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• Sony Music Masterworks and Milan Records announce the vinyl release of “My Hero Academia: World Heroes' Mission” with music by composer and arranger YUKI HAYASHI. The film adaptions are based on the original Comic Series “My Hero Academia”, which sold over 50 million copies worldwide.

• Based on Kōhei Horikoshi’s most successful manga series, ‘My Hero Academia: World Heroes’ Mission’ is an action-adventure film directed by Kenji Nagasaki. When a sinister organization threatens to wipe out all superhuman powers, the fate of the world is on the line. But before they can succeed in putting their evil plans into action, the Pro-heroes around the world assemble to come up with a counter plan to stop the worst from happening.

• The soundtrack of the critically acclaimed, hugely popular film adaptation is now being released as a stunning double coloured vinyl with a double gatefold.


• My Hero Academia: World Heroes’ Mission is the third movie, following the success of My Hero Academia: Two Heroes and My Hero Academia: Heroes Rising (75M streams to date), and marking a major shift in the series' story - putting Deku in a precarious position of being painted as a villain.


• Besides the movie adaptations, the comic was adapted into an anime series. The 5th season of the series is currently on air. You can watch it on Funimation and Crunchyroll in the UK and you can find “My Hero Academia Season 1” on Netflix.
About the composer Yuki Hayashi:
• Yuki Hayashi was born in Kyoto, Japan in 1980. Being an active member in a men's rhythmic gymnastics team in his early years spawned his interest in BGM while selecting songs to complement performances. This led him to begin teaching himself music composition while at university, despite not having a background in music itself. After graduating, Yuki acquired the basics of track making under house techno DJ and sound-maker Hideo Kobayashi and started producing his first range of music accompaniments for dance sports. His experience as a rhythmic gymnast has enabled Yuki to intuitively incorporate an eclectic range of music and produce a unique sound, empowering scenes from TV drama, animation and film.

Limited to 500 copies worldwide.


Heavy as f-ck and deep as hell, this devastating split album gleefully corrupts and corrodes Dub’s sunshine reflections. Celebrating rhythm & noise in its dank echo chamber, these demolition dub tracks are built from obsessive studies in distortion, overdrive and seriously ruff textures, amongst an absolutely insane amount of sub-bass level.

‘Disintegration Dubs’ is a three way low end collision, between G36 (The Bug aka Kevin Martin/Gorgonn’s rig torturing beat project) and JK Flesh (Justin Broadrick of Godflesh/Jesu etc…). As the album title suggests, this instrumental pile up of floor crawling, sound system crushers, is a clearer sign than ever, that these three producers crave their dub cuts to be mutant and heavyweight, totally damaged and completely atomised. Dub as sonic obliteration

Anyone previously smitten by Techno Animal’s deeply psychedelic face off with Porter Ricks, on the long out of print ’Symbiotics’, or who worshipped Zonal’s recent rhythmic wreckage via Relapse records, will surely gorge greedily on Disintegration Dubs’. Likewise, newbies, who have snapped up this year’s ‘Fire’ by The Bug or ‘New flesh in dub’ by Godflesh, will find endless pleasure within these dread-tech, annihilated dubs and Industrial strength steppas rhythms. Echoes of Basic Channel, early Iration Steppas, Public Image Limited or even Andy Stott can be heard within this collection’s haunted atmospherics and bulldozing rumble. Yet, these three individual producers have obviously found their own recognisably original sound, within these monolithic grooves, and what makes this album so utterly refreshing, is just how well the three disparate sound manipulators complement each other fully, as they collectively set their sights on some shared, relentlessly futuristic sci-fi vision, for a new form of dub.

Obviously, Martin as The Bug, and Broadrick with his colossal dubs of Godflesh and his filthy back catalogue of JK Flesh releases, have both long since subscribed to the genre, aesthetic and fragmentation of Dub. Meanwhile relative newcomer, Gorgonn, is The Bug’s long time, live soundman, and former bandmate with DJ Scotch Egg in Devil Man, as well as having formed Dokkebi Q with Kiki Hitomi (ex-King Midas Sound), so he is no stranger to the art of deviant dubs either…

G36 dropped their appropriately titled debut EP ’Floor Weapons’, in 2018, on PRESSURE, as well as providing the backing riddim for the first ever release from Jamaican MC phenomena Nazamba, with his startling debut, ’Vexed’. Alternately, Justin has previously released seven albums solo, as JK Flesh, that systematically contorted, distorted and completely bastardised techno for labels such as Hospital Productions, Downwards and Speedy J’s Electric Deluxe… (Next year will also see a full JK Flesh album on PRESSURE too…!)

This album is Mastered by Stefan Betke aka POLE, at Scape Mastering.

“Babygirl” is the new album by CTM out on Posh Isolation. In its composition channels a sensuous consciousness. The music is like a prism reflecting tactile perceptions, light, movements and memories. Relations between the composed structures and the undetermined of the improvisations, the cracks in the form and the digital glitches, create a poetic and open elsewhere. With a sensibility of pop, the musical landscape moves from nostalgic popballads through the austere pomp of a deconstructed baroque menuet for solo cello, to lingering piano ornamentations and distorted guitars. There is a soft and wild intimacy to the music. Common collective musical languages are weaved effortlessly into the musical canvas, while the form and perspective change and move. With a profound emotional resonance in the music, tenderness and devotion are reflected in the narrative. The sense of nostalgia comes like glimpses of pastimes revisited, when life cycles reveal themselves repeating in the now. Babygirl continues in the track of her latest album “Red dragon”, exploring feverish dreams and personal material through a digital ephemera. Digital effects splinter the intimacy and transform into something more than human, shaking the balance between the codes of the popsong and the unexpected digressions, guided by the voice of CTM that is central throughout the album. The album is produced by Holger Hartvig, Malthe Fischer and Cæcilie Trier. It features vocal and instrumental contributions by Ydegirl, Coco O., Johan S. Wieth (Iceage), ML Buch, Jakob Littauer (Yangze), Emil Elg, Claus Haxholm among others. The album, containing bits and pieces of recordings and compositions made over several years, is like a musical platform with expressions of many voices, and with relations and time weaved into the compositions. Trier is a Copenhagen based cellist, singer, and composer, with her classical training apparent across her many and varied projects and collaborations. Having received critical acclaim from the earliest moments of her career, Trier's previous album 'Suite For A Young Girl' was nominated for the prestigious Nordic Music Prize in 2017.

Attia Taylor is a NYC based musician, writer, and content producer. She is the founder of Womanly Magazine, The Dorothy and a member of The Art Dept Collective. Her work is rooted in social justice, art, and design, to bring inclusive and culturally relevant content to sound, print and digital realms. She is passionate about building and cultivating communities through journalism, music, storytelling, and research. “Space Ghost” is her debut solo album, recorded with Jeff Ziegler (Kurt Vile, The War on Drugs) in Philadelphia.

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

Basically, it's become common knowledge that Saturate is all about some heavy bass music on that hip-hop tip and Zeke Beats' Pay Attention release is easily one of their finest ones yet. Every track has a sinister punch to it and it all ultimately sounds like the most epic video game music ever to come out of the ghetto. Zeke Beats clearly didn't hold back in any way, as this is easily some of the wildest, most high energy bass music we've heard. The low end is hot and heavy, the synthwork is wacky and in your face, and the arrangement is spot on; there's always a lot happening, but not one element ever sounds out of place. The flip side is featuring the one and only Subp Yao.
Deep, dirty, Grimey and glitchy and insane beats, this will take your brain for a spin and turn your legs to jelly it will make your jaw drop, then smash it clean off. The work that's been put into this is second to none!

