Cerca:paul cut

There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.

Both have special insert inside with the bands bio and photos.

Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.

And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.

Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).

The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.

SOURCED FROM THE ORIGINAL MASTER TAPES: 2LP SET PRESENTS 1991 ALBUM IN 45RPM SPEED FOR FIRST TIME.

PCM Digital Master to Analog Console to Lathe.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group’s swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity’s 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band’s sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits’ playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity’s definitive-sounding set also brings into transparent view Knopfler’s finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here’s a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler’s decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era’s prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler’s clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group’s oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It’s evident in the humorous satire of “Heavy Fuel,” closeted desperation of the witty “Calling Elvis,” and shake-and-bake bounce of “The Bug.” It pours from the album’s darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of “When It Comes to You.”

Hinting at the open-minded approaches and boundless curiosity he’d embrace as a solo artist, Knopfler doesn’t limit himself when it comes to style or subject matter. Look no further than “You and Your Friend,” a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album’s deep cuts, “Iron Hand,” comes on as one of the band’s most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners’ strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

“Every victory has a taste that’s bittersweet,” sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
Bad Company's eponymous 1974 debut featuring "Ready for Love"
180-gram 45 RPM double LP
Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

From the wreckage of Free came Bad Company, the English hard rock supergroup fronted by singer Paul Rodgers and featuring his drummer bandmate Simon Kirke, Mott the Hoople guitarist Mick Ralphs, and King Crimson bassist Boz Burrell. Peter Grant, who managed the rock band Led Zeppelin, also managed Bad Company until 1982.

The group's eponymous 1974 album debut decidedly proves the band is proudly not progressive — the details make a difference, as do the pastoral acoustics of the closing "Seagull" — reducing their rock 'n' roll to a strong, heavy crunch; compare "Ready for Love," a tune Ralphs brought over from Mott the Hoople, to the original to see how these quartet members keep their heads down as they do their business. Appropriately enough given their name, there's a sense of slow, churning menace to Bad Company, writes AllMusic reviewer Stephen Thomas Erlewine.

Their first three albums, Bad Company (1974), Straight Shooter (1975), and Run with the Pack (1976), reached the Top Five in the album charts in both the U.K. and the U.S.. Many of their singles and songs, such as "Bad Company," "Can't Get Enough," "Good Lovin' Gone Bad," "Feel Like Makin' Love," "Ready for Love," "Shooting Star," and "Rock 'n' Roll Fantasy," remain staples of classic rock radio. They have sold 20 million RIAA-certified albums in the U.S. and 40 millon worldwide.

The self-titled debut album was recorded at Headley Grange, Hampshire, in Ronnie Lane's Mobile Studio. The album reached No. 1 on the Billboard 200 in the U.S, and No. 3 on the U.K. Albums Chart, spending 25 weeks on the U.K. charts. The album has been certified five times platinum in the U.S., and became the 46th-best-selling album of the 1970s. The singles "Can't Get Enough" and "Movin' On" reached No. 5 and No. 19 on the Billboard Hot 10.

All the hallmarks of a top-notch Analogue Productions reissue are here for your pleasure: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Airto Moreira and Flora Purim, the legendary King and Queen of Brazilian Jazz, have captivated audiences for over six decades with their vibrant albums and exhilarating live performances. With a dedicated global fan base including the UK's jazz funk and jazz dance scene to Japan's concert halls, the power couple continues to make waves in the industry – Flora's 'If You Will' (2022) album was even nominated for a Grammy! The duo met and came together musically in Sambalanço and the Sambrasa Trio. The mixture of Airto's rural Brazilian background and percussion talents and Flora's classical training and involvement in the underground Bossa Nova movement, created a unique blend of sounds that resonates across generations. They have not only collaborated with music legends like Miles Davis and Chick Corea but have also produced ground-breaking music alongside the likes of Hermeto Pascoal. Despite facing numerous challenges, including Flora's arrest and incarceration in 1974, the duo's close connection with friends-musicians like Thelonius Monk and Cannonball Adderley, their persistence and absolute passion for music have propelled them to the pinnacle of success. They worked with renowned musicians like Wayne Shorter, Jaco Pastorius, Herbie Hancock, Joe Henderson, McCoy Tyner, George Duke and producers such as Orin Keepnews and Creed Taylor. Having been a part of numerous prestigious ensembles, including Dizzy Gillespie's United Nations ensemble, Airto and Flora's journey is a testament to their innovation and devotion to their craft. This collection offers a glimpse of that incredible journey, showcasing their extraordinary talent and unique sound and it’s also the first comp scanning their 60 year careers Compiled by Straight No Chaser editor/publisher Paul Bradshaw & Totally Wired Radio presenter Roberta Cutolo. Àṣẹ.

LP reissue of Collective Calls, the first duo LP from Evan Parker and percussionist Paul Lytton. Mythically alluded to as ‘An Improvised Urban Psychodrama In Eight Parts”, Collective Calls utilises electronics, pre-records and homemade instruments to wryly in/act self investigation. Having just recorded the cliff jumping Music Improvisation Company with Derek Bailey, Christine Jeffrey, Hugh Davies and Jamie Muir, Parker was at the point where he was thinking, ‘what’s the next thing?’ On Collective Calls, only the 5th release to appear on the newly minted Incus label, percussionist Paul Lytton arrives with an arsenal of sound making sources to push Parker into ever new territory. Recorded in the loft of The Standard Essenco Co on Southwark Street by Bob Woolford (Topography of the Lungs, AMM The Crypt), Collective Calls has more in common with noise or music concrete than with jazz; sitting comfortably alongside Italian messrs Gruppo di Improvvisazione Nuova Consonanza or the husband-wife duo of Anima Sound. According to Martin Davidson, it was a Folkways record that Lytton was obsessed with around the time of this release - Sounds of the Junkyard - its track titles like “Steel Saw Cutting Channel Iron in Two Places” working to give you a good idea of the atmosphere of Collective Calls. Paul Lytton had encountered the use of electronics in music in 1968 when he was invited to play drums on the recording of An Electric Storm by White Noise (along with David Vorhaus, Delia Derbyshire and Brian Hodgson). He had seen Hugh Davies using contact mics in the Music Improvisation Company, and soon set about assembling a Dexion frame akin to drummer John Stevens’, except that his own was armed with several single-coil electric guitar pickups, long wires and strings with connected foot-pedals to modulate pitch. Influenced as much by Stockhausen, Cage and David Tudor as he was by Max Roach and Milford Graves, Lytton’s percussion is abstract, expressionist and at times totally mutant. Sometimes rolling extremely fast, then screeching almost backwards over feedback, Lytton gives Parker room to play some of his weirdest work. Parker is listed as performing both saxophones, but also his own home made assemblages, including one dubbed the ‘Dopplerphone’ - a length of soft rubber tubing (activated by a saxophone mouthpiece and manipulated to alter the rate of airflow) attached to a longer length of clear plastic tubing (whirled around the head whilst being played) ending in a plastic funnel. Thickening the brew even more, Parker would also add a cassette recorder, on which he would play back collected sounds and previous recordings of the duo. Imagining the set up in a 70s loft, it’s an assemblage more akin to what today's free ears might see at a Sholto Dobie show, spread out on the floor of the Hundred Years Gallery, the shadow of Penultimate Press lurking in the corner. It’s a testament to Parker’s shape shifting sound - the ever present link to birdsong being at its most warped here - terrifically free and unfussy, wild and loose from any of the dogma that might come in later Brit-prov years

The new recordings from The Dengie Hundred unfurl on Tain Records after a busy year releasing a solo tape on Sagome and a collaborative LP and tape with Japan Blues on Demdike Stare's DDS imprint.

