quête:show

Formed in the bygone barren period for British rock music that were the nascent
2010s, The St Pierre Snake Invasion have consistently shown themselves to be
an unapologetically creative force.
The long gap between debut album, A Hundred Years A Day (October 31st 2015)
and the release of underground sophomore smash Caprice Enchanté (June 21st
2019) was something the five- piece were reticent to repeat, but circumstance
beyond the Bristolians' control dictates that third LP, Galore, comes to us in a
markedly different world than the one in which St Pierre were building their
reputation and acclaim.
Sayell himself has been adamant that this latest offering would not be a COVID
album. He did not want it to address the ubiquitous isolation of global lockdown.
It immediately would date the record to a fixed point in time and not allow its
ideas to flourish and find a receptive audience for a continued period. Instead, the
changes represented in Galore are so fundamentally powerful and relatable to the
human condition. It is an album centered around universally resonant themes of
growth.
The summer of 2021 saw the birth of Sayell's first child. The concurrent writing of
the band's third LP has, naturally, been greatly informed by the experience of
impending fatherhood. Wondering about one's own impact on a life that you have
been a part in creating, the anxieties of what will be passed down to another
generation, and reflections on garnered wisdom with age; these are the key
themes that bring us to the band's magnum opus to date.
Alongside these introspective lyrics, the band's sound has taken on new life.
Where Carprice Enchanté was primarily informed by the musicality of Every Time
I Die, The Chariot, Refused and Mclusky, Galore builds on this framework by
incorporating influences as disparate as LCD Soundsystem, Soulwax and
Meshuggah into a coherent and daring whole. A song like That There's Fighting
Talk sees seething aggression taken to a mathcore nightclub, while the title track
and Apex Prey see the band exploring looser, quieter melodicism alongside Sang
Froid's Aisling Whiting, who brings a stake dynamic counterpart to Sayell in a
beautiful and captivating performance.
There are still tracks reminiscent of the band's previous work, such as
Submechano and Sleep Well - the latter featuring a sterling guest appearance
from Sugar Horse's Ashley Tubb - in which we hear the brash punk attitude St
Pierre's ever-growing fanbase adore. But ultimately, from the opening syncopated
notes of Pete Reisner's percussion and Sayell's distinctive vocals on Kracked
Velvet, it's impossible not to hear the palpable shift to another echelon of artis

On their first album, Me:You--a new collaboration between Mourning A
BLKstar co-founders RA Washington and LaToya Kent--presents a
simmering, enigmatic brew full of groove, distortion and haze
In contrast to the pointed lyrics and wide- ranging genre blend of Mourning
BLKstar, Me:You dunks music in a swirling brew of drum beats, guitars, bass,
synth, and tape loops, revealing an immersive world that spotlights a woman who
loves hard, with nods to punk, jazz and R&B. Along with Washington's production
and Kent's vocals, Field Tapes in Der Trash features contributions from Jah Nada
(of Obnox and Bloody Show, who released a winning collaboration with
Washington on Astral Spirits last year) and Laura B.

10 Year anniversary reissue of Citizen's debut fan-favorite LP on "Evergreen" vinyl including updated deluxe artwork with die-cut slip-case o-card and new gatefold cover. To celebrate 10 years of YOUTH, Citizen and Run For Cover Records have teamed up to completely update the band's debut LP. Since it's initial release in 2013, the songs that make up Youth's tracklist have been staples in mixtapes, playlists and record collections for listeners chasing what felt like a long-lost feeling in alternative music. YOUTH takes notes from the headbanging tempo of grunge, the hazy reverb of shoegaze, and the catharsis of emo together to make something deeply personal and profound. Songs like opener "Roam the Room" and the anthemic sing-a-long "The Summer" have been soundtracked a thousand stagedives at live shows, while pensive and moody songs like "Figure You Out" and "Sleep" offer brief, downtempo respites with blissful melodies. YOUTH also features Citizen's two most popular songs: "The Night I Drove Alone" builds from a quiet, isolated guitar strum into vocalist & lyricist Mat Kerekes' diary-like confessional, exploding mid-song into a full-band barrage, while "How Does It Feel?" incorporates dreamy shoegaze elements into a somber mid-tempo wall of sound. New additions to the vinyl packaging include a die-cut slip-case cover to hold a new rendition of the album's classic flower text done by artist Mike Adams. Packaging also includes an updated printed inner sleeve with photos from the era as well as lyrics and updated liner notes. This updated version of Citizen's first record pays homage to a landmark record for the band and re-contextualizes it alongside their ever-growing catalog.

Since its beginnings, Hypnótica Colectiva has always shown a special interest in the music recorded and released in the city of Detroit.

A place with which we have both a blood and spiritual bond because of what occurred there socially and artistically during the 20th century.

This love led us to become ambassadors of what was happening there on a musical level, holding cultural events to screen documentaries translated into Spanish, as well as a number of themed sets at our events, dedicated motor city sections in our record shop or recently lectures on the history of the city and its music at the Museum of Illustration and Contemporary Art of Valencia (Muvim).

The time has now come to bring all this history, this musical influence, to the editorial section of our label HC records.

Detroit Legacy was born from the idea of capturing these influences on vinyl. Seeking artists from all over the world who share this passion that inspires them to create their music, what we can define as the universal Neo-Detroit.

For this first edition or first volume, the collective has enlisted in its ranks creators affiliated to the label who have shown us in their careers, this influence and this feeling.

Paul Cignol opens the record with Distance. From Dublin he offers us a track of warm sequences inspired by Deep Techno, with deep pads responding to organ keys and a subtle touch of 303.

Mallorcan LLuis Barcelo Sureda is responsible for the second track Funk Station. With a Techno Soul character that we might hear from Detroitish labels like Acacia or producers like Blake Baxter.

A real eminence in Techno is the Catalan Don Alex Martín, who already released in the mid-90s on Monssieur Garnier's label (France Communications). The Barcelona native brings his wealth of experience and wisdom through Megatech, which transports us to the spectrum of Derrick May’s Transmat who, in his day, was nicknamed "The Innovator". This track provides agile sequences of complex syncopated rhythms, combining with a dreamy Michigan style synth.

The anthem of the album comes from Ghent. The sublime Belgian creator, Mariska Neerman, once again makes our hairs stand on end and our hearts melt with a heavenly composition entitled Stellium.

No one interprets Neo-Detroit quite like Mariska, whom we baptise as a sovereign heiress of the genre in the world. If we have to think of an influence for this piece, we go straight to the genius of Detroit, the one and only Jeff Mills, in his most symphonic and harmonic facet of tracks released on his label Axis Records such as "The March", A Universal Voice That Speaks To All That Will Listen or A New Found Sense Of Being.

Some of these songs have been re-interpreted by world class philharmonic orchestras such as the Montpellier Philharmonic Orchestra at the 2005 Blue Potential (Pont Du Garde). Mariska's score in this song fuses organ keys with harmonic layers and violin - favourite instruments of the Detroitian extraterrestrial - with a harmonic result of strength and hope. An authentic anthem of classic emotional Techno.

