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Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

Techno isn't a genre that has birthed many consistent albums, and the dub techno subgenre even less so, but one indisputable classic is Porter Ricks' debut 'Biokinetics'. Originally issued on the legendary Basic Channel sub-label Chain Reaction in 1996 following a trio of 12"s, 'Biokinetics' was the first of the label's album releases, and still stands as its crowning achievement. Porter Ricks are Thomas Köner and Andy Mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early Plastikman.
What separated 'Biokinetics' from other albums at the time was its unwavering narrative - the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. Maybe it is down to the silvery underwater concept that ties each track together - the bubbling pads, sub-aquatic basses and muffled kick drums. But as with any great album, it's hard to exactly put your finger on what makes it a classic. Simply put 'Biokinetics' is one of the most important records in the genre and one of techno's finest albums. It has been re-released ten years ago by Type Records, and now Mille Plateaux is celebrating Porter Ricks' and Biokinetics' 25th anniversary with this sumptuous double viny edition.

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

This is one of the evergreen albums of 80’s style hair band rock that transcends the years and 2021 is the 30th anniversary of the release. evoXS is releasing Lean into It - The Singles 7” box set, which includes four 7” coloured vinyl singles with their European picture sleeves: ‘Just Take My Heart (edit)’, ‘Daddy, Brother, Lover, Little Boy (The Electric Drill Song)’, ‘To Be With You’, ‘Green Tinted Sixties Mind’, plus the bonus single ‘Strike Like Lightning’ from the movie Navy Seals, which has never previously been released on 7” vinyl.

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.

Here is the the effortless work of a band entirely confident in their own craft - the consolidation of nearly three decades of peerless songwriting and almost telepathic musicianship amongst the band's three founder members: Norman Blake, Raymond McGinley and Gerard Love. Recorded with the band’s soundman David Henderson alongside regular drummer Francis Macdonald and keyboard player Dave McGowan in three distinctly different environments (initially at Vega in rural Provence, then at Raymond’s home in Glasgow before mixing at Clouds Hill in the industrial heart of Hamburg), it’s a record that embraces maturity and experience and hugs them close.

As ever, song-wise the Fanclub present a textbook representation of democracy in action, the record offering four each by Blake, Love and McGinley. From the almighty chime of opener I’m In Love through The First Sight’s ecstatic soul-search and the paean to unerring friendship With You, Here is a a collection of twelve songs about the only things that truly matter - life and love.


Teenage Fanclub will be touring the UK extensively throughout the Autumn, including two London shows – Islington Assembly Hall and Electric Ballroom – both of which sold out within days of going on sale. Glasgow's finest will also be making an exclusive appearance at this year's End Of The Road festival in early September.

Before there was Rimarimba, Suffolk-born, Felixstowe-based musician and home recording enthusiast Robert Cox assembled a cast of friends, some musicians and some not so much, for an experiment in group exploration and ecstatic expression under the name The Same. Sonically and gravitationally defined by Cox’s collaboration with guitarist Andy Thomas (a partnership which formed in 1976 to record as General Motors), Sync or Swim, The Same’s one and only album, also featured keyboards by Florence Atkinson and Paul Ridout, and vocals by Robert’s sister Rebecca.

Originally released in small cassette and vinyl quantities on Unlikely Records, Cox’s imprint and a meeting point for many other musicians found at the fringe, the back cover of the original album jacket is as much a map of the personnel, place, and process

fundamental to Sync or Swim as it is a table of contents for DIY music-making at the beginning of the 80s: “Recorded in peaceful Wiltshire between September 18th and October 6th 1981 (using a miscellany of home made devices) onto a Teac A-3300SX via a Teac A-3440. No noise reduction systems were used.”

The additional equipment listed – a combination of consumer technology and DIY innovation – speaks to an unpretentious, improvisational ethos that pilots Sync or Swim, and Cox’s career as a whole. Rimarimba, whose near complete discography Freedom To Spend made available again in 2019, showcased Cox’s simultaneously hermetic and prolific creative process, while The Same celebrates making sound for sound’s sake and the serendipity surrounding those moments.

Wiltshire, home to the Stonehenge stone circles and a county of empty plains in the southwest of England, is worlds away from the commerce and industry of Glenn Branca’s New York City or Neu’s Düsseldorf. While The Same may feel in some ways like a British blend of these minimalist and motorik machinations, Cox and Thomas were curiously fascinated with The Grateful Dead and Frank Zappa’s brand of psychedelic music.

Cox’s own definition of British psychedelia is “folk music meeting technology and going bonkers.” It’s by this definition that Sync or Swim takes unexpected forms, from tape-speed tomfoolery, concrète sound collage and analog delayed marimbas, to the colorful spectrum of interwoven guitar play between Cox and Thomas reminiscent of Ghanaian Highlife but more accurately indebted to Jerry Garcia.

Collection Of Classic LPs 180 Gram Vinyl + Bonus CD Digipack Included Inside. Chet Baker-Bill Evans: Alone Together (LP + CD) Bonus CD contains the complete album Alone Together aka CHET The Lyrical Trumpet of Chet Baker + 6 bonus tracks, completing all conjunct recordings between Chet Baker and Bill Evans. Including updated liner notes. 76:39 minutes playing time.

