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Representing Seattle Funk. The Oscillators' debut album is deep, raw and energetic. Led by drummer oLLi kLoMp, the line up features members of the polyrhythmics, Rippin' Chicken, the Pulsations, Lucky Brown, the Trueloves, 45th Street Brass, The S.G.'s, and more...

REAL, DEEP FUNK WITH A PSYCHEDELIC NUDGE.

As of yet, as these words were written, the Oscillators is not a band. the Oscillators is an experimental recording collaboration that turned out swimmingly.

Our gauge was this: "Do we like it?" No agenda or goal. The main mode being simply; create what we like out of thin air. Yet the air was heavy therefore create what we like out of thick air. Magical, gravy-thick air. Molecules, olli'cules. Alchemically thick. Apparently, we needed to sample something out-of-the-ordinary… the process is called, "stackin- phat". Minimal gear, maximum vibe. In fact, this process and this gear would make most educated sound engineers cringe but the players know.

Pushing the tape…yes, tape! 4 track to be exact, pushing the tape to it's edge. First, stack two drum tracks. bounce them to one primal track. Sometimes one drummer, sometimes two; "a great drumbeat already contains melody." This is your first layer of phat. Generally, unless the muse says otherwise, you wanna bring in your bass player next, gently caress guidance and encouragement (maybe a beer or a hit a grass), then he or she can stack the next layer of phat. The next few layers are where things really take off. Maybe it's guitar then horns, maybe keys. Maybe just horns. Whatever the tune calls for. Whatever the muse "calls" for. Everyone stacking is simultaneously inspired, while hindered, by the previous layer; "constricted genius" works of magic from thin/thick air.

Most of the time the players weren't in the same room at the same time, and in some cases, haven't seen each other in years, but it sounds like a family and feels like a band. Create what we like.

The natural unfolding of this creation was affirming, in that the process of creation proved most relevant. An expression of faith and appreciation of the experiMENTAL process with no preparation for something else. Beyond fortunate for the allowance of time. "never underestimate the power of positive thought"

-Ned Blanski

‘Lindstrøm returns with his sixth studio album Everyone Else is a Stranger, and the first since 2019’s On a Clear Day I Can See You Forever. The title of the album was inspired by John Cassavetes’ original title for his 1984 film Love Streams, and contains four tracks of his signature chord-stacking disco epics and freeform cosmic voyages, stretching across nearly 40 minutes. An album that in many ways sums up his career, and gathers his different musical paths into one sound and one album.

Where his previous album had a slower and more mellow feel, 2023’s Everyone Else is a Stranger sees Lindstrøm take on a much more rhythm-oriented and uptempo approach, containing tracks that fit perfect with the artist’s revered live sets. That said, this album also contains the unexpected twists and turns that has become the Norwegian producer’s trademark, including recordings of him playing a cheap Chinese cello and violin for the first time alongside the old Solina String-Ensemble he has used on essentially every track since his debut.

Named «the king of space disco» by The New Yorker, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city center studio into a factory floor for churning out monster tracks. He has collaborated with the likes of Todd Terje, Prins Thomas and Todd Rundgren, has remixed a slew of acts including LCD Soundsystem, Lana del Rey, Haim, Grizzly Bear, Flume, RAC, London Grammar and more.’

Don Glori, a.k.a multi-instrumentalist Gordon Li, returns with a remix EP that tears open five tunes from his groundbreaking debut, Welcome.

Taking an opportunity to sink into some of the ideas explored on the original album, the five remixes featured here sees some of Europe and Australia’s finest throw open the shutters and shine a light on Li’s inventive compositions and remarkable instrumentation.

Rosie from the Block, a.k.a Belgian multi-instrumentalist, producer and DJ Roselien, leans right into the percussion and drum kit playing that made Welcome so infectious, layering this with cheeky bubblegum-beat bass lines that lend the whole affair an incredibly smooth, street-soul styling.

Other key players include Swedish duo Mount Liberation Unlimited, lending their take on things an introspectively dark, brooding atmosphere that evolves into one of their trademark acid-house extended journeys; Australian radio DJ and producer Ennio Styles working alongside Liam de Bruin, hip-hop/soul duo Man Made Mountain, led by MC Cazeaux O.S.L.O, and an insanely infectious organic house take on hit single Dlareme by one of Melbourne’s finest, Teymori.

A perfect companion to an album that broke open the Melbourne scene and laid out new parameters for the quality of jazz, samba and funk-inspired music emerging from that city, Welcome Remixes breathes fresh life into this incredible album and reminds us just how goddamn fun making, playing and performing music can be.

The project of internationally acclaimed DJ Guy Mantzur, Moments, is an extensive party and label concept, connecting the elite producers with a series of gatherings.

The twelfth release of the label continues the successful realization of the vision with, Everything Nice This Morning by DJ Zombi. The two-track release includes the original version of the track, followed by the remix by Volen Sentir.

The genius of Zombi's production lies in the optimal balanceof hypnotic arrangement structure with seemingly effortless melodies. While the original cut showcases his distinctive audio palette, an alternative version takes the sonic esthetics to another level.

Volen Sentir is one of the biggest acts in the Organic House genre. Their take on Zombi's track transforms the idea into a nine-minute hypnotic journey.

Life is about moments! Please, pay attention to them!

Oliver Dollar’s Industry Standard welcome Detroit’s Outr Drive featuring vocalist Steffanie Christi’an for a vinyl release on the label. This package presses up the original ‘You Don’t Know’, first released on the label in 2021, with remixes from John Arnold & KON.

The original sees Outr Drive deliver a low slung, soul drenched, deep house track with a live bass line and lush keys that set the tone of a track for a wonderful vocal from Steffanie. The song is both emotive and seductive and shows off her amazing vocal range.

Detroit’s John Arnold steps up for the first remix taking his version into a deep electronic, synth driven work out, using the vocals to blistering effect over his swirling Detroit styled synth chords.

Over on the B-side we have some disco gold from Boston’s KON. He’s crafted a vintage styled disco record around the vocal that sounds truly authentic, almost feeling like it was recorded in a live session. This mix oozes quality and will be a timeless floor pleaser for the cooler floors.

