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** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

The next album in our Cuban Classics series is a hard one to pigeonhole. It’s a real oddity, unique and not in keeping with the majority of Cuban albums we know, but it's all the better for this. Coming courtesy of Juan Almeida, the Fantasia LP is an eclectic and epic, instrumental ride through Latin jazz-funk, trippy electronics and orchestrated classical music. Sounding at points like a full-blown orchestrated score to a dusty animated film extravaganza, with phrases and passages repeating like the appearance of ghostly spectres throughout the recording. At others, it busts into exotic funk, psychedelic-trippiness and Afro-Cuban percussion.

As rich and varied as the record, so too was Juan Almeida's (Juan Almeida Bosque) life. A descendant of African slaves born in a poor neighbourhood in Havana in 1927, Almeida went from bricklayer to university law student, through which he would meet Fidel Castro. He played a key role in the Cuban revolution, becoming the only black commander and famously voicing “Aqui no se rinde nadie!” (“Nobody here surrenders!”) when outnumbered at the start of the offensive. Castro would later make him one of his vice presidents, but Almeida’s legacy does not stop there. He also became the composer of over 300 popular Cuban songs, many of them recounting his days as a guerrilla.

Produced, orchestrated and conducted by Rafael Somavilla, who worked on a vast array of Cuban recordings including Raúl Gómez's 'Instrumental' which we also reissued on Mr Bongo, the feel of Fantasia is big, luscious, grand and pop-classical. It has become a highly sought-after, cult Cuban rarity amongst collectors and like many great albums, every repeat listen brings with it new elements previously unnoticed. Such is its richness and depth. A truly mesmerising, off-the-beaten-track instrumental record.

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

Hidden Notes Records (Spindle Ensemble, Fran & Flora, Josh Semans) and Tardigrade Records (Cosmo Sheldrake, Howl) are excited to announce a unique collaboration to release ‘Selected Worlds’, the monumental and ambitious debut triple album by composer and pianist Daniel Inzani. Over the past 2 decades you might have seen Inzani performing with dozens of bands from Bristol’s underground alternative and avant-garde scene, blending classical, jazz, contemporary, improvisation, unusual harmony and rhythms as a band leader and collaborator. He’s released an avant-garde collaborative album with Alabaster dePlume, is the musical director and arranger for Cosmo Sheldrake’s 19 piece live band, leads his own critically acclaimed modern chamber quartet Spindle Ensemble and (the now disbanded) 8 piece Ethiopian Jazz meets Frank Zappa group Tezeta, He has toured worldwide as a keys player, collaborated with Canadian ensembles Evergreen Club Contemporary Gamelan and London Symphonia and co-founded Bristol’s experimental collective Bloom, leading to tours and releases with UK rocksteady favourites Count Bobo, the psychedelic space doo-wop of Dubi Dolzcek and many more. After years of recording, touring and eclectic composing he has gathered a trusted set of musicians who are both skilled improvisers and virtuoso players to record an instrumental triple album for release under his own name. The 3 vinyl discs act as albums in their own right, each with different sets of musicians, instrumentations, genres and intentions. The 3 discs were recorded live over 3 day periods in quick succession, with Daniel’s regular collaborator Cosmo Sheldrake engineering the recording sessions. It’s quite possibly the only album you’ll ever hear that starts with a neo-impressionist string quartet, goes on to merge avant-garde symphonic arrangements with group improvisation and ends with an 8 piece cosmic jazz band wigging out, yet Inzani’s voice is clear throughout making for a cohesive 2 hour odyssey from the mind of a composer whose idiosyncratic style thrives through variety Listeners will hear influences from the aforementioned composers including Mingus, Tsegué-Maryam Guèbrou, Ravel and Moondog in Inzani’s music but might also find the soundtracks of Morricone and Jonny Greenwood nestled alongside the loose freeform leanings of Alabaster dePlume, the contemporary jazz of Kamasi Washington and the unique collaboration by Floating Points and Pharoah Sanders (minus the electronics perhaps.) Daniel will be performing a special preview of the album with an 11 piece band at WOMAD Festival (27.07) and a launch concert at this year’s Hidden Notes Festival in Stroud (21.09), with further tour dates to be announced

Alter is proud to present the debut full length release from devotional music outfit Unstern, a collaborative effort between deep ambient artist Arzat Skia and prodigal pianist Leo Svirsky. Co-mixed by Swedish electronic music luminary Civilistjävel! and Arzat Skia and mastered to tape by Stefan Betke, the album features lush electronics, two pianos refracting across the stereo field, processed recordings from the Peruvian Amazon, bowed percussion by Greg Stuart, alongside strings and renaissance meantone organ recorded at Orgelpark in Amsterdam.

The results are an abundant audio illusion where what seemingly repeats slowly over time morphs in a manner where the destination escapes the departure point with extreme discretion, a reverent nod to Morton Feldman's compositional method of "Crippled Symmetry."

Throughout Es Geht Der Tag there is a muted, refined melancholy imbued with a constantly fluctuating pulse which generates a sense of temporal disorientation, leaving the listener lost in a strange yet not at all unfamiliar sonic labyrinth. It is a journey whereby a glorious subtle tension exists between the grandiose and the restrained.

This is environmental music, not in the sense of capturing nature itself, more with regards to an unfolding of audio elements which move in a manner in tune with the multitude of flows in the world.

Unstern’s Es Geht Der Tag is a deep mental journey, rich in subtle transcendental tendencies and psychic liberation.

Having established himself as one of the most energetic and exciting Jazz musicians within the already thriving worldwide scene, New Zealand born, London based Drummer & Producer Myele Manzanza has made a major impact upon the global music landscape.

 A founding member of Electric Wire Hustle, Myele has released five solo albums, and racked up tours and collaborations with Jordan Rakei, Theo Parrish, Miguel Atwood-Ferguson, Recloose and Amp Fiddler amongst others . Myele has developed a strong live presence in his new London base; his quartet has shared stages with the likes of Hiatus Kaiyote, The Bad Plus, Alfa Mist, and drawing packed houses to top venues such as The Jazz Café and Ronnie Scott’s. Last year, the first two instalments of his 'Crisis & Opportunity’ record series saw him garner praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Huey Morgan, The Guardian, Complex, Jazz FM, Lefto, Worldwide FM, Jazzwise and more.