The ethereal harmonies of Eve were ever present, but the psychedelic girl group feel of their previous band, Honey Ltd, was replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s. In the late 1960s, four teenage girls from Detroit hitch-hiked to Los Angeles to follow their dream. Known as the Mama Cats, their combined voices, created a magical instrument, a holy harmonic vehicle built upon the inspiration and improvisation of four close friends. Their ethereal voices and heavenly harmonies sounded like no one. Upon meeting Lee Hazlewood in Los Angeles, he was bowled over, offering them a recording contract on his label, Lee Hazlewood Industries (LHI), renaming them, Honey Ltd. Their sole 1968 LP never saw the light of day. Out of the ashes of the group, the three remaining members continued on under the name Eve. In the spring of 1970, Eve and producer Tom Thacker went into the studio to record "Take It And Smile". The ethereal harmonies were ever present, but the psychedelic girl group feel of the Honey Ltd album were replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s (Think John Philips "Wolfking Of L.A.). Backed by another amazing group of musicians, the recording sessions included members of the Wrecking Crew, Elvis' TCB band, Ry Cooder, Sneaky Pete and Glenn Frey from the Eagles. Featuring songs by James Taylor, Fred Neil, The Gibb Brothers, Burt Bacharach, Bob Dylan, Mac Davis and a handful of amazing originals including the beautiful "Dusty Roads" and the title track "Take It And Smile," co-written with Glenn Frey. Upon its release, the album failed to find an audience. After recording one last song, "So Tired" for The Vanishing Point soundtrack, the girls went their separate ways, each continuing to sing professionally with artists that include Bob Seger, Neil Young, Tina Turner, Loretta Lynn and countless others. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the reissue is complimented by a new Q&A interview with Eve members Laura Creamer, Temmer Darigan & Joan Glasser and GRAMMYr-nominated reissue producer Hunter Lea. This record is the first release in a new series of full albums reissues from the LHI (Lee Hazlewood Industries Records) catalogue that Munster will be releasing over the next months. All the releases include liner notes and exclusive interviews with the artists, rare photos, and restored original artwork

Before there was Rimarimba, Suffolk-born, Felixstowe-based musician and home recording enthusiast Robert Cox assembled a cast of friends, some musicians and some not so much, for an experiment in group exploration and ecstatic expression under the name The Same. Sonically and gravitationally defined by Cox's collaboration with guitarist Andy Thomas (a partnership which formed in 1976 to record as General Motors), Sync or Swim, The Same's one and only album, also featured keyboards by Florence Atkinson and Paul Ridout, and vocals by Robert's sister Rebecca. Originally released in small cassette and vinyl quantities on Unlikely Records, Cox's imprint and a meeting point for many other musicians found at the fringe, the back cover of the original album jacket is as much a map of the personnel, place, and process fundamental to Sync or Swim as it is a table of contents for DIY music-making at the beginning of the 80s: "Recorded in peaceful Wiltshire between September 18th and October 6th 1981 (using a miscellany of home made devices) onto a Teac A-3300SX via a Teac A-3440. No noise reduction systems were used." Cox's own definition of British psychedelia is "folk music meeting technology and going bonkers." It's by this definition that Sync or Swim takes unexpected forms, from tape-speed tomfoolery, concrète sound collage and analog delayed marimbas, to the colorful spectrum of interwoven guitar play between Cox and Thomas reminiscent of Ghanaian Highlife but more accurately indebted to Jerry Garcia. On the album's culminating final track, "E Scapes," all of these elements are brought together in twenty-minute journey through layers of chiming guitar loops and spritely solos, keyed percussion, and tape experiments, all played as though the sun were rising over the standing stones of Salisbury Plain. Cox would later go to similarly greath lengths with certain solo sound endeavors, but the confluence of musicians on "E Scapes" pushes the piece to exceptional, unforgettable heights. Transferred and remastered from the original tapes, The Same's Sync or Swim arrives on LP July 16th, 2021 on Freedom To Spend, just in time for the album's 40th anniversary.

Face-punching, neck-breaking, spine-twisting Dutch Death Metal! Sepiroth is a brutal old-school Death Metal band from Sliedrecht, the Netherlands. The band has been founded in 2003 by drummer Damiën and guitarist Chris. In 2007 the band released their first 3-track e.p. ‘Dying For Hatred’ followed in 2011 by their first full length ‘Breaking The Codes Of Silence’. With the years the band progressed and became a solid force to be reckoned with on stages all over the world. In 2015 the band released their second full length album ‘Uninvolved’. The album was a concept about the UN forces witnessing the horrors of the civil war in former Yugoslavia. The UN-blue album cover raised a lot of questions and controversy because people failed to miss the link of the cover with the lyrical content. In 2020 Sepiroth signed a deal with Petrichor for the release of their third full length ‘Condemned To Suffer’. It will see the light in June 2021. With the current line-up, Sepiroth wants to take their crushing Death Metal to the stages of world with more power and strength than ever before. Blurb IG#1: Sepiroth is an old school Death Metal band from the Netherlands. For fans of old Obituary, Deicide, Immolation and Sinister! Blurb IG#2: Sepiroth is an old school Death Metal band from the Netherlands. For fans of old Obituary, Deicide, Immolation and Sinister!

Disc 1 is pressed in blue vinyl, disc 2 in green.

Factory Benelux presents an expanded vinyl edition of Another Setting, the third studio album by cult Manchester ensemble The Durutti Column.

Another Setting was recorded in 1983 at Strawberry Studio, Stockport with production by Chris Nagle, a favourite engineer of Martin Hannett. The 11 track album contains several acknowledged Durutti classics, notably haunting instrumental Prayer (burnished with cor anglais by Maunagh Fleming) and The Beggar, probably the closest Vini Reilly has edged to rock music. Elsewhere, Smile in the Crowd would be covered by Depeche Mode mainman Martin Gore on his 1989 solo project Counterfeit.

This new vinyl remaster also includes non-album single I Get Along Without You Very Well, a bittersweet Hoagy Carmichael cover sung by Lindsay Reade, the former wife of Factory foreman Tony Wilson.

The second disc is a previously unreleased live show taped at the Pandora’s Box Festival in Rotterdam on 4 September 1983, featuring eight tracks performed by Vini Reilly and Bruce Mitchell. This second disc is pressed on clear vinyl.

The 2018 edition of Another Setting is packaged in a gatefold sleeve printed on white reverse board, restoring the original cover artwork by Mark Farrow with cover paintings by Jackie Williams.