S Transporter is Izaak S and Ryan Spencer, a pan-American duo of exact origins unknown. With roots spanning from Detroit to San Francisco, the project is somewhere around four years old, though no one remembers exactly when it started. The songs were initially demoed in Ryan's bedroom and promptly forgotten about in the chaotic whirl of both members’ efforts in other music projects, DJing, and party-throwing ventures until Ryan played them at his weekly, Monday Is The New Monday (co-founded with PGS' Ben & Zach). Immediately, the songs burst with new life into our ears, and we excitedly requested to hear more. In a tale every creative can relate to, Ryan simply didn't know if they were any good. We found them extraordinary.

What followed were several months of additional recording sessions in a collective effort to finalize the tracks, done at Ryan's apartment in Southwest Detroit, Izaak's in SF, and the Portage Garage in Hamtramck. Bay area DIY underground luminary Anya Ghiorzi joined the group and contributed her vocal talents to the songs, which began to exhibit a sound representative of the genre-collisions featured at MITNM– from krautrock and boogie to trance, acid, and house– in a way other PGS releases have hinted at, but have not fully expressed until now.

S Transporter is the name of the EP, the project, and all four songs. A maximalist sound with a minimalist presentation, naming the songs - so many years after their inception - would, perhaps, take away from the feeling that struck all three of us the first time we heard them on a club-grade sound system.

Izaak S and Anya Ghiorzi are San Francisco residents, musicians, and DJs in the Loveshadow dance collective.

Ryan Spencer is a Detroit resident, DJ, co-founder of Monday Is The New Monday, and is a member of Freakish Pleasures.

"S Transporter 1"
Uptempo, backspin-laden electro/acid with a winding 303 bassline that reveals itself slowly over the pulsing breakbeat backbone. Immersive, haunting and enchanting.

"S Transporter 2"
Downtempo electro. Slap bass. Heavy boogie. Sensual vocals reminiscent of early Chris N Cosey carry you through this industrial funk heater. Heavy synth lines and rhythmic grooving guitar that is club-ready for dance floors of all kinds.

"S Transporter 3"
A fast paced, percussion forward adventure with balaphone melodies and bending synth pads. Spoken words guide the journey, arriving at a movement inducing Juno ascension that dances into a calm end.

"S Transporter 4"
Encompassing the seemingly disjointed, individualistic styles of S Transporter 1-3, ‘4’ combines elements of the entire release into one final gesture. ‘4’ could be Byrne/Eno ("Regiment"), but it's something else - the product of decades of dance music history, distilled by two musicians & DJs into one song.

credits
releases July 19, 2019

PGS 010
S Transporter
"S Transporter"
EP

2015-2019
Written, Mixed and Produced by Izaak S & Ryan Spencer
Vocals by Anya
Bass on “2” by Lucas De Leon Turner
Percussion & additional production on "3" by Shigeto
Percussion on “3” by Julian Spradlin

Mastered by Josh Bonati at Bonati Mastering
Recorded at Izaak's apartment in San Francisco, Ryan's apartment in Southwest Detroit and the Portage Garage
Records Pressed at Archer Record Pressing, Detroit, MI
Design by Will
MMXVIX

Fever hit Jamaica around 1966 when the jerky Ska rhythms slowed down to a more leisurely, sexy pace. Some say due to the extreme heat that hit the island that year, making frenzied dance routines of the earlier sounds seem like hard work in the all night Sound System Sessions. Others would say Reggae’s beat is always evolving and changing into something slightly different and moving with the times.

Whatever the reasons were, this two year period that ran until 1968, would see some of the power escape from then big three producers, Clemet ‘Coxone’ Dodd, Prince Buster and Duke Reid, who ruled the airwaves. They had to finally make room for the new wave of up and coming producers who had something to say.

Such names as Joel Gibson (Joe Gibbs), Sonia Pottiger, Derrick Harriot and the most prolific of them all, Mr Bunny Lee, would unleash some fine music in this fascinating, if short lived period in Reggae;s history. We have compiled some of the biggest hits from the Rocksteady era alongside some lesser known cuts we believe deserve to be re-evaluated.

Rocksteady was an inspirational time and some may say a little overlooked, but we hope you agree with us when we say that it brought us some outstanding music. So sit back and enjoy some Rocksteady straight from the dancefloors of Jamaica.

Hope you enjoy the set…..

"Bills past due, what you gon do?"

2lanes is part of the latest resurgence in Detroit's techno underground whose infamy is built via amorphous live appearances / DJ sets, collaborations with contemporaries like AceMo and John F.M., and a steady, hilarious and blunt presence on Twitter. PGS is proud to present 2lane’s 2nd piece of wax, the AA side "Baby's Born To Fish'' / "Impish Desires'' following the "Giving & Receiving" EP on NYC's Ceramic Records, February 2020.

2 Lanes first appeared in Detroit ~six years ago and quickly made a name for himself in the local scene, promoting shows with international artists and friends from NYC, all while making an effort to respect the city's unique musical identity and history. He carries the tradition of Detroit's electronic pioneers who pursued new ideas in production and gear, bringing perfection to the craft, and developing unique twists in his process.

Participating in the contemporary electronic music world required splitting your time between 2 places at once: Online, always-on, in constant engagement with friends + foe alike; In Real Life, physically traveling city to city, DJing and collaborating, all while maintaining a sense of self. And now, all that's different.

"Lately, I've been, going, going through some changes"

Releasing a club-ready 12" in the midst of a global pandemic? That's the 2 Lanes. We heard an earlier version of "Baby's Born 2 Fish" what feels like 10 years ago, rinsing "Impish Desires" when there were still gigs. Do you remember the Apollo Masters plant fire in early February? How long were pressing plants closed, again? How long have we been living in this new reality? 2lanes hopes that the messages of this music; fear, isolation, friendship, love and how we exist at this intersection comes through for the listener.

"Baby's Born To Fish" / "Impish Desires" is a heavy hitting AA side, rejuvenating, explosive, off your face. They're ready for the eventual return 2 the dance floor, and sooner for your streaming DJ set. We don't know when we can see you IRL, but we know it'll be in mixes for decades to come.