Following the release of his last offering, a chance conversation between Myele and a young Barista at a local coffee shop occurred - their topic (centred around the trials and tribulations of following your musical passions) sent Myele down a spiralling path of internal reflection, spawning a new lease of creative energy and examination of new ways to approach his craft. The third addition to the heralded series, ‘Crisis & Opportunity Vol.3 - Unfold’ sees Myele change his approach from drummer / improviser, altering his sonic output to a more electronic dance music output, opting for a more producer / beatmaker focussed role. Sharing production duties with Lewis Moody (Zeitgeist Freedom Energy Exchange) and taking a more producer / beatmaker focussed role. His initial instinct was to create music that could be played in a club, but also incorporate elements music of the Jazz and technical musicianship he’s renown for.

Articulating his thoughts on the record’s genesis, Myele explains: ‘‘As the process developed, I was also drawing a lot of inspiration from vocal driven soul, RnB and songwriter-driven music to a point where I had lit a new creative fire. Reconsidering the direction of the album, I was left with the creative question “What broader ranges of emotion might my music be able to access, and what kinds of art could be made possible if I were to open up my music to hold space for singers and for stories?”

First single ‘Silencing The Sun’ features the vocal talents of fast-rising fellow Kiwi artist Wallace, whose spectral tones glide gracefully over the pulsating rhythm section and twinkling keys. On second single ’Therapy’ UK Soul royalty Omar weaves his trademark magic over a solid 4/4 beat, soulful key stabs and lush synths, bottling lightning into dancefloor alchemy. Final single ‘Unfold’ sees Rachel Fraser deliver a delicate and introspective vocal performance over stripped back instrumentation as cold, angular electronics juxtapose the warmth of piano keys and sweeping strings. With a wealth of additional incredible talent (such as China Moses and Rosie Frater Taylor) enlisted to further compliment the record’s grainy synth textures, emotive chord changes, driving low end sonics and expressive percussion, the scene is set for a beautiful, shifting and engaging listening experience.

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

Trying to define what it is that makes Dr. John special is much like trying to define the word "soul'—you can surround it. But nailing it down is a whole ‘nother smoke. You can point to his sense of history, how he's never forgotten from whence he came, how his music always returns to his roots, even honoring the proud heritage of his native New Orleans. You can dissect his technique, marveling at the adroitness of the hands right and left; admiring the strong second line; respecting the tributes to his inspiration, Professor Longhair, apparent at every turn. And you can note how his peers consider his presence at a session as lending instant credibility to that particular project. "Upon the release of The Brightest Smile in Town, the reviews were effusive. Chicago critic Bill Knight’s comparisons to Fats Waller and James P. Johnson were high compliments indeed. Downbeat’s Jim Roberts called the playing 'graceful'; noting that the LP had a broader scope than its predecessor. Jazz Times’ Rhodes Spedale summarized: 'He’s never been in better form than here.' We kept in touch over the years. Mac was always generous and encouraging. Little did we know when The Brightest Smile in Town was released, what accolades lay ahead for Mac Rebennack and Dr. John. From the innovative guitar triumph 'Storm Warning' on the Rex label in 1959, to his 2012 Grammy-winning Locked Down album, Mac’s musical light shone brightly for seven decades. We were fortunate he chose to play for us. I’m sure he’d say that he was lucky too." - Jack Heyrman, Clean Cuts Producer

People that like their electronic music extreme are definitely familiar with underground legend DEFORMER. Those who hear the name for the first time have been looking in the wrong direction for the last 25+ years! DEFORMER has been a source of inspiration for many groundbreaking artists for its ever evolving originality.
Rooted in Jungle, Breakcore and putting any genre possible into the mix, DJMAG fit-tingly stated: 'DEFORMER operates in a category of one'. This time around some classic DEFORMER tracks formed the starting-point for some of the most legendary hardcore producers to create a selection of devastating remixes. From Hardcore kings Angerfist and Neophyte, to Tripped, The Outside Agency, Terror pioneer Drokz and others, this record will be on heavy rotation for the years to come.
Instant classic!

The onus of proof regarding deepness is a rather peculiar one. Even if one presses all the right buttons, quotes the correct sources and applies the textbook techniques, often something seems to be amiss. The elusive producer Mute never had that problem. Blessed with a a sound of his own, that seems to stem from within and can be called deep house without the genre’s strait-laced demeanor, his aesthetic includes a distinct feel for boogie and disco tropes. Case in point: Lost. Placed as a B2 it is the secret start of Direct Cuts II and more
prominent on this new edition of a classic Running Back record. Molded into an extended disco version by Gerd Janson with unused parts of the original recording session, it something like a curveball deep house disco song, according to the motto: you and me, we can be like a whole universe! Hard to resist and even harder not to like if you have the slightest interest in Prelude records, Diana Ross songs or Tee Scott mix techniques. Basics, Vibes and Driver’s License push further into the world and musical mindset of Mute.
Originally released in 2006 as the the fourth outing of the label and the second (and his last one to date) of the elusive artist, it is still as remarkable as on its first release. Carefully rescued from the original DAT tapes, all re-edited by Gerd Janson and remastered by Lopazz, it’s available again in a clear and present portraiture of its original intent. Early adopters like Danny Krivit and the Idjut Boys can’t be wrong.

2024 REPRESS

Fourth corner. Physically, it's where four states in the U.S. come together at one singular point. Symbolically, it's where the four great rivers in China come together as one. Or, it could be the cycle of life during the four seasons of the year. For Trixie Whitley, it's a metaphor for trying to find balance and belonging from the songs that make up her scintillating debut album, Fourth Corner.

Whitley burst into public consciousness in 2011 as the lead singer of Black Dub, super-producer Daniel Lanois' (U2, Bob Dylan) project, blowing people away with a voice and presence beyond her now-25 years.

And it's that voice: an emotional, blues-drenched instrument that ranges from a lilting slap to a knock-you-backwards uppercut. On Fourth Corner, Whitley explores the range of human emotion in another set of four: utter love, total rage, unadulterated happiness, and crippling loneliness. "It's those elements of life I keep coming back to," she says. "Both as a person and musically as well."

Recorded in New York with producer/keyboardist Thomas Bartlett (aka Doveman, who's also worked with Glen Hansard, Antony and the Johnsons, Grizzly Bear and the National) engineer Pat Dillett (David Byrne, St. Vincent, Mary J. Blige), and string arrangements by Rob Moose (Antony, Bon Iver), aching songs like "Need Your Love" have Whitley working from a spare beginning that explodes into a blossom dripping with pleading vocals and delicate piano. On tracks like the sassy "Irene" and the sinister "Hotel No Name," Whitley lays down a snarling guitar line on top of scuzzy beats while her voice veers from defiant to remorseful.

It's a tantalizing mix of sounds that can come only from someone who says: "I'm from everywhere but have never felt like I belong." Whitley lived a nomadic life: born in Belgium, she split her time growing up there and in New York but also frequently visiting family in France, Texas, and Mexico. Her mother came from an artistic European gypsy family, filled with musicians, painters, writers, and sculptures, while her father, renowned singer-songwriter Chris Whitley, thrust her into the world of music as a toddler when she joined him onstage in Germany at age three.