CLASSIC ALBUM REMASTERED BY ED WYNNE & RE-ISSUED ON CLASSIC BLACK VINYL.

One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible rave grooves & psychedelic progressive rock

It's an open exploration of music & the soul. One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible rave grooves & psychedelic progressive rock. It's an open exploration of music & the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock & roll life. The band has flourished through several line- up changes, spawned several side projects, created their own record label, put out close to 25 albums, scored a hit record & sold over a million albums world-wide. And yet, the basic motivation behind the band's existence has never wavered. Their signature blend of hippy aesthetics & raver electronics with spiraling guitars, textured waves of keyboard & midi samplers & supergroovy bass & drum rhythms continues to delight fans across the world to this day.

'Strangeitude' was released in 1991 & featured the band's first single, 'Sploosh!' which reached number 1 in the UK independent chart. Presented for the first time since its original release on classic black vinyl by Kscope.

After releasing on Atomnation's Unfold Vol. 2 last year, Berlin-based Italian NOCUI returns with more rich and uplifting grooves on his new 12” “Entrain”.

Leonardo Di Fiore (NOCUI's real name) is a Rome-born composer and a classically trained pianist who brings a performative approach to how he makes music. An early love of jazz also permeates his work and he now considers himself a "studio and sound design obsessive." That shows in the meticulously crafted, always fresh music he makes on his go-to drum machine, the Jomox Alpha Base. NOCUI is also adept at speaking through other key bits of gear such as the Roland SH101, Acidlab 303, DSI Prophet 6, and Haken Continuum Fingerboard - machines that lend his music its signature sound and have taken him to labels like Traum and Wildfire.

A sound that embraces different styles and different eras, but which has only one basic concept as a common denominator: spreading the “Black Power Sound”.

That’s the spirit of the double vinyl compilation of Soul Fingers, a legendary Black Music traveling party that has now become a cult in Italy, still religiously followed by dancers of all kinds and ages.

At Soul Fingers it is usual to listen and dance to a unique and tasty blend of soul, disco and funk, with rap and latin rhythms. There are no preconceptions other than that of putting songs to feel good and make people feel good.

The real deal is to share with the dancefloor a record that is magical, full of soul and that can elevate us from our state of human beings to become a single beating heart under the speakers of the sound system.

"The past 5 years we have taken our music all over the world: Europe, Asia, Africa besides our homeland Denmark, and even though we cannot speak with many of the people we meet, our music is a universal language that transcends borders. The meetings we have had (and continue to have) all over inspire us to create new music. But of course we are the composers of the music, so this is our representation of those meetings.

Our 3rd album is called AFROTROPISM. Tropism is a biological phenomenon that indicates growth of a plant in response to the environment; so when you see a plant turning for the sunlight, this is tropism. In other words, this is not so much about the plant's roots but more about how it reacts when it touches the air, feels sunlight or rain - in other words the outside world. So AFROTROPISM refers to the fact that we are drawn towards the African traditions, but we are "growing" our own music.

On our first two albums we have recorded extensively with African musicians, and AFROTROPISM is centered around The KutiMangoes (TKM) as a band. We are developing our artistic direction by going more in depth with how we can mix our inspirations with our own musical heritage. Our musical mission is (and has always been) to mix cultures and create our own sound.

With our background in jazz music, TKM counts virtuoso instrumentalists with a heartfelt intent and sound innovators with our horns, effect pedals, synthesizers, drums and percussion from all over the world. AFROTROPISM is a further and deeper development of our trademark bold sound that experiments with synthesizers, soundscapes and a bit of electronic effects without losing it's focus on groove, melody, atmosphere and musicianship."

The KutiMangoes, July 2019


About each track:

STRETCH TOWARDS THE SUN
This track opens up with a synthesizer groove that is inspired by the polyrhythmic grooves played by the balafon (a predecessor of the piano) from West Africa. Our rolling sequence could not be played on the balafon because of the key changes, but the basic idea comes from that instrument. Quick and light, we wanted to write a song where you can feel the sun coming out and feel the energy it's rays give. The combination of the programmed groove, the horn-arrangement, the huge percussion section and the live instruments makes for a sound that we have not heard before, and it illustrates what this album is all about (and what the track's title refers to): that we stretch towards the things that give us energy – and that although our roots are in Denmark, when we encounter a musical tradition as rich as in West Africa, it changes us and our music.

A SNAKE IS JUST A STRING
The first time we saw Mali-bluesman extraordinaire Vieux Farka Touré on stage was just after we had played at a huge festival in Burkina Faso, and we almost literally caught on fire. Their groove was so strong and insistent that we were mesmerized, and it inspired us to come up with the opening guitar part of this song. Basically a bluesy tune with some unusual chord changes and a crazy synthesizer solo by Johannes Buhl Andresen reminiscent of that fuzzy guitar-sound we love so much in the Mali blues. The title is an homage to the Nigerian writer Chinua Acheba, who in his masterpiece novel "Things Fall Apart" tells that in the village during the night, to ward off the fear of darkness, people would call dangerous animals by a different name: don't be afraid, a snake is just a string.

KEEP YOU SAFE
It is a basic human necessity to have a place where you can feel safe. But there are far too many people in our world that fear for their safety, their livelihood, their children, their relatives – and this is surely not a feeling that helps us to flourish as humans. With this song we are saying that we all need to make it a priority to help our fellow humans to feel safe. And of course, if our song can offer a feeling of safety and comfort for a short time to those who listen, we are truly thankful.

MONEY IS THE CURSE
This track is directly inspired by Fela Kuti's ability to create music that is both physical and political. Dance music with a serious message about our times. For the solo part we wanted a more melancholy, pensive feel (than the full-on baritone-trombone melody) and also wanted to experiment with some choppy, stuttering effects to make the horns sound desperate. Money is the curse because it can become the objective of our life; money is the curse because it changes the relationships we have with our fellow humans. Money is the curse.

THORNS TO FRUIT
This melody is inspired by the scales and developments of a traditional Bambara folk-song. We love the way these melodies constantly evolve with small developments and changes. We felt like an accompaniment that is really dry, sparse and earthy would fit well and then made a contrasting solo part. As a group we are interested in how to develop our improvisations together and create sonic landscapes that evoke a distinctive atmosphere – so here, we have no soloist, but a collection of synthesizer parts, saxophone lines and guitar-sounds that together create a dreamy and lush ambience.

SAND TO SOIL
We started out with a short ngoni riff played by our good friend and master musician Aboubacar Konaté. We then sampled it, built soundscapes and our own both meditative and pumping groove around it. We created a melody with both melancholy and joy, with afterthought and impulse and then the brilliant Aske Drasbæk added an emotive and blistering saxophone solo. The title refers to the contrasts in our humanism. As part of our human nature, we have a dark side that drives us (and each other) towards destruction – making the fertile soil into barren sand. The title is an encouragement to emphasize the opposite movement in our nature: to create life and help it flourish. We keep ourselves human by insisting that we must never forget this side of our nature no matter how tough, tiresome or trying it might be. Let's keep our focus on the light, the warmth, the positive energy – that can turn the cold stone into fertile ground.