Lammas Land is an album which meditates on the Walthamstow Marshes, an ever-changing watery landscape, rich with history and wildlife. The Dengie Hundred writes:

"I am sitting at my table overlooking the marshes listening to Lammas Land in November 2023, watching crows fight a never-ending aerial battle with the gulls. In summer, you can see bats from here every evening, fluttering around the windows as the light begins to fade, but today it is colder so there is smoke rising from the boats on the River Lea and the dog walkers are wrapped up tight against the wind.
Most of Lammas Land was made sitting right here, playing guitar and recording the sounds passing by. I would hang a microphone out of the window to capture the ‘putput’ boat which delivers provisions, or the trains that rattle along the tracks that cut across the marshes and up to Stanstead, carrying passengers to the airport and away.
I wonder what tourists make of the marshes as they cross them, the landscape opening up for a moment between the urban sprawl of the East End and the rampant development of Tottenham. They offer a jarring pause of green and sky. I feel very lucky to be living in that pause, a resident, for now…

The album contains a whole year of found sounds recorded from the window and while out walking. It is full of bird song and radio sounds, singing, life.

Many others have been inspired by this space, this pause. The author Esther Kinsky who wrote River, published by Fitzcarraldo Editions, captures this area so perfectly. I borrowed the two track names for this album from her book. I hope she doesn’t mind.

Also, the photographer Paul Fuller whose work reflects the atmosphere I feel here precisely. On hearing the music he wanted to collaborate on the Lammas Land project, He spent a year filming the marsh through the seasons. Some of his images are included with the vinyl release, and there is an accompanying film close to completion. I am so pleased this project is continuing in new forms.

The vinyl also contains a piece of writing, ‘Sound Fishing’, by Gemma Blackshaw, an author, art historian and curator who in a twist of fate also found herself spending time on the marshes, but that is her story, for another day."




The Dengie Hundred
Lammas Land
LP, with essay insert + five photographic prints
Cat No: TAIN02
Price: £14.49
Due next week

A: A hand full of ever thickening twilight
(Sample clips 1 / 2 / 3)

B: A string of pearls pulling
the night away
(Sample clips 1 / 2 / 3)

PRESSED ON "DRIED BLOOD" RED
COLORED VINYL W/OBI
LIMITED TO 1000 COPIES

In the late 90s in Hip Hop, all eyes were on the South - and the Down South sound reigned supreme. Few groups were as hot as Memphis’ Three 6 Mafia. CrazyNDaLazDayz was a regional scorcher when it dropped in 1999, released under the group name Tear Da Club Up Thugs, but essentially a Three 6 Mafia full-length as core Three 6 members DJ Paul, Juicy J and Lord Infamous all contribute to the project. The record went on to be certified Gold and Three 6 Mafia went on to win an Academy Award for their contribution to Hustle & Flow. CrazyNDaLazDayz continues to have an impact to this day. A cut Juicy J first pulled together while still in high school, “Slob On My Knob”, was utilized in A$AP Ferg’s hit “Plain Jane.” In addition, the cut is interpolated into G-Eazy’s most successful cut to date, “No Limit.” Get On Down brings you this often overlooked and definitely in need of being revisited portion of Three 6 Mafia’s legacy.

Paul C returns to Hot Creations as he serves up his first solo material for the label with his bumping three-track ‘Let The Bass Kik’ EP.

A mainstay within the Italian house landscape for over two decades, DJ/producer and label owner Paul C has delivered quality house records via a wealth of top-tier imprints while featuring at key clubs across Europe and beyond. Having made his debut on the label back in 2013 with his bustling collaboration ‘Get This!’, with 2015’s follow-up ‘Pinball’ also proving to be a favourite for many, he now returns to Hot Creations as he delivers three impressive tracks across his ‘Let The Bass Kik’ EP.

Opening the package is title track ‘Let The Bass Kik’, a vibrant, energy-charged effort loaded with slinking basslines, hooky samples and sweeping synths to provide a peak time cut made for bustling dancefloors. Next, ‘Can U Dance’ keeps things moving as sweeping electronics and soaring leads are guided by slick metallic drums, before ‘Red Green Yellow’ closes the show as sharp percussion arrangements meet echoed vocals and rich melodies.

Written, Produced, and Mixed by Jai Paul.
RECORDED AT HOME IN RAYNERS LANE, LONDON, ENGLAND.

Published by BMG Music Publishing Ltd. Except:

Str8 Outta Mumbai contains a sample of Bala Main Bairagan - Vani Jairam. Banner: Suchitra International Productions “Meera”. Music: Ravi Shankar. Lyrics: Meerabi. Licensing courtesy of UNIVERSAL MUSIC INDIA PVT. LTD.

Crush Written by Berny Cosgrove, Kevin Clark, Clifford Mueller and Andy Goldmark. P ublished by Warner/Chappell North America Ltd., Universal Music Publishing Ltd. and Shapiro Bertstein & Co. Ltd.

Baby Beat contains a sample of “All My Life” performed by K-Ci & JoJo. Courtesy of Geffen Records, A Division of UMG Recordings Inc., under license from Universal Music Enterprises.


Chix contains a sample from “Adagio For Strings, Op11.” as recorded by Leonard Bernstein and The New York Philharmonic, used courtesy of Sony Masterworks, a division of Sony Music Entertainment.

Lacquers cut by Scott Stratton at Bernie Grundman Mastering, Hollywood CA.

English indie rock group Black Box Recorder formed in London in 1997 and featured Sarah Nixey, Luke Haines (of The Auteurs), and John Moore (of The Jesus and Mary Chain). Their debut album, England Made Me, was released on Chrysalis Records in 1998. The album was named after the eponymous Graham Greene novel and fuses indie rock and easy-listening pop stylings with lyrics that explore life and the experience of growing up in England. Pitchfork's Michael Sandlin described the sound of the album as \"mildly morose but slightly tongue-in-cheek Sylvia Plath-meets-Paul McCartney pop sensibility\". England Made Me remains a high point in the band's catalogue with standout tracks including 'Kidnapping An Heiress', 'Girl Singing In The Wreckage', and the single 'Child Psychology' which was recently back in the spotlight with a viral moment on social media after being championed by Billie Eilish. This new anniversary edition has been curated with the assistance of the band and features a newly remaster version of the album, along with a bonus 10\" vinyl that includes six b-sides, 4 of which are first time on vinyl. All audio has been remastered from the original production tapes by Phil Kinrade at AIR Mastering and and cut by Alex Wharton at Abbey Road Studios.

With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius.

Maceió, the capital of Brazil’s Alagoas state on its sprawling east-coast, is home to pastel coloured colonial houses, white sand beaches and a brilliant young composer, poet and multi-instrumentalist named Bruno Berle.
With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius.

“It’s an album that was built from my desire to find beauty”, Berle explains - his simple, graceful words mirroring the graceful simplicity in his music. But amongst the simplicity, the compositions, arrangements and productions on No Reino Dos Afetos tingle with nuance and detail.

On the contemporary R&B inspired lead single “Quero Dizer” - produced by Berle and longtime friend and collaborator Batata Boy - the swirling, lo-fi, kalimba and guitar-fronted beat is turned into a feel-good hit by the ingenuity of Berle’s honey-soaked vocal melody.