Old School electro takes centre stage with the Master from Terrassa Ivan Arnau a.k.a. Dark Vektor. In the influence of Juan Atkins (the creator) as Cybotron or Model 500 and later creators who developed this sound like Aux 88. Metaverso Frik is a great recital of a urban poetry created and interpreted by Ivan, to completely devastating effect.

Croatian Bojan Jascur a.k.a. N-TER, closes the vinyl with We Will Emerge, in a exercise of vindication, a common weapon in the context of Detroit music. Raging, trippy electro in the purest style of Cosmic Force or Dynarec.

This first tribute to 8 Mile doesn't end with the vinyl, as 2 digital bonus tracks are included in the release.

We return to Barcelona with Pastin Futon in another sequence of consecutive oscillated rhythms oscillated much like Kevin Saunderson (The Elevator) in his day and the Techno Groove that we know today.

The most robotic touch of the release is the closer with this synthetic jigsaw puzzle of a track with echoes of the 1967 Detroit Riot, the Detroit Rebellion. Again produced by another Barcelona native, The Bandit (Dj Spy / Util Records). The sequences are very reminiscent of Arpanet and Drexciya.

The idea for the cover comes from Motor City itself by Jon Yowell, first cousin of HC records founder and head of HC records David Verdeguer.

Born, raised and a lifelong resident of Detroit, Jon is an enormously talented musician capable of writing lyrics, performing them on the mic and manipulating a number of stringed instruments as well as the drums, where he is a true master.

The cover is a tribute to the formative backgrounds of many of the city's musicians in every sonic trend. Wayne State University in the capital of Michigan.

Founded in 1868, it has offered didactic teaching to many of the city's musicians.

Not all of Detroit's creators went to university, and even less so when talking about Techno, many artists are self-taught or learned in a non-academic way, but it seems to us a good base to begin to highlight the origins of the city's music in a historic building, where those who have the opportunity to learn about music have been and continue to be educated.

The adapted designs are the work of our image manager Dani Requeni.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK).

I"ve been focused on who I am in my music, but now I"m exploring where I am," Alfa Mist says. "I"m asking: how did I get here?" This is the journeying question that underpins Alfa"s fifth album, Variables. Traversing luscious, big band swing, head-nodding boom-bap rhythms and yearning vocal melodies, the record is expansive, soulful and moving, in both body and spirit. On Variables, his second release for ANTI-, Alfa achieves his most fully-realised, expressive musical work to date, coupling his keen ear for looping, memorably emotive piano melodies with intuitive grooves and a free-flowing jazz improvisation. Since the release of his first full-length project Nocturne in 2015, Alfa has established himself as one of the UK"s most focused, indemand and distinct musical voices. He has worked with the likes of Jordan Rakei and Tom Misch. Artists look to him for his unique blend of intimate bedroom production and expansive jazz group orchestration, since Alfa is yet to be boxed into a specific genre. His music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Olafur Arnalds and pioneering jazz label Blue Note. The return to live shows has been a welcome one for Alfa and his fans, resulting in an extensive tour throughout UK and Europe. Including a sold-out headline show at the Barbican in London. Alfa Mist will be touring Europe, UK and North America in 2023 again. It is a balance between feeling and perfectionism that ultimately gives Alfa"s music its depth and capacity for repeated listening. It is also an ethos that has enabled his remarkable work-ethic to date. "I"ve never been a "one album every four years" artist - I want to put out new projects every year," he says. "Music is an extension of my life; it is the practice of creating."

lack Marble Vinyl! High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before.

Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me.

It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Beautiful, soulful jazz record by Jimetta Rose and The Voices of Creation, a Los Angeles-based community choir, a mainstay of the local scene. Highly recommended!!

The Voices of Creation are a community-based choir led by vocalist, songwriter, arranger, producer and mainstay of the Los Angeles scene Jimetta Rose. Made up of a multigenerational group of mainly non-professional singers backed by some of the city’s finest musicians,their music marries hip strains of gospel with layers of jazz, soul and funk. While aspects of their music might recall Kamasi Washington, The Staple Singers or Sly Stone, Jimetta’s unique vision has resulted in new spiritually-charged forms of music whose whole-hearted embrace of love, joy and peace act as sonic healing balms for the soul.

For Jimetta - whose resume includes collaborations with Miguel Atwood Ferguson, Georgia Anne Muldrow, Sa-Ra Creative Partners, Angel Bat Dawid, Shafiq Husayn, MED and Blu - the very act of creation was part of a healing process: “I was very low at the time and I wrote most of the songs going through hardship. But I found comfort in the songs and a way to adjust my mindset to where things got better. So I thought ‘if this music works for me, maybe it will work for other people’ I believe that every person has their own voice and their own note and that we can use our voices to heal ourselves. That’s the intention behind creating the project.”

After putting out a call on social media for people interested in joining her choir she was met with a sea of replies. Members were chosen in less-than conventional fashion: “I recruited people based on their interest in healing themselves and others, not necessarily on their musical experience or being seasoned performers” she says. Among those accepted into the ever-evolving collective, which was begun initially as a community choir, were the likes of Sly Stone’s daughter Novena Carmel, better known as a radio DJ for KCRW’s flagship breakfast show. Jimetta’s upbringing in the Pentecostal church, where she was a youth choir director, fed into her otherwise intuitive teachings of her songs and arrangements to the inexperienced members with help from the group’s seasoned organ player/co-musical director Jack Maeby.

Produced by Mario Caldato Jr. (Beastie Boys, Seu Jorge) and his wife Samantha Caldato the results show the incredible sense of togetherness and communal spirit that the group had built up over time in the rehearsal sessions. The six tracks of their debut album, a mixture of originals and rearranged covers, are performed in a wide-eyed mix of styles that reflect Jimetta’s vision for borderless music: “It’s new black classical music,” she explains. “It’s all the hodgepodge of being an African American but also with creativity and vision for the future. It has a taste of what is to come and what we can do. What we have gone through and who we are now.”

The group’s propensity for warm and buoyant sonics finds representation on album opener Let The Sunshine In, a sparkling rework of the Sons and Daughters of Lite’s deep jazz classic. Their version finds the group’s dynamic group harmonies offset with Allakoi Peete’s nimble afro-percussive touches and plenty of soul- drenched keys courtesy of pianist Quran Shaheed and organ player Jack Maeby. A similarly uplifting take on Rahsaan Roland Kirk’s choral jazz classic Spirits Up Above follows, with Maeby’s groove-laden organ lines inspiring some gorgeous group harmonies as well as prime solo turns from the likes of Kellye Hawkins, Zavier Wise, Tamara Blue, and Khalila Gardner.