DEATH's legendary 1987 debut Scream Bloody Gore is more than just an untouchable album - upon its release, it was positively genre-creating. Scream Bloody Gore founded the quintessential death metal sound, with more tormented riffs, screams, and leads than the world had ever imagined, and established Chuck Schuldiner's inimitable phrasing and songwriting style as the most singular voice in the burgeoning genre. Today, the album is viewed unanimously as one of the all-time most important cornerstones of death metal. As the final chapter in Relapse's comprehensive DEATH reissue series, Scream Bloody Gore will now receive the deluxe reissue treatment on a wide variety of formats including 2CD, Limited Edition 3CD, LP, Deluxe 2xLP Boxset, and cassette versions. Like the preceding DEATH reissues, the deluxe reissue of Scream Bloody Gore has been meticulously remastered from the original tapes by Alan Douches (Death, Mastodon, Nile) and includes a plethora of bonus content, including previously unreleased recordings and rehearsal demos, super-expanded packaging, and brand-new extensive liner notes from former DEATH drummer / Autopsy founder Chris Reifert, Sepultura's Max Cavalera, and original Scream Bloody Gore producer Randy Burns.

Superb progressive tribe / Trance / techno shouter !
3 magestics tunes opening a new way for Hashtek23... bring the peace

hardcore kicker


b A2 Zero Control Deathchamber Par t2 - Hellfish - 200bpm - 5m49s

Die Brüder Scott und Bryan Devendorf (The National), Ben Lanz (The National, Beirut) und Multi-Instrumentalist Aaron Arntz (Beirut, Grizzly Bear) sind mit Stirnlampen und Höhlenausrüstung ausgestattet und tauchen in einen somnambulen Raum ein. LNZNDRF's II wirkt wie eine trance-induzierende Massenhypnose. Aufgenommen in ausgedehnten, schamanistischen Jam-Sessions im Public Hi-Fi Studio in Austin, Texas im September 2019 und später bearbeitet, um dem Ganzen eine Form zu geben. Der Titelsong "Ringwoodite" mit seinen flinken, geschmeidigen und präzisen Drums ist ein sommerlicher Wunderkerzen-Song, der so schnell vorbeirauscht, dass einem schwindlig wird, wenn man seinen Spuren folgt. Es folgen das computerverliebte "Gaskiers" und die langsame Motorik-Hymne "Stowaway", die zwar klanglich nicht miteinander verbunden sind, aber LNZNDRF voll in den Kanon des seltsamen und unauslöschlichen Krautrocks einreihen. "II" scheint die Dystopie der Gegenwart ebenso zu beschwören wie das große Mysterium, das uns erwartet, wenn wir endlich die Barriere durchbrechen. Es wird keine Utopie sein, aber es wird zumindest etwas anderes sein. So heißt es im lysergischen Post-Punk-Stück "You Still Rip": "We'll live like fruitless trees towards endless breeze linked as we please, the burning bridges smolder in our wake."

(part 2/3 featuring Sept, Raven, Frazi.er & Trym) Amelie Lens' EXHALE Records continues to deliver fiercely dynamic techno from the underground's most promising, rising and established artists with its second VA compilation.


Amelie Lens' EXHALE Records continues to deliver fiercely dynamic techno from the underground's most promising, rising and established artists with its second VA compilation.

Following EXHALE's first VA release in 2020, the party series turned label once again welcomes existing members, flourishing producers and blossoming new artists to the EXHALE family for its second various artists compilation.

Opening the second EXH002 vinyl is 'Bóg Jest w Techno' event boss Sept, who presents us with a stripped back cut layered with piercing synth keys and gentle electro elements in 'Beyond The Veil'. Acid stabs and a female voice echo the track title in Raven's trippy cut 'Metal On Metal', with light airy synths to close out that simulate euphoria. We're taken on a dark and weighteir expedition with Frazi.er in 'Systematic Ignorance' - a brooding bass drives the sound, with acid melodies adding texture throughout. Keeping up pace is 'Kendall' by Trym, a cinematic composition that utilises cymbals, hi-hats and synth notes to create a brighter melody over its dark percussion.

Psychedelic Percussion definitely sticks to his title. With the help from Paul Beaver of Beaver & Krause (famous keyboard wizard and sound engineer for the likes of Stevie Wonder), vibe master Emil Richards (check is two fantastic album on Impulse! with The Microtonal Blues Band featuring Joe Porcaro, father of the famed Toto brothers) and Gary Coleman (percussionist in the famous Wrecking Crew), Blaine goes wild in the studio with drums, gong, xylophone, organ, bongos, congas and timpani. Unusual textures and tones lead the way to 12 instrumental exotic numbers similar in a way to Raymond Scott most visionary experiments. This is pure madness, a record full of breaks and still unsurpassed in many ways. Blaine was an American drummer and session musician, estimated to be among the most recorded studio drummers in the history of the music industry, claiming over 35,000 sessions and 6,000 singles. His drumming is featured on 150 US top 10 hits, 40 of which went to number one, as well as many film and television soundtracks. He became one of the regular players in Phil Spector's de facto house band, which Blaine nicknamed "the Wrecking Crew". Some of the records Blaine played on include the Ronettes' single "Be My Baby" (1963), which contained a drum beat that became widely imitated, as well as works by popular artists such as Frank Sinatra, Elvis Presley, the Beach Boys, Simon & Garfunkel, the Carpenters, Neil Diamond and the Byrds.

In Post-Heretic Dracula X Chronicles II the Dracula figure functions as a part fictive and part autobiographical metaphor. Dracula mirrors certain systematic (therefore also internal) conditionings and attributes in its whole ambivalent fluctuations. This character represents the complex relationships of a loving/living person in a neo-liberal capitalist system while oscillating between melancholia & rage, facing the preservation or loss of his love and standing in an alienated position towards the ruling order. The eleven featured compositions and their respective song names (both of them are riddled with references) playfully touch on conflicts between love, life and system-critique, without being too upfront about the subject-matter.