Powerfully intimate, “O Nome Do Meu Amor” (My Love’s Name) is a guaranteed tearjerker, with Berle’s stunning voice soaring over gently plucked acoustic guitar and the textural flutter of soft movement, as if we hear him writing the song in the moment.
Drawing upon a close-knit, collaborative scene of Maceió artists and musicians, (of which Berle and Batata Boy are vital members), Berle also recorded some of his friends songs on the album, including João Menezes’ “Até Meu Violao”, the album’s beautifully laid back sunshine soul opener, which has all the charm of early-70s João Donato.

Having cut his teeth in soft-rock group Troco em Bala, and more recently finding himself embedded in both Rio and Sao Paulo’s contemporary music scenes - collaborating with the likes of Ana Frango Eletrico, who took the photo for the album cover - No Reino Dos Afetos is as musically diverse as Bruno himself. It’s hazy indie rock (“É Preciso Ter Amor”), calming ambient and field recording (“Virginia Talk”) as well as Berle’s own take on West African High Life (“Som Nyame”).

Instantly recognisable as a truly special artist, Berle’s character fills every corner of the sound, which is unsurprising considering he played most of the instruments.

I want to introduce this work ‘Halos of Perception’ to you in the way Lisa introduced me to it, through the sharing of experiences.

Lisa and I met for a walk near South Yarra station to talk about this work, when inclement weather made it too wet to visit the tunnels. Moving almost seamlessly from a world of leisurewear, infinite milk alternatives and blaring neons to stretches of green by the water that brimmed with sounds and life, we saw a few people climbing the Burnley bouldering wall, butterflies suspended in the hot wind and lots of plants I wish I knew the names of. Overhead the cars rumbled like a ceaseless animal as we talked about hidden ecosystems, imagined spaces and networks of care.

Stemming from a serendipitous encounter with an original Cave Clan member that led to many underground adventures, this work explores the worlds that exist outside of our perceptions. By the river, I leafed through a selection of tunnel photos Lisa had printed off at Officeworks, revealing alien textures, tunnels that stretch on into abysses of their own, underground flowing streams. Light is sparse and delicate, something reflected by the flickering and wavering in Lisa’s piano compositions.

As we walked, we noticed the ways in which infrastructure is often designed to keep people out—cut doors into fencing and clipped wires show an active and ongoing defiance of this. We spoke about how her Cave Clan friend used to go down to this painted room and read in solitude, using candles for light. The way sound exists underground, encased in these hollow cement tunnels, a painted room with its own deep hum. How people used to hold underground shows, how there were rules for safety (no exploring after rain, never alone) that was shared with each other. This warmth and absorption of other’s experiences is present in Lisa’s work—it’s immersive, like wading in water.

We paused on the walk to eat berries and talk about how The Caretaker creates transitory worlds with recorded sound, how this technology captures memory, and the exploratory pursuits of Pauline Oliveros’ Deep Listening Band. These citations of memory and deep listening inform Lisa’s use of analogue and classical instruments, playback artefacts and acoustic feedback in her own world-building. When speaking about ‘Halos of Perception’, she describes it as a fascination with timbre and acoustic artefacts.

Ideas of networks and enmeshment are felt deeply in Lisa’s compositions, motifs overlaid over each other evoking the image of many hands interlinking playfully, tenderly, softly. The way her compositions delve into refraction and echo makes me think about the tunnels and the way they splinter off into many possibilities. Manipulated textures reminiscent of the chalky, earthy, moss air that perfumes the tunnels’ subterranean air. Tactile details that gesture towards close attention, verging on obsession.

This work is also about imagining ecosystems of potential. Lisa shared with me that during this project, she has been reimagining subterranean networks in dreams, thinking about oral traditions, and the way water moves—from the sky to the earth, through the ground, connecting all these spheres. Realised in collaboration with hyperreal video artist Tristan Jalleh, Lisa’s dream landscape melds waterfalls, leaks, flower graffiti, and hidden messages lit up by imagined light sources with existing subterranean networks. There’s a real sense of wonder in this world she has built, how the city can reveal itself to you with some patience and care, how the city and its secrets can find its way into your dreams.

— Panda Wong

2020. Full On Lockdown: Musician LaurenceMasonputs together this off the wall idea meshing together two of his biggest musical heroes, Dave Greenfield of the tough 1970's proto-punk band The Stranglers with the oh so cool 1960's jazz of Dave Brubeck. He puts up his demo on Youtube not really expecting much in the way of feedback. And gets ONE MILLION hits. And hundreds of requests for a release. Jazz Room Records Head Honcho Paul Murphy says "Do you wanna record that and release it?"."Affirmative!" The result is this grooving Soulful and Funky Jazz version of "Golden Brown". We're rush releasing this as when announced we were swamped with requests asking when it will be available.

On the "B" side is a languid and super cool version of "Walking On The Moon", originally by 80's Supergroup The Police.

Each copy of the Take Vibe E.P. will contain a Cut Out and Keep Fully Customizable Front Cover Sticker Sheet

This is just a taster for what we're confident will be a must have album to be readied for 2021 release.

Produced by legendary rock historian and Bomp! Label founder GREG SHAW, the Los Angeles all-female combo delivers a neo-60's garage punk classic.

"Paula Pierce refused to play it cute. On the Pandoras' debut album she outsnarled, out- screamed, out- fuzzed and out araged the male- dominated competition--like a well-aimed go-go boot to the jugular." - Mike Stax

Singer-songwriter Dora Morelenbaum is one of the stunning voices at the forefront of Brazil’s exciting new musical wave. Her sublime 'Vento De Beirada' EP takes you on a trip into the sensuous sounds of Dora's world. On first hearing her music, we were reminded of the transformational moment when we first discovered the Brazilian singer-songwriter, Joyce. The music is completely new to you, yet instantly familiar, like rediscovering a past love.

Dora is a member of the Brazilian Latin-Grammy-winning superstar quartet Bala Desejo; a trailblazing light opening up Brazilian music to a whole new audience outside of the country. 'Vento De Beirada' EP showcases a different sound to the riotous, joyful, avant-garde Tropicália sound of Bala Desejo. This solo set takes a more dream-like, downbeat, MPB stance. It is firmly contemporary, yet you can also trace the lines of influence back to idols such as Gal Costa and Maria Bethânia.

The EP is comprised of four tracks that have already garnered critical acclaim following their digital release. It starts with the tender and gentle 'Japão', which was inspired by the melodies of the legendary Japanese composer, Ryuichi Sakamoto. Sakamoto once collaborated with Dora's musician parents, Paula and Jaques Morelenbaum, when she was young. 'Dó a Dó' is drenched in lush, sweeping strings that were arranged by her father himself, and is co-written by Dora and Tom Veloso of the band, Dônica. There’s further collaboration on the EP, including production from one of the lynchpins and stars of the current Rio scene, Ana Frango Elétrico. Fellow Bala Desejo band member, Lucas Nunes, contributes towards the production, writing, and guitar with Guilherme Lírio also on production, guitar, and bass. Whilst Bala Desejo’s Zé Ibarra penned the song 'Vento De Beirada' with Lucas and Victor Vasconcellos.

The four-track EP has been cut to 12" and mastered for vinyl by Joker (Liam McLean). With crystalline beauty and a breezy sense of ease and serenity, sounding classic yet contemporary. This release serves as the perfect introduction to an extraordinary talent.