After a few years of touring and recording experience with some of the most inspiring artists around, Trixie is ready to presenther anticipated first solo full length.

"I'm psyched and petrified," says Whitley in her archetypal wide-eyed wonderment mixed with a fierce determination. "As a songwriter, I want to go to places people don't expect and with that is complete freedom of expression." Perhaps that place is another version of a fourth corner: something spiritual perhaps, certainly emotional, but most definitely real.

"Music On Vinyl proudly presents the first installment of the acclaimed Miles Davis Bootleg series on pristine 180 gram vinyl!
The explosive transformation of Miles Davis' 'second great Quintet' with Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) is laid bare on Live In Europe 1967: The Bootleg Series Vol. 1.

Culled from original state-owned television and radio sources in Belgium, Denmark, and France, this 5 LP box set spans three northern European festival performances over the course of nine days in October-November 1967. The audio shows consist entirely of previously unreleased or previously only bootlegged material. Miles' Quintet lineup of 1965 to '68 is acknowledged as one of the high reference points in 20th century jazz, and its influence continues to reverberate in small group jazz today, and it was the quintet's live performances, as they evolved into Miles' ideal of a ""leaderless"" jamming ensemble, that truly immortalized them.

Live In Europe 1967: The Bootleg Series Vol. 1 is the best historical album of 2012, according to the Downbeat Critics Poll 2012. "

Abstrack Records is back with a new EP, putting the emphasis on instrumental music. Angers based band Auroboros, whose paths crossed on numerous time with Abstracks, largely on the occasion of infamous Freaks Pop festival, delivers twenty minutes of a progressive and cosmic, rocky jam.
«Camel» feels like a pursuit, a chase after an uncatchable vanishing point. The relentless acceleration of the tempo and the increasing power of the instruments feel like they’re leading us to an inconcei- vable paroxysm.

During the breakdown, everything strangely feels faster and calmer at the same time, we think we’re catching a glance at this horizon, even believing we’re reaching it as drums are fading away. But the ascent starts again and the trance is non negotiable. The power stream of the instrumental energies washes over the immobiles and the sceptics.

On the B side, two very different reworks complete the picture. Romain FX distills the dancefloor essence of «Camel». With a cosmic, almost oriental approach. The original piece gives birth to a proper peak-time banger, pure leg shaking material.

Mytron gives us a more playful and trippy remix. Seven minutes of a vibe that seems to be spinning and drifting, without ever breaking the patiently settled groove, filled with tribal spirit and sometimes even humour.

'Dream Pictures' ist das brandneue Studioalbum des US-Singer/Songwriter Andrew Combs aus Nashville, Tennessee. Die 12 neuen Songs bewegen sich galant zwischen Americana, Indie-Pop und Country-Folk.

Combs produzierte das Album gemeinsam mit dem Schlagzeuger Dom Billett. Die beiden Musiker begannen 2017 gemeinsam zu touren, und ihre Freundschaft ist auf dem Album fast durchgängig hörbar. Mit Ausnahme des Instrumentalisten Spencer Cullum, der die Pedal Steel beisteuerte, wurde Dream Pictures komplett von Combs und Billett aufgenommen und eingespielt. Die beiden nahmen alle Unvollkommenheiten in Kauf, die mit dem hausgemachten Aufnahmeprozess einhergingen und brachten die Rohheit der Aufnahmen mit der Finesse von Combs Songwriting perfekt in Einklang. Sie nahmen sogar Combs Gesang mit einer Reihe von Live-Auftritten im Studio auf und widerstanden so der Versuchung, verschiedene Takes zusammenzuschneiden, um ein poliertes Album er erhalten.

From two recording sessions between Decka and Roseen in the summer of 2021, the results fused into an EP on Freddy Ks label, KEY Vinyl. They also kicked off a new label with an album from that same material. Now, they've dropped a remix EP featuring interpretations by DisX3 (aka Alexander Kowalski), Border One, and Don Williams, along with a new track from Decka and Roseen. The EP covers a broad spectrum of sounds, reflecting the philosophy that everything is a like yet distinct. For more info, let the music do the talking!

Live In Europe 1967 - The Bootleg Series Vol. 1 showcases the ex- plosive transformation of Miles Davis’ “second great quintet” with Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). Miles’ Quintet lineup during that time is acknowledged as one of the high reference points in 20th century jazz, and its influence continues to reverberate in small group jazz today. It was the quintet’s live performances, as they evolved into Miles’ ideal of a “leaderless” jamming ensemble, that truly immortalized them.

Culled from original state-owned television and radio sources in Belgium, Denmark, and France, this set contains three northern European performances over the course of nine days in October and November 1967. Live In Europe 1967 - The Bootleg Series Vol. 1 is the best historical album of 2012, according to the Downbeat Critics Poll 2012.

Live In Europe 1967 – The Bootleg Series Vol. 1 is available as a deluxe 5LP boxset, housed in a lift-off box. The set includes printed inner sleeves and a 16-page booklet with exclusive photos and liner notes by jazz-historian Ashley Kahn.

Double LP set capturing some of Causa Sui's heaviest, most psychedelic tunes recorded live at Loppen - a legendary Copenhagen venue, located in the famous - and infamous - Freetown Christiania commune. This is the sound of Causa Sui at their home turf, stretching out and exploring eight epic fan-favourites from their entire catalogue in front of a small crowd of 400 people in a packed sold-out venue. The show was recorded the first week that Covid restrictions were lifted on venues in Denmark, which called for an especially buzzing night, even for a band that has exclusively played no more than a handful of shows each year since their 2005 debut. Each Causa Sui show is unique. Here we're offered a different perspective of the band's music - it's looser, more free-flowing, and some tracks are warped into something far from their original versions, bouncing off the wooden beams on the low ceiling of Loppen with renewed energy. At one point you can hear the band calling to take a breather and let some air inside the sauna-like temperature of the show, which just weeks before seemed impossible. Loppen 2021 offers a complete set from start to finish, so since chances that you'll catch the band live in person are slim, this is the next best thing. Mixed and mastered by Jonas Munk. Edition of 1000 copies on coloured ecomix vinyl.