Lonefront puts out his first EP on wax with Kajunga Records. Two raw and hypnotic techno tracks channeled from deep.

“Additive spectra” uses the basics masterfully to draw in the mind and body and transport the spirit to ancient spaces. A deep kick and bass drive through the whole track while the high end remains sparse with a subtly shifting pulse and restrained hi hats keeping the tension alive.

On the B side, “South of Forever” is an even more stripped back, slow burner. Nonstop kick and trance inducing percussion anchor the listener in while resonations and reverberations are twisted and mangled to create a strange evolving space out of darkness.

Lonefront is an artist out of MN by way of the bay area. He produces raw explorative techno tracks and performs live using modular hardware. His stripped back productions shift between the speculative future of progress and the drone of decay. Get in tune with carcasses of factories, a chorus of tongues spouting silent mantras, a silent stream of error-riddled program scripts: the flux and snap of trauma incants the noise beyond language that compels movement, and sets you free.

‘4-Vesta’ is the brightest asteroid visible from Earth. Measuring around 500km in diameter, it’s one of the four largest objects in the asteroid belt between Jupiter and Mars. Fragments of Vesta have been found on Earth, as meteorites that were ejected into space after two collisions that left huge craters on its surface. These fragments show that Vesta was probably once a planet itself, made of the same material as the four terrestrial planets (Mercury, Venus, Earth and Mars).

It was an encounter with one of these fragments that inspired the name for Azu Tiwaline’s latest EP for I.O.T Records, ‘Vesta’, which features tracks that were written and recorded around the same time as ‘Magnetic Service’, her break-through EP for Livity Sound. Holding a piece of Vesta that had been found in the Saharan Desert - already a place of deep significance for her - she felt a sense of wonder, on a cosmic scale. In her hands, was an object so apparently familiar, of the same age and made of the same fundamental materials as the Earth on which she stood, yet from somewhere else entirely. A perfect name for the four tracks that make up ‘Vesta’. And also the perfect source material for the EP’s cover, an electron microscope image of a razor-thin slice of that same cosmic fragment that Azu held in her hand.

‘Vesta’ is familiar, yet distinct. It’s recognisably Azu Tiwaline from the very start, yet the unexpected always finds a way in. A booming, echoing kick opens ‘Low’, followed by the rattling, shivering sound of a tanbur hand-drum, courtesy of his regular collaborator, Franco-Iranian percussionist and producer Cinna Peyghamy. But then, tentatively at first, a jazzy synth line emerges, and disappears again, only to reappear later. An another colour to add to Azu Tiwaline’s already rich palette?

Azu Tiwaline’s music has always explored the dynamics between space and depth, and the contrasts between light and density. ‘Vesta’ often feels like a high-wire act, an exercise in finding space even as the air fills with drum patterns and synth lines. ‘Medium Time’ builds from a chorus of buzzing insects into a thick percussive track across eight minutes, without ever losing that initial wide-open sound of the dusk. ‘Into The Void’ pays homage to her well-worn collection of Rhythm & Sound and Basic Channel 12-inch singles, all swaying dub echoes and languid kick drums. Then mid-track, it pivots in intensity, each element suddenly expanded and magnified: a psychedelic shift. Those who’ve had the chance to see Azu Tiwaline perform in the past few years might get a few flashbacks - it’s been a key part of her live set.

But it’s the final track ‘Deep Theko’ that best fits the EP’s cosmic title. A shape-shifting ‘ambient’ track that never seems to settle, it drifts restlessly, sporadic percussion and synth washes injecting random bursts of activity. A sonic representation of planetary debris floating through space? Here, as with the airless void of space, emptiness enables a certain perspective. If the distances between the stars weren’t so enormous, we wouldn’t be able to gaze upon them in their entirety, after all.

(Sigha remix) Psyk returns to Non Series white after his first release back in 2012 with a three forceful, dancefloor oriented cuts and a sick Sigha´s remix. The record is a limited edition including an insert of an original design of Juan Mendez (Silent Servant).

After a parentship hiatus, Richard Zepezauer´s n s y d e imprint is back to push new boundaries and save some souls.

N s y d e proudly presents a next release by Skymark. It's his second full EP on the Berlin based imprint.

His Easy Saturday Night EP includes two excellent deep house jams backed with remixes by Kevin Reynolds and Mike Huckaby. The latter was previously released as a single sided limited edition.Skymark brings a bright and sun tinged house anthem on the Instrumental version of Easy Saturday Night on the A1.

The remix is in our opinion amongst Mike Huckaby's best productions. It touches the classic soulfulness of Larry Heard-style piano chords and blissful vocals combined with clear hints of Basic Channel's eternal electrifying waves. It's a perfect testament to Mike's unparalleled knowledge and wide musical range, Not only those who knew him will feel his presence while listening to this beauty.

On Insomnia, Skymark goes even deeper into deep soul territories. Pure vibes. Reworked by Detroit DJ and producer Kevin Reynolds. Made his frst appearance on nsyde back in 2011 and here he twists the original into N s y d e was founded 2011 by Richard Zepezauer.

N S Y D E will continue to bring back the family by unifying diverse artists from all angles of the electronic music familytree. N S Y D E believes in the political power of art, it brings together people.

N S Y D E does not believe in the power of political marketing of art, it divides people from each other. House Nation still under one Groove.

Early DJ support by : Antal (Rushhour), XDB, Laurent Garnier, Steffi (Ostgut), Electric Indigo, Dan Curtin etc.

Go Sailor were a great, short-lived band from the mid-90s who represent
a key link in the US indie music chain
Featuring Rose Melberg (Tiger Trap, The Softies, Gaze, Brave Irene, Knife Pleats),
Linton (Henry's Dress, The Aislers Set) and Paul Curran (Take A Day fanzine,
Crimpshrine, Monsula), they released three great singles and a few compilation
tracks, and then went their separate ways. But what records they are! Basic and
lovely in their song- writing, they're perfect snapshots of where indie- pop was
during that last burst of pre- internet indie activity. Touching on time- honored
themes of friendship and love (lost and found), they resonate with honesty and
purity of intention. The trio reunited in the early 2010s to play to enraptured
crowds at the NYC and Athens Popfests, and their appearance at the Slumberland
20th Anniversary show was the stuff of legend. This album compiles all three of
their 7" singles (for Slumberland, Yoyo and Lookout!) and compilation tracks and
was first released on vinyl in 2011. Due to pressing plant issues it quickly went
out of print, so we are very happy to bring you this new edition, back on vinyl
where it belongs with a new insert featuring liner notes and lots of cool band
pictures and ephemera. Pressed on Watery Blue Color Vinyl.

The past couple of years have provided an ideal breeding ground for periods of reflection. Of rediscovery. And for the reignition of dwindling flames. Perhaps this is why the meeting of Tom Churchill and 2Sox is the perfect match at the perfect time. A collision of minds stoking a fire that has sizzled away into a 12” slab of choice cuts. Introspective and deep, yet not forgetting what a dancefloor wants.