Another Sons and Daughters of Lite cover follows as Jimetta leads the choir in the groove-drenched ode to self-affirmation Operation Feed Yourself. Written as a series of mantras for everyday living, the Jimetta-penned composition How Good It Is harnesses the full transformative power of music to generate a stirring and joyful ode to positivity - it’s chanted declarations bringing out some of the group’s most deeply-felt and affecting vocal performances over some superlative piano and organ accompaniment with a surprise feature vocal from Novena Carmel.

Jimetta’s talent for re-imagining songs in her own light is highlighted in Answer The Call, her vivid re-telling of Funkadelic’s Cosmic Slop: “When I listened to the original song, the Mom in the story was really going through it. I thought of how I could turn this into a song that can encompass the glorification of all mothers and I thought of the Egyptian cosmic goddess Nut. To that mother we’re all the seeds planted in the garden. Answering the call in your life is literally that. Finding out exactly what you’re here for through your heart.”

The album finishes with the standout original gospel number Ain’t Life Grand. Over swaying organs and clapped percussion Jimetta’s lyrical mantras serve to emphasise the good feelings that come to those with a grateful heart. Good feeling is an apt descriptor for the mood of the album as a whole. Its shining positivity provides a welcome ray of light in an increasingly dark world. “It’s a shortcut if you will to the better feelings” Jimetta says. “The hope that we need to keep pressing forward. We are saturated and inundated with images of chaos and destruction, death and hatred. There’s so much we can witness. So, I want to make sure that there is a representation sonically of the other parts that are still there to witness so that we can continue to build those things. So that the systems we support actually reflect what we want to experience. So it’s like: “Don’t give up and Let The Sunshine Into You” and then find out what your purpose is and answer the call.”

"A refracted audio book soundtracking the bathing culture of the Ottoman Baths in Budapest, cut-up from Dalia Neis' metaphysical thriller 'The Swarm' ( The Elephants Press, 2023).
This is the fourth iteration of the Transdanubian odyssey, beginning in Dali Muru & The Polyphonic Swarm's LP, before drifting into book form, radio show, and now audio book.
This limited-edition vinyl is an updated, revised version of the original NTS show broadcasted in January 2022."

Edition OF 500 copies, Comes with insert and download code.

An album that sounds like The Menahan Street Band playing in a tropical jungle, at dawn, right at the point when the first rays of sunlight penetrate the dark depths of the forest. During the 2022 summer of natural disasters, under an unprecedented heatwave, and haunted by news reports of ancient relics, sunken ships, and hunger stones resurfacing as rivers dried-up all-over Europe, Amsterdam based multi-instrumentalist producer Alex Figueira started to hear uncanny metallic vibrations And eerie melodies of untraceable origins, day and night. He recalls nightmares of winged creatures inside timeless structures of Escherian architectures playing cosmic instruments amidst tropical storms
and acid rains. As the visions came more often, his wife reported that he babbled during his sleep about South American demon Yurupari. Soon, Alex found himself in a sleepless state and decided to cleanse the studio, with hallowed rites and
the intense burning of Palo Santo. After almost burning the studio down, he turned to his neighbourhood’s most experienced psychic, seeking answers. He was told there were “cosmic entities” trying to manifest a message “too complex for us to understand in this dimension” and the only way he could find peace was to deliver those messages in a decipherable form. It was then he decided to transmute his hallucinations into music, an all-or-nothing cathartic solution.

Alex entered a feverish dream, fuelled by the kaleidoscopic motion of the cosmos, ancient meteor showers, and visions of forgotten interstellar South American gods. He remembers very little of the work, but the outcome is this record. Entirely composed, recorded, produced, and mixed in a frenetic nine-day studio stint.

How the experts describe it:

”Just when outernational vinyl vampires thought they had it all sewn up, the metronomic makeshift
magician known as Alex Figueira unravels the entire fabric of your record collection to expose a gaping
hole where PUNKUMBIA and Transplant-Tropicalia should be. Reducing an expansive palette of
influences to a recipe that tastes wildly exotic but comfortably over-familiar, Alex’s roles as both
scavenger and chef, bookend a whole ensemble of other highly adept musical personalities in between.
Discover this record NOW, or wait until all your friends (or enemies) recommend it to you later.”
Andy Votel (Finders Keepers)

“Incendiary, lysergic takes on South American and Caribbean music from one of the scene's truly
authentic and eccentric producers. You can always count on Venezuelan-born, Amsterdam-based,
multi-instrumentalist, music-fanatic Alex Figueira to surprise and innovate, whilst consistently keeping it
true and real. The former Fumaça Preta drummer & front-man's debut solo album does not disappoint!”
Miles Cleret (Soundway)

“The one man band Alex Figueira comes through with some major flavors on this one. Cumbia beats and
psychedelic elements with that Latin touch of soul & Funk!”
Kenny Dope (Masters at Work)

“I really respect Alex Figueira’s DIY ethos. From running his own little funky recordstore to running his
own label and making his own music by playing every instrument himself. I was already a fan of the song
“Aprende” which he released on 7 inch and with“Mentallogenic” he takes it a step further in that same
vibe. From songs like “La Culebra” making use of a vocoder in his typical latin sound to songs like
“Serious” playing with rhythmic changes and topping it off with some synth flavors. A lovely and fun
album”.
Antal (Rush Hour).

BasSskin 001 is dedicated to Drum and Bass.

On A Side, The Untouchables from Brussels gives us a big tune. Electric Wizard is dark, strong, hypnotic vibes.

This duo searches new ways in Drum and Bass on several labels as Samurai Music, Rupture LDN, 45 Seven..

To complete this vinyl, DJ Draai signed Zwaarden on AA Side. This track shows his style, his signature. DJ Draai follows his rules, his own sound. Lot of textures, sounds, guitars but a pleasure to mix!

The Untouchables and DJ Draai are definitely the pioneers of new rules in Drum and Bass!

Cut at The Exchange!

Kevin McCormick's unreleased bedroom studio tape material (1982-1984). Moods similar to Durutti Column, Woo, Crosby’s spacey moments, and Boards Of Canada’s nostalgia.

Following the release of Light Patterns in 1982, Kevin recorded a series of songs onto tape that explored the sonic possibilities of a solitary guitarist. Shedding the acoustic sound of his previous effort, he adopted a swelling electric palette to apply his moods to. These recordings are a shift in direction to a sparse and ambient style, and their hazy, repetitive movements create room for evocative melodies.

Kevin fills a deficiency of guitar-forward music with his minimalistic approach that is somewhere in the space between ambient, rock, jazz, and avant-garde. On Sticklebacks, he casts away the morning elegance of Light Patterns and leans further into the introverted feelings of the small hours. It is a nascent springtime journey that shows just what Kevin is capable of with six strings.

Sepia returns to Infernal Sounds for his 4th outing on the imprint and on this occasion he unveils a 4-track EP featuring both Rider Shafique and Ickle. Spanning all the way back to 002 on the label with 'Remember', Sepia provided some of the rawest music he'd provided the label, whereas this new batch of tunes arguably showcase his progression and evolution of sound.