Horse Jumper of Love thrive on patient and pummeling songs. Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos, bassist John Margaris, and drummer James Doran have slowly stretched the fringes of indie rock across five full-length LPs. Their music unwinds with gutting emotional intensity thanks to Giannopoulos' impressionistic lyrics and how the arrangements violently lurch from delicate to bludgeoning. Disaster Trick, the band's new album out August 16 via Run For Cover, is their most direct and uncompromising LP yet. Its 11 songs tackle self-destructiveness and healing with jolting lucidity. Where the band's last LP 2023's Heartbreak Rules excelled with quiet, bare-bones songwriting, Disaster Trick cranks up the volume and boasts some of the most expansive arrangements of the band's catalog. Recorded at Asheville, North Carolina's Drop of Sun Studios with producer Alex Farrar, the recordings soar with searing guitars and a thunderous rhythm section. "I tried the quiet thing on the last album and I realized there's definitely two parts of me: I like really heavy music, and I like really gentle music," says Giannopoulos. "The two albums I was listening to the most, while we were in the studio were the Leonard Cohen's Songs From a Room and Hum's Downward is Heavenward." Disaster Trick is a dark record but it's never dour. There's a glimmer of hope and humor throughout these 11 songs, written with the grace that only time and growing up can bring. As he sings on "Death Spiral," "I know it sounds dramatic / But I must describe / The way that it felt." There's catharsis when it's needed most. "This album is a reflection on destructive behavior from a lens of more clarity," says Giannopoulos. "A lot of the songs came out of this point where things in my life were going well but I couldn't accept it. I was being a brat. Disaster Trick is me cleaning up my act a bit and reflecting on it."

Horse Jumper of Love thrive on patient and pummeling songs. Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos, bassist John Margaris, and drummer James Doran have slowly stretched the fringes of indie rock across five full-length LPs. Their music unwinds with gutting emotional intensity thanks to Giannopoulos' impressionistic lyrics and how the arrangements violently lurch from delicate to bludgeoning. Disaster Trick, the band's new album out August 16 via Run For Cover, is their most direct and uncompromising LP yet. Its 11 songs tackle self-destructiveness and healing with jolting lucidity. Where the band's last LP 2023's Heartbreak Rules excelled with quiet, bare-bones songwriting, Disaster Trick cranks up the volume and boasts some of the most expansive arrangements of the band's catalog. Recorded at Asheville, North Carolina's Drop of Sun Studios with producer Alex Farrar, the recordings soar with searing guitars and a thunderous rhythm section. "I tried the quiet thing on the last album and I realized there's definitely two parts of me: I like really heavy music, and I like really gentle music," says Giannopoulos. "The two albums I was listening to the most, while we were in the studio were the Leonard Cohen's Songs From a Room and Hum's Downward is Heavenward." Disaster Trick is a dark record but it's never dour. There's a glimmer of hope and humor throughout these 11 songs, written with the grace that only time and growing up can bring. As he sings on "Death Spiral," "I know it sounds dramatic / But I must describe / The way that it felt." There's catharsis when it's needed most. "This album is a reflection on destructive behavior from a lens of more clarity," says Giannopoulos. "A lot of the songs came out of this point where things in my life were going well but I couldn't accept it. I was being a brat. Disaster Trick is me cleaning up my act a bit and reflecting on it."

Pirates Press Records is proud to re-release Close My Eyes, the 2002 album by NYC ska-reggae legends The Slackers - a complex and nuanced album that shows the band's versatility and capacity for both commentary and introspection. It is often said - to the point of cliche - that New York City is a "character" in the work of the city's most noted filmmakers. A similar statement could be made about the artistic symbiosis between the city and The Slackers. From the Bronx-born accent of lead vocalist Vic Ruggiero to the band's embrace of cosmopolitan musical traditions from a melting pot of cultural origins, New York defines The Slackers at least as much as the band have contributed to defining the sound of New York for well over 30 years.Therefore, it bears mentioning that - aside from a 2002 collaborative album by "The Slackersand Friends" - Close My Eyesis the band's first proper studio LP released after the traumatic terrorist attacks on their home city in 2001, and the band took enough time to reckon with the global fallout of this tragedy. "So feel free go steal and rob, revolution ain't my job," sings Ruggiero on the title track. "And if I sing your happy song, please don't tell me I am wrong." It is the statement of an artist searching for a way to still sing about joy and life in uncertain times of great upheaval. And ultimately the band must reckon with these times. On "Real War," toaster Marq Lyn takes lead vocals as the band addresses the march to war that was omnipresent in those early days of the 21st century, stating in no uncertain terms that it was "Time to fight the real war_ Against hunger and poverty_ For racial equality." The Slackers make it clear that while the machinations of hawkish politicians grind on, the real needs of people all over the world are left behind. This tension between a dangerous world and the struggles of one's personal life are present throughout the record, and the band weaves stories from the whole spectrum of human emotion, war, heartbreak, joy, and everything in between. Bookended by instrumental tracks, opening with the energetic "Shankbon" and ending with moody dub reggae, these veteran virtuoso players ultimately take listeners on a masterful journey through the human experience.

Following floor shaking four trackers on Bliss Point and his own Professional Music imprint, SPF 50 continues his roll on Amsterdam’s Dzungla label with the Terrarium Trek EP.

Terrarium Trek finds SPF 50 exploring the vanishing space between electronic and organic, returning to us with four sonic ecosystems encased in no-frills club melters. Each track thumps with life, conjuring the beauty, mystery and terror of the natural world, stomping and wriggling out of the sound system and immersing the dancefloor.

Composed using modular synthesis, sampling, and a process that eschews the rational for something deeper, with Terrarium Trek SPF 50 has once again gripped the unknown and pulled it into us, turning the club up, inside and out.

Completing Kranky's chronologically reverse reissue program of the earlier loscil albums on vinyl, the 2001 debut album is issued on the format for the first time with the addition of three bonus tracks from the same sessions that produced the original release.

‘’Triple Point was my first full length album under the loscil name, and it was my first with kranky - a relationship now 25 years old. This reissue is as much about celebrating that relationship as it is about the music. I am extremely grateful for this journey. Arguably, none of it would have happened without this release.’’