Nicola Kazimir (*28.05.1990 in Zürich, Schweiz)

A DJ, producer, musician, artist, space-owner, record label owner and party organizer, Nicola Kazimir works freely across platforms and communities. For Kazimir, these numerous positions are not static, and they can actfluidly and reciprocally as a whole, or as separate entities. His artistic and acoustic productions are mostly based on topics that include the institutionalization of techno, copyright, dividualism and the human perception of repetitive rhythm patterns mixed with aesthetic codes of b-movie horror movies or occultism. He is one of the founders and still part of the labels Les Points/ Gentrified Underground / Infoline and the offspace Mikro Zürich. Other projects include a supporting role in the organization of Zentralwäscherei Zürich and being part of the Clubbüro-team at Rote Fabrik.

Reissue on vinyl of the seventh PJ Harvey studio album White Chalk. The album was produced by PJ Harvey, Flood and John Parish and originally released in September 2007. White Chalk features the singles ‘When Under Ether’, ‘The Piano’ and ‘The Devil’. Reissue is faithful to the original recording and package, with cutting by Jason Mitchell at Loud Mastering under the guidance of original co-producer John Parish.

By 1991, the world’s most celebrated trumpeter could look back on five decades of musical evolution – his own, and that of the world around him. Miles Davis had found ways of marrying jazz with classical ideas, then later R&B, rock and funk, producing hybrid offspring that shaped the course of popular music and had come to define his legend. In 1985, he’d left Columbia after thirty years to sign to Warner Bros. Records, a label riding high with best-selling artists like Madonna, Van Halen and Prince, with whom he had a mutual admiration and friendship.

Miles Davis’s lifelong love for France is well-documented, and in July 1991, he became a Knight of their Legion of Honour. Davis received the award from French culture minister Jack Lang, who described him as: "The Picasso of jazz." A few days before, he played this electrifying set at the Vienne Jazz Festival with the Miles Davis Group. He passed away two months later in September 1991.

Miles Davis’ performance at Jazz a Vienne on July 1, 1991 became one of his final live performances before he passed away on September 28, 1991, and this previously unreleased set includes two songs written by Prince, “Penetration” and “Jailbait”. The package features liner notes from music historian, journalist, and producer Ashley Kahn, with art designed by Bruno Tilley.

New Vinyl Repress ! Available on March 2021

"Plague of Shadows" is the first DLC campaign for Shovel Knight. Released in September 2015, the game features boss villain Plague Knight as its playable character with new gameplay twists not found in the original.

Composer Jake Kaufman takes the sound and feel Manami Matsumae established for Plague Knight in her tracks for the main game, but takes things even further, giving Plague Knight a unique, yet cute and charming identity.
Shovel Knight: Plague of Shadows The Definitive Soundtrack features all 14 tracks found in the original digital release, with a brand new cover designed by illustrator Hitoshi Ariga. The booklet includes a comprehensive interview with Jake Kaufman, an essay by Bob Mackey of Retronauts, and original archival artworks.

Heavy music’s evolution has always been a murky swamp of sub-genres. So, combining Thin Lizzy’s glistening twin guitar harmonies with Melvins- grade sludge and a hearty dose of proto-metal psych probably shouldn’t sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound.
Waste, the band’s sophomore album and first for RidingEasy Records, is anything but. The 33-minute, 7-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, COC grunge and punk fury all rear their head at times, sometimes all at once.
Though you wouldn’t be able to tell by the concise structures and well- crafted songs, a lot of Deathchant’s music is improvised, both in the studio and live. That’s not to suggest their songs are jammy — they’re very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended.
“Improv is a huge things for us and always has been,” singer/guitarist T.J. Lemieux says. “The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.”
Likewise, the band itself is similarly amorphous in its membership. “We run the band with an open door. No lineup is definitive,” Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar.
Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. “We packed a big-ass van and set up in the living room and kitchen,” Lemieux says. “Tracked it live, with overdubs after.” The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band’s 2019 self-titled debut album.
“I’d say it has sort of a DIY LA punk aesthetic,” he adds. “Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.”

Heavy music’s evolution has always been a murky swamp of sub-genres. So, combining Thin Lizzy’s glistening twin guitar harmonies with Melvins- grade sludge and a hearty dose of proto-metal psych probably shouldn’t sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound.
Waste, the band’s sophomore album and first for RidingEasy Records, is anything but. The 33-minute, 7-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, COC grunge and punk fury all rear their head at times, sometimes all at once.
Though you wouldn’t be able to tell by the concise structures and well- crafted songs, a lot of Deathchant’s music is improvised, both in the studio and live. That’s not to suggest their songs are jammy — they’re very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended.
“Improv is a huge things for us and always has been,” singer/guitarist T.J. Lemieux says. “The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.”
Likewise, the band itself is similarly amorphous in its membership. “We run the band with an open door. No lineup is definitive,” Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar.
Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. “We packed a big-ass van and set up in the living room and kitchen,” Lemieux says. “Tracked it live, with overdubs after.” The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band’s 2019 self-titled debut album.
“I’d say it has sort of a DIY LA punk aesthetic,” he adds. “Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.”

Marillion’s 2001 Studio Album ‘Anoraknophobia’ Now Available On Kscope
“A collection full of grace and tenacity, thoughtful and thought provoking and
not without moments of real clarity and beauty” - Classic Rock Magazine
Marillion formed in 1979 and have sold over 15 million albums worldwide.
Rightly regarded as legends of progressive rock, the band have also continued
to evolve and have been keen to embrace the possibilities of the internet, using
innovative ways to interact with listeners resulting in an incredibly loyal legion
of fans around the world.
‘Anoraknophobia’ is claimed by Marillion to have been the first crowdfunded
album in the music industry, completely financed by the fans, allowing the
band to record free from any record company pressures. The album is one of
their most absorbing records to date and finds the band departing their neoprogressive rock past in favour of elements of rap, groove, trip hop, blues, jazz
and dub elements to create a more contemporary sound.
Now issued on Kscope, this is a chance to revisit a band in truly inspired form
with a record far ahead of its time.