Tom started making music in the mid-90s, inspired by the house and techno records he was buying as a teenager growing up in Cardiff. Co-founder of cult 90’s label, Headspace Recordings and sister label Emoticon; Tom and partner Raeph Powell were responsible for some faultless releases in the 00’s. More recently, Tom has been one half of The Nuclear Family; a production, label and events project launched with Laurence Hughes in 2013. Much of what Tom has put his hand to over the years has been hot in demand. Incredibly, this is his first physical, solo release under his real name since 2002. Despite the 20 year gap, Tom’s enthuse for all things deep and electronic has arguably never been stronger.

“These tracks have been heavily inspired by two things - reconnecting with my surroundings and rediscovering my record collection - both of which have been made possible by the events over the past couple of years.” Tom says.

“As well as spending more time outdoors around my home on the west coast of Scotland, I recorded a lot of DJ mixes and radio shows during the first lockdown, which meant I spent a lot of time digging through older records. This reignited some creative energy that had been lying dormant for a while.

Before 2020 I’d been sporadically using a rented studio space to make music, but in that Spring I put together a basic, compact setup so I could work at home. My influences are pretty clear with these tracks - I’ve drawn on the palette of classic deep house, 90s techno and electro throughout - but while there are some retro elements and familiar sounds, I’ve tried to put my own twist on things. Being surrounded by nature and working exclusively on headphones has made for a more intimate sound, and these tracks are the most personal I’ve ever done.”

The project "Records Without Conception" shows toğrul's process of finding his sound. The album is not based on a concept, a statement or an overriding mood. The tracks are rather to be understood as portraits from protracted explorations of basic patterns in electronic genres and modular sound synthesis. The results are a not self- contained body of work, but rather discussions of various demands on sound and music that were experienced by the artist himself between the years 2018 and 2021. With his debut album, the German and Azerbaijan based producer wants to capture the process of this artistic searching and finding.
Surreal constructions of contrasting sounds evolve between the grids of genres. An experimental style and contemporary references across Contemporary RnB, Electro, Glitch and IDM form a sound logic of its own, which is additionally grounded by the singers Alice Dlugosch & Mariama Ceesay in two independent tracks.

This Ep is Out Of Romford's homage to the original Shakedown FM crew. The A side has two brand new jungle tracks that have been made with authenticity in mind. Locked In is an atmospheric jungle track that just sends people in to mad rushes when its dropped. Electric Highway is more fast paced and something to get the crowd hyped! The B side is something truly special because these are original unreleased tracks from 1994! Both are obscenely good and intense slices of proper jungle that for one reason or another were never released back in the day. Still, 1994s loss is our gain and that means we get to unleash these slices of history for you today.

Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Matthew Bourne follows 2017's Isotach album, and recent collaborations with Keeley Forsyth and Nightports, with a collection of prepared piano pieces. Irrealis was recorded in a single session, each take played as live without any overdubs. Having taught himself the basics of prepared piano by throwing confectionary into his school's instrument, elements of these experimentations played a key role in Bourne's early performances. This culminated in an infamous performance piece which saw the explosive musical demolition of an upright piano with a sledgehammer. Far from the staid academic process the discipline is often approached with, Irrealis sees a restless improvisational musician explore the possibilities of his instrument with a box of nuts, bolts and Blu-Tak, and a sense of playfulness and spontaneity.

Ángel Rada is one of the most interesting music experimantalists of Venezuela. He started his career in the late 1960s as a member of The Gas Light, one of the big names on Venezuela's live circuit in the era, sharing the stages with other artists such as Apocalipsis, Un Dos Tres y Fuera, Vytas Brenner, Daniel Grau, Pablo Schneider, Miguel Ángel Fuster... Rada is one of the three basic artists who set an electronic music scene in Venezuela, along with Miguel Ángel Noya and Vinicio Adames.



Rada had attended the Escuela Superior de Música José Ángel Lamas and then continued his studies in Germany, where he was impressed by krautrock music, especially by its more electronic side. He met Kraftwerk when they were recording at Kling Klang Studio, and also knew Klaus Schulze–who would become an example for him to to follow. This contact with the Kraut scene would be the biggest influence on his works from the 1970s, which would end synthesizing in Rada's first record: 1983's Upadesa, originally released on his own independent label Uranium Records. Since then he has released more than 20 albums up to date, making him one of the most prolific experimental musicians not only in his country but also in the whole world.



Rada's aproach to electronic music is based in what he calls ethnosonic music. He is interested in the mixture of various styles which he filters through the use of technology, so in his electronic compositions one can hear echoes of ethnic sounds from all over the globe as well as some jazz influenced improvisation, ambient and synthesized sounds.



The Wah Wah edition is the first ever vinyl reissue of this landmark LP and has been remastered for vinyl by Roger Prades @ Prades Mastering. Includes an insert with liner notes by Salvatore Maldera.



It is a strictly limited edition of 500 copies only.

Fractal head rearrangement from Keith Fullerton Whitman on his first vinyl release in what feels like years, here blessing Japan’s NAKID label with a new instalment in his forever-evolving Generators project, arcing from bleeping post-Kosmische sounds into completely unexpected drum mutations in footwork and grime modes. It’s properly head melting gear that links the algorithmic mind-fukkery of Laurie Spiegel with the floor-bending rhythmic experimentation of Mark Fell, Rian Treanor or Jana Rush, and the first in a three part series that offers some of the strongest gear we’ve heard from one of the very best in the game.

Modular synth scientist, critic and historian Keith Fullerton Whitman first debuted his »Generators« set in 2009, using a modular setup to create non-repeating melodic patterns that basically came close to generating themselves. Over the course of hundreds of live shows (and a handful of releases on Root Strata, Editions Mego and other labels), Whitman glacially honed his process and allowed the concept to slither down different avenues, mutating as it picked energy from the various venues it was situated in. His rigorous method meant ‘Generators’ was never played out the same way twice, veering from psychedelic Kosmische experimentation to obliterated, off-grid Techno.

In 2019, on the tenth anniversary of the project, Whitman was invited by the GRM in Paris to set up in Studio C, where he avoided the arsenal of pristine, museum-worthy modular synthesizers and instead reprogrammed his classic ‘Generators’ patch. Recorded in a single take using luxe analog- to-digital convertors, the result is a 45-minute durational piece, split into two distinct sides for this release.“Very little manual interaction happened,” Whitman explains. The music is, as its title suggests, generative, and at this point basically sounds as if it reached its most advanced, final form. The first few minutes of the opening side mine the original theme, with clocked LFO shapes triggering oscillator blips in mind-expanding non-looping patterns. Soon, percussion enters the matrix, at first wrong-footing us with a 4/4 fake-out - possibly nodding to the piece’s 2010 Root Strata iteration - before splitting into staccato polyrhythmic abstractions of the most loose- limbed and deadly variety.

General MIDI drums can sound almost hilariously boxed-in, but handled by Whitman they show off a plastic cultural sheen to piercing effect, deployed in a way that re-draws the rhythmic bass music of someone like Jlin while nodding to Mark Fell and Rian Treanor’s quasi-generative dance explorations. These comparisons take on even more weight on the second side, where Whitman opens up his filters to allow the synth bleeps to sing even more loudly, introducing that all- important clap/hat interplay that dialogues with Atlanta and Chicago simultaneously.