“Pay no mind to the label and pay no mind to the producer's locale (Vancouver isn't Cologne or Detroit); Triple Point is one of the finest—and most varied—ambient techno releases of 2001.”— AllMusic

"Finding itself nestled halfway between the endlessly spacious mechanoid constructions of Berlin's Basic Channel and the drifting expanses of Labradford, Scott Morgan's work as Loscil never ceases to impress with its deft use of technology and percussion.”—Boomkat

Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

Vinyl Packaging: Full color jacket featuring original artwork by Callum Rooney. Can I Communicate With the Unknown? is the new album from Go By Ocean, moniker of Northern California based singer / songwriter / producer Ryan McCaffrey. Co-produced alongside Tim Bluhm (The Mother Hips) and David Glasebrook, the album features contributions from a wide cast of characters, ranging from the tight knit community of Phil Lesh’s much loved Terrapin Crossroads to the wider West Coast indie-rock scene, including members of The Mother Hips, Sugar Candy Mountain, ALO, Tea Leaf Green, and more. Building upon McCaffrey’s catalog of songs, the new album finds inspiration in the down-to-earth music of 1970’s Marin County, when songwriters like Michael Hurley and Jesse Colin Young lived out in Olema and Point Reyes, the kind of places where songs blow in on the breeze from the Pacific Ocean. Lyrically, the album traces a hero’s journey as the narrator struggles with addiction, eventually finding peace and freedom in a tumultuous world, wrestling with metaphysical and spiritual ideas along the way. Highly anticipated new album from Go By Ocean, co-produced by Tim Bluhm of The Mother Hips. Press coverage includes reviews and features in Austin Town Hall, Glide Magazine, Psychedelic Baby Magazine, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “...washed with breezy beachy vibes…” - Glide Magazine // “...marries the bright guitar arrangement of The Byrds with an updated indie appeal.” - The Wild Is Calling // “...you can almost feel the hope over the hills waiting for you with open arms.” - Austin Town Hall // “‘...satisfyingly artful and I would venture to guess you’ve never heard anything quite like it.” - Ear To the Ground Music // “We will be spinning the hell out of this record for the rest of the summer.” - Up To Hear Music // “...it’s not hard to imagine some of these songs floating in on the coastal fog, ascending ghosts indeed.” - Psychedelic Baby Magazine

On 9 August, 2024, Merge Records reissues David Kilgour's A Feather in the Engine, remastered and pressed on vinyl for the very first time. Originally released in 2002, A Feather in the Engine followed two full-band efforts_1997's David Kilgour & the Heavy Eights and The Clean's 2001 album Getaway_and is thus almost startling in its intimacy. Recorded at home and mostly alone (The Verlaines' Graeme Downes provides lush string arrangements), Kilgour once called A Feather in the Engine "the most solo LP I've made." Interpolating his genius for guitar pop through acoustic guitars and gorgeous instrumentals, its melodies unfold gently, suggesting that the 13 songs here, written over the course of four years, were searching Kilgour as much as he was searching them. The dichotomy between A Feather in the Engine's pop songs and instrumentals fascinates the ear, drawing the listener closer and closer to Kilgour's virtuosic guitar playing when his lyrics aren't imparting his breezy charm. The depth of style he achieves_the psych pop of "Today Is Gonna Be Mine," the Velvet Underground-esque churn of "All the Rest," the chamber folk of "The Perfect Watch"_is daunting; listening to it now, every song feels capable of generating a dozen playlists, or like the spawning point of a new microgenre. Perhaps anomalous upon release, it's A Feather in the Engine's instrumentals that feel weightiest in this regard now. "Sept. 98" and "Backwards Forwards," respectively the opening and closing tracks of the album, are elegant, pastoral epics that call out into the yawning expanse, presaging the simmering ambient country of William Tyler and SUSS, while "Instra 2" pushes out the boundaries of Eastern-influenced psychedelia. Lovingly remastered (and in some cases remixed) from the original tapes by Tom Bell at Port Chalmers Recording Services, the vinyl reissue of A Feather in the Engine is a crucial opportunity to rediscover one of David Kilgour's best records, a handcrafted gem that perfects guitar pop's past while pointing to its future, idiosyncratic in its making and tantalizing in its potential. There is good reason for David Kilgour to be your favorite musician's favorite musician. A Feather in the Engine is good reason for him to become yours.

Hört man den coolen Sound von LA LOM mit geschlossenen Augen, kann es sein, dass man sich in einer Welt irgendwo zwischen tropischer Hitze und schwarzweißem Hollywood-Krimi wiederfindet. Musik mit dem „Twang“ von Rockabilly, der Sinnlichkeit lateinamerikanischer Rhythmen und dem ungeschliffenen Sound moderner Independent Music, die schon prominente Fans wie Beck und Vampire Weekend gefunden hat.

Hinter LA LOM, Abkürzung für ”The Los Angeles League of Musicians”, verbergen sich die drei Musiker Zac Sokolow (Guitar), Jake Faulkner (Bass) und Nicholas Baker (Drums/Percussion). 2019 fanden sie sich zusammen um im historischen Roosevelt Hotel am Hollywood Boulevard zu spielen, inzwischen geben sie Konzerte vor Tausenden von Menschen, veröffentlichten erste digitale Singles ihrer Latin- und SoulInstrumentals und ziehen zahllose Fans auf ihre Social-Media-Profile. Ihr Albumdebüt bei Verve Records produzierte Elliot Bergman (Cage the Elephant, Major Lazer, Wild Belle)

Marking its first decade of activity, Blume returns with the first ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media”, from 1977, the third and final instalment in a suite of releases that includes James Tenney’s “Postal Pieces” and Ben Vida’s “Vocal Trio”. Unquestionably among the most important collections of experimental music to emerge during the 20th Century, “New Music for Electronic and Recorded Media” is the original feminist presentation in its context, releasing the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and Laurie Anderson under its collective banner. Includes newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the efforts of efforts of Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and others, Blume delivers their third release in their first suite of releases for 2024, the fist ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media” compilation, originally issued by Thomas Buckner's 1750 Arch Records in 1977. Out of print for decades on vinyl and arguably the most important feminist statement in the history of experimental music, illuminating the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Robert, Ruth Anderson, and Laurie Anderson - in a number of cases representing their recording debuts - during a crucial moment in the history of experimental music. Blume’s brand new edition - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - radically shifts perceptions of the past and present day with its truly revolutionary sounds.

Issued by Thomas Buckner's 1750 Arch Records in 1977, and out of print nearly the entire time since, “New Music for Electronic and Recorded Media” can be understood within two simple frameworks. On one hand, it is an astounding document of the landscape of experimental music toward the end of the 1970s. On the other, it is a historically significant feminist statement, being the first collection of experimental music entirely dedicated to female composers, a number of whom were grossly under-celebrated at the time, but have since gone on to be regarded as among the most important composers of their generation.