Chromium Dioxide brought Leitstrahl’s sound to world. The three man group of Stoff, Paul Raal and Boogaloo Steve return alongside Alberto Melloni with Azimuth. Bordello A Parigi’s own Furór Exotica are drafted in to help with the Dee D. Jackson inspired “Automaton Lover”. Disco infused and bombastic, this powerful piece employs bold synthlines and breathy vocals to devastating effect. The title work follows. An addictive melody is cut by a crisp beat in this bright and inviting instrumental.

Thick basslines and a mirrorball groove introduce “Spectral Fantasy”. Featuring the smoky lyrics of Vongold, a tale of unexpected encounters and possibilities unfurl amidst warbling analogue strings. Slung back basslines and a low throb are central in “Light Years”, a smooth longue affair to finish this diverse 12”.

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.

Beograd (Belgrade in Serbian) is a four-piece Serbian electronic band, formed in the capital of the former Yugoslavia in 1980. Influenced by bands such as Kraftwerk, Depeche Mode, Ultravox and Human League, it played a role pioneer on the Yugoslav synth-pop scene. Their first studio album, Remek Depo, was released in late 1982 on cassette and early 1983 on vinyl by public label PGP RTB. It was a huge media success, released at the time of the effervescence of Belgrade's alternative scene, a vibrant underground movement of avant-garde artists and musicians that included leading bands such as Sarlo Akrobata, Ekatarina Velika, Idoli, Electricni Orgazam, etc. Unfortunately, the band disbanded shortly after the album's release. The album contains politically provocative lyrics for the time. Produced by Saša Habić, it stands out for the quality of its guest musicians - timpanist Borislav "Bora Longa" Pavićević, avant-garde saxophonist Paul Pignon and veteran jazz trumpeter Stjepko Gut - who contributed to its soulful side. , creating a unique combination of hot and cold.

Originally released in September 1997 on Eternal Records and includes writing and production work from Ian Masterson and David Green, Xenomania (Matt Gray, Brian Higgins, Stuart McLennan, Tim Powell), Metro (Paul Barry, Graham Stack, Mark Taylor, Steve Torch) and DNA (Nick Batt, Neal Slateford).

This Special Edition 2LP pressed on clear vinyl, boasting the original cover design (originally by Gerard Saint), with photography by Steve Shaw. The original ten track album is presented over side A/B, while the three contemporaneous non-album cuts 'Someone New', 'Keep Up With The Good Times' and 'Coconut' are featured on the bonus 12" single sides C/D.

Packaged in a lavish gatefold sleeve with deluxe finish printing, each record is housed in a beautiful inner bag, featuring rare photographs and full album lyrics.

Minor Science—aka UK-born, Berlin-based musician Angus Finlayson—makes his Balmat debut with Absent Friends Vol. III, the third installment in a shape-shifting series across a variety of formats and platforms. And with it, he pushes forward his vision of ambient music as neither static vista or merely mood-setting atmosphere, but rather a dynamic matrix of textures, sensations, and even rhythms.

The first two Absent Friends—a 2014 set for Blowing Up the Workshop, and a 2017 cassette and web player for Whities (now AD93)—were hybrid affairs, part DJ mix and part collage, mostly featuring music made by other people. Then, in 2020-21, Finlayson developed the project into a live show of his own material. Armed with hundreds of bespoke stems created in his studio—idiosyncratic FX chains, feedback loops through cheap rack gear, heavily post-processed field recordings, found voices, etc.—he would improvise on four CDJs, mixer, FX, and live synths, extending techniques he learned as a club DJ into a live context, accompanied by visuals by Stockholm-based artist Paul Witherden.

Absent Friends Vol. III is an album of studio versions of the music developed for the live show. But in Minor Science’s world, even a category as simple as “studio versions” is slightly opaque. “Most of these tracks weren’t ‘composed’ in the studio,” Finlayson explains: “The sounds started out as stems and source material for the live show, and might not have been intended to go together—but then through performance, they settled into shapes that worked. I then recreated those performances in the studio.” That organic process of ideation and realization might help explain the unusual coherence of the album, in which sounds and textures flow seamlessly from one to the next, sometimes seeming to stand still, and sometimes looping back. There are virtually no melodies, few recognizable motifs or riffs, yet the eight-track album nevertheless moves with a distinctive logic and a determined sense of purpose, from the frozen-in-time shimmer of the opening “Introduction” through the early cuts’ studies of space and light; from the seemingly autobiographical “Summer Diary” through the rushing trance (yes, trance) arpeggios of “Contingency” and on to the dulcet denouement of the closing “Gather Your Party (Dispersed Mix).”

Edna Wright's idiosyncratic "Oops!" is one of the most sublime vocal refrains in soul music history. Anchoring its host album's leadoff cut, it sets the tone for a uniquely satisfying modern soul LP. Indeed, whilst many of its ilk come laden with filler, Wright's one solo record is an exercise in elegant restraint, a concise killer.

Originally released in 1977 on RCA, this rare and sought-after album followed the 1973 disbanding of Edna's much-loved Honey Cone. Produced by her husband, legendary producer/songwriter Greg Perry, the album was somewhat of a risk, a deep soul album released during the period when disco was altering the landscape of popular music. And perhaps inevitably, despite the stellar production and spine-tingling vocals throughout, the album glided gracefully under the radar, spawning only one single and seeing no chart action.

That single - the magnificent title-track - soon became a notorious rare groove stepper in its own right. However, in the years since, it has become a crate diggers classic. Its fame was elevated among hip-hop heads when Prince Paul memorably looped the shimmering intro when crafting the melodic hook for De La Soul's late-summer-stunner "Pass The Plugs", a wistfully melancholic back-porch nostalgia trip. And, more recently, Leon Vynehall liberally lifted the same intro for his sepia-tinged "Midnight On Rainbow Road" to augment the excellent Rush Hour compilation Musik For Autobahns 2.

Yet this album is so much more than its most famous song. An assuredly lean masterpiece from start-to-finish, the album features a further six dynamite tracks of warm, smooth soul. As such, it's an impossible task to choose certain tracks to highlight alongside the mighty title track. Throughout, Edna's strikingly mature vocals are wonderful, proudly stepping out with a sophisticated groove reminiscent of Jean Carn or Gloria Scott, whilst Greg Perry's gorgeous string-drenched backdrops add a rich depth. So much so, many of the other tracks have been sampled by producers with impeccable taste, from 9th Wonder to The Alchemist for songs featuring Nas and Talib Kweli.

Following her glowing role in the acclaimed documentary 20 Feet From Stardom, we pray this long overdue reissue will allow further light to shine on Edna. Officially licensed and beautifully remastered for vinyl by celebrated engineer Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original iconic artwork. Each copy includes a printed inner sleeve with a sumptuous black & white photo, full lyrics and heartfelt notes from Edna herself.