"You’re gonna cast your reel out and you don’t know if you’re gonna get a fish that day, but you’re still gonna cast it out." - 2 Lanes

Five years after the release of ‘Luyando’, Zimbabwe’s most celebrated music export returns with their long-awaited follow-up album ‘Tusona: Tracings in the Sand’. The six musicians from Victoria Falls are refining their unique sound: infectious Afro grooves deeply connected to Zimbabwe’s cultural DNA. ‘Tusana’ is their most danceable album to date, a DIY production recorded in Zimbabwe. It features horns by Ghanaian highlife outfit Santrofi.

Every Sunday, there is a gathering in the sweltering heat on grounds of an old local beer hall in the Chinotimba township in Mosi-o-Tunya (Victoria Falls). Entertainment is provided by various traditional groups including the Luvale Makisi masquerade. It is a day full of singing, drumming, dancing and storytelling. Mokoomba’s lead vocalist Mathias Muzaza can often be found here singing with a voice both soaring and vulnerable. In the course of the afternoon the other band members - guitarist Trustworth Samende, bass player Abundance Mutori, keyboard player Phathisani Moyo, percussionist Miti Mugande and drummer Ndaba Coster Moyo - often join in with singing. The drum driven song “Bakalubale” featured on their new album invites you to this gathering.

Mokoomba recorded ‘Tusona: Tracings in the Sand’, the follow-up album to ‘Luyando’ (2017, Outhere), in Zimbabwe during the pandemic. Instead of working with outside producers like Manou Gallo or Steve Dyer as they have in the past, this album was entirely recorded in a DIY fashion by Mokoomba. The collective from Zimbabwe put in all the experiences made over the previous years and have forged their music into a unique Zimbabwean sound. On popular demand from their fans in Zimbabwe they have even re-recorded three songs from their last more acoustic album ‘Luyando’ turning them into dancehall bangers (featured on the CD and digital versions of the album). In short, this album is more Mokoomba than any of the ones before.

On the album Mokoomba are singing about love, loss, courage in a changing society. The first single “Nzara Hapana” means “no money” in Shona. The song talks about a man who wants to ensure the future of his wife and family and is trying to protect them against the greed of his relatives. The danceable up-tempo song “Nyansola” praises the goddess of harvest and asks her for rain. “Makisi” is sung in Luvale. It celebrates the beauty of the initiation ceremony for which the whole community comes together. “Manina” is a song about losing a loved one. It was written during the pandemic and features the young singer Ulethu from Harare. Mokoomba sing in many different local languages. Their songs are in Tonga, Luvale, Shona, Nyanja and even Lingala used in “Makolo” when they team up with Congolese singer Desolo B. (The album also features horns by Nobert Wonkyi Arthur (trumpet), Bernard Gyamfi (trombone) and Emmanuel Arthur (sax) from Ghanaian highlife outfit Santrofi.)

The title of the album is a nod towards their immense respect for tradition. ‘Tusona’ refers to an ancient system of signs and symbols, drawn in the sand and used for instruction during initiation ceremonies by the Luvale in Southern Africa. Another important part of the Mukanda initiation ceremony is the incredible Makisi masquerade. Since 2008 the Makisi dances are on the UNESCO list of intangible heritage. The Makisi are masked characters, representing the spirit of deceased ancestors. During the yearly initiation ceremony the Makisi return to the living world to teach the young children to become responsible adults among the Lubale people of Southern Africa. In the last decade the interest - especially among the young people – has faded and the Makisi dances have nearly died out.

“Our inspiration comes from these gatherings”, Trustworth Samende explains, “from listening to and playing pure traditional music with everyone in the township. We then add influences from music that we listened to in our homes growing up and the sounds we experience travelling around the world.” It is the connection with the cultures around them that gives Mokoomba’s music its spiritual power. When you hear Mathias Muzaza singing and you watch closely, you will see the music carrying him away to a different sphere, a place where he is singing with the ancestors. Only a split second later though Trust Samende’s sparkling guitar riffs kick in, blending Congolese influences from neighbouring Kasai with Zamrock and Mbira inspired Chimurenga music, making you want to hit the dancefloor. It is this unique blend of local musical styles with contemporary dance music that is at the heart of Mokoomba’s music. The strong reference to tradition is also reflected in the cover illustration by young Zimbabwean visual artist Lomedy Mhako.

It has been nearly 10 years since this young energetic band from Zimbabwe has exploded onto the international music scene. Since then they have shared their music with fans all over the world: Mokoomba have performed in over 40 countries, rocking audiences in places like Roskilde festival (Denmark), WOMAD festival (UK), Sziget festival (Hungary), SXSW (USA), Apollo Theatre (New York) to name but a few.

Like anywhere in the world Africa’s musical output has become more and more producer based. Mokoomba are the living proof that Africa’s great guitar band heritage is well alive and ready to set any dancefloor on fire. Most important though is that deep below the surface of Mokoomba’s sound - flowing like the Zambezi River - you can still hear the heartbeat and the rhythm of a community connected by its music. Like ‘Tusona’, it is a source of rejuvenation, resilience and strength in these changing times. May the tracings in the sand not fade.

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

‘Bad Neighbor’ is a collaborative studio album by rappers MED and Blu and producer Madlib. Originally released on October 30, 2015, the 13 track LP features guest appearances from the likes of the late MF DOOM, Aloe Blacc, Mayer Hawthorne, Jimetta Rose, Dâm-Funk, and Oh No. The album is undoubtedly an extension of all three artists’ signature sounds, but it simultaneously defies all precedents to reaffirm each individual’s position at the forefront of LA’s legendary hip-hop landscape.

For the first since it’s original release date, the album is set to be rereleased on vinyl in a special edition red and black color-in-color configuration equipped with two new mixes of the focus tracks, “The Strip (feat. Anderson .Paak)” and “Knock Knock (feat. MF DOOM).”

"Bad Neighbor is as if the Ruff Ryders albums were reimagined by this trio and all the avant heads get to party, but it is also worth mentioning that the often slept-on MED and Blu seem to steer this beast as much as the beloved Madlib." -AllMusic

Death metal overlords DYING FETUS once again raise the bar of sonic extremity with their 8th studio album and first new material in over 5 years, Wrong One To Fuck With. The seasoned veterans manage to further stretch their creative and technical boundaries across 10 complex tracks of pulverizing death metal, filled with more dynamic intricacies, brutal breakdowns and varied vocal patterns than ever before. Now over 25 years into their distinguished career, DYING FETUS cement their legacy with Wrong One To Fuck With and uphold their position as the most dominant force in death metal today.