The eight pieces gathered by “New Music for Electronic and Recorded Media” - Johanna M. Beyer’s “Music of the Spheres”, Annea Lockwood’s “World Rhythms”, Pauline Oliveros’ “Bye Bye Butterfly”, Laurie Spiegel’s “Appalachian Grove I”, Megan Roberts’ “I Could Sit Here All Day”, Ruth Anderson’s “Points”, and Laurie Anderson’s “New York Social Life” and “Time To Go (For Diego)” - might be regarded as the first cohesive vision of alternate proximity or expression of experimental music to what has always been a frustratingly male dominated environment, and to the tropes, temperaments, and sensibilities that have been historically perceived to define it. It is an expanded vision of truth. While the presence of feminine sensibilities and temperaments in experimental music, however they may present themselves, were anything but new in 1977, “New Music for Electronic and Recorded Media” was the first opportunity, beyond the temporal limitations of live performance, to view them collectively, rather than as individualised expressions within a larger body of similar gestures (as was the case of Oliveros’ inclusion in Odyssey’s 1967 “New Sounds In Electronic Music” and “Extended Voices” compilations) where they might be confused for something else; to regard and celebrate a radical notion of feminine sonority for its unique characteristics and through its interrelations.

While its historical significance and groundbreaking nature can not be debated in its totality, nearly half a century on “New Music for Electronic and Recorded Media” remains compelling in both its musicality and the palpable sense of its lasting influence. Every composition across the album’s two sides is not only engrossing and deeply compelling - feeling as fresh and relevant as the day it was laid to tape - but clearly tangible in their lasting influence. Viewed in context, the album’s eight works feel like breath of fresh air when compared to much of what came before, and laid the groundwork for much of what was to come, introducing a new, often more holistic temperament and more sensitive and inclusive sensibility into the landscape of experimental music.

Particularly in the case of Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Ruth Anderson, and Laurie Anderson, it's hard to throw ourselves back in time and imagine a moment when these composers rested in a fairly marginalised corner of the creative landscape. Blume’s brand new edition of “New Music for Electronic and Recorded Media” - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - brings us back to this confounding moment and points us toward a crucial moment of change set forth by these incredible composers and their sounds. Absolutely seminal and not to be missed.

2024 Repress

Dauw welcomes Berlin based musician Midori Hirano to the label with her new album Soniscope. Award winning composer Robot Koch provided a rework of the track Patterns under his recently announced new ambient project Foam and Sand.

With releases on acclaimed labels such as Longform Editions, Sonic Pieces and Alien Transistor, Midori Hirano is no stranger within the field of electro-acoustic piano music. While she is more known for her studio-work, it is often forgotten that she also has a long tradition of writing for films and theatre productions. This forms an important part in her work and a constant inspiration for her autonomous work. Soniscope is no exception in that regard. While working on the film Mizuko (Kira Dane, Katelyn Rebelo, 2019), a still of many little Jizo statutes got her attention and came to be the first steps of her new album.

“I was fascinated by the combination of the image and sound which well emphasized the stillness with a slight of emotion.” (Midori Hirano)

With the Jizo statutes on her mind, Midori Hirano wanted to make an album and started envisioning several personal narratives. Soniscope can be considered as the soundtrack of her own personal stories related to these statues of which Mizuko Jizo was the starting point. With Soniscope, Hirano continues in the same vein as her previous albums in which piano and electronic arrangements hold a central place. However, on this record she specifically explored new possibilities in terms of techniques and instruments.

Midori Hirano is a Japanese musician, composer and producer, born in Kyoto and living in Berlin since 2008. She started learning the piano as a child, and this triggered what was to later see her study classical piano at university. Therefore her productions are based on the use of acoustic instruments such as the piano, strings or guitars, but yet experimental and an eclectic mixture of modern digital sounds with subtle electronic processing and field recordings.

Her first two albums were released on noble records, and her second, “klo:yuri”(2008), saw her further develop of her sound, garnering critical acclaim from various media including TIME magazine , BBC radio and FACT Magazine. Over the following years Midori has performed in venues and festivals as diverse as Club Transmediale, Heroines of Sound Festival, Erased Tapes Sound Gallery, L.E.V. Festival, Boiler Room Berlin, and Wonderfruit Festival.

The nine solo albums and numerous single track releases to date include the works of her other moniker MimiCof, in which she explores the realm of experimental music and detailed rhythmic patterns, combined with an idea of drawing melodic shapes and harmonies. Her recent works have been released by labels such as Sonic Pieces, Daisart, Alien Transistor, raster-media, 7k! Music and Longform Editions.

Besides producing her own works, she composes music for films, video installations and dance performances. The films that have commissioned works by Midori have been screened at Berlin International Film Festival, SXSW Film Festival, International Documentary Film Festival Amsterdam and among others.

To experience Justin R. Cruz Gallego's pulverizing Sub Pop debut is to get burned down to ashes and burst forth, born anew. Grim Iconic...(Sadistic Mantra), the Tacoma-based artist's second album, is driven by opposing forces: noisy abstractions and tightly structured beats, anguish and dissolution at the outside world and empowerment within, apathy and catharsis. Grim Iconic...(Sadistic Mantra) weds scouring electronics to hooky songs and Gallego's powerful drumming in a way that feels visceral and new. It's his most personal statement to date, at once playful and intent, driven and combustible, total fucking chaos mixed into glints of broken-glass beauty. Born in Tucson, Arizona, Gallego experienced culture shock as a child after relocating to the frigid climes of the Pacific Northwest. He found solace in the Seattle punk scene centered around Iron Lung Records and has since remained a fixture in the underground community. "I see this record as first and foremost a musical statement," Gallego says. "I grew up in punk and DIY subcultures, but before that I had Latin music playing in the background through my childhood and every phase of adolescence. It was surprisingly natural to incorporate. I realized I wanted to go deeper into these rhythms. I wanted to make a record that felt as experimental as much as it felt from the perspective of a Latino. When I got a glimmer of that possibility, it felt exciting." Lead single "Dogear" is a face-melting party starter that sounds like someone forced Talking Heads and Rudimentary Peni to share a practice space. "I wanted a song that felt playful in the way it attempted to be dissonant without taking itself too seriously," Gallego says. "Cholla Beat" is even more ambitious, an anthemic mix of WAR and Wire led by unruly synthesizers spiraling down a labyrinth of production. Gallego's influences for the album are vast, ranging from British documentary filmmaker Adam Curtis to electric Miles Davis to audio miscreants like Demdike Stare and Oneohtrix Point Never. But it's Gallego's assured sonic vision that resounds the loudest. And, while J.R.C.G. is a solo project, conceived and executed primarily in Gallego's home studio, he found strength in opening the project to others, starting with Seth Manchester as co-producer. Manchester's penchant for bone-rattling frequencies, as seen in his production work with The Body, Battles, and Mdou Moctar, made him a natural fit for Gallego. Together, they retained the intimacy of Gallego's home recordings while taking advantage of the hi-fi stylings of his Machines With Magnets Studio in Rhode Island. The closing song, "World i," offers a glimpse into the live experience of Grim Iconic...(Sadistic Mantra), with upwards of seven band members blasting off. The album features a fascinating mix of supporting players, many of whom cycle through J.R.C.G.'s live lineup: Morgan Henderson (The Blood Brothers, Fleet Foxes), Jason Clackley (Dreamdecay, The Exquisites), Jon Scheid (Dreamdecay, U Sco), Erica Miller (Casual Hex, Big Bite), Veronica Dye (Terminator) Phil Cleary (U Sco), and Alex Gaziano (Dreamdecay, Kidcrash, Science Amplification). Taken as a whole, G.I.S.M. is a whirlwind of sound, pummeling, and cleansing. It's a sweaty, thrilling aural adventure and, like a great basement show, it'll leave you breathless, exhausted, and wanting to repeat it all over again. As any good mantra should.