Maple Glider is Naarm/Melbourne-based singer-songwriter Tori
Zietsch.
On debut album ‘To Enjoy is the Only Thing’, written whilst Zietsch
lived in Brighton in the UK, she compiles a striking set of vignettes
from her life; growing up in a restrictive religious household, falling in
and out of love, cross-country and international travel, longing,
alienation and more.
Moments both unremarkable and life-altering but always deeply felt,
brought to vivid life by the beauty of Tori’s artistry and wry sense of
dark humour.
Elaborating further on her vision for the project, Zietsch describes:
“To me, ‘To Enjoy is the Only Thing’ feels like walking past tinselcovered trees in mid-September, swimming along the calanques in
the south of France, frost on the hood of a car, darkness at 4pm,
lightness until 10pm, Sibylle Baier’s Colour Green, Devendra
Banhart’s Ma, Adrianne Lenker’s a-sides, a muted feeling, the
perpetual grey fog that swallows the Silver Coast in Portugal, an ugly
green dress, the color red, red wine, red blood, red lips, the red of a
cardinal’s robe, Switzerland, my mother’s diaries, a coroner’s report,
the sun on my face, the end of love.”

Perila (Aleksandra Zakharenko) left her native Russia six years ago, landing in Berlin. Finding her place almost immediately - first at Berlin Community Radio and through that amongst a group of like-minded creative individuals (including her current flatmates Special Guest DJ and exael) - she started a regular practice of working on an expressionistic "sonic diary" of field recordings and electronic sound research for her own pleasure. When the opportunity arose to create her own podcast series, WET (or Weird Erotic Tension) was born. Upon hearing her evocative and atmospheric music layered with friends Nat Marcus and Inger Wold Lund's erotic spoken word poetry, Sferic Records asked to release it, and Perila - a project name originally used for her BCR show - truly came to be. Aleksandra, who was raised in St. Petersburg, has been involved in music since childhood thanks to her melomaniac father. She's been both drummer and singer in local bands in Russia, and is also the co-founder of radio.syg.ma - one of the first online stations in Russian focusing on experimental sounds - but Perila is something else entirely. You could loosely describe it as ambient, but her soundworld is so specific and transportative, filled with detail and movement, it's more akin to hauntological musique concrète, touched by song. Her fascination with voice and language - she studied English literature at university - is still evident, although that's now her voice, her texts, her crooning you can hear on the Everything Is Already There cassette (Boomkat Editions, 2020), her processed breaths on the Meta Door L cassette (Paralaxe Editions, 2020). The Wire Magazine got it right when they said about Irer Dent that, "Sensuality is presented as a secret pass to a higher consciousness." For her debut album, How Much Time it is Between You and Me?, released via Smalltown Supersound on June 11th, Aleksandra takes inspiration from the concept of time, which she felt keenly during the pandemic. Recorded primarily in September 2020 in a rural village in France - her only travel during the first year of the pandemic period - surrounded by mountains but otherwise alone with no internet, her perception of time there differed immensely. She describes the trip as, "an immersive experience into self," viewed through a "silence prism" where everyday sounds usually ignored felt amplified. While her work has always dealt in intimacy - be it the private thrills of WET or the audible closeness of our surroundings - the organic response and consistent feedback she gets for Perila made Aleksandra recognize a longing, a need for it in today's world. Intent on creating work based in honesty and tenderness, Perila's practice also explores how we feel music and emotion throughout the body and how sound can help to release it. How does the sound enter a body and travel through it? Where does movement start? How do you reach and unblock emotional clusters with the help of sound and deep listening of the body responses? Aleksandra likes to describe her music and performances as trips - thick narratives drifting along sound to get closer to self. Let Perila guide you through this journey.

The Monkees, one of the most recognizable names in the annals of pop music history, are an American rock and pop band originally active between 1966 and 1971, with reunion albums and tours in the decades that followed. The original line up was Micky Dolenz, Michael Nesmith, Peter Tork and Davy Jones. The group was conceived in 1965 by TV producers Bob Rafelson and Bert Schneider specifically for the sitcom series The Monkees, which aired from 1966 to 1968. The music was originally supervised by record producer Don Kirschner, backed by the songwriting duo of Tommy Boyce and Bobby Hart.

The Monkees self-titled debut and second albums were meant to be a soundtrack to the first season of the TV show, to cash in on the audience.Their first single, “Last Train To Clarksville” b/w “Take A Giant Step,” was released in August 1966, just weeks prior to the TV broadcast debut. In conjunction with the first broadcast of the TV show on September 12, 1966, NBC and Columbia had a major hit. The first long-playing album, The Monkees, was released a month later; it spent 13 weeks at #1 and stayed on the Billboard charts for 78 weeks.

The Monkees have sold more than 75 million records worldwide making them one of the biggest selling groups of all time with international hits, including “Last Train to Clarksville,” “Pleasant Valley Sunday,” “Daydream Believer,” and “I’m A Believer.” ROG is reissuing their iconic debut album as a deluxe 2LP set with bonus tracks (several of which are unreleased mixes) and are having lacquers cut from the analog tapes for the first time since 1966—creating THE DEFINITIVE version of this album since original release!