Alaska Reid hails from a frontier city in Southwestern Montana whose population lingers around 8,000 residents, and while Reid now works in Los Angeles, she can’t give up her hometown. Her career began here, where she sang in basements, churches, and gyms before starting her first band, Alyeska. Soon talent, and her parents’ minivan, drove her to tour further west. Now, Reid splits her time between the coastlines and the mountainous West, splitting what time she can between the two and working in both cities. Due out summer 2023 via Luminelle, Disenchanter,is as much a collection ofstories as it is a collection of songs. Though Reid’s principle instrument is guitar, she worked on Disenchanter with A. G. Cook, whose synths and the duo’s combined array of pedals allowed Reid to explore her pop inclinations after she recorded each track live at home in both Montana and California. “I have my road dog arsenal from playing tons of live shows, so most of the songs have at least one guitar with my personal chain in homage to my live set up,” she says. “We’d then layer combinations of A. G.’s pedals onto the track, and the contrast between them mirrors our respective musical approaches.” THEMES: Friendship, Touring, Storytelling, Vulnerability GENRE: Indie / Indie Folk / Indie Rock

It took Rouen, France over five-hundred-years to find an act as fiery as the execution of Joan of Arc, but they finally found one in the Year Of Our Lord 1977: Dogs. The absolute picks-of-the-litter and best-in-French-new-wave-rock-show, Dogs (no ‘the’), over the course of nine albums, two dozen singles and EP’s left behind an undeniable legacy, none fiercer than on their first recordings for the Melodies Massacre label. This collection compiles Dogs’ earliest releases: the ‘Charlie Was A Good Boy’ 45 and ‘Go Where You Want To Go’ 12 inch maxi-single. Fully and officially licensed from Melodies Massacre for the first time, including notes from Melodies Massacre founder Lionel Herrmani and featuring many never-before-seen photos from the band’s halcyon days, this compilation serves as the definitive portrait of the artists as young Dogs. A must for fans of all music, but especially Eddie & The Hot Rods, the early Scientists, the Flamin’ Groovies, and the Heartbreakers. Rouen, France got that Dog in ‘em – now you can as well!

Your most excellent perversity returns to conquer the throne of its own sound universe, deepening and expanding its aesthetic range with new sounds and rhythms. Tito Ramirez's rhythmic and stylistic melting pot is broad and encompasses Latin music in its different facets, with Afro-American and Anglo-Saxon rhythms. An already legendary album before its release, which surely should not be missing in your library.

In 1983 there came a sound from the depths of the Brazilian rainforest that was primal, ground-breaking, and completely ahead of its time. The roaring of amplifiers and the beating of drums was the sound of Max and Iggor Cavalera creating their debut cult-classics 'MORBID VISIONS' and 'BESTIAL DEVASTATION', and now it seems that after many years, the Cavalera brothers will be returning to their raw upstarts with a full re-recording of these beloved yet obscure albums.
When 'MORBID VISIONS' and 'BESTIAL DEVASTATION" were first spawned it was done in ramshackle conditions in Belo Horizonte, where the duo grew up. Max and Iggor were 14 and 13 years old during the original recording, and they had all the tenacity and energy of a pack of wild dogs. Only, their sound was not quite refined at that time, their adolescence bled through on those early records. It is well known that Max's guitars were completely out of tune on those sessions, and Iggor's drums often swung around tempos crazily. There's an air of youth and passion that could only be achieved by two teenagers that wanted to shock the world. Four decades later and it is plain to see that they certainly did gather the world's attention.
Despite the production being rough around the edges and the band still carving out their direction, there was a noticeable level of craftsmanship to the song structures and a clear indication that given their desire to thrash like maniacs, these kids from Brazil were going to tear the place up night after night. These albums still hold a dark, mystic and at times eerie quality to them that many have come to love over the years. For some, the music does not have to be delivered with perfect technical precision, the spastic live delivery is something to be cherished, and even with their guitars out of tune, they played like the gates of hell were opening. The crossroads of a shamanistic spiritual summoning at a back-alley metal show in downtown Belo Horizonte.
It is a task of heavy magnitude to try and cross the gap between the accomplished artists that they are today to the scrappy boys that they were when they first wrote these songs, but the duo have executed the performances flawlessly. The perfect bridge between the unbridled energy of the original sessions and the high-quality sound of a 21st century production. It is truly astounding to hear Max once again growl like a monster during "Troops Of Doom" and riff at insane speeds through "War" and "Crucifixion". Iggor's barbaric drumming on "Anti-Christ" is like the galloping hooves of a death-rider. Accompanied by bassist Igor Amadeus Cavalera (HEALING MAGIC, GO AHEAD AND DIE) and lead guitarist Daniel Gonzales (POSSESSED, GRUESOME) the quartet is a force to be reckoned with.
How this re-recording attained such a familiar tenacity is almost a mystery, like some spell that brought these albums back from the grave. Within the first few beats you can hear that the Cavalera’s have lost no momentum, attacking the songs at maximum speed and ferocity. In fact, it seems that the brothers have only empowered their connection through music over the decades. You can feel the spark that those two create, a dynamic sound rich with subtleties and ear-grabbing hooks. As Iggor counts in each song with his drumsticks, and Max's guitar feedbacks loudly as he approaches the microphone, there is palpable apprehension. It is apparent that when these two icons get together to play, they are going to electrify the room with their presence.
Few have had the incredible careers that Max and Iggor have achieved through their music. Even fewer had faith in the young boys that wrote 'MORBID VISIONS' and "BESTIAL DEVASTATION' all those years ago. Yet here they still stand ripping through their earliest works with decades of experience under their belts. For them, it is a breath of fresh air to finally give these songs the desired production that they deserve. They both feel that the fans also deserve a fresh look at these albums, a chance to appreciate them in a completely new light.
From start to finish 'MORBID VISIONS" and "BESTIAL DEVASTATION" are a torrential whirlwind of riffs, beats, and screams. A blast from the past that is sure to take every last listener back to the raucous live shows of the eighties.
Mysterious clouds form above an old cathedral, the summoning of dark magic is upon us, and the troops of doom march forth to announce the arrival of 'CAVALERA'!