David Gedge says: “During the summer of 2006 we were invited to record a session for 'One Music With Huw Stephens' - a show on BBC Radio 1. However, this was the year after the 'return' of The Wedding Present and we'd basically been pretty much continually on tour ever since the release of the 'Take Fountain' album the previous year. Accordingly, we didn't really have any new songs of our own and so I decided that we could pursue that other favourite pastime of The Wedding Present... the recording of cover versions! Arranging covers is fascinating, actually, because you get to explore how other people write songs and I think that can often feed back into your own writing. I thought it would be interesting to pick a song from each of four different decades... the 1960s, 70s, 80s and 90s. No particular reason... if we'd've been asked to record five tracks I would have thrown in the 50s, too. So I chose four classic pop songs for us to look at. They weren't particularly 'favourites' - although I have always loved 'Step Inside Love' and 'Lovin’ You' - they were just songs that I thought the band could successfully 're-imagine'. I have never seen the point of recording faithful copies; I have always felt that any Wedding Present version has to bear the stamp of The Wedding Present. And I think we accomplished that particularly well on this session. I'm pretty proud of this E.P., in fact. I remember Graeme Ramsay, our drummer at the time, initially hating the idea of us doing a 'Take That' song but I think he eventually came round to it, especially after The Guardian said it was an interesting 'post-rock' take on the original, or words to that effect..." Track-listing - Step Inside Love/Lovin’ You/Our Lips Are Sealed/Back For Good/

Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation ColombianJapanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface.

Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation Colombian?Japanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface. Arroyo borrows harmonic concepts from modal jazz to create a unique sense of ease and endlessness. Each of the four pieces on the album centers around a single suspended chord, a chord most commonly associated with devotional music which embodies a space between harmonic tension and resolution. Porras embellishes that liminality with arrangements that feel less like distinguishable layers of instruments and more like one undulating nebula of sound. In the past decade of Porras' solo work, his music has grown increasingly engaged with elaborate synth textures and detailed processing. With Arroyo, Porras consciously takes a step back from those more intricate compositions and focuses on more organic, unadorned textures and places each sound with the same precision. Stark piano and guitar patiently hover over modest currents of Hammond organ and Yamaha DX7 with the sustain of each chord and phrase acting as a natural guide to the album's subtle rhythm. The four pieces that comprise Arroyo each encompass their own idyllic channel, slowly weaving their way in and out of the album's elegant stir. Porras' reflections on simplified elements take shape in gorgeous arrangements that impart clarity amidst a tranquil mist. Arroyo is an album that unearths splendor in a unified feeling of space, serenity in perpetual renewal

Recorded back in 1999, 'Half a Dove in New York, Half a Dove in Buenos Aires' is the recorded debut of a NetCast improv between deep listening pioneer Pauline Oliveros and Argentinian free music trio Reynols >> a fascinating early example of the internet’s capacity to foster remote creativity in-the-moment that deploys the slowest electronics, accordion, voice, trombone and computer sounds on a next level ritual drone incantation recorded in another era, but made for our time.

As the story goes, Oliveros first met Reynols in the mid ‘90s at a Deep Listening workshop she held in their home city, Buenos Aires, where they impressed her with an improvised brass serenade. Years later, in 1999, they met again via NetCast - a series of very early online live improvisations - to explore the Internet’s potential for collaborations between artists thousands of miles apart. Finally mixed down in 2021 and mastered by Helge Sten (aka Deathprod) after marinating in the archive for 22 years, the album resonates with the late, great Oliveros’ legendary work in exploring alternate tunings, spatial dynamics and methods of intuitive performance - a remarkable slab of omnidirectional drone bearing traces of Miguel Tomasin's vox and Oliveros’ just-intoned accordion embedded in its cosmic roil.

Broadcasting from fabled record shop The Thing in NYC, with Oliveros (Accordion) joined by Jennifer McCoy (ICR), Kevin McCoy (Computer processing), and Monique Buzzarté (Trombone), and Reynols revolving Miguel Tomasin (Electronics, subliminal voice & Alclorse drums), Rob Conlazo electronics, leather gloves & e-gtr), and Anla Courtis (electronics, rubber foot & e-gtr) and dialling-in from Florida 943 in Buenos Aires, the results are an incredibly absorbing and consistently surprising testament to vanguard, experimental spirits prizing the internet’s nascent, unprecedented ability to connect minds and art across continents, language barriers, and modalities.

The album's first side, titled 'Micro Macro Wind Dance', puts Oliveros' accordion under a microscope, enhancing it with lower case rumble and noise from Reynolds' arsenal. Shifting glacially over 22-minutes, Oliveros plays subtly and slowly at first, letting the accordion breathe in-and-out like a sleeping mythical beast, before she transitions to fluttering bird-like phrases by the end of the side.

'Astral Netcast Pigeon' expands the dissonant drones to widescreen, submerging Oliveros' trills and drones beneath layers of dirt and grit. It's time-altering music that dissasembles yr head before you've completely worked out what's happening >> basically the perfect mid-point between Oliveros' deep listening practices and Reynols' wildly inspirational free-noise-drone freakouts.

After more than two decades flexing his muscles on the local underground scene and gaining a legendary cult status on his Tenerife home turf, the island’s most famous postman, as he’s affectionately known by his consorts, Tomás de la Rosa aka Postman breaks radio silence to bulldoze his way through the canyons surrounding his hometown of Santa Cruz into an unknown and unsuspecting world. We present thus, Postman’s first ever album of original bangers, micro chopped two steppers and rage induced breakbeat anthems.

Constructed over the course of global confinement, Seeds of Light marks a return to creative activity from the man who regularly delivers your post (its not just a random artist name). Postman aka Tomás de la Rosa has taken his time, compiling sketches and unfinished songs, rummaging through the deep ends of his hardrive, stitching early production sketches with recent compositions, revising, reediting and rebuilding with a more mature and concise attitude, eventually completing, almost unintentionally, the perfect self referential retrospective album. Far from being just a compilation album, Tomás managed to create an explosive document, suspended in time, in which styles are intertwined regardless of fashions and fads – letting go of the ‘modern’ or ‘up to date’ burden - so common these days in electronic music.

It is not an easy album, like many of his previous work it demands extra attention to experience the full crystallization of his complex sound structures. We find ourselves in front of a truly surgically precise work of art whose result comes as a waterproof war machine, refined and incisive, resonating deep with soul and groove.

Postman develops his sound palette throughout the album from very basic sound snippets into a concrete dance world of synthetic sounds eventually creating a parallel reality where J. Dilla could be living in Chemnitz instead of Detroit and releasing records for a label called Raster-Throw. Glitch sampladelics!

Incursions into Grime are also abundant with nods to the ineffable East Man, reunions with his beloved Funkstörung or many other stimulating revisions of lifelong genres and breaks populate this multidimensional sound space, see soul, dancehall, breakbeat, two step and the UK hardcore continuum.

Special mention to the magnificent fluid artwork by the very talented Catalan visual artist Alba de Corral. A still photo from one of her kinetic AI systems programmed directly in code, which matches perfectly the essence of Postman's brutalist alien sound.