[n] c3. This Just Doesn’t Seem to Be My Day (TV Version) [Mono]

[p] c5. I Wanna Be Free (Fast Version) [Mono TV Mix]
[q] c6. You Just May Be The One [Mono TV Version]






[x] d6. (I Prithee) Do Not Ask For Love [2020 Remix]

80’s Thrash Metal in the vein of early Slayer, Sepultura and Sodom. Completely dedicated to old school horror movies! Video Nasty is a Thrash/Death/Speed Metal project from Calgary/Vancouver, Canada started by Jordan Schritt. Jordan wanted to start a project which lyrically dealt with all of the 70’s/80’s/90’s slasher/horror movies he adored. This together with furious Metal was the perfect combination. He started to compose a bunch of songs and wrote lyrics to these songs that were all tied to one specific movie per song. Once he gathered enough material to record an EP Jordan asked a few friends to participate in this project. He also made sure that the artwork for this EP was perfect for the content. All in all this EP rages and rips as gruesomely as all the movies the lyrics were based on. Furious 80’s Thrash Metal with lyrics comprised of all the filth that deranged moviemakers came up with.

African, funky, sarcastic, bewitching, green, ecstatic: these words collide to describe Vaudou Game and all of them are true.

Noussin is the fourth album of the french Afro Funk band. Forced into lockdown, like much of the planet, Peter Solo and his Vaudou Game had no choice but to retreat into the studio. A reunion to once again invoke the spiritual forces of the Voodoo Deities. A reunion that was Initially imagined for an EP…yet these spiritual forces behind that imagination yearned for something more, and as we all know, these forces are impossible to push away once they have decided to stay.

Under the strain enforced by the current socioeconomic climate, as much as by the environmental peril that faces us all today - they diverted the course of the groove towards daring new vibrations. Without extinguishing or diminishing its highly communicative power, they released Vaudou Game from its origins of pure Afro-Funk to gradually engage into compositions which crystallized themselves into tones resembling more rock than funk.

On this fourth album, with an entirely revisited line-up, Peter Solo separates for the first time in his career from his brassy guard, leaving saxophone, trumpet and trombone outside to invite an arsenal of keyboards to define, with him, this new voodoo sound. A sound, as usual, built on vintage and precise analogical material - grime even on the white side of the tape, a blunt instrument used to blanket anything that strived to shine too much in the mix.

Graced with tapered guitars stringing out rhythmic bumps or withdrawing a few beats to indulge in infectious solos, this album is boisterously alive with vintage 70's Funk, infused with a few digressions into other ethers of the funk timeline, nicking different sounds and frequencies to render the black and white keys of an inspired keyboard to reach new euphoric levels of melodic acidity.

Tearing off the enigmatic mask to reveal his true face: on a few titles, Peter Solo ventures outside of his sacred voodoo range to reconnect with his London years, these titles feature small nods to the time he spent in “The Smoke” where the incantations of British music culture were written within him.

Noussin which means “Stay strong” in Mina, a dialect spoken in the south-west of Togo. Noussin, a message of hope as much as a call to come together to weather the turmoil and to come out better on the other side. Don’t let them grind you down…Noussin!

The track is already on the ‘Filoxiny’ album so Skinshape extended the mix and backed it with a dub version for the flip. Skinshape is the project of British musician William Dorey. The sound has roots in many genres but in particular 1960s Funk, Soul, Reggae, Psychedelic Rock, Afrobeat and Folk. Aside from the Skinshape project Dorey was bassist for the band Palace from 2014-2017 and also runs a reggae label called Horus Records based in North London. About I Didn’t Know from Dorey himself: “This is the most 'pop' song I've possibly ever made, and possibly the most 'modern' sounding. It is about being in a difficult relationship and not knowing how to deal with it and making mistakes as a result. I wrote and recorded most of the song around the drum pattern, and created some (terrible sounding) digital orchestral parts temporarily whilst I created the body of the song. I recorded the strings and horns in the last part of the recording process before doing the final mixes. The horns were recorded separately with the help of my long-time friend (since school) and master arranger Jon Moody (of the group Franc Moody).”

180g audiophile vinyl pressing. Tip-On Gatefold packaging.
A fascinating solo album from the Swiss pianist, composer and
conceptualist best known as leader of the bands Ronin and Mobile,
‘Entendre’ offers deeper insight into Nik B rtch’s musical thinking.
As the album title implies ‘Entendre’ is about hearing as a creative process,
referencing the patient unfolding of B rtch’s modular polymetric pieces, with
alertness to the dynamics of touch, finding freedom in aesthetic restriction,
serving the flow of each piece’s development while also taking the music to
new places.
Recorded at Auditorio Stelio Molo RSI, Lugano, in September 2020, and produced by Manfred Eicher.
Nik Bartsch: piano
Press:
“Entendre - his first album entirely played on solo acoustic piano, with no
overdubs - might be his finest yet.” - **** The Guardian
“Nik Bärtsch feels a long way from jazz, but a lot closer to a freewheeling
rhythmic spontaneity on this unexpectedly action-packed set.” - **** (Editor’s
Choice) Jazzwise
“There is nothing lost when Nik Bärtsch, bandleader, becomes Nik Bärtsch,
solo pianist. It’s the same, captivating music, only played through the single
vessel of a piano. Through this prism, more is revealed about the genius of
Bärtsch’s ‘ritual groove music,’ not less.” - Somethin’ Else
“Entendre is a fascinating solo album from Swiss pianist, composer and conceptualist Nik Bärtsch... In these six solo realisations, Bärtsch’s creative music
unfolds with heightened alertness and dexterity as the pieces develop and unfurl with texture and subtlety of touch. The pianist finds freedom in aesthetic
restriction, while also seizing opportunities to guide the music to new places
of discovery.” - UK Vibe
“Manfred Eicher’s production captures the sound of the piano and the room
with forensic clarity. Entendre is, literally, classic Bärtsch. It is also classic
ECM.” - All About Jazz

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

Izorgor’s sound reflects his burly bouncer name. Drums pound and hi-hats slash in the mean and murderous “HDF-N”, a soundtrack for car crashes and late late club sessions. “Nosferatu” comes from a similarly evil place, percussion is fed through a mincer before a fog of distortion descends to smother samples. If you’re after a respite, you’ll have to wait or feck off home. “HDF-S” wades in. Similar to his sibling in terms of rancorous rhythms, this beast drips with 303 sweat and venom with just a touch of salvation in those soaring notes. Boris Brenicki, of Ontal fame, ends with his own sepulchral take on “Nosferatu.”