Rocksteady took Over Orange Street, Jamaica around 1966, the same time that an extreme heatwave hit the Jamaican island. Some say the previous jerky Ska Rhythms proved too strenuous of an activity to partake in, during the all night Sound System sessions .So it proved a winning formula to slow the beat down to a more leisurely pace.

Whatever the reasons were this two year period that ran until 1968, would see some of the power escape from the big three producers, Clement ‘Coxone’ Dodd, Prince Buster and Duke Reid, who up until this period had ruled the airwaves .It was time to make room for a new wave of up and coming producers that also had something to offer the people. Such names as Joel Gibson ( Joe Gibbs ), Sonia Pottinger, Derrick Harriott and most prolific of them all Mr Bunny Lee.

These new names would unleash some fine music in what would be a short lived chapter in the ever changing and moving beat that is reggae’s history. We have compiled some of the biggest hits from the Rocksteady period, alongside some lesser known cuts we believe deserve to be re-evaluated. Rocksteady was an inspirational and somewhat over looked sound that provided us with some outstanding music. So sit back and enjoy some Rocksteady straight from the dances of Jamaica.

Mit ihrem Debüt "New Dubby Conquerors" aus dem Jahr 2001 eroberten SEEED nicht nur die Top 20 der deutschen Albumcharts, sondern lieferten auch gleich das Sommeralbum des Jahres. Mit den 13 Songs brachte das 11-köpfige Dancehall-Kollektiv ein wenig karibische Lässigkeit in deutsche Groß- und Kleinstädte. Über 20 Jahre später feiert die Band einige der zeitlosen Hits ihres Debüts mit einem besonderen Re-Release in Form von 12??-Singles auf farbigem Vinyl. Die Maxi-Singles erscheinen in limitierter Auflage in den Rastafari-Farben rot, gelb, grün.

Die Maxi-Single "Dickes B" enthält neben der niemals alt werdenden Berlin-Hymne mit "Walk Upright" und dem Reggae-lastigen "We Seeed" zwei weitere Songs des 2001er-Debüts. Die Songs "New Dubby Conquerors" und "Tide Is High" , Letzterer im Original von der jamaikanischen Rocksteady-Band The Paragons, sind in Mix-Versionen zu hören. Die Maxi-Single erscheint am 30.06. in einer limitierten Auflage von 1.500 Stück auf rotem Vinyl.

Mit ihrem Debüt "New Dubby Conquerors" aus dem Jahr 2001 eroberten SEEED nicht nur die Top 20 der deutschen Albumcharts, sondern lieferten auch gleich das Sommeralbum des Jahres. Mit den 13 Songs brachte das 11-köpfige Dancehall-Kollektiv ein wenig karibische Lässigkeit in deutsche Groß- und Kleinstädte. Über 20 Jahre später feiert die Band einige der zeitlosen Hits ihres Debüts mit einem besonderen Re-Release in Form von 12"-Singles auf farbigem Vinyl. Die Maxi-Singles erscheinen in limitierter Auflage in den Rastafari-Farben rot, gelb, grün.

Die Maxi-Single "New Dubby Conquerors" enthält neben dem Titeltrack des Albums drei weitere Songs. Der Track "We Seeed" findet gleich zweimal Platz, in der Reggae-lastigen Originalversion auf Seite A und der bassbetonten Dub-Version auf Seite B. Der Song "Yaam" , eine Hommage an den gleichnamigen Berliner Reggaeund Hip-Hop-Club, in dem sich die Musiker einst kennenlernten, ist ebenfalls Teil der 12". Die Maxi-Single erscheint am 30.06. in einer limitierten Auflage von 1.000 Stück auf grünem Vinyl.

Lendas is the Brazilian guitarist Fabiano do Nascimento’s fifth album for Now-Again Records. Like his previous albums Prelúdio and Ykytu, Lendas features do Nascimento’s compositions, this time with orchestral arrangements by Vittor Santos and also special participation by Arthur Verocai. Vittor Santos is a composer, arranger, trombonist and music producer from Rio de Janeiro, who has worked in Brazilian music for over thirty years. Do Nascimento and Santos met in Rio in 2017 during the recording of Do Nascimento’s hero, and 70s and 80s Brasilian guitar catalyst Carioca Freitas album Aquarelas. The two bonded over a mutual appreciation for Do Nascimento’s uncle Lúcio and the Bossa Nova star Leny Andrade, both of whom largely influenced Do Nascimento’s musical foundation. In Santos, Do Nascimento found an arranger who was sensitive enough in his orchestrations that he could create an orchestral dialogue between stacks of strings and Do Nascimento’s plaintive plucking. It was only natural to invite the highest regarded, now legendary, 1970s Brasilian arranger, Arthur Verocai, to contribute. Verocai, who had worked with Do Nascimento on his forays in Los Angeles, was pleased to participate. In this way, the circle of old and new, so crucial in Do Nascimento’s work, comes together and flows outwards. “Lendas” translates from Portuguese as "legends,” but the literal translation itself doesn’t describe this album. With Lendas, Do Nascimento recalls memories from places that no longer exist; from fever dreams in the Amazon; from parts of the world we might never see or engage, but can imagine through music. Fabiano Do Nascimento’s Brazilian guitar meets a full orchestra arranged by Vittor Santos and with special participation by Arthur Verocai and his string quartet. Lush yet lively, standing alongside Jorge Ben’s work with Verocai, and Tom Jobim and Baden Powell’s work with Vinicius de Moraes..

At the essence of this album is Ark & Pit's supreme happiness, and freedom, from adhering to the rules of arrangements and musical clichés. The delicacy in which these ten tracks are made seems at first listen to be almost breakable, like a painting on a spiderweb. Each track flows into each other like a downward bound slinky - intentionally scattered and unpredictable. The only musical rules adhered to here are those which are pure and good, all others have been discarded… This is punk by day and house by night. This is summersaults, 90s hip-hop, skateboarding in L.A and hands in the air. This is truly how a duo, or brothers (which they are), work. Text by Bruno Pronsato

RAR001 was featured in Resident Advisor's Best music of July list

RANT & RAVE
An enigmatic new sound is oozing out of your speakers. Seemingly self-tasked with reviving the essence of the techno rave style, Rant & Rave Records presents the world with an updated vision that sounds exactly like it should. Based in Berlin, the techno epicenter, It's a dangerous new label, unafraid to stir things up and break the rules. Run by Tresor resident and Sonic Groove recording artist Maedon, the label intends to inject some hard-hitting fun back into the techno underground. About to be revealed; EPs from Maedon, Lady Starlight, JoeFarr (of Turbo fame), and veteran industrial techno guru Mark Crumby, (aka Codex Empire, Konstruktivitis). Look for Rant & Rave records this summer at all fine record shops.