The title track 'Time Stands Still' is a perfect example of this, using the off-beat and beautifully floaty mainframe to allow Rider Shafique to ride perfectly between the space, and stylishly provide his trademark storytelling. 'Gatekeeper' on the other hand is the stripped back, tough Sepia sound we know and love, giving you the grit right between your teeth. 'Whispers' swirls into a different vibe, cross threading dubbed out vibes with the added input from Bristol's Ickle. 'Trust' is the final track and a perfectly solemn note to finish the EP on, divisely placing drum pads amongst dripping atmospheres and voice snips. The EP is finished off elegantly with full sleeve artwork from Lewis Optics.

Following up his score for the japanese Netflix Anime series “Carole & Tuesday”, Mocky returns to album mode with his new orchestral opus “Overtones For The Omniverse”. Just days before the first Covid lockdowns, Mocky brought a 16 person orchestra comprising of his usual who’s who of underground talent into LA’s Barefoot Studios (and into the same room where Stevie Wonder recorded “Songs in the Key of Life”) to record a pile of scores he had come up with during his previous year’s sabbatical in Portugal. The result is a stunning orchestral album recorded in 36 hours in one or two takes straight off the written page. Shunning the “possible perfection” of today's recording techniques, Mocky looked back as a way to find an alternate future.

According to Mocky:
“We had to do it quick with no rehearsal to capture that big open sound of people working together in a room - in all its imperfect glory. In the imperfections you find the humanity. And in today’s tech driven spaces you have to fight to preserve a space for humanity. I felt a deep desire to create a sonic trajectory path for us to follow as we ascend and evolve our understanding of love and what it means to be human. This is the inspiration for „Overtones for the Omniverse“”.

The album runs the gamut from Steve Reich infused minimalism overlaid with Dorothy Ashby style harp runs (“Overtures”) to atonal analogue synth sounds over Martin Denny style percussion (“Bora!”). There's a classic Mocky crooning number that gives a Jim Henson-esque take on the state of “Humans” and the album as a whole captures Mocky's skill of bringing together the joyful energy of a unique cast of LA collaborators.

Featuring:
Randal Fisher / Flute, Vicky Farewell / Piano, Vocals, Harry Foster / Bass, Vibraphone, Tubular Bells, Vocals Joey Dosik / Organ and Glockenspiel, Vocals, Guilermo E. Brown aka Pw / Percussion, Vocals, Jhan Lee Aponte (TossTones) / Percussion, Vocals, Timpani, Paul Cartwright / Violin, Molly Rogers / Viola, Gabe Noel / Cello, Contrabass, Liza Wallace / Harp, Coco O. / Vocals, Mocky / Compositions, Drums, Vocals, Roland Sh-1000

O for the O Choir :
Nia Andrews, Leslie Feist, Moses Sumney, Durand Bernarr, Eddie Chacon

Recorded at Barefoot Studios, Los Angeles March 6 + 7, 2020.
All songs written by Dominic “Mocky” Salole and published by Heavy Sheet Music/Warner Chappell except "Wishful Thinking" written by Dominic “Mocky” Salole and Matt Corby and "Bora!" written by Dominic “Mocky” Salole, Guillermo Brown, Aponte Poro.

Produced by Mocky, Justin Stanley and Renaud Letang. Mixed by Renaud Letang at Ferber Studios Paris
Mastered by Emilie Daelemans. Cover artwork by Rand Sevilla. Photo by Vice Cooler.

ABOUT MOCKY
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder" and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist and Chilly Gonzales.
In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011, after work in Big Sur on Feist's "Metals", Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials and eccentric working methods collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney.

Whilst in L.A. songs he has written have been sung by Mary J. Blige, Jill Scott and many more and he has collaborated with artists as diverse as Mali’s Bassekou Kouyate and the GZA. His monthly rooftops gigs at the ACE Hotel breathed new life into the LA live scene and Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. I-IV.

After co-producing and co-writing Feist's "Pleasure", Kelela's "Take Me Apart" and Joey Dosik's "Inside Voice", in 2018 Mocky released two albums: "Music Save Me (One More Time)" - a collection of the best of Japan-only/unreleased gems and favorites from his so far digital only "Moxtapes" series and "A Day At United", an instrumental jazz album, recorded in a single day in the legendary LA recording studio United Recording.

In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe (Cowboy Bebop) on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards 2020.

From 1985, the beginning of their collaboration in Amsterdam, Peter Bosch and Simone Simons have been involved in performances, concerts and theatre productions. Since 1990, however, they have focused in particular on the development of autonomous music machines.

All these machines are dynamic: Sound and movement are constantly evolving. »Krachtgever« is their best-known piece for its Golden Nica, received at Prix Ars Electronica, Linz, 1998. The other projects on the LP are »Cantan un Huevo«, commissioned by the Ives Ensemble in 2000 and awarded in 2002 at the 29th edition of the International Competition of Electroacoustic Music and Sonic Art, Bourges, France, and one of their first installations, »Was der Wind zum Klingen bringt«, from 1989/90, shown in the Stedelijk Museum, Amsterdam, 1990, as part of the exhibition »Energieën«, and in 1991 at the Multimediale 2, Z.K.M., Karlsruhe. The LP demonstrates that sound produced by the Bosch & Simons music machines can also be listened to as autonomous »music«.

Bjarki launches creative hub Differance Engine with new four-track EP, ‘Look At Yourself Pt.1’

The project sees the founder combine with creative Thomas Harrington-Rawle, building on the pair's recent AV show ‘Look At Yourself’ with a wealth of new projects and releases slated for 2023.

DJ, producer, live artist and label owner Bjarki, full name Bjarki Rúnar Sigurðarson, launches his latest creative project Differance Engine and label Differance with a brand new EP in February. Welcoming a new home for the Icelandic favourite to release and showcase audio-visual projects, the creation of Differance Engine sees him reunite with London-based creative and partner-in-crime Thomas Harrington-Rawle - the creator of Care More, featured on Nowness, ARTE and more.

Set to become the central focus for all things creative, Difference Engine will serve as a diverse ‘mother hub’ for a myriad of new projects from the pair, including GUM Magazine - an experimental print publication set to challenge existing publications and zines with a focus real conversations and forward-thinking audiovisual work - while also absorbing Bjarki’s longstanding imprint bbbbbb recors next year. The launch arrives on the heels of the duo's recent conceptual audiovisual show ‘Look At Yourself’ exploring and experimenting with ‘AI’ technology during ADE at Amsterdam’s renowned Nxt Museum, with forthcoming appearances in Foligno, Italy on 29th December and in London in the New Year.

Opening 2023, the label boss unveils the first EP in a three-part series, ‘Look At Yourself Part 1’. Comprised of four expansive originals, the release welcomes a first look at the new audiovisual direction crafted and shaped by Sigurðarson and Harrington-Rawle, featuring his recently released single ‘Do You Like Yourself’, and new single ‘I Wish I Was A Mode’ - out 9th December..