How sad, if timely: this stunning reissue of the 1994 live album arrived in the very week that trumpeter Masekela passed away. One of the most successful ambassadors ever for African music, his fusing of the continent's rhythms and instruments with contemporary jazz and rock proved irresistible. Nearly every one of you has heard him, thanks to guess spots with The Byrds and Paul Simon. His breakthough hit from 1968 — the infectious "Grazing In The Grass" — is here, along with another 11 tracks recorded at Blues Alley, the U.S. club that gave us Eva Cassidy. Notably, despite its early-1990s origins, this is all-analogue." — Sound Quality = 90% - Ken Kessler, HiFi News, May 2018

"...Hope is one of those intensely visceral, large as life, and immediately present recordings that will make pretty much any system sound at least very good, and will cause better ones to raise goose bumps." - Wayne Garcia, The Absolute Sound, August 2008

"...The high quality original mix plus Analogue Productions' superb mastering has resulted in a terrific, very transparent sonic with great impact." - John Henry, Audiophile Audition

What more can be captured from the masterpiece that the late trumpet great Hugh Masekela left devoted fans, the effervescent Hope. Now cut at 45 RPM and spread over four 200-gram premium LPs, you're about to discover the answer to that question. The eight sides of vinyl reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. And this set is plated and pressed at Quality Record Pressings, Acoustic Sounds' own industry-lauded LP manufacturer. Virtually silent surfaces coupled with sharp delineation of musical detail are QRP pressing hallmarks.

Two Stoughton Printing old-style tip-on gatefold jackets house the four LPs, which are contained in a custom-designed slipcase reproducing the original artwork.

A longtime audiophile demonstration disc. Hope will show off your system's dynamic range as well as any record ever released. Hugh Masekela, the outstanding South African trumpeter, assembled a seven-piece group and recorded this great set live at Washington, D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and serve as an informal guided tour of Masekela's life. The songs are honest and bare, and as for the sound — WOW!

Unlike a prior 45 RPM version that included seven songs, this 45 RPM reissue contains the full program as originally recorded with all 12 tracks included! Plus, as an added bonus, we've included a special insert — featuring an exclusive interview with Grammy/Emmy Award-winning engineer David Hewitt, who recorded Hope originally.

"Hugh's record is right up near the top for a lot of reasons," Hewitt says.

Hewitt and his team were afforded the time they needed, and they pulled out all the stops to pull off what's now recognized as an all-time great recording. They used better-quality microphones, they were mic-ing the room for ambient sound, and Masekela was performing for a sophisticated and appreciative audience.

"We used stuff from our stash of mics as opposed to what you'd find typically at a jazz club. We actually had control via the record label and producers, so we could take our time. We had the ability to mic the room for abient sound. ... you've got people that actually know and appreciate the music and respond accordingly. What you've got there is all the right stuff at the right time and the right people, and then something magical happens."

Listen to that magic unfold — put on this Analogue Productions 45 RPM 4LP reissue of Hope, and be transported.

Mike Cooper wrote his final songwriter record, a suite of gloaming glam-rock anthems performed with a spiritual jazz trio, while living on the Costa Tropical of Granada, Spain, an era when he was considering retiring from music altogether. A chance encounter and a last-ditch record deal convinced him to make one last album, which he recorded in 1974 at Pathway Studios in London, with “The Greatest Rock and Roll Band in the World,” featuring the inventive South African jazz rhythm section of Louis Moholo and Harry Miller with UK saxophonist Mike Osborne. This first-ever reissue includes a bonus CD of Milan Live Acoustic 2018, a previously unreleased solo set that represents Cooper’s return, after forty-four years pursuing free improvisation and electronics, to a new, deconstructed approach to singing, steel guitar, and songcraft. The deluxe LP+CD edition also features a six-panel insert with additional artwork and an essay by the artist about both records. The deluxe 2xCD gatefold edition features an eight-panel version of the same insert. In the wake of his magisterial triptych of early 1970s avant-folk-rock records Trout Steel (1970), Places I Know (1971), and The Machine Gun Co. (1972) the British songwriter, guitarist, and fledgling improviser Mike Cooper retreated to the Costa Tropical of Granada, Spain. With no prospects for touring or recording again, his fiery band the Machine Gun Co. had disintegrated. Cooper sets the scene in his liner notes of the first-ever reissue of his unjustly forgotten next album Life and Death in Paradise (1974): No one came running with offers of fame and riches, and we fell apart, and I left the country and headed for the beach, disillusioned and a bit disorientated musically. I went to Almuñécar in Andalusia, a place I had been going since 1969, because a painter friend from Reading, Rowland Fade who made the collage in the gatefold of my earlier album Trout Steel had moved there in 1968. It was in this synthetic coastal “paradise,” unmoored and adrift, considering retiring from music altogether, that he began tentatively writing new songs. A chance encounter with producer Tony Hall, who offered Cooper a last-ditch record deal on Hall’s nascent Fresh Air label, convinced him to make one last album with the stipulation that he could assemble what he called “The Greatest Rock and Roll Band in the World.” I told Tony that I would do it if I could hire some of my South African jazz musician friends that I had used on my Pye/Dawn albums and some friends from Reading that I still knew and admired. I called up Harry Miller, Louis Moholo, and Mike Osborne, who were in fact a trio at the time … and several local Reading heroes, including the singer-songwriter Terry Clarke. The result, recorded live with minimal overdubbing at Pathway Studios in London, was Life and Death in Paradise, an utterly singular suite of gloaming glam-rock anthems performed with a spiritual jazz trio comprising the inventive South African jazz rhythm section of Moholo and Miller with UK saxophonist Osborne. Unlike anything else in Cooper’s extensive catalog. Fresh Air fizzled, and Life and Death became Cooper’s final record as a songwriter, having pushed the form as far as he could. Drifting north from Spain back to the UK, he fell into the scene of the London Musicians Collective (LMC) including Paul Burwell, David Toop, and saxophonist Lol Coxhill, Cooper’s bandmate in the Recedents and fully embraced free improvisation. He was still, however, interested in singing and lyrics, so, influenced by Tom Phillips, William Burroughs, and Brion Gysin, he began experimenting with text collage and cut-up techniques, arriving at his own hybrid compositional strategy for improvisatory songs. The previously unreleased solo set Milan Live Acoustic 2018 represents Cooper’s return, after more than four decades pursuing free improvisation and electronics, to a new, deconstructed approach to singing, lap steel guitar, and songcraft. Presented here together with Life and Death in Paradise, the two records provide fascinating bookends to Mike Cooper’s long, mercurial, and pioneering practice as a songmaker.

Rolling up on Leipzig’s finest disco emporium, Riotvan, Mexican sensations Kalexis and Paulor make their debut with a fresh four track selection on their ‘In Between’ EP.

Well, ok. Not strictly a debut. Our Mexico maestro, Paulor, did feature on the third instalment of our Familiar Faces series back in 2020, and now he’s back, as one half of our new cosmic couple. As resident DJ of the legendary Futuro Primitivo he has soundtracked the nights for so many and showcased his own music on Life And Death, DGTL, Kompakt and more.

Partner-in-shine, Kalexis. A supreme selector. Deadly behind the decks and an artist who finally cut her production teeth with 2021’s ’Neptune Rising’, now readies her latest work… Right here on Riotvan.

The pair ease us in with the beatless opener ‘Going Through The Void’, before hitting us square in the chest with the growling stomp of ‘Energy’. On the flip they entice with the electrified folk feels of ‘Lashes’, before the rotor-blade drone of ‘Magnetic’ closes the EP.

The turbocharged Boosted EP from Washington DC's Jackson Ryland drops in Peach Discs. Inspired by the multi-faceted work of hyper-prolific producers such as Paul Johnson, Heiko Laux, K-Hand, Aubrey & Cari Lekebusch, Boosted's four tracks highlight the various layers that make up Jackson's sound, and confirm him as a thrilling and versatile producer whose deep understanding of dance music's history informs his firmly present approach to production.