May 28 will see prolific Japanese vibraphonist, multi-percussionist and composer Masayoshi Fujita mark a new sonic direction with his forthcoming album Bird Ambience on Erased Tapes.

Bird Ambience brings several fresh changes for the artist. Until now, Fujita would separate his acoustic solo recordings from the electronic dub under his El Fog alias and experimental improvisations with contemporaries such as Jan Jelinek, Bird Ambience sees him unite all of these different sides to his work for the first time, into one singular vision. He also makes a lateral leap from his signature instrument the vibraphone, on which he created his acclaimed triptych Stories (2012), Apologues (2015) and Book of Life (2018), to the marimba, which takes centre stage on his new album alongside drums, percussion, synths, effectors and tape recorder.

“The way of playing the marimba is similar to the vibraphone, so it was kind of a natural development for me and easier to start with, yet it sounds very different”, explains Masayoshi. “The marimba bars are made with wood and it has a wider range than the vibraphone, which gives me a bigger sound palette with more possibilities. I play the instrument with bows and mallets, and sometimes manipulate it with effects.”

Bird Ambience also marks his liberation from fastidious preparation for past solo releases to new endeavours in improvisation. “I prioritised trying to capture the wonder which happens during those occasional magic improv moments. Sometimes the mic-ing and placement of instruments was pretty rough; things weren’t perfect and everything was done quickly, but it turned out as the final recording. Overall when I
couldn’t decide between two takes, I told myself to go with the first”, Masayoshi recalls.

Arranged with a perfect Kanso-like balance, the unhurried pace of Bird Ambience allows each sound and phrase enough time to be mindfully absorbed and savoured. This subtle but affective work carries ethereal remnants of Midori Takada’s minimalism, the static atmospheres of Mika Vainio, To Rococo Rot’s organics and the bucolic electronics of Minotaur Shock. Fujita vaporises contemporary and classical, ambient and dismantled dub, controlled noise and fragments of jazz into an atmospheric, static mist, which he skilfully coerces into new forms.

After 13 years in Berlin, Masayoshi recently relocated to a new home and studio in the rural Japanese mountain village of Kami-cho, Hyogo, following his life-long dream of creating music in nature. Even though the album was entirely recorded in Germany before he left, it has this palpable sense of reverie found in the natural world. From there we can only imagine the kind of impact his new life in rural West Japan will have on future works.

Play On Records is proud to present Flashed Glass, a full length LP from electronic duo Sleep D and mixed chamber ensemble Ad Lib Collective. Culminating from a two-year project borne out of a live collaboration in a Melbourne underground carpark, the LP marries the euphoria of the concert hall and the club, presenting a rich sonic universe for the listener to discover.

Having first been introduced at rehearsals for Play On's 6th series in late 2018, the two groups hit it off, opting to perform a semi-improvised set together, rather than two separate sets as originally planned. They soon realised their pairing could unlock sounds they wouldn't have otherwise found on their own, and their idea for further collaboration was born.

In March 2020, the two groups recorded at Head Gap studios in Preston — layering sounds, building melodies, and striking out what didn't work — until the COVID-19 pandemic cut things short, twice, due to Melbourne's dual lockdowns. This resulted in an accidental hybrid work, finishing as a mix of live professional recordings, and DIY home-recorded samples, with the latter including crushed plastic and pulverised sea shells.

Following in the footsteps of the pathbreaking Minna Miteru compilation of Japanese indie music, Morr Music and Alien Transistor have again joined forces to release The Fruit Of Errata, a compilation introducing the world to the intimate DIY pop of yumbo. Led by songwriter, pianist, and occasional vocalist Koji Shibuya, the Japanese band has released four albums since forming in 1998. This compilation draws fifteen songs (eighteen on vinyl) from those albums, and some ancillary releases, to uncover a biographical narrative of yumbo, showing how Shibuya’s songwriting, and the group’s limber, sensitive playing, has developed over the decades. It also places them squarely within a tradition of home-spun but ambitious Japanese pop that takes in Maher Shalal Hash Baz, Tenniscoats, Nagisa Ni Te, Yuzo Iwata, Kazumi Nikaido and more.

yumbo is very much the vision of Shibuya, an amiable iconoclast whose songs seem informed by some of his early listening – there’s the playful seriousness of Maher Shalal Hash Baz’s Tori Kudo here, an avowed long-time hero for Shibuya, but also the flexibility of freely improvised music. You can also hear Shibuya’s fondness for Mayo Thompson and The Red Crayola in both the idiosyncracies of the writing and the egalitarian looseness of the playing. Shibuya also carries those energies into the group’s membership – there are fantastic stories of him having a conversation at a record shop, or overhearing someone speaking, and asking the person in question to join yumbo as one of their various singers. He seems open to chance as a driving force, as a way to make space for unexpected possibilities to blossom.

The great achievement of yumbo and Shibuya, though, is translating all of this into beautiful, unpredictable pop songs. There’s a gorgeous soul-inflected lilt to “A House” that makes it delightfully affecting; the swaying brass on “Storm” propels its melody to a moody, dreamlike conclusion; the nakedness of “The Sweetest Mass” is slightly reminiscent of Carla Bley’s more pop-focused writing, crossed with the classicism of the songs that spilled from the Brill Building in the ‘60s. Throughout, Shibuya renders pop a deeply personal experience; you can hear musings here on friendship, family, intimacy, the complexity of relationships, mortality, and imbalances of power. These musings are also shadowed by real-life events: the effects and impact of the Great East Japan Earthquake of 2011 are captured in songs like “Umbrella People” from Onibi.

