In their 6 years on air, Flip The Script Radio has become the industry standard, the go-to radio show where fans and industry heads alike flock to hear the next hip hop superstars before they blow up. Steeped in the rich history of the scene, FTSR's focus on real MCs, genuine turntablism and their 'do it for the culture' approach has garnished them praise from every corner of the hip hop universe.

To celebrate their 6 Year Anniversary, Flip The Script Radio has joined forces with Good For You Records and one of the greatest MCs of all time for a very special, limited edition 7" release. We are beyond excited to present this work of art by a cultural icon, one of the best lyricists of all time, Grand Puba. This special edition vinyl release revisits one of Puba's most beloved classics "I Like It", reinvented with an 8 piece band, an acoustic version, featuring freshly re-spit verses by the rap legend himself, breathing new life into this crowd favourite.

We're extremely proud to present HAPPENSTANCE, a sprawling jazz-concrète project produced by Johannesburg composer and double bass player Shane Cooper. Approached in 2020 by interdisciplinary arts space The Centre For The Less Good Idea to create audio work, Cooper drew on his network in the thriving South African jazz scene, bringing in Bokani Dyer (piano), Cara Stacey (bows), Daliwonga Tshangela (cello), Gontse Makhene (percussion), Jonno Sweetman (percussion) and Micca Manganye (percussion).

Two days of free-flowing composition, improvisation and investigative recording followed, with the results captured on a vintage reel-to-reel tape machine. This tape was fractured and reassembled by Cooper, bringing into surreal focus tiny ecosystems of sound, like curls of static clasped from the air and brought under the magnifying glass. The results - two long, standalone pieces - are dizzying, weightless; musique concrète melding with jazz-schooled virtuosity in a dubbed out bricolage of interludes and u-turns.

Recommended for fans of Abdullah Ibrahim, Tony Allen, Floating Points and Daphne Oram.

"The Shape Of Jazz To Come" - Ornette Coleman (as); Don Cherry (crt); Charlie Haden (b); Billy Higgins (dr)

It was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – "The Shape Of Jazz To Come". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers ("Eventuality", "Chronology") remind one of wildly hyped-up bebop. Other numbers ("Congeniality", "Focus On Sanity") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: "Peace" and "Lonely Woman", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: »A record, which is not unjustifiably so entitled« about this LP which was given 5 stars by the magazine Rolling Stone.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.

Recording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe

Production: Nesuhi Ertegun

Thomas Köner is one of the most influential modernist minimal composers. Alongside Wolfgang Voigt's "Gas" project, Köner has been centrally responsible for electronic music's fascination with depth and reduction. His signature sound is vast, seemingly endless, which at first seems homogenous and infinite, but once exposed to it, when our senses calibrate to the fine nuances of changes, we discover and immerse into abundance of textures, richness of modulations and almost infinite range of sonic titilations. Köner's work was inspired by his frequent travels in the Arctic, and listeners feel his music as a journey to mysterious worlds of the Arctic region. The experience of being exposed to the extreme cold, the hightening of our senses and ability to notice even the slightest changes in color, sound, light or density that creates this dangerously reductive environment, is like an immersion in the sonic world of this German artist, where masterfully crafted layers of sound open into colossal spaces, teeming with aural life, waiting to be discovered by those who venture into it. The titles of Köner's highly regarded albums from the 90's ever so often play with this affinity - Nunatak, Permafrost, Teimo - all reference to the world of the Artic region, just as his album Nuuk that points us to the capital of Greenland. Subdued and minimal at first glance, this album is brimming with low-end frequences, shadowy resonances and boreal ambience, but at the same time, constant fluctuation and vulnerability of sonic events, makes it very organic, human and almost comforting, like the tiny harbour existing in the sea of ice, it is named after.