Recorded between 2018 and 2022, Boosted splits the difference between the booming drums and trippy synth patterns of "Glass Cut" and "Hyp Gruuv," and the complex, evolving textures of "Boosted" and "Lip," the latter representing a side not often heard in Jackson's output to date. Taken as a whole, the EP fits into the long lineage of DC-based music - one defined by an effortless flexibility to flip between emotions while never forsaking the groove.

This is the 2nd release of the year on Shanti Celeste and Gramrcy's Peach Discs.

Classic madness and violence! Death Metal history, the ultimate edition! Death Strike need little introduction to anyone who would consider themselves seasoned in the realm of Death Metal, the legendary Paul Speckmann’s debut foray into the genre has garnered pretty much cult status now as a genre classic and not without good reason. This reissue of 1991 album compiles the debut demo from ‘85 together with four other tracks for the rather aptly titled “Fuckin’ Death”, and being brutally honest, could you possibly have a more suitable description for the sensory annihilation present on these recordings? It’s that fact that half this material was recorded back in the mid-eighties that really makes it stand out, Death Metal was still in its infantile stages back then with extreme metal making a transition between the Crust influenced filth of Hellhammer and the ilk to a more brutal strain with bands like Possessed and Slaughter emerging out of the underground with a significantly more potent and brutal form of metal unlike anything heard before, and when you realize it came out at the same time as two monumental releases by the aforementioned bands you wonder why the fuck it never got quite as much attention as it was just as influential if not more so than those classics. If you’re one of the unenlightened still wondering who the fuck Death Strike are, “Fuckin’ Death” was essentially just the first Master album under a different moniker, and along with Master’s debut and “On the Seventh Day...” are Death Metal classics. The first four tracks as previously mentioned are from 1985 and astonishingly ahead of their time. It’s basically ‘Hellhammer on crack’, fast brutal and utterly primal Death Metal with that huge hardcore influence shining through. Paul’s vocals are a maniacal and wretched reverbed howl that just add to the chaos conjured with Kirk’s unbridled leads, the d-beat styled drumming and thundering, bowel shaking bass. Songs like “Pay to Die” and “Re-Entry and Destruction” are impossible not to like, it’s extreme metal heaven (or hell, whichever you prefer), straight-forward, catchy and downright punishing.

Stoned Part I was the first self-released album from lost soul phenomenon Lewis Taylor. His third album proper, it was initially released on his own label Slow Reality in 2002 and it's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. The songs are varied, hook filled and outstanding. Beloved by his legions of diehard fans, it's nothing short of a masterpiece.

After parting ways with Island, and without a label deal, Lewis went back to his home studio and began to record Stoned Part I in 2001. Co-written and co-produced with longtime collaborator Sabina Smyth, Lewis sings and plays all the instruments on this beautiful, emotional and very human album. It represents Lewis at his most accessible and finds him in the middle ground between his two Island releases. In some ways, Stoned Part I distills the best of his musical sensibilities. The flawless production is dense, layered and very early-2000s slick. The bottom end is thick, funky and sexy.

The complex, proggy-soul of title track "Stoned" opens the album and instantly captivates. Deep swinging funk with truly sweet soulful vocals, complemented by wah-wah guitar and swelling acidic synths. As Lewis himself told us, the ad libs at the end of the track were a nod to Paul McCartney at the end of "Hey Jude". Fan favourite "Positively Beautiful" has shades of Curtis and Marvin; its richly layered harmonies propelled by a simple, metronomic click-track that gives way to a more fully fleshed beat for the magnificent coda.

The slow, sweeping majesty of "Lewis IV" is all moody atmosphere, featuring dense, richly textured music and heavenly multi-tracked harmonies. The stop-you-in-your-tracks incredible "Send Me An Angel" could have been a huge AM radio hit, beautifully crafted sophisticated soul-pop songwriting in the vein of the very best Sade records. Yep! *That good* The smooth, psychedelia-lite "Til The Morning Light" is a gorgeous, sun-dappled love song, layered with Lewis' distinctive honey drenched vocals and, again, the type of record you could've easily heard all over the radio at the time of initial release.

The remarkable, wide-eyed "Shame" packs so many shifting styles into one song, it has to be heard to be believed. Opening in a laconic, breezy style, not unlike a Dallas Austin or Rodney Jerkins produced R&B hit of the day, it morphs into a heavy psych-soul Soulaquarians wig-out (the solo bearing an uncanny resemblance to Carlos Santana’s on "She’s Not There") before elegantly sliding into string-assisted symphonic soul and then back around again. And again. Sheer brilliance. The sublime, gentle head-nod funk-soul of "When Will I Ever Learn" (Part 1) is a strikingly well-turned-out tune, a neat, sweet bass-driven guitar-soul jam that ensures our jaw won't be leaving the floor anytime soon. "Lovin’ U More" sounds like a classic turn-of-the-century Neptunes production, the likes of which they'd lay on for JT BITD. A Latin-tinged groover with more than a little Nile Rodgers-driven slick funk stylings, it's yet another instant Lewis bomb with those gorgeous harmonies and chart-friendly irresistible key-changes to boot. Another indisputable (non-)HIT!

The funky seductive swagger of "From The Day We Met - Part II" opens the final side of wax, giving way to the gigantic buzzing synth-funk beast "Lovelight", a track so insouciantly mighty it should have been a massive hit for someone. Wait, what's that? Robbie Williams covered it? Ah, OK, well, I guess that says something about the effortless pop genius contained within. Containing a seemingly unnoticed nod to Kraftwerk’s "Computer World", it's Lewis's favourite song on the album. It's easy to hear why: "Sabina’s production totally nails it. I love the restraint and the subtlety, and that mixture of warmth and sweetness from the singing against the slightly cold, yet beautiful airy-ness of the backing track." To close this phenomenal album, the twisted electronic soul of "Sheneverdid" marries Lewis's beautiful falsetto to his virtuoso playing and an easy-cum-ominous musical backdrop. Stunning.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the eleven tracks over a double LP so, as ever, it sounds sensational. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned.

Breakbeat Paradise Recordings has teamed up with hip-hop legend Paul Sitter who has gather some of dopest MCs on the planet to feature on the epic LP: Hip-Hip Delivery.

The LP is a celebration to the oldskool hiphop vibes that started it all by cutting and scratching up the classic funk record, twisted in a brand-new way with MCs from around the world dropping fire on the mic.

Starting out with the intoxicating Global Chremistry with Craig G and some big funky grooves. Moving on to the Go Move featuring the awesome Andy Cooper on a smooth boom bap joint. The classic Wild Thing gets a oldskool hiphop twist with some big rhymes by Birdapres and cuts by DJ Robert Smith. The breaks are about to get serious as Chromedrops some high paced rhymes on the Who's Nice Kid track. Finally the A-Side finishes up paying some respect to some of the classics beat and breaks from the early hip days on the King Of Rock jam.


The flip side kicks off with more groovy, soulful hip hop featuring Andy Cooper on the catchy Chasing the Funk. Paul Sitter breaks is down nice on another slick hip hop anthem B-Boy Impressions before letting Dr Syntax take it over on the mic on the It's On Like That jam.

The last 3 joints on the album lets Paul Sitter get busy on some funky hip-hop creations showcasing his classic breakbeats and heavy sample techniques.


Breakbeat Paradise Recordings' first full album release since 2019 to drop on 12" vinyl but with an instant classic release like this we felt there was no other way to do it.