“Differance Engine is mine and Thomas’ new platform where we will be testing out all kinds of material. It will also operate as a label and an engine which will run both bbbbbb records and GUM Magazine. There are a lot of magazines dying out and having a hard time surviving. Thomas and I want to show some depth into the hearts and minds of individuals through music, visuals and with words. 2023 will be the year of vulnerability and real talks.” - Bjarki.

Wandering the line between perceived and actual reality, the four productions balance playful AI-generated voices with darker sonics, deconstructing societal issues and exploring human-to-human interaction within cyberspace. Accompanied by a warping video, B2 ‘I Wish I Was a Model’ is a trippy dive into Harrington-Rawle’s ever-evolving world as he warps and twists human subjects amongst their surroundings.

Pale Blue unveil the penultimate single from their forthcoming album on Crosstown Rebels with ‘Together Alone’, accompanied by a driving and hypnotic remix from Kölsch. Artists with renowned solo careers alongside their ever-evolving journey as the critically acclaimed duo Pale Blue, Mike Simonetti and Elizabeth Wight continue to showcase why their collaborative material is much-loved from all corners of the electronic realm and beyond. Arriving on the heels of the release of the playful and charming ‘No Words’, the pair return to Damian Lazarus’ Crosstown Rebels with the third and penultimate single ahead of their forthcoming album release as they switch up the mood and veer into wistful territories across the absorbing ‘Together Alone’ - backed by a remix from Kompakt mainstay and electronic heavyweight, Kölsch.

A carefully created journey across almost eight minutes, ‘Together Alone’ is an exemplary showcase of balance and restrain as delicate melodies and hazy tones float amongst subtle nimble percussion arrangements, blooming synths and Wight’s captivating vocals for a deep dive into dreamy spheres. Bringing his own take to the record, Danish electronic pioneer Kölsch heads to Crosstown Rebels with his excellent crafted ‘I Have You’ remix, as he builds on the original with a powerful and emphatic introduction of anthemic leads, crisp kicks and a warping bassline rooted at the track’s core to transport the production firmly into the heart of the dancefloor.

UK-based Grammy-winning producer and composer Tourist (William Phillips) returns with his new album 'Everyday' scheduled to be released early 2019. The album delivers outwardly facing chill-electronic tracks that connect with a listener and convey a human story through samples, sounds and melody. Tourist remarks on his new music, "I'm interested in exploring human themes through sound. Family, mental health, loss, love." 'Everyday' is a follow up to his 2016 debut album 'U' and 2017 Wash EP which earned him critical acclaim and a legion of tastemaker fans around the world. 'U' garnered support from outlets like NPR, Vice, Billboard and Rolling Stone Australia. The single 'Run' landed #1 on BBC Radio 1 Dance Chart. Soon followed by sold out shows across the UK, US and Australia including major festival plays at Glastonbury, Coachella and Bestival. The new album introduces Tourist in a new space and demonstrates his wide scope of artistry.

Toronto-based retro-soul artist Claire Davis shares her journey of self-worth and love on her debut album "Get it Right", out April 21st 2023, via LRK Records. This lively 10-track analog soul LP was recorded to an 8-track tape machine by engineer Braden Sauder in a converted garage- studio in Toronto, owned by the renowned instrumental jazz/hip-hop group, BADBADNOTGOOD. Featuring some of the city's top-flight musicians in the R&B/Soul scene, the album was laid down live-off-the-floor in one week during the winter of 2022. Davis shares, "My heart really lies in live performance so I wanted to recreate that experience as much as possible for this record by having the musicians all record together to tape. I feel like I personally thrive under the limitations that tape gives you; it offers the opportunity to
capture a vibe of a performance more so than chasing perfection. Knowing that my favourite soul records were recorded this way gives me an even deeper appreciation for the skill and talent involved in this process." "Get it Right" is a record born out of the faith that there's better things on the other side of fear.
Whether that's breaking toxic cycles or being truly honest about what is and isn't working in life. The first song written for the record was the title-track of the album which began as a jam between Davis on guitar, producer Scott McCannell on bass, and drummer Chino deVilla. "The lyrics were inspired by my relationship with my partner and the intention that we both have to work on healing ourselves in order to make our partnership work. I'd like to think that it's a love
song with a strong sense of maturity and understanding to it. And the whole record was really shaped around that idea of my relationships and experiences stemming from my own sense ofself-love add my desire to live and create from an authentic place."

The songs on the album feature co-writes from Scott McCannell, Kyla Charter, and Toronto production house Safe Spaceship Music, in addition to horn and background vocal arrangements by composer La-Nai Gabriel. Musicians include Heather Crawford on guitar,
Scott McCannell on bass, Adrian Hogan on keys, Chino de Villa on drums, Juan Carlos Medrano on percussion, Aphrose, Tegan Michelle Gordon and Chynna Lewis on background vocals, and horn section The Northern Soul Horns.

"Get it Right" follows up Davis' most recent 7" vinyl release of "Long Gone"/ "Times Have Changed" and most recent single release "Intuition" on LRK Records Huey Morgan played "Times Have Changed" on " The Huey Show " on BBC Radio Six
Tune of the week on David Bishops Street Sounds radio.
Karen Gabay played "Intuition" taken from the album on "The People" BBC Manchester

GRAMMY® Award-winning, RIAA platinum-certified international icon Tiësto will release his highly anticipated album ‘DRIVE’ on the 21st April, with pre-order set to go live on the 6th March. The album is more than just an “album,” it’s an experience that showcases Tiësto’s unique style. “DRIVE” will take you on the ride of your life; featuring previously released Don’t Be Shy, The Motto, The Business, Hot in It & 10:35, which have all accumulated over 3.5B streams leading into its release.

Tiësto is a GRAMMY® Award-winning, RIAA platinum-certified, international icon. The DJ and producer is the only artist to ever hold the titles of “The Greatest DJ of All Time” courtesy of Mixmag, and “#1 DJ” according to Rolling Stone. From his underground dance floor bangers to his high profile Las Vegas residency and worldwide crossover success, Tiësto created the blueprint that defines what it means to be a superstar in today’s dance music world. With over 36 million albums sold, 10+ billion cumulative streams, and a social platform with an audience now exceeding 30 million fans around the globe, he continues to revolutionize the dance music landscape.

Tiësto’s first single upon signing with Atlantic Records, 2020’s “The Business,” has dominated airplay and charts worldwide since its September 2020 release, hitting #1 at US Dance radio while also garnering over 1.6 billion worldwide streams to date. A top 10 hit in 10 countries, as well as a Top 50 success on Spotify in 31 countries, “The Business” was honored with “Best Dance/Electronic Recording” nomination at the 64th Annual GRAMMY® Awards as well as 15 platinum certifications and eight gold certifications in countries around the world. “Don’t Be Shy” with Karol G followed in 2021, marking Karol G’s first-ever English language song and the first Latin Artist collaboration for Tiësto.