RAR 001
Berlin-based American expat Maedon (Tresor, Sonic Groove) ushers in the arrival of Rant & Rave Records with a slickly produced debut EP entitled 'Cease and Desist'. '1989' opens with booming kicks, driving mechanical percussion, and hallelujah samples interspersed throughout. The droning rave synths sound eerily akin to kamikaze dive bombers heading directly for your brain. 'Grandstand' and the title track 'Cease and Desist' continue in this direction, abundant with hypnotic electronics and relentless energy. On 'The Worlds So', Maedon shares her thoughts on the state of world current events with looped vocals 'The worlds so fucked... all we can do is dance'. Gritty, dark rave tracks for peak time workout that provide a nice blueprint of what to expect from this label. No prisoners taken.

Lindstrom returns with his sixth studio album Everyone Else is a Stranger, and the first since 2019's On a Clear Day I Can See You Forever. The title of the album was inspired by John Cassavetes' original title for his 1984 film Love Streams, and contains four tracks of his signature chord-stacking disco epics and freeform cosmic voyages, stretching across nearly 40 minutes. An album that in many ways sums up his career, and gathers his different musical paths into one sound and one album. Where his previous album had a slower and more mellow feel, 2023's Everyone Else is a Stranger sees Lindstrom take on a much more rhythm-oriented and uptempo approach, containing tracks that fit perfect with the artist's revered live sets. That said, this album also contains the unexpected twists and turns that has become the Norwegian producer's trademark, including recordings of him playing a cheap Chinese cello and violin for the first time alongside the old Solina String-Ensemble he has used on essentially every track since his debut. Named "the king of space disco" by The New Yorker, Lindstrom has always made a virtue of his obsessive work ethic, turning his city center studio into a factory floor for churning out monster tracks. He has collaborated with the likes of Todd Terje, Prins Thomas and Todd Rundgren, has remixed a slew of acts including LCD Soundsystem, Lana del Rey, Haim, Grizzly Bear, Flume, RAC, London Grammar and more.

Habibi Funk is excited to share “Marzipan” - our first full length contemporary release courtesy of Beirut’s multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif’s styling, one he terms “Lebrary”: a vision of Lebanon + Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in ’23. We always wondered why Charif’s music stayed under the radar for so long, that all changes with “Marzipan”.
Charif Megarbane, the staggeringly prolific producer, instrumentalist, and all-around musical mastermind returns with full LP “Marzipan.” Following his previous release of EP “Tayara Warak” in 2022, “Marzipan” is a sonic journey that seeks to capture the full scope of Megarbane’s habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane’s own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis (“Souk El Ahad”), the warm atmosphere of the Lebanese countryside (“Chez Mounir”), or the lushness of a Mediterranean beach resort (“Portemilio”). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share “Marzipan” and finally throttle this under-theradar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane’s LP sounds as fresh—as resolutely inspired—as a debut record. “Marzipan” continues down the winding path he trod on EP “Tayyara Warak” (released Decmber, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane’s greatest talent seems to be his open ears. In many ways, “Marzipan” is a cartographic feat — it travels and traces a journey across many dimensions (both sonic and physical). Megarbane’s instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician’s instrumental dexterity. “Marzipan’s” closing track “Bala 3anouan” can be translated loosely to “without address” — a fitting final word. Despite the entire record being a sincere testament to Megarbane’s environmental approach to music-making, the record is not bound to any particular coordinates, or any particular sound for that matter. The vastness of his influences — beloved artists like Ahmed Malek and Issam Hajali (both Habibi Funk veterans); West African funk deep cuts; European cinematic scores; et al — result in a record of somewhat unparalleled expansiveness. Floating melodies and frantic rhythmic interludes both find natural homes across “Marzipan.” The record is tinged with psychedelic elements—fuzz-drenched guitar, sliding microtonal interludes, hypnotic rhythmic breakdowns. Reflecting on his creative process, Megarbane cites a stream of consciousness approach: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.” Lead single “Souk El Ahad” opens the roll-out with a raucous energy, out June 12. Megarbane abstracts busy city sounds into a psychedelic framework, casting technicolor hues on everyday experience. Following is second single “Pas de Dialogue” out June 23. The track jerks the listener towards a more meditative state with lulling harpsichord and expanding, cinematic sound. “Marzipan” will be available physically and digitally everywhere on July 14, 2023. Be sure to listen for focus track “Chez Mounir” that captures the warmth of community in a joyful, laidback groove.
Uncover greater insight into the world of Charif Megarbane in the booklet accompanying the LP

The debut album of Istanbul born, Berlin & Copenhagen based artist Nene H (real name Beste Aydin) titled ‘Ali’. In this record Aydin has used her background as a classically trained pianist and her deep, foundational knowledge of musical theory to synergise contrasting electronic compositions and the mental process of mourning the death of a loved one.

Born as a tribute after the passing of her late father, Aydin has found catharsis through a personal odyssey, the reflection of which can be seen through these 8 tracks. Raised in a traditional Turkish family and now living in Germany with its westernized lifestyle, informs the intersections of identity and duality that Aydin exists and creates from within. This consolidation of identity has pushed her to seek solitude and confidence in the power of being able to represent the process of her existence in the scene as a Middle Eastern woman with Muslim upbringing.