Throughout the performances on The Fruit Of Errata, Shibuya and the group play with tenderness; they also often draw on other players to flesh out the music even further, two such guests being the aforementioned Tori Kudo (on “Umbrella People”) and Olympia, Washington’s LAKE (on “The Devil Song”). Community-minded and generous in approach, the writing of Shibuya and the music of yumbo is never less than lovely, and The Fruit Of Errata is a welcome introduction to their world. Open and gentle, confident and generous, these pop songs are filled with charm and spirit.

Hildegard is the new project from experimental singer-songwriter
Helena Deland and multi-instrumentalist and producer Ouri (Ourielle
Auvé). On their self-titled debut album, Deland’s folk background
balances against Ouri’s world of electronic and dance music. Over
eight days in a studio, the Montreal-based musicians discovered an
innate creative connection, building and bouncing ideas off of one
another, developing an intuitive approach to composition and sound.
The resulting record, ‘Hildegard’, is wholly its own. Eight tracks fuse
together into a sonic sphere, named for the eight days spent together.
Deland and Ouri invoke Hildegard as a carrier of the magic they felt
working with each other, the separate entity that was born as they
blended together. Artist Melissa Matos developed a visual language
for the project that reflects this melding and switching of identities,
imagining Hildegard as both a contemporary and historic presence.
‘Hildegard’ is released on section1, the new label started earlier this
year in partnership with Partisan Records.
Deluxe LP box featuring debossed Hildegard symbol; clear vinyl,
printed vellum inner sleeve, fold-out booklet, three 300mm x 300mm
inserts featuring single artwork for ‘Jour 1’, ‘Jour 2’, ‘Jour 3’. Single
sleeve jacket featuring debossed Hildegard symbol; clear vinyl,
printed vellum inner sleeve and fold-out booklet.
Also available in a single sleeve jacket featuring debossed Hildegard
symbol; clear vinyl, printed vellum inner sleeve and fold-out booklet.
“Enrapturing... sounds like a billion tiny particles assembling
something greater than the sum of its parts” - The FADER
“Sounds like a floor-filler for the world's most haunted nightclub” -
Stereogum
“Hildegard brings the world back to life” - Les Inrockuptibles

Hildegard is the new project from experimental singer-songwriter
Helena Deland and multi-instrumentalist and producer Ouri (Ourielle
Auvé). On their self-titled debut album, Deland’s folk background
balances against Ouri’s world of electronic and dance music. Over
eight days in a studio, the Montreal-based musicians discovered an
innate creative connection, building and bouncing ideas off of one
another, developing an intuitive approach to composition and sound.
The resulting record, ‘Hildegard’, is wholly its own. Eight tracks fuse
together into a sonic sphere, named for the eight days spent together.
Deland and Ouri invoke Hildegard as a carrier of the magic they felt
working with each other, the separate entity that was born as they
blended together. Artist Melissa Matos developed a visual language
for the project that reflects this melding and switching of identities,
imagining Hildegard as both a contemporary and historic presence.
‘Hildegard’ is released on section1, the new label started earlier this
year in partnership with Partisan Records.
Deluxe LP box featuring debossed Hildegard symbol; clear vinyl,
printed vellum inner sleeve, fold-out booklet, three 300mm x 300mm
inserts featuring single artwork for ‘Jour 1’, ‘Jour 2’, ‘Jour 3’. Single
sleeve jacket featuring debossed Hildegard symbol; clear vinyl,
printed vellum inner sleeve and fold-out booklet.
Also available in a single sleeve jacket featuring debossed Hildegard
symbol; clear vinyl, printed vellum inner sleeve and fold-out booklet.
“Enrapturing... sounds like a billion tiny particles assembling
something greater than the sum of its parts” - The FADER
“Sounds like a floor-filler for the world's most haunted nightclub” -
Stereogum
“Hildegard brings the world back to life” - Les Inrockuptibles

England, 1884 - a world on the brink of change. On the morning of her 16th birthday, Enola Holmes (Millie Bobby Brown) wakes to find that her mother (Helena Bonham Carter) has disappeared, leaving behind an odd assortment of gifts but no apparent clue as to where she’s gone or why. After a free-spirited childhood, Enola suddenly finds herself under the care of her brothers Sherlock (Henry Cavill) and Mycroft (Sam Claflin), both set on sending her away to a finishing school for “proper” young ladies. Refusing to follow their wishes, Enola escapes to search for her mother in London. But when her journey finds her entangled in a mystery surrounding a young runaway Lord (Louis Partridge), Enola becomes a super-sleuth in her own right, outwitting her famous brother as she unravels a conspiracy that threatens to set back the course of history.

Enola Holmes was released on September 23, 2020. The film received positive reviews from critics, who praised Brown’s performance. Daniel Pemberton composed the film’s score. Pemberton described it as “unashamedly melodic and emotional orchestral music” with some “messy quirky oddness thrown in as well”.




RELEASE: 4-6-2021




• 180 GRAM AUDIOPHILE VINYL
• PVC PROTECTIVE SLEEVE
• CRITICALLY ACCLAIMED 2020 MOVIE ABOUT THE TEENAGE SISTER OF THE ALREADY-FAMOUS SHERLOCK HOLMES
• STARRING MILLIE BOBBY BROWN (STRANGER THINGS “ELEVEN”), HENRY CAVILL, SAM CLAFLIN & HELENA BONHAM CARTER
• MUSIC BY DANIEL PEMBERTON
• INCLUDES INSERT WITH PICTURES AND LINER NOTES BY DIRECTOR HARRY BRADBEER (KILLING EVE)
• LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON SOLID TURQUOISE VINYL

This is a limited edition contains of 500 individually numbered copies on solid turquoise vinyl. The package includes an insert with pictures and liner notes by director Harry Bradbeer (Killing Eve).