Vinyl limited to 200 copies

Your Old Droog is back with the new album, TIME. It features appearances by MF DOOM, Aesop Rock, Mick Jenkins, Elzhi, Blu, and Wiki. As the title indicates, the project is the culmination of years of work. "This is basically my debut album," Droog explains. "Some of this material was recorded back in 2017, but I suppose the universe felt it would make more sense if it was released at another point in the future. Hence the name, TIME." Featuring production by Quelle Chris, 88 Keys, Edan, Mono En Stereo, and more, TIME= was a surprise release on digital outlets, and is now available on vinyl for the first time:

TANGERINE DREAM'S 'MALA KUNIA' IS BACK AVAILABLE ON VINYL -
'Mala Kunia', the mini-album & roughly Tangerine Dream's 140th release
was originally released in tangent with the bands' 2014 Australian
concerts - The album features seven new compositions including two of
which were co-composed by new band member Ulrich Schnauss together
with Edgar Froese
With this release, a new Tangerine Dream era began, "The Quantum Years", which
focused on a more back to basics approach to composition influenced by
quantum physics. The album itself is named after two Aboriginal tribes, which,
according to Aboriginal mythology, living a long time ago around Uluru, also
known as Ayers Rock. The Mala tribe lived on the sunny side & the Kunia on the
shady side of the rock.
Tangerine Dream have been a fundamental influence on electronic music since
Edgar Froese founded the band in West Berlin, 1967. Providing the groundwork
for multiple electronic music genres including ambient & electronica, inspiring
musicians & other art forms.
The group have also received seven Grammy nominations, written over 100
studio albums & were led by Froese, who developed an instantly recognisable
synth-based instrumental music based on a meditative musical experience that
came to prominence in the 70's & 80's.
Although Edgar Froese passed away in 2015 with a new phase in the bands
history only just beginning, he left direct orders to remaining members: "Carry on
& make my vision for the Quantum Years phase of the band happen!"
'MALA KUNIA' WILL BE ISSUED VIA KSCOPE ON GATEFOLD DOUBLE LP

Famed free jazz concert registration of an early New Direction for the Art performance. Recorded in 1971. Old-style Gatefold LP, with rare photographs & extensive liner notes by Alan Cummings.

The performance by Takayanagi Masayuki New Direction for the Art at the Gen’yasai festival on August 14, 1971 was an intense, bruising collision between the radical, anti-establishment politics of the period in Japan and the febrile avant-garde music that had begun to emerge a few years before. The ferocious performance that you can hear here was received with outright hostility by the audience, who responded first with catcalls and later with showers of debris that were hurled at the performers. Takayanagi though described the group’s performance to jazz magazine Swing Journal as a success, “an authentic and realistic depiction of the situation”.

In 1962, Takayanagi, bassist Kanai Hideto and painter Kageyama Isamu went on to form an AACM-style musicians’ collective called the New Century Music Research Institute. Every Friday, members gathered at Gin-Paris, a chanson bar in the fashionable Ginza district of Tokyo, to push the outer limits of jazz creativity.

But the pivotal moment for his music was the creation a new trio version of his New Directions group in August 1969, with the free bassist Yoshizawa Motoharu and a young drummer Toyozumi (Sabu) Yoshisaburō. Experiments eventually led to the creation of two basic frameworks for improvisation that Takayagi referred to as Mass Projection and Gradually Projection.

“La Grima” (tears), the piece that was played at the Gen’yasai festival, is a mass projection and listening to it, you can get a clear sense of what Takayanagi was aiming at. Mass projection involves a dense, speedy and chaotic colouring in of space that destroys the listener’s perception of time, and thus of musical development.

The ferocity of the performance of “La Grima” at the Gen’yasai Festival in Sanrizuka on August 14, 1971 was consciously grounded by Takayanagi in a particular historical moment, ripe with conflict and violence. A month after the festival, on September 16, three policemen would die during struggles at the site. This was the context that the three-day Gen’yasai Festival existed within. The line-up reflected the radical politics of the movement, with leading free jazz musicians like Takayanagi, Abe Kaoru, and Takagi Mototeru appearing alongside radical ur-punkers Zuno Keisatsu, heavy electric blues bands like Blues Creation, and Haino Keiji’s scream-jazz unit Lost Aaraaff.

New Direction for the Arts trio topped the bill on the opening day, playing an aggressive, uncompromising “mass projection” set of polyphonic improvisation. Alongside drummer Hiroshi Yamazaki and saxophonist Kenji Mori, Takayanagi soloed hard and continuously for forty minutes. This was performance as precisely calibrated metaphor: three musicians responding to the demands of the moment with instinctive force and fury, untethered by rules, leaderless yet not rudderless (the direction part of the group’s name was no accident). The piece was entitled La Grima – tears - and the fusion between the palpable anger of the performance and hopeless sadness of its title were also perfectly apt for the situation. This was a fight that the state was always going to win. Yet, by all accounts, the band’s set went down like a fart at a funeral. The band were showered with catcalls and debris throughout, and by chants of “go home” when the music finally came to an end.

However, looking back at the event in the year-end issue of Japan’s leading jazz magazine, Swing Journal, Takayanagi was surprisingly upbeat: New Directions brought a solid political consciousness to our performance and succeeded in an authentic and realistic depiction of the situation. But journalism revealed its superficiality in its inability to penetrate the core of the music. I don’t know much about anyone else, but we at least left behind a competent record.

It’s a fascinating statement in many ways. Perhaps on one-hand it can be read as stubborn, solipsistic and self-justifying, yet in conjunction with his statement in 1971 there are points that guide us towards an understanding of just what Takayanagi intended with his performance at the festival. As Kitazato Yoshiyuki has argued, it becomes an almost religious act, directed at the earth deities of the land. A union of anger, sorrow and malevolence that can be placed nowhere effective, all it can do is find expression and channeling. The forcible land seizures at Narita, the eviction of farmers from land that had been in families for generations, the destruction of communities: none of this can be prevented, not least by an artistic action. All that can be done is an attempt to mark the land itself, to soak it with the combined force of emotions and the volume of the performances, to bury something there that cannot be drowned out, even by the coming roar of jet engines.

Tibor Szemző's new LP features two composition, »The Other Shore« & »CUBA«. As the album title implies, »Snap #2« can be considered a sequel to his cult album »Snapshot from the Island« (released in 1987). Back then the island was a metaphor for isolation, while »Snap #2« offers Szemző’s reflections of his visits to real islands, Cuba (1988-1990) and Japan (1992-1994). As usual, Tibor Szemző processed the themes both visually and musically and has presented them many times live as cinematographic performances.

A previous version of »The Other Shore« was released in 1999 on CD. On this album, the original recording from 1997 is used; it has been recomposed, remixed and remastered and some additional recordings have been included. The core of Szemző’s Gordian Knot ensemble of the mid-nineties (Tibor Szemző on bass flute, Péter Magyar on drums and Tamás Tóth on bass guitar) has been enlarged by a string section and additional percussionists. The Other Shore composition has a multilayered texture; it starts with strings and is followed by prerecorded voices reciting the Sutra of the Lotus Flower of the Wonderful Law (Myôhô-Renge-Kyô in Japanese), the most important sutra of Mahayana Buddhism. Then percussion introduces the basic beat of the piece and the voice of the 102 year-old Buddhist priest Ônishi Ryôkei giving a lecture on Kannon sutra is heard. The following uneven entries of drums and bass guitar are like paint brush strokes in Zen calligraphy. The long tones of Szemző’s bass flute enters the piece as the last element suggesting itself as a connecting thread through all previous layers.