After last year's release on Shall Not Fade, Paul Rudder & Kresy are back - this time on Exploited for the infamous Black Jukebox Series.

‘Along With You’ bounces along with plenty of feel-good energy, channeling ‘90s energy with its thicc bassline pump and an earworm of a sugar-sweet vocal. Well-chosen vox cuts create an infectious rhythm in between the full vocal sections while soft synth arps tickle the surface of the track and epic snare rolls inject more energy in the breakdown and at key moments. Guaranteed to get massive reactions. Kresy’s Continuum Mix takes things into a lighter direction with gorgeous, sunny piano chords chiming in unison with a driving, uplifting bassline and pretty synth flourishes.

‘Her Dream Road’ pushes the EP into almost ambient house territory with its swirling pads and deep atmospheres, but the energetic percussion and warm bassline throb and melody give it plenty of dancefloor energy. Kresy’s Mellonized Remix pumps it up with plump organ bass, dreamy acid licks, soaring arpeggios, continual automation and epic pad progressions that make for an absolutely huge rework that’s full of life, atmosphere and colour.

After a bit of down-time, Spacetalk Records returns with something special: a stunning compilation of obscurities, rare cuts and secret weapons compiled by label co-founder Danny McLewin under his Skyrager alias.

Although most widely known as one half of Psychemagik, McLewin has long been regarded as one of the UK’s most decorated crate-diggers – a DJ and record dealer recognised for his ability to unearth slept-on gems, private press obscurities and campfire-friendly curios. He’s already showcased his curatorial skills on a string of acclaimed and now sought-after comps – see Psychemagik’s Magik Cyrkles, Magik Sunrise and Magik Sunset Pt 1 & 2 – but Traces of Illusion marks the first time McLewin has put together a collection as Skyrager.

There’s no grand concept behind Traces of Illusion, though McLewin’s selections are universally tactile, sun-baked and effortlessly summery, evoking images of nights spent camped out in the Californian desert or beneath the vibrant canopy of an English forest at dusk. As you’d expect, there are no well-known anthems or ‘big tunes’ here, just an inspired selection of largely unknown musical nuggets oozing in quality.

For now, the track list is under wraps but you can be sure there are plenty of highlights to savour amongst the 15 tracks which all add up to an eye-opening, head-soothing journey through the dustiest corners of McLewin’s record collection.

Oscillate / verb – to move or swing back and forth in a regular rhythm. Alexander Flood has developed and refined a strong, progressive voice and style on his kit through his 17 years performing and studying. Previously graduating top of his year, he has been the recipient of many prestigious awards including Australia's Best Up-andComing Drummer in both 2012 and 2016, The John ‘Slick’ Osborne Scholarship in 2017 and the Helpmann Academy Jazz Award for Top Overall Graduate in 2018. In 2020 he signed with 6x Grammy nominee Christian Scott aTunde Adjuah to release Alex’s debut LP “HEARTBEAT” and “The Space Between” in 2022. 2023 finds Alexander aligning w/ Berlin’s Jakarta Records to release LP “Oscillate” - a blistering, hard-hitting meld of infectious rhythms, pulsing keys, and a swingin’ groove that melds into a genre-defying conglomeration of creative compositions and collaboration. In mid 2022 Alex travelled from Australia to Berlin, where he assembled a dream team crew of creative innovators featuring Hungarian keyboard player Àbáse, Australian bass guru Horatio Luna, and Brazilian flautista Paulo Cedraz. Together the group cut six unique dance tracks at Berlin’s iconic Jazzanova Studios, engineered by Grammy nominated Axel Reinemer. From the shuffling broken beats and dancing flute melodies in title track “Oscillate” to the experimental uptempo “Deja Vu”, the momentum of the music ceases to stop. “U R THA 1” features a driving jungle sound of repitched drums, vocal chops and 808 bass, and “Berlin” captures a classic funky 90s house feel powered by 4-on-the-floor kick and melodic basslines from Horatio Luna. Paulo Cedraz shines on flute in the Caribbean influenced “Ginealach”, and the LP finishes with the head-bopping “Hüpf” giving the listener a taste of some down-tempo beat music atop a bed of Àbáse’s lush rhodes. From top to bottom, the unique voices and powerful musicianship of each band member is obvious. Australian influence is at the core of the sound not only through the bass and drum chair, but through the punchy characteristic mix by Melbourne’s Lewis Moody and master by Gareth Thomson. The final piece of the puzzle was bringing in Alex’s childhood drum and percussion teacher Joel Prime, where they overdubbed additional percussion parts together in London. Artwork was stunningly put together by Robert Winter (Suff Daddy, Bluestaeb, K, Le Maestro) with visualizers put together by the stalwart KARL-F. Jakarta is ecstatic to share such a high-water mark of an album, out everywhere physically / digitally May 12th. Check the accompanying Press Sheet for Campaign Schedule and more. Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US and UK.

The Magic Movement is more than happy to present the debut album of BRUO.

The Brazilian duo presents seven tracks with their very own blueprint of Ambient/Electronica music, generated from radically processed cut-up guitars and sophisticated glitch beats. BRUO, which means "noise" in Esperanto, is born from the deconstruction and re-editing of long improvisation sessions, arranged in succinct tracks and narratives which are stylistically located right in the middle between the minimalism of Alva Noto and the maximalism of Amon Tobin.

Their unique and immersive combination of sounds creates a cineastic world and invites you to drift with BRUO through the nocturnal streets of São Paulo, one of the most pulsating cities in the world and birthplace of this project.

Fans of the innovations and originality that sprang from the L.A. underground of the late 1970s and ’80s often ask, “What’s Paul B. Cutler been up to?” A vital participant in the Los Angeles music scene of that period as bandleader, songwriter, musician and producer, Cutler’s work—in particular his guitar playing— with The Consumers, 45 Grave, Vox Pop and The Dream Syndicate is still admired by fans and an influence on anyone interested in that period and the styles that developed from it. In 2014, “Ryan Adams contacted me and wanted to form a band. He loved 45 Grave, he wanted to do some goth / punk, whatever you want to call it. That’s right up my alley. He’s amazingly talented and inspiring to work with. We did that for a while, and I wrote a bunch of songs.” Enthused about his new material, Cutler continued recording songs with just his signature electric guitar style and vocals. As this was developing, another vet of the early L.A. scene—Brad Laner of Medicine and Savage Republic—got in touch with Cutler. Soon Laner was mixing, co-producing, playing keyboards as well as adding the rhythm section. The overall process took some time, with songwriting beginning in 2014. When reflecting on the music that comprises Les Fleurs, “To me, and it does not sound like it, but because of the philosophy I had while producing it, it’s punk. I come from the original punk, before it was a genre. Before it was a ‘sound.’ When I got to LA in 1977 there were about twenty, maybe thirty bands and they all sounded very different. The Screamers, The Deadbeats, so many different takes on what music could be. There was no chance for commercial success so we all just did what we wanted. I never stopped. So philosophically I consider this punk rock, made in its original spirit although nobody would recognize it as such. I am a punk to this day.” So that, dear reader, is the basic story. Now it’s up to you to see what you recognize in Paul B. Cutler’s Les Fleurs.

Inspired by the original Industrial Records release of William S. Burroughs’s Nothing Here Now but the Recordings, Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin.
Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut-up' technique. Sommerville's technical background enabled him to contribute to the early development of sound-and-light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time.