The historic track currently boasts over 867 million streams, over 1.2 million TikTok creates, and video views exceeding 290 million. The third single from Tiësto’s upcoming album on Atlantic Records, “The Motto” with Ava Max, proved another blockbuster, reaching the top 5 on Billboard’s “Dance/Electronic Songs” chart while earning more than 929 million worldwide streams to date. This summer saw “Hot In It” with Charli XCX reach the top 10 on Billboard’s “Hot Dance/Electronic Song” chart, fueled in part by over 200 million views across TikTok and IG Reels, and over 122 million streams to date.

Tel Aviv-based producer Roy Rosenfeld is excited to announce the release of his latest EP, Simi.
Showcasing Rosenfeld’s unique blend of melodic house music, the three-track EP is sure to captivate listeners with its intricate rhythms and ethereal sound.

On Simi, Roy Rosenfeld seamlessly blends melodic and atmospheric sounds to create a transcendent listening experience. From the groovy and energetic title track opener ‘Simi’ to the hypnotic and calmer ‘Sansi’ and closing with the darker, heavenly ‘Moonshine’, this EP showcases Rosenfeld’s exceptional range, and ability to craft music that goes beyond the dancefloor.

Alternative Hip Hop Artist Rebel ACA Channels his Pain in "Migraine" ft. Spragga Benz, Rodney P

LONDON - The word "migraine" can make you twinge, especially if you experience the pounding head, vertigo, and tinnitus associated with migraines. Imagine if you put all those feelings into music - that is what Rebel ACA did with his latest single, "Migraine."

Rebel ACA's new single flows through his twenty-year journey of advising on international tax by day and rapping and producing by night. Perhaps, the ACA stands for his accounting qualification.

Dropping in April, there will be two versions, an original version and a DJ Phantasy Remix of "Migraine" on streaming platforms. Depending on the version, "Migraine" is a musical representation of a severe headache. The drum and bass mix features a funky, constant drone throughout the track, while the original version is a funk-latent hip-hop song.

"I suffer very badly from migraines every week," said Rebel ACA. "To me, it was logical to write a song about migraines. The lyrics talk about what it feels like by using synthesizers to bring out the feeling of a migraine."

Joining Rebel ACA on the single is Spragga Benz and Rodney P. The duo shares their thoughts on using marijuana to cure a migraine. While Rebel ACA acknowledges he is not a medical doctor, studies have shown that smoking weed can reduce migraine pain.

"We talk about smoking weed to fight the migraine," he said. "The lyrics revolve around what it feels like to have one in your head. Doctors have told me that migraines are caused by triggers like alcohol and getting f*cked up. Then you get a migraine and now you get more f*cked up on pills or weed to feel better." This revolving cycle spirals throughout the single.

Born and raised in the UK, Rebel ACA experienced London's musical melting pot from birth. Hailing from northwest London, he was exposed to the rich Caribbean influence and massive underground music scene.

From squat parties to illegal raves, London's music was all mashed up, and Rebel ACA soaked up every genre and cultural influence. As a result, he is a successful singer/songwriter/producer who fuses hip hop, reggae, and indie sounds to create his unique style.

"Where I come from, the UK hip hop is like the 90s hip hop in America," he stated. "There is a hip hop scene that talks about poetry. I'm trying to keep it real with my lyrics and talk about things that are important other than guns, money, and bitches."

Rebel ACA's music is versatile but uniquely his own by utilizing numerous live instruments and coming in hard with a big boom-bap sound. The Rebel ACA sound is born by adding a funk influence on his tracks aligned with funky bass. On "Migraine," he uses some vintage 70s French influence vibes to give the single a flavor of its own. There is nothing out there like "Migraine."

Rebel ACA records under Buttercuts Records, a company he owns and operates. The London-based production company has been "bashing out buttery beats" since 2000. Buttercuts Records is the go-to place for releasing hip hop, reggae, breaks, funk, soul, and folk records with a tongue-in-cheek attitude and marketing that surpasses witty wordplay.

As "Migraine" gains international attention, it is easy to understand how Rebel ACA combines old and new hip hop with effortless flows and brilliant lyrics. Maybe the world is ready for an international tax advisor who drops bars and vibes out to some wicked rhymes.

Make sure to stay connected to Rebel ACA on all platforms for new music, videos, and social posts.

a A1. DJ PHANTASY VOCAL MIXfeat. Rebel ACA
b A2. DJ PHANTASY DUB MIXfeat. Rebel ACA
[c] A3. DJ PHANTASY INSTRUMENTAL MIX [feat. Rebel ACA]
[d] B1. OLD KOOL F U NKY MIX [feat. Rebel ACA]
[e] B2. OLD KOOL F U NKY INSTRUMENTAL [feat. Rebel ACA]
[feat. Rebel ACA]

Das kommende Jahr 2023 wird das letzte Kapitel in der langen Geschichte der legendären deutschen Thrash-Metal-Band HOLY MOSES markieren, das mit dem kommenden neuen Studioalbum "Invisible Queen" und einer letzten Reihe von Live-Shows gefeiert wird.

"Ich bin im Dezember 1981 zu Holy Moses gestoßen und das hat den Weg, den ich in meinem Leben gehen sollte, grundlegend verändert. Unser erstes Album im Jahr 1986 hieß "Queen Of Siam" und nun, um die Sache abzurunden, wird mein letztes Album mit Holy Moses im
Jahr 2023 den Titel "Invisible Queen" tragen", verrät Sängerin Sabina Classen und ergänzt: "Nach 42 ereignisreichen Jahren und nach so vielen großartigen Alben, fantastischen Shows und unglaublichen
Erlebnissen ist die Zeit gekommen, das letzte Kapitel von Holy Moses zu schreiben. Und wir freuen uns, dass dies über Fireflash Records mit der Veröffentlichung unseres 12. Studioalbums "Invisible Queen" geschieht."

Das kommende Jahr 2023 wird das letzte Kapitel in der langen Geschichte der legendären deutschen Thrash-Metal-Band HOLY MOSES markieren, das mit dem kommenden neuen Studioalbum "Invisible Queen" und einer letzten Reihe von Live-Shows gefeiert wird.

"Ich bin im Dezember 1981 zu Holy Moses gestoßen und das hat den Weg, den ich in meinem Leben gehen sollte, grundlegend verändert. Unser erstes Album im Jahr 1986 hieß "Queen Of Siam" und nun, um die Sache abzurunden, wird mein letztes Album mit Holy Moses im
Jahr 2023 den Titel "Invisible Queen" tragen", verrät Sängerin Sabina Classen und ergänzt: "Nach 42 ereignisreichen Jahren und nach so vielen großartigen Alben, fantastischen Shows und unglaublichen
Erlebnissen ist die Zeit gekommen, das letzte Kapitel von Holy Moses zu schreiben. Und wir freuen uns, dass dies über Fireflash Records mit der Veröffentlichung unseres 12. Studioalbums "Invisible Queen" geschieht."

Repress!

Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG.

It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists' Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester's younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group's own label.