When Tibor Szemző first visited Cuba in 1988, he had just started shooting film on 8mm, something of a personal diary. When he met Jonas Mekas in Budapest a few years later, he realized that this footage could be screened publicly and also be an integral part of live performances. »CUBA« is the recording from 2000 of one such performance and was remixed by the author in 2021. It is as similar to and yet different from »The Other Shore«. The Gordian Knot band seemingly structures the piece in the same way, but the resulting sound is much heavier especially thanks to drummer Péter Magyar. Nevertheless, the contributions of Szemző on bass flute, Mihály Huszár on electric bass and T. Bali on prepared electric guitar also inject the proper rock sting. Incorporated Havanna street sounds and local radio broadcasts recorded by the author provide even more steamy roughness to the sound of Szemző’s »CUBA«.

The cover design of the »Snap #2« with photo reproductions from Szemző’s films reflects the aesthetics of the Snapshot from the Island album. This vinyl LP runs at 45 RPM for better sound quality.

Linda Fredriksson (they/them) shares their debut solo album "Juniper" on We Jazz Records, 29 Oct 2021. Linda (of Mopo and Superposition) has been working on the compositions heard on the album for several years, composing them mostly on guitar, keys and by singing. Only later have they been arranged for the band heard on the album, including Fredriksson on saxes and various instruments, Tuomo Prättälä (of ilmiliekki Quartet) on rhodes, moog and piano, Minna Koivisto on modular synth, moog and OP, Olavi Louhivuori (of Superposition) on drums, and Mikael Saastamoinen (of OK:KO and Superposition) on bass, plus featuring the Swedish artist Matti Bye on piano.

At heart, "Juniper" is a "singer-songwriter album", performed by an instrumental jazz band. The end result is unique, personal, and as Linda themself puts it "quiet and introspective". The first single from the album is "Neon Light and the sky was trans", "a song from the shining streets – the beginning of something new", featuring field recordings of rain falling down behind the window of Linda's Helsinki working space.

It's a fitting introduction to an album full on wonders and carefully crafted secrets ready to be discovered. "Juniper" is a world unto itself, and Fredriksson describes the process as one of isolation and of learning slowly to do new things. After the demo stage, the songs were taken to the full band, but what's on the record often stays true to the minimal nature of the early demos. Linda credits their co-producer Minna Koivisto as a key ally in the process of maintaining the demo sessions' fragile beauty on the actual finished record.

With regards to instrumentation, those who have heard Linda Fredriksson in Mopo and Superposition are likely to be surprised by their credit listing including not only alto and baritone saxophones, plus bass clarinet, but also guitar, Rhythmic8 synths, ambience recordings and drum programming. Linda describes the way of finding new sounds through their beloved old guitar as follows: "It's an old acoustic guitar that has been hit by a car and is literally full of holes, but that makes the sound just perfect for this album and you can hear the instrument on 'Pinetree song' and 'Lempilauluni' (Finnish for 'My Loved Song')."

In fact, Linda began their music-making with guitar and vocals, and the debut of the hole-filled vintage acoustic guitar makes perfect sense here, while also describing the album's immediate sound perhaps better than any other individual instrument used. The influence list for the album name checks the likes of Feist, Neil Young, Susanne Sundfør, Alice Coltrane, Pharoah Sanders, Eric Dolphy and Fever Ray, yet the number one inspiration for Fredriksson prior to making the album was "Carrie and Lowell", the 2017 album by Sufjan Stevens. Different as the albums are in terms of instrumentation and general scope, it's fascinating to draw parallels between them by listening to the quietness and immediacy of the music. "Nana – Tepalle" also relates to the world of "Carrie and Lowell" in being a dedication to a lost family member, Linda's grandmother (she is featured in the digital single artwork).

Throughout the album, Linda plays their saxophones in a way that is serving music first and foremost. The musician's ego, so often at the forefront in jazz, takes a backseat, and the songs themselves remain. Linda thinks as a composer, utilising their instrument where and how necessary, not presenting "chops". "It's sometimes hard to play simple," they say, "but I tried to follow my instinct about what the songs need. The mood rules here, any solos or improvisations happen around that at all times."

"Juniper" can still be heard as a jazz album, but perhaps one reminding that the word doesn't need to mean any one thing in particular. At its best, jazz music is highly personal and "of the moment", both true on "Juniper". The album has been made in two different studios, three homes, two summer cottages and four working spaces. It was recorded with professional studio equipment but also with an iPhone and on a basic built-in laptop speaker. With that, "Juniper" stands as a remarkable musical diary of a creative musician and composer during the early 2020's.

The new album ‘Til The Oceans Overflow’
connects with the 40th Anniversary of Fischer-Z’s
iconic ‘Red Skies Over Paradise’ album. It is set
once again in Berlin and contrasts the personal,
political and social changes between 1980 and
2020. The internet and social media have radically
affected people’s freedoms and manipulability and
characters mentioned in the 1980s songs are
brought forward 40 years in their lives to illustrate
some of these changes.

The basics of this new album were recorded by
founding member / frontman John Watts in the
famous Hansa Studios in Berlin but the pandemic
put just about everything on pause. His
international band contributed parts from home
across the internet to John in Brighton, who
included them in his production.

John Watts, the heart and soul of the ever-evolving
Fischer-Z - by definition a live performer - has
spent the last year and a half getting his teeth into
making this new themed band album. He is more
eager than ever to promote the new songs, along
with all his classic hits, with a gigantic list of
upcoming shows.

Fischer-Z are stronger than ever. Their last album,
‘Swimming In Thunderstorms’ (2019), put them
back on the map big time with many festivalappearances and sold out club shows:

Analog Africa delves deep into the scene of the Mexican's sonideros (sound-system operators) to present the "Rebajada" movement they've created using locally made pitch controls, speakers and sound effects.

"In 2010, I had asked Eamon Ore-Giron - aka DJ Lengua - if he would be interested in compiling a Latin project for Analog Africa, and if so, if he had a theme in mind. He replied, “Have you ever heard of rebajada?“ The question mark above my head, together with the wall of China, must have been the only other object visible from out of space because Eamon, probably noticing I got paralysed, continued, “Rebajada in Spanish means “to reduce, to lower”. It’s basically Mexican sonideros (soundsystem operators) slowing down the beat of a Cumbia to create a much more tangible music to dance to. I’ll send you a mix I made last year and let me know what you think.“ And so he did.

That mix was called Rebajada Mota Mix and I began listening to it on a loop. Although I was not immediately hooked it was intriguing from the get-go, and so I kept listening until magic began unfolding. Slowed down music allows you enough time to hear right through it, revealing itself in ways I had rarely experienced before. Everything became more transparent and I was noticing sounds normally only perceptible by bats. A near psychedelic experience. That mysterious mix included a few Ecuadorian songs by Junior y su Equipo - aka Polibio Mayorga (a cult figure in the sonidero scene), a couple of Mexican tunes, one Colombian, and various Peruvian songs, undoubtedly the driving force behind this project.