For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

Inspired by the original Industrial Records release of William S. Burroughs's Nothing Here Now but the Recordings Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin. Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut -up' technique. Sommerville's technical background enabled him to contribute to the early development of sound - and - light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time. For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

Over the course of a nearly 50 year romantic and creative partnership sound artist Annea Lockwood and the late pioneering electronic composer Ruth Anderson have shared space on a number of significant releases of early electronic and tape music, including Charles Amirkhanian’s trailblazing 1977 anthology of women electronic composers New Music for Electronic and Recorded Media, a 1981 split LP on Opus One, a 1997 CD for Phill Niblock’s XI imprint, and 1998’s Lesbian American Composers compilation on CRI. The couple additionally taught a course on the history of women’s music-making, at Hunter College, called Living Women, Living Music. Throughout their time together, they co-authored a number of Hearing Studies designed for people with no formal musical training, which were collected for a 2021 book publication by Open Space Music. They spent most of their private life between Crompond, NY and the house they built themselves at Flathead Lake, Montana. Although Ruth passed away in 2019, the composers’ dialogue continues today with Tête-à-tête, a collection of unreleased archival and new material spread across an LP and a single-sided 10” record.

It all began with a telephone call. In 1973, Ruth Anderson was seeking a substitute to cover a yearlong sabbatical from her position as the director of the Electronic Music Studio she had founded at Hunter College in New York City. Her friend Pauline Oliveros too was on sabbatical, but recommended Ruth call Annea Lockwood—then living in London—about the post. Already drawn to America by the work of the visionary composers with whom she would soon be labelmates on Lovely Music, Annea jumped at the opportunity and within days of meeting in person the pair were, in her words, “joyously entangled.”

Over the next nine months, while Ruth was living in Hancock, New Hampshire, the couple would speak daily by phone in between visits. Ruth recorded these phone calls and, in 1974, surprised Annea with a cassette containing “Conversations,” a private piece she composed by dexterously collaging fragments of their conversations alongside slowed and throwed snatches of old popular songs: “Yes Sir, That’s My Baby”; “Oh, You Beautiful Doll”; and “Bill Bailey.” The centerpiece of Tête-à-tête, this side of intimate musique concrète extends to its listeners a rare invitation to eavesdrop on the halcyon phenomenon of two people falling in love. Tender and playful throughout, “Conversations” comes to its zenith with a cut-up of relentless laughter of a contagious beauty that is, for once, properly convulsive.

“For Ruth” is Annea’s elegy to her life partner. In 2020, Annea returned to Hancock as well as to Ruth’s resting place at Flathead Lake to make field recordings, which she wove together with further excerpts of the couple’s 1974 conversations for a commission presented as part of the 2021 Counterflows Festival in Glasgow. A consummate field recordist, Annea imbues the simple sounds of church bells, birds, wind, and the bodies of water that permeated her time alongside Ruth with an otherworldly depth and sense of narrative akin to that of her celebrated sound maps of the Hudson, Danube, and Housatonic rivers. An oneiric, subtly tonal evocation of a meeting at the shores of existence.

The collection opens with “Resolutions,” Ruth’s last completed electronic work, from 1984. A meditation for the individual listener composed as the result of her study of Zen, it’s a rigorous, process-driven piece that charts the very slow, smooth descent of a 5th from the octave above middle C down to sub-bass frequencies. Minimalist in execution, yet powerful in effect, it glides by almost imperceptibly, with new tones arriving and hovering or levitating upwards, seemingly out of nowhere. A healing piece, it harnesses the highly focused energy of pure tones as a means to, in Ruth’s words, “further wholeness of self and unity with others.”

Tape transfers by Maggi Payne, master by Giuseppe Ielasi and lacquers cut at Dubplates & Mastering, with domestic photos and liner notes provided by Annea Lockwood.

The triumvirate of Roky Erickson, Tommy Hall and Stacy Sutherland had to feature. Transcendent slower songs (often) don’t feature full band performances – so, no Splash One. The song had to be a band original. So, no Baby Blue. 13 unlucky for some. This compilation launches a new phase in the 13th Floor Elevators catalogue and previews the forthcoming series THE QUEST FOR PURE SANITY: the release in optimal quality of all surviving source material for all of the band’s recordings. ‘13 OF THE BEST’ has been mastered separately to vinyl, CD, digital and streaming for the best possible sound quality for each format. Each original source has been referenced to the earliest vinyl pressing and meticulously transferred at 96khz 24- bit resolution. Multitrack tapes of the original recording sessions have been newly mixed in strict accordance with the records as first released. ‘You’re Gonna Miss Me’, the band’s seminal single, is presented here for the first time in true stereo. Taken from the original multitrack session tape, the song has been mixed to stereo in accordance with the iconic mono 45 as recorded and engineered by Walt Andrus. ‘Slip Inside This House’ viewed by fans and critics alike as the Elevators’ masterpiece and one of the key psychedelic recordings of the era, is included on the LP as the edited mono single mix so the loudest possible cut can be achieved. The eight-minute stereo version is included on all other formats. ‘Never Another’, ‘Dr Doom’ and ‘Livin’ On’ from the band’s final sessions have been newly mixed but without the overdubs added almost a year after recording. While the session tapes survive, the overdubs do not. ‘Livin’ On’ features Roky Erickson’s original superior vocal performance instead of the overdub used on the ‘BULL OF THE WOODS’ LP. What is uniquely presented here is 100% Elevators as mixed and intended for the LP. No embellishments! ‘13 OF THE BEST’ is produced by 13th Floor Elevators official archivist and historian Paul Drummond who has also written sleeve notes with full track-by-track information.

The triumvirate of Roky Erickson, Tommy Hall and Stacy Sutherland had to feature. Transcendent slower songs (often) don’t feature full band performances – so, no Splash One. The song had to be a band original. So, no Baby Blue. 13 unlucky for some. This compilation launches a new phase in the 13th Floor Elevators catalogue and previews the forthcoming series THE QUEST FOR PURE SANITY: the release in optimal quality of all surviving source material for all of the band’s recordings. ‘13 OF THE BEST’ has been mastered separately to vinyl, CD, digital and streaming for the best possible sound quality for each format. Each original source has been referenced to the earliest vinyl pressing and meticulously transferred at 96khz 24- bit resolution. Multitrack tapes of the original recording sessions have been newly mixed in strict accordance with the records as first released. ‘You’re Gonna Miss Me’, the band’s seminal single, is presented here for the first time in true stereo. Taken from the original multitrack session tape, the song has been mixed to stereo in accordance with the iconic mono 45 as recorded and engineered by Walt Andrus. ‘Slip Inside This House’ viewed by fans and critics alike as the Elevators’ masterpiece and one of the key psychedelic recordings of the era, is included on the LP as the edited mono single mix so the loudest possible cut can be achieved. The eight-minute stereo version is included on all other formats. ‘Never Another’, ‘Dr Doom’ and ‘Livin’ On’ from the band’s final sessions have been newly mixed but without the overdubs added almost a year after recording. While the session tapes survive, the overdubs do not. ‘Livin’ On’ features Roky Erickson’s original superior vocal performance instead of the overdub used on the ‘BULL OF THE WOODS’ LP. What is uniquely presented here is 100% Elevators as mixed and intended for the LP. No embellishments! ‘13 OF THE BEST’ is produced by 13th Floor Elevators official archivist and historian Paul Drummond who has also written sleeve notes with full track-by-track information.