It’s hard to overstate the importance of Fanny’s 1970 self-titled debut album. For the first time, a group of women (sisters June and Jean Millington, Alice De Buhr and Nickey Barclay) wrote and sang their own songs, played their own instruments and, perhaps most importantly, rocked just as hard as any male band out there. And, as the first all-female band signed to a major label (Reprise) and with superstar producer Richard Perry at the board, these four women became perhaps L.A.’s biggest “buzz band,” landing repeated bookings at the Whisky-a-Go-Go with a who’s who of rock’s glitterati in attendance. Fanny became the reference point for generations of female rockers to come after them, from Joan Jett to Girlschool to Courtney Love and beyond. They were truly the Godmothers of Chick Rock. The self-titled debut by Fanny is available as a limited edition of 750 individually numbered copies on silver coloured vinyl, housed in a gatefold sleeve.

Sumer Is Icumen In is Quentin Thirionet's (Dhavali Giri, Pairi Daeza) debut album. Still, his musical escapades are vast and varied, based almost entirely on improvisation and live recordings, of which he occasionally distributes tapes without further information. Elusive to categorization and identification, unwilling to fix his musical activity under a stable pseudonym, his projects have ranged from gypsy jazz guitar swings, French traditional songs from Auvergne, and various experimental collaborations. Increasingly closer to electronic instrumentation, he crafted what Belgian label KRAAK presents here as Maibaum, his first ever solo output. As the title goes, this may be a maypole on which his multicolored sonic visions spring about.

Former rope access worker and currently a farmer of organic greens, Thirionet lives up to these lines of work as a musician. He assembles precisely what seems like a subtle balance between high manmade structures and soft fertilized soils; a high voltage pylon placed in a biotic landscape. It's all an even blend, spontaneous and steady, but this contraption comes from profound considerations. "I chose these tracks among many others," says Quentin, "because I heard the melodies all the time in my mind, and because I cried while playing them without really understanding why."
Armed with nothing more than a blackbox, a sequencer, a freeze pedal, and a tape player, Thirionet orchestrates a vivid rite of polished futures. At times reminiscent of Hans-Joachim Roedelius' enveloping arrangements, Maibaum's ambiances rely on mild repetitive patterns subsequently textured by prickling sprouts, mechanic dislocations and revamps that stoke and brighten the stirring motions. Jim O'Rourke's I'm Happy and I'm Singing comes to mind in terms of its detailed and prismatic nature, but Sumer Is Incumen In has its particular narrative. It's a tale of regeneration, of spring's delicate procedures and allure, a celebration of gracious and fortunate junctions between nature and machinery.

The album unfolds like a massive engine being made flesh to drift along the ether of a sultry land. The terrain turns pleasant and fertile in the title track; the colors and melodies of May start to unravel. Chromatic columns rise and define the scenery's depth of field breeding a synesthetic stream between crystal lights and warbling organisms. Grande Albero Buono Magico Uoma's brisk kaleidoscopic arpeggios sound like scanning a tree's litmus foliage. Then Ciguri takes us back to the foggy swamp of the beginning but is suddenly lit by an insect’s labyrinthine roundabout. The Jeweled Grid is a poem Quanta Qualia's lustrous metallic voice recites as a report of the album's phenomena. "Shiny revelations jump out. Pearls of thought flicker about." Images from within that distill to swirl around among us. The thicket dissolves as the album concludes calmly in Le Concept De Chien N'aboie Pas. Swaying under sieved solar light, leaves and branches tingle until the winds grow weak. All the warm creatures gathered along the way, and all those who danced around the maypole's splendid equilibrium now withdraw, folding up small to foster rebirth once again.

José Badía Berner

Fractal Void is an avant-garde duo based in Düsseldorf, Germany. Their experimental music blends electronic and contemporary genres located somewhere in the field of musical tension between ambient, drone, halfstep and floor-affine IDM. During their live sets, Fractal Void create vertical reflections by processing sounds through software and interaction with real instruments in every unique musical performance like the Chinese contemporary calligraphic practice Dishu.

Their debut album Elemental Collection unveils a dense and lavishly layered transformation of artificial organic signals, sculpting an auditory world filled with emotive landscapes, overgrown polyrhythms and futuristic elements. Embedded within each track are field recordings serving as the heartbeat of the album. Through innovative and expansive deconstruction, Fractal Void create an energetic and sometimes contemplative experience.

The persons behind Fractal Void:
Back in 2008, their musical journey began with winning a Spectrasonics competition using field recordings of a locker door, that was implemented as a bass synth. Their collaboration was continued as producers of the eight-piece electronic jazz project „Mothers of Guru“.

Marcus Scheltinga is a composer, producer and multi-instrumentalist. Besides studying jazz trombone at the Conservatorium Hilversum and the Folkwanghochschule, he works as a musical director, lecturer and coach in 39 countries around the world. From ZDF sound design to live and studio performances with international greats, his own productions have included such as Grammy winner Larry Carlton and Peter Erskine. Mid-east and Indian inspired, Marcus is a true story teller as a musician and composer.

BORGBORG is a producer and DJ. She moves freely in different styles of electronic music with a focus on avant-garde driving techno, dark hypnotic vibes seamlessly blended with deconstructed beats, noise and timeless elements of IDM. She is a member of About Repetition, a group of artists dedicated to the research of repetition through artistic means, collaborating with a wide range of other collectives across Europe and co-founder of the techno event series „SCHLEIFEN“. 

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Coloured vinyl repress of Penguin Cafe album Rain Before Seven… A sense of optimism infuses Penguin Cafe’s fifth studio album, not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life... from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much- loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

Encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven... have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

"We had a conversation recently where we realized that we’ve been a band for almost 10 years. When we started Wild Rivers way back when, we had never played a real concert before. When we made our first record it was our first time stepping into a real studio. We barely even knew each other when we started this band. Since then we’ve played a thousand shows, recorded over 30 songs, and become a family.