Since the formation of Black Artists' Group in 1968, the home of this multidisciplinary arts collective had been St Louis, Missouri, the city where the Bowie brothers had grown up. It was there that Lester Bowie had started to investigate the expanding horizons of jazz before moving, in 1966, to Chicago where he joined the recently established Association for the Advancement of Creative Musicians (AACM). His close friend Oliver Lake visited Bowie, attended AACM concerts and meetings and was inspired not only by their artistic vision and integrity but also by their efficient organisation. In Chicago musicians were making things happen for themselves, taking control of their own destinies and giving shape to their lives as creative artists.

In June 1969, the Art Ensemble of Chicago had taken their music to France. During the preceding decade Paris had established a reputation for audiences that were unusually well-informed and open-minded, receptive to the uncompromising music of black American innovators such as Cecil Taylor, Ornette Coleman, Albert Ayler and Sun Ra. The city that had nurtured not only Cubism and Surrealism, but also Jean-Luc Godard and contemporary cinema's Nouvelle Vague was well prepared for the sonic collage forms and stylistic dislocations of the Art Ensemble. During that same month violinist Leroy Jenkins, trumpeter Leo Smith and saxophonist Anthony Braxton also arrived in Paris, three further emissaries from the AACM.

The adventure of collective improvisation resonated with the Parisian zeitgeist. Enthusiastic audiences attended their concerts and coverage in the media. In Paris, Aries 1973 offers an isolated and fascinating glimpse into that phase of the group's existence. The album is dedicated to the memory of Kada Kayan, a bassist who had hoped to make the trip from St Louis to France but, tragically, had grown ill and died. His absence adds special poignancy to the sound of the bass when it appears on this recording, played by Baikida Carroll. Listeners keen to hear Kayan himself in the company of Lake, Bowie, Shaw, LeFlore and Carroll should seek out Red, Black and Green by the 10-piece Solidarity Unit, Inc. That album, recorded on 18th September 1970 and dedicated to Jimi Hendrix, who died on that day, features an earlier version of Shaw's composition 'Something to Play On.'

In Paris, Aries 1973 reveals BAG's musical affinities with the Art Ensemble of Chicago. Both groups preserved an independently minded approach to the notion of free jazz and a carefully filtered awareness of pan-African musical practices, while their creative interest in space, mobile structure, chance occurrences and simultaneity also suggests parallels with the concerns of leading experimental composers working at that time. These performances in Paris of Shaw's 'Something to Play On' and Lake's 'Re-Cre-A-Tion,' plus two collective compositions/improvisations, display the dedication to structural fluency and sensitivity to coloration that accompanied BAG's unorthodox group dynamics and their unconventional instrumental combinations. In this case the musicians embrace congas, log drums, marimbas, woodblocks, cowbells and gongs. This is not a showcase for solos, but a shape-shifting and multi-centred statement of togetherness, quest and discovery. Removed from BAG's original multidisciplinary context the music still exudes an exhilarating spirit of collaborative exploration and shared excitement.

Knowledge is a tool, and like all tools, its impact is in the hands of the user.

ARTS WHITE presents the debut of one of the brightest artists in the Italian scene, 'Earwax' is a project that aim on highly energetic techno, ispired by the good old habits, this EP showcases a variety of ways to destroy floors in dusty Raves. Club 25 represents the modern key to non-sense underground rave music.

‘’Ace Todmorden label makes a significant discovery on its own doorstep: a superb cache of ‘loner folk’ songs recorded in the early-70s by Hebden Bridge’s answer to Nick Drake’’ UNCUT PLAYLIST

"This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.” Benjamin Myers
"Defiantly Northern and out of this world" Folk Radio

Anti-counter culture loner folk from a teenage attic in the heart of rural Northern hippiedom.
Today the valley town of Hebden Bridge in West Yorkshire is world-renowned as something of a bohemian backwater. It wasn’t like this back in the late 1960s and the early 1970s, when a disparate selection of radicals, drop-outs, heads, musicians, artists and writers started to be attracted to the Calder Valley. Local lad and future poet laureate Ted Hughes called the area “the fouled nest of industrialisation”.
Over time, those seeds of radicalism and collectivism ensured Hebden Bridge evolved into a place where people could be themselves and all shades of individual oddness not only tolerated but actively encouraged. But back at the turn of the dreary 1970s it remained a monochrome world defined by its unforgiving surrounding landscapes, where the old gritstone over-dwellings were stained with soot and rain lashed down for weeks.
It was here that Trevor Beales, who was born in 1953, grew up, and from where he drew musical and lyrical inspiration.
Perhaps it was this dual nationality heritage, unusual in the valley’s largely white working class population at the time, that gave the teenager Trevor Beale’s music an outsider’s perspective. The discovery of Bob Dylan, Django Reinhardt, The Byrds and James Taylor at a young age, lead to him picking up a guitar at the age of ten, and he was soon writing his own originals and performing them at local (though often remote) folk clubs and pubs.
Recorded in the attic of the family home at Ivy Bank in Charlestown on the verdant wooded slopes at the edge of Hebden Bridge between 1971 and 1974, these early recordings are collected here for the first time and mark Trevor Beales long-overdue solo debut.
In these songs is a suffer-no-fools sense of realism that is defiantly Northern, yet also expresses a worldliness that belies Beales’ young years, whilst also showcasing an inherent storyteller’s ear for narrative. Here is a postcard from the past at that crucial musical period of transition, when the idealistic exponents of the 1960s emerged into an austere new decade that was to be shaped by strikes, rising unemployment and economic upheaval.
Two aspects of this music make it remarkable: Beales’ natural ability showcases a sophisticated guitar-picking style that was leagues ahead of many of his (older, more recognised) contemporaries. This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Dave Evans, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.
Secondly, his lyrics are a far cry from either the naïve bedroom scribblings of a teenager who has barely left his upland home, nor do they fall foul of the type of lazy cliches and sub-Tolkien imagery that was still in abundance in the early 1970s. Most remarkably the earliest songs here were laid down less than a year after he left school (an unearthed report written by his headteacher on July 3rd 1970 noted he had “a considerable ability and interest in music”, though his education ended abruptly when he simply walked out of a science lesson one sunny day while at sixth form, never to return).
Trevor’s music is grounded in reality – his reality. ‘Then I’ll Take You Home’, for example, considers the Guru Marajai, who encouraged his acolytes to give over their worldly possessions, yet who drove a Rolls Royce and lived like a playboy. Unsurprisingly, this latest in a long line of spiritual charlatans found several followers in Hebden Bridge, and Beales casts a disdainful eye over the growing popularity for such false prophets.
With its ancient narratives and propensity for myth-making, folk has certainly produced it’s fair share of cult figures who have enjoyed rediscovery or career resurgence and with this debut compilation of home recordings, rescued from cassette tapes, Trevor Beales might just be the latest addition. Certainly he was the real deal.
Crucially, Beales' music is never jaded or cynical, but instead possesses a poet’s ear, a strong sense of self and some sound critical faculties. And much of it recorded at an age when he could neither vote nor order a pint of heavy.
Trevor Beales died suddenly and unexpectedly on March 29th 1987, aged 33. He left behind Christine and their young child Lydia.