The sonidero who brought Peruvian and Ecuadorian music to Mexico was the legendary Pablo Perea from Sonido Arco-Iris, and although his fingerprints are all over the compilation Saturno 2000, this selection of songs in rebajada is exclusive to DJ Lengua. With the exception of a few classics from Polibio Mayorga and La Sampuesana – the queen of all rebajadas – most of these songs were probably never performed as such before, let alone released.

So how did rebajada come to be? In a nutshell; Rebajada started with two families of brothers – the Pereas and the Ortegas – who travelled all over Latin America and returned to Mexico with heavy loads of records which they would sell to the various sonideros always on the lookout for new tunes. Colombian beats especially seemed to fit almost perfectly with the Mexican dance steps – but they were just a bit too fast. As a result some sonideros began experimenting with equipment, and Marco Antonio Cedillo of Sonido Imperial created a revolutionary pitching system that could slow records down to an extent other players could only dream about. And so rebajada was born . . . or so we thought.

At the same time in north of the country, in Monterrey, sonidero Gabriel Dueñez almost got electrocuted by a short circuit that nearly set his record player on fire. As a result the platter started spinning in slow motion for the rest of the party, turning Cumbia into a different affair altogether. The youngsters went crazy for it and started harassing the sonidero with requests to record cassettes for them. Reluctant at first, Dueñez finally began recording a series of pirated cassettes called “Rebajada” which included mainly Colombian cumbia and porro in slow-mo exclusively. Those tapes took the city by storm and turned rebajada into a celebrated and defiant movement of the youth.

Of course it would not be a Mexican urban legend if it didn’t include dramaturgical elements, and so for nearly 30 years, until this day and probably for ever, both cities have been arguing and claiming ownership the creation of rebajada for themselves. But sonidera Joyce Musicolor, who never has time for such trivial arguments, got straight to the point: “Rebajada, and the equipment to perform it, is from here Mexico City but it was Monterrey that popularised it.“

After 3 albums based purely on synthesizers, the danish duo take a leap by adding live drums & guitars to their latest album. A natural step, considering that Jakob Skott, one half of the duo, spends his time drumming in Causa Sui, as well as a slew of jazz-infused projects on El Paraiso. All basic tracks were recorded in an improv session at Jonas Munk's studio in Odense, capturing both synths and drums live. The expansion of drums adds a natural 70's groove, maintaining a spontaneous vibe that also soaks into the analogue synths of modular wizard Kristoffer Ovesen. The improvised sessions were later honed, edited & layered, bringing forth the best of both spontaneous ideas, as well a multi-dimensional approach bringing a new depth to Videodrones extensive cinematic undercurrent of sounds. With the addition of echo & reverb drenched guitars, the duo is tapping into sounds in new realms yet strangely familiar. After The Fall may conceptually nod it's head towards a gloomy state of affairs, but akin to the italian post-apocalyptic movies of the 80's, doomsday never felt this heady and funky before.

Munich’s most flexible shapeshifter comes equipped with three new weapons. Needless to mention he’s got full support of the RFR squad for his subversive revolutionary plans.
„Don’t try this at home“- a warning that has always been more of an encouragement to do forbidden things than inspire cautiousness. But basically correct, and for want of a booming club life, you better enjoy this Detroit burner with a proper car system or in an abandoned warehouse that is gettin cut into pieces by stroboscope lightning. Of course, under the correct appliance of all hygiene measures.
No, this ain’t a Trumpesque call to arms in order to charge for the Reichstag. On the contrary, it shows how any stable foundation can be undermined with a healthy dose of 90s acid. If you don’t believe it, just listen to Rakim’s „Stay in bed remix“ of „How to bring down your government“.
For the end of our adventure we are given a nice „Sidequest“. As for the reward, there’s a shiny loot box with legendary items, beautifully wrapped in trancey techno. Lovers of Aril Brikha might find some valuable treasure here.

Emerging when humanity needs him most, and currently adopting the body of a 60 odd-year old carpenter with a penchant for animation and Red Stripe; Terry Perace teams up with Red Laser's own Pharaoh Brunson to form a new perpetual EP series.
The Peraceamid project begins with EP 1. 4 x Hyper-ancient, super-hi-tek audio tools for us Earth dwellers to utilise, corrupting RL's standard "Manctalo" vigour with abandan.

(A1 - Terry Perace - Trip Pop 2020)
Perace himself, ditching the Carpenter attire and hardwiring himself straight into basic circuitry, conjures up skeletal, repetitive reduxes, born outta the oldest primordial gloop, churning together into embryonic life form rhythms that have now existed since the earliest signals of dual-cell organisms on our planet.

(A2 - Kid Machine S.D.M (Terry Perace's InSlaved mix)
Terry sparkles his Martian magic across Kid Machine's S.D.M from the 2020 'Magico' LP. An already high Manctalo watermark now given further accreditation by the highest Elders of Ancient Egypt which Terry confers with on the regular. Welcome to the top of the pyramid gee!

(B1 - Marcus Paulson - Wrecked in Utrecht)
The elusive Marcus Paulson we so far know very little about other than that he's an unconfirmed UFO enthusiast from Warrington...Terry received 'Wrecked In Utrecht' when he accidentally plugged a random USB drive into his earhole (he's not that up on our basic tech yet) in Pharaoh's studio at Hidden. An otherworldly Manctalo vortex and a holographic, plasma-soaked acid track designed to provide a cross-planetary bridge to raves and free parties on Cygnus.

(B2 - Ste Spandex - Examples of You)
Terry's been warmly applying his cosmic voodoo on Red Laser veteran Ste Spandex, nudging him further into the inter dimensional discipline of sonic energy manipulation, the fruits of which are a hyper-driven re-vamp of a '98, Earth-based club classic which he blasts into 5D thru the galvanised circuitry of his palladium-boosted studio.

Licensed and published by Red Laser Records here on Earth. First volume in a perpetual series...

Tubby did three original dub albums, “Dub From The Roots, “The Roots Of Dub” and the third is “Brass Rockers” with Tommy McCook ’pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named “Shalom Dub” you can call Tubby’s too because he mixed the versions as they were off the forty fives.

King Tubby and Producer Bunny “Striker” Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a “serious joke” (more of which later…) they went on to release the first pressings of this new musical genre namely “Dub Music”. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard…. The Remix / Version cuts to an existing vocal tune.

Osborne “King Tubby” Ruddock was born in Kingston, Jamaican the 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the USA. When he had qualified, Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm and Blues at local weddings and birthday parties His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Striker’s rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Hope you enjoy the set……

Father John Misty returns with ‘Chloë and the Next
20th Century’, his fifth album and first new material
since the release of ‘God’s Favorite Customer’ in
2018.
 ‘Chloë and the Next 20th Century’ was written and
recorded August through December 2020 and
features arrangements by Drew Erickson.
 The album sees Tillman and producer/multiinstrumentalist Jonathan Wilson resume their longtime collaboration, as well as Dave Cerminara,
returning as engineer and mixer. Basic tracks were
recorded at Wilson’s Five Star Studios with strings,
brass and woodwinds recorded at United
Recordings in a session featuring Dan Higgins and
Wayne Bergeron, among others.
 ‘Chloë and the Next 20th Century’ features the
singles ‘Funny Girl’, ‘Q4’, ‘Goodbye Mr. Blue’ and
‘Kiss Me (I Loved You)’