When we set out to record ‘Never Better’, we felt like we were at a new stage of the band. By that point, we’d put in the hours and all began to feel totally self assured in what we were about to do. We wanted to bring everything we’ve learned over the years and all that we’ve been through as a group to the project. We chose to trust our guts and move quickly and confidently in every decision, second guessing ourselves as little as possible. In having this mindset, we were able to completely let loose and go deeper into the process, finding new ways of recording live, swapping instruments, and turning these songs on their heads. We couldn’t have made this record a few years ago.

We approached this record with the mindset, ‘this is who we are’. We aren’t pretending to be something we’re not, or trying to sound like anyone else. We wanted it to feel easy. We wanted the stories to be real. We wanted to show our true selves as best we could. We’re proud of who we’ve become as people and as a team. We truly feel like we’re having the most fun with music that we’ve ever had, and in the most exciting stage of our lives. We’re never better."

"Té De Flores Silvestres" is the result of the dialogue between the Belgium photographer Michael Roemers and the Argentinian musician Federico Durand initiated by IIKKI, between February 2023 and May 2024.

Federico Durand’s music is a weave of sound searching introspection and delight through simple melodies, made in the heart of Argentina. Federico likes music, gardens, John Keats’ poetry, collecting stamps and Earl Grey tea. Since 2010 he has been released on some labels such as 12k, Home Normal, IIKKI, Spekk, White Paddy Mountain, LAAPS and more.

Michael Roemers, a child of the borders, was born in 1987 in the Belgian village of Plombières, studying sound at the Institute of Broadcasting Arts in 2008. He discovered the power of the image, and became passionate about photography. He began his photographic career following Belgian underground music bands as they toured Europe, capturing crazy moments on stage and backstage. Then, he decided to devote himself to a personal project, to capture his native Wallonie region, highlighting the richness and a part of these Belgian traditions region while exploring the themes of identity, memory and membership.
Since 2021, Michael Roemers has added a new string to his bow by running the Vice Versa podcast with his partner Sébastien Van Malleghem. This podcast explores the themes of photography, art and culture by giving voice to renowned guests in these fields. Té De Flores Silvestres is his first book.

Fine Art Book, Ltd. to 400 copies:
Hardcover book printed on Glossy Modern Paper 170g/m2 // 80 pages, 19cm x 22.5cm, 50 photos // Front cover points and back cover logo embossed // Selective UV varnish // Hand-numbered.

Archeo Recordings' rewarding relationship with Tony Esposito continues on AR027, as the label provide a remastered reissue of his transcendent fusion-pop masterpiece "Pagaia" alongside a trio of brand new reworks from Perugia's mighty Feel Fly. Whether you're looking for cosmic house, mellow acid, trancey techno or dubby downbeat, these remixes have you covered, and the original remains a true work of art. Available in all good record stores on 12th July as a 50 copy super limited edition on Solid Blue Vinyl (including gadget scarf) and limited black vinyl edition.
50 copy Solid Blue Vinyl Edition (including gadget scarf), and also limited black vinyl run "Pagaia" hails from the Neapolitan percussionist's 1982 LP Tamburo, his first release for the brilliant Bubble imprint. Though the album delights and excites from start to finish, dancing through jazz-funk, Mediterranean pop, slow disco and smooth fusion, it's "Pagaia" which is first among equals. Esposito's nuanced hand drums lay the foundation for Claudio Pizzale, Sara Borsarini and Simona Pirone's wordless vocals, a life affirming chorus which carries us onto the swell of bass, piano and horns which drive the track through four and a half minutes of emotional release. Emphatic and expressive, the track transports the listener into a state of body moving rapture, all driven by Tony's rhythmic fluency. The song found its way into Italian living rooms over the credits of TV show Domenica In, and found its way into club culture thanks to fanatical support from the likes of Daniele Baldelli, who even included it on his first official Cosmic compilation.
Following a string of essential releases for the likes of Internasjonal, International Feel and New Interplanetary Melodies, Daniele Tomassini, better known as Feel Fly, now joins the Archeo family with a trio of contemporary club translations of the killer "Pagaia". The Perugian's "Cosmical Remix" extends that familiar introduction into a deep and DJ-friendly blend of drum and voice, awash with airy reverb and augmented by additional percussion, building through the original piano and bass into the churn of a dance floor wormhole. Driven by an unstoppable sequencer throb, the interpretation skirts the dark side of space before landing in the light of the miracle, those heavenly vocals and lush keys leading the way. The "Instrumental Cosmical Remix", not entirely instrumental, but utterly cosmical nonetheless, sees Daniele serve a tense and tracky arrangement of his first rework, perfect for deep space exploration. Stripped of the joyful exuberance of the original, this variation is a complex blend of shadowy trance idents and the mature techno we'd expect from the likes of François K. Not content with soundtracking either side of the peaktime, Feel Fly serves up a third version, following the Compass Point through a musical map of club-dub to turn out an immersive interpolation of deep bass, spring reverb and stabbing keys that sits perfectly beside the Rhythm & Sound catalogue. Each interpretation is an emphatic demonstration of Tomassini's musical talent, production prowess, and stylistic range, and furthermore a fitting tribute to the lasting genius of Esposito's original.

The Brazilian composer, pianist and producer, Mário Castro Neves and his group, Samba S. A.'s self-titled album from 1967 is oozing with class. It possesses that archetypal 60's bossa nova, jazz, samba sound. We’d place it up there with Sergio Mendes at his finest, Tambo Trio or Milton Banana. It’s a breezy ride that touches on easy listening at times, but it holds it together with a cool swagger. Biba and Thaís Do Amaral's vocals are on point, with a relaxed delivery that compliments the tracks with the sublime beauty à la vocal groups such as Quarteto Em Cy, who Biba also sang with, as well as with Antonio Adolfo's e A Brazuca. Also appearing on the record is bassist extraordinaire, Novelli who worked with Milton Nascimento, Nelson Angelo E Joyce, Airto, and many of the greats of Brazilian music of the time.

The album has long been a favourite with DJs and collectors over the years, with songs selected for compilations by Gilles Peterson and Nicola Conte. One of the centrepieces of the album, 'Candomblé’, has been sampled by Cut Chemist on his track 'Povo De Santo'. The song 'Naña' is punchy and light with dancefloor-jazz appeal. The gloriously catchy 'Vem Balançar' is a brilliant bossa shuffler. A superb listen throughout, the album sticks to a framework but delivers in spades.

Though released on the major-label RCA Victor, original copies are elusive, sought-after items with a price tag to match. For this reissue, we have opted for the Mono master, mirroring the original 1967 Brazilian pressing. Instantly familiar, the album has a welcoming feeling of nostalgia and is something that stays with you from the first listen.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”