Bonded over the struggles of the pandemic and a mutual love for Motown, Soul and Afrobeat, Denmark"s renowned outlet for jazz, April Records proudly presents "Moko Jumbie", the debut by it"s latest outfit "A Plane To Catch". The vibrant Danish jazz scene came to a crashing halt along with the rest of the world in early 2020, and a tight-knit community of up-and-coming musicians were thrust into a void, robbed of the largest part of their livelihood and joy, live performance. Gathering in a graffiti-smudged artist"s space in an old industrial facility in Copenhagen"s outskirts, they created a space for themselves to improvise in a funky, groove-based setting. What came out was an expression of longing for all that was lost during the pandemic - a musical antidote to the loss of fun, joy, community, movement, travel and youthful abandon that the pandemic had temporarily put a halt to. Exploring the rich exchange between West African musical traditions and Western funk and soul, this is music meant for dancing, transporting the listener to dance floors both real and imagined. Featuring warm, raw production the record creates a real sense of energy and intimacy, as if the listener is in a dark club with an electric jam band. Through the eight compositions the quintet joyfully navigates familiar harmonic clichés from 70"s soul tunes, a variety of infectious toe-tapping grooves, playful improvisations and melodic duo horn arranging. Explorations of darker tonalites popularied be Ethio-Jazz legend Mulatu Astatke provide a welcome departure through harmonic contrast and propulsive polyrhythmic groove. The title "Moko Jumbie" derives from a mythical character in Afro-Caribbean folklore. During carnival season masked Moko Jumbies can be seen dancing on stilts in colorful garments, towering over the crowds. Part gods, part healers, part ghosts, and most importantly: moving expressions of freedom and the perfect mascot for this celebratory album.

Everything about her her, the first full length album by Berlin-based Australian artist L.Zylberberg seems at first a little bit strange—in the best possible way. A little bit off yet playful, intriguing and perhaps a touch deceptive. Sounds, arrangements and images cajole the listener to second guess themselves and re-evaluate the listening experience as it's happening. It's a trip, it’s transcendental, but her her does not stylistically fall into such simple catagorisations. her her is a meticulously-crafted egress into a sonic world that is at times tense, lush, dense, and sometimes just hush.

This is the third offering by Zylberberg on Swiss publishing house Präsens Editionen, following a split tape with producer and singer Belia Winnewisser and a digital release that was accompanied by a silk foulard. Zylberberg has strong ties to Berlin's Sameheads family and Tbilisi’s Mutant Radio. She also co-runs the infamous party series Twista and is a deadly DJ.

The Tribe founders’ collaborative debut, remixed from the original mutli-track master tapes under the direction of its creators and lacquered by Bernie Grundman. Phil Ranelin’s side has been pitch-corrected and restored to a suite, as was originally intended. Wendell Harrison’s side contains extended, full versions of two songs. The definitive reissue of this Spiritual Jazz masterpiece. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Die US-Compilation “Flowers” enthält Titel aus den UK-Versionen von “Aftermath” und “Between The Buttons” sowie Singles und Outtakes aus den Jahren 1966-1967.

Die beiden Re-press Alben sind ab dem 14.07.2023 als 1LP verfügbar.

Ruffy's back with a new four track EP Casita Más Alta and it's a love letter to Ibiza - as he takes us on an alternative tour of his favourite parts of the pine-covered island.

The title track opens slowly, spaced out with motifs and pads washing in like an incoming tide, before charging headlong to the beach with a thumping kick and distorted keyboard solo. In contrast, we get a more sundown feel with Cala Vedella, soaking up the forest breeze and sounding like The Art of Noise but fed through a modulator and left to float in the iciest pitcher of 7Up.

Meanwhile, the rolling congas and percussive synths of Las Cicadas take us deep into tribal territory, Lost Woods style. The EP closes out with Niu Blau, built on beautifully optimistic choir pads and steel pan sounds, and the evening could just go on forever, especially if you've taken any of those power ups. It might be an homage to Ibiza and the Balearics, but seen through the Ruf Dug prism, there's always something new to discover.

Preservation Act 2 is the 1974 follow-up to The Kinks’ 1973 Preservation Act 1 RCA album, and their thirteenth studio LP.

The album is a finely produced concept of story, theatre, instrumentals, announcements, guest singers and songs.
A further installement of Ray Davies’ musical drama, with the character sketches, wry observations and ballads seen on Preservation Act 1.

Full of The Kinks’ distinctive and unique charm, featuring gems such as ‘Money Talks’, ‘He’s Evil’, ‘Mirror Of Love’ and ‘Artificial Man’.

This is a 2LP black heavyweight 180g vinyl in gatefold sleeve, with original artwork faithfully reproduced. The first repress, apart from a limited edition 2008 US pressing, since the original release in 1974.

"Released in May 1986 on SST Records and Blast First! in the UK, EVOL was the third studio album by Sonic Youth and showed the first signs of the band transforming their No Wave past into a greater alt-rock sensibility. “EVOL … marks the true departure point of Sonic Youth’s musical evolution,” noted Pitchfork, “In measured increments, Thurston Moore and Lee Ranaldo … bring form to the formless, tune to the tuneless, and with the help of Steve Shelley’s drums…, impose melody and composition on their trademark dissonance.” ""If Daydream Nation is Sonic Youth’s opus, EVOL was crucial research. There’s a directness that makes everything feel close. It is pure tension with little release. The entire record is a shadow." Stereogum likewise praised the album as one, “full of suspense…, the cornerstone Nico-evoking monotone [by Kim Gordon]. ‘In The Kingdom #19,’ featuring Mike Watt on bass and … vocals [by Ranaldo]…, is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by … live firecrackers in the vocal booth.” For Popstache, “EVOL slithers into the unconscious. Once the....detuned melodies and haunting riffs and final whispers of feedback depart from the speakers… the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.” // “The seeds of greatness…” Pitchfork (who placed the album #31 of the Top 100 Albums of The 1980s) // “A near-masterpiece.” Trouser Press // “A stunningly fluent mixture of avant-garde instrumentation and subversions of rock’n’roll.” All Music Guide"

Having announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s catalogue continue to be rolled out throughout 2021.

The concept for ‘The Incident’ (the band’s much lauded 10th and most recent studio album from 2009) emerged as Porcupine Tree’s creator Steven Wilson, was caught in a motorway traffic jam whilst driving past a road accident.
“There was a sign saying ‘POLICE - INCIDENT’ and everyone was slowing down to see what had happened... Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news, I wrote about the evacuation of teenage girls from a religious cult in Texas, a
family terrorising its neighbours, a body found floating in a river by some people on a fishing trip, and more.

Consisting of 18 tracks, each song is written in the first person, attempting to humanise the detached media reportage of each associated event. The first 14 tracks form part of a 55-minute song cycle, with the last 4 having been recorded later (and originally released as a second disc to stress their independence from the song cycle).

The album was nominated for a Grammy Award for Best Surround Sound Album and reached the Top 25 in the US and UK album charts. It was awarded “Album Of The Year” in Classic Rock and German magazine Eclipsed.

‘The Incident’ marked another step forward in the incredible journey of the band that began as a solo studio project and grew to a multi-Grammy nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.

This new Transmission 2021 reissue of ‘The Incident’ remains faithful to the original artwork and all 18 album tracks are presented on one disc housed in a digipack with 8-page booklet or as a gatefold double LP on 140g black vinyl.

“An intriguing and truly inspiring album” - Rock Sound
“The title suite is the Tree’s finest hour: a mounting drama of memoir and realnews trauma, animated with slicing guitars, ghost-song electronics, mile-high harmonies and smart pop bait - Rolling Stone

Old school Pumpin and newskool Freetekno high time !

Radiation Records, white vinyl, Originally released on the small “Children Of The Revolution” label back in 1984, Short Sharp Shock is Chaos UK's own undiscussed masterpiece, and their first 12” recorded with the classic Mower/Chuck/Gabba /Chaos line up. Up there along with Discharge’s Hear Nothing,See Nothing, Say Nothing and Disorder’s 1984 Under the Scalpel Blade, straight out of the holy trinity of British 80's Punk: angry, pissed and out of tune like it always should have sounded.

Originally released in 1981, this is the 4th EP from legendary British hardcore group Discharge and it's perhaps their most famous and widely regarded recording. A blistering 10 tracks clocking in at around 15 minutes total, Why reached #1 on the UK indie charts which, when listening today, seems like a miraculous feat for such a brutal and revolutionary sound. Discharge paved the way for '80s crust and thrash punk and literally have a genre of punk named after their unique rhythmic approach and the dozens of imitators it spawned, "D-beat"; this EP, along with the classic debut album, Hear Nothing See Nothing Say Nothing (RRS90), are the most essential items in their catalog. True punks must get this!

Salute to the Sun: Live at Halleì St Peter's documents a very special concert recorded at the iconic Manchester venue during lockdown.

Released in November 2020, Matthew's Halsall's Salute to the Sun was the trumpeter's first album since 2015's Into Forever, and marked the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians. The album drew it's energy from the band's weekly sessions and was inspired by Halsall's love of nature. Lush and spiritual it received universal praise, but Halsall and his band were frustrated that they were unable to share their beautiful new sound live with an audience.



On November 25th 2020, Halsall took his band into the iconic Manchester venue, Hallé St Peter's, for a concert recording in aid of the charity Mind, that was streamed on January 21st 2021 to a global audience in the thousands. The concert was also recorded for posterity.



"When we recorded Salute to the Sun, I wanted to create something playful but also quite earthy and organic that connected to the sounds in nature. It seemed to strike a chord with people and I was blown away by the response to the album. Our concert film, recorded at the height of last winter's lockdown was a special moment for us all and I feel that the concert recording captured something beautiful that we wanted to share".



Salute to the Sun: Live at Halleì St Peter's features Matthew Halsall– trumpet, Matt Cliffe- flute & saxophone, Maddie Herbert– harp, Gavin Barras– bass, Liviu Gheorghe– piano, Alan Taylor– drums and Jack McCarthy- percussion



The recording has been mixed by Matthew Halsall and George Atkins at 80 Hertz and is mastered by Peter Beckmann at Technology Works. The vinyl was cut at Calyx in Berlin and the album is pressed at Optimal in Germany. It is presented in the form of a limited edition 2LP set with artwork by legendary designer Ian Anderson of The Designers Republic.



Spread over three sides of the vinyl LP for maximum fidelity the fourth side of the LP (side D) features an etching of Daniel Halsall's now iconic artwork for the album Salute to the Sun and copies are strictly limited with just 3000 available in total. The album will also be available for download and on streaming platforms.

The six letters of Def Jam, like the three of RAL (for Rush Associated Labels), Russell Simmons and Rick Rubin imprinted them indelibly into hip hop mythology. The epicenter is New York, in order to make sure to have in its ranks the best representatives of Boom Bap, Hardcore Funk, Go-Go or Electro. Beastie Boys, EPMD, Onyx, Redman, Method Man, LL Cool J, Junkyard Band, South Central Cartel, 3rd Bass; the list of MC's who left a mark stamped with the Def Jam or RAL logo is a freestyle where catching your breath is difficult. In order to study more closely the footprints left by these behemoths, Uncle O, the man behind the 5 volumes of Shaolin Soul compilations, explored the label's 1985-1995 period. From another age, tucked away behind a photograph of Glen E. Friedman, the man who created the visual history of Def Jam and RAL through iconic covers, they are the work of rap's T-Rex. Dinosaur Beats. Reviews R2, Mojo Blues and Soul, Guardian, Record Collector Ads R2, Mojo.

Timeless minimalist approach to composition braced by repetition and playfulness.Alberto’s music reflects calm, focus and intimacy. Ethereal and atmospheric, his pieces operate within the digital as well as the analogue realm in equal measures. Sampling, Midi sequencing and field recordings are the instrumentation used in these 15 songs recorded on a four track reel to reel tape. Highest possible recommendation for fans of Suso Saiz,Jon Hassel, Eno or Harold Budd

“Haizetxe” which stands for wind house, is the first ever record consisting of unreleased material recorded between mid 80’s and 90’s by musicianAlberto Lizarralde in Zaldibia, Basque Country.

One of the founders of the first school of Improvisational jazz and contemporary music (Jazzle) established in San Sebastián to In the early 1990s,Alberto is a well-known figure among Basque musicians but not so much among the general public. In his professional curriculum we find the direction of the Plaza Festival, the Zirrara record company, his work as a producer, editor (editions 3e argitalpenak), the direction of the audiovisual installation JAArtzeren Unibertsoa, the arrangements and composition for the Iparraguirre 7 project, etc...And even so, he has managed to stay away from the spotlight.

In all this time he was composing and recording music, but the right circumstances never arose for its release.Thus, it has remained stored in a drawer all these years. Finally the music of Alberto Lizarralde sees the light on Hegoa label in a limited run of 300 LPs.