Robocop Kraus wurden 1998 in Hersbruck, Deutschland, gegründet. Sie haben mehr als 800 Shows in Clubs, Kneipen, Konzerthallen und auf Festivalbühnen in ganz Europa, in den USA, Großbritannien, Japan und Russland gespielt. Sie haben 5 Alben auf L'Age d'Or, Epitaph, Anti und Day After Records veröffentlicht.



Robocop Kraus sind zurück! „Smile“ heißt das erste neue Album der „Robos“ seit unglaublichen 15 Jahren. Produziert wurde das Ganze von Jan Philipp Janzen (Die Sterne, von Spar etc.) und es klingt wie ... tja … unverkennbar nach Robocop Kraus! Können wir das ein für alle Mal festhalten, dass die Band, die wahlweise als deutsche „The Make Up / Franz Ferdinand / Talking Heads / The Rapture / Devo“ bezeichnet wurden, einfach einen ganz eigenen Sound haben? Das muss man erstmal schaffen. Apropos Schaffen? Wie haben wir das eigentlich so lange ohne Robocop Kraus ausgehalten? Und wie kann es sein, dass die Band 25 Jahre nach ihrer ersten Show in einem Hersbrucker Jugendzentrum nun das beste Alben ihrer Karriere veröffentlicht? Ein Album, das an einer komplett erfolgsoptimierten, blutleeren Indieszene vorbei auch eines der erfrischendsten Alben des Jahres 2023 sein wird?

Clear Vinyl

Robocop Kraus wurden 1998 in Hersbruck, Deutschland, gegründet. Sie haben mehr als 800 Shows in Clubs, Kneipen, Konzerthallen und auf Festivalbühnen in ganz Europa, in den USA, Großbritannien, Japan und Russland gespielt. Sie haben 5 Alben auf L'Age d'Or, Epitaph, Anti und Day After Records veröffentlicht.



Robocop Kraus sind zurück! „Smile“ heißt das erste neue Album der „Robos“ seit unglaublichen 15 Jahren. Produziert wurde das Ganze von Jan Philipp Janzen (Die Sterne, von Spar etc.) und es klingt wie ... tja … unverkennbar nach Robocop Kraus! Können wir das ein für alle Mal festhalten, dass die Band, die wahlweise als deutsche „The Make Up / Franz Ferdinand / Talking Heads / The Rapture / Devo“ bezeichnet wurden, einfach einen ganz eigenen Sound haben? Das muss man erstmal schaffen. Apropos Schaffen? Wie haben wir das eigentlich so lange ohne Robocop Kraus ausgehalten? Und wie kann es sein, dass die Band 25 Jahre nach ihrer ersten Show in einem Hersbrucker Jugendzentrum nun das beste Alben ihrer Karriere veröffentlicht? Ein Album, das an einer komplett erfolgsoptimierten, blutleeren Indieszene vorbei auch eines der erfrischendsten Alben des Jahres 2023 sein wird?

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

BLUE & BONE VINYL

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

LTD. 180g WHITE LP + CD + TAPE + DOWNLOAD-CODE (INCL. UNRELEASED BONUS SONG) BUNDLE!

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

Tape

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

Pink Blue Marbled Vinyl

Angelo is an EP, named after a car, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds percussionist and singer Brijean Murphy and multi-instrumentalist/producer Doug Stuart processing the impossible the only way they know how: through rhythm and movement. The months surrounding the acclaimed release of Feelings, their full-length Ghostly International debut in 2021 which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy's father and both of Stuart's parents. In a haze of heartache, the duo left the Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo's sessions presented Murphy and Stuart a chance to record at their most intimate, "to get us out of our grief and into our bodies," says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal _ a resourceful, collective answer to "what happens now?". Angelo the car is a 1981 Toyota Celica they got off Craigslist during their first stint in Los Angeles, where Murphy and Stuart have since settled. "Such a bro-y, `80s dude car, it's been super fun to drive around in a new town," Murphy says. "He's older than us, he's a classic, he's got a story." It is a spiritual vehicle with a cinematic appeal, first dropping them off in an alleyway for the scene-setting intro, "Which Way To The Club." The question is quickly resolved by "Take A Trip" as a cruising bassline mingles with crowd sounds, hand-claps, cuíca hiccups, whip-cracks, even a horse neigh. Brijean have found some club on this cross-dimensional trip - the kind of imagined space or chamber within one's self capable of "shifting a fraction of who you are," says Murphy. They wrote the track with the simple intention to be "as free as we could be," adds Stuart, likening the flip on the B section to a realm unlocked: "What if the world changed completely? You open the door to a new room." Next is "Shy Guy," a motivational anthem for the wallflowers among us. Murphy sets up the daydream: "We are in junior high, we're on the dance floor, what's going down, who is dancing, who is not, how are we gonna make them dance?" The narrator, the MC, hypes up the room as conga-driven rhythms bounce between languid synth and guitar lines. "Show me how to move...I feel something...I know you feel it too," Murphy sings sweetly, calling back to the opening lines of Feelings, and this time the audience chants it back. It is easy to picture Brijean performing this one - something they only got to do a handful of times until more recently, opening shows for Khruangbin and Washed Out, an experience they found informative. Murphy explains, "It was inspiring to be out there and let loose more. To see how people can expand their expression on stage gave me more liberty with how I viewed my musicianship. My role for so long was to be a backup percussionist, so why would I ever leave the drums, you know? But then after playing all these runs, you see these artists and realize you can, you have permission." "Angelo" and "Ooo La La" deliver the danciest stretch in Brijean's catalog to date. The title track adopts a deep house pulse replete with strings, hi-hats, and kicks. The latter opts for a funkier groove that foregoes verses in favor of warbled hums and extended breakdowns. What follows is perhaps the duo's dreamiest run, a comedown initiated with the honey-hued interlude "Colors" drifting into "Where Do We Go?", a tropicália reverie where Murphy contemplates the passage of time and space. It all culminates in "Caldwell's Way," a fond farewell to their Bay Area community - "a part of my life that I knew couldn't come back," says Murphy. Above shimmering organ sounds, lush strings, and the birdcall of their former neighborhood, she wistfully articulates the uncertainty of moving on by remembering the characters dear to them. There's the wisdom of their neighbor, Santos, who refused payment when helping them move out: "I'd rather have 100 friends than 100 dollars." And the song's namesake, Benjamin Caldwell Brown, a friend and club night cohort for many years. "I'm only miles away, maybe I'm just feeling lonely," the line resigns to warm nostalgia, and "Nostalgia" runs the closing credits to this healing and transportive collection.

Some of the best musical moments from the anime series (one of the most famous adaptations to one of the best selling manga of all time/much beloved anime franchise). Featuring the main theme 'Number One', the soundtrack also contains other musical highlights from the series by Japanese superstar composer Shiro Sagisu, who has also scored 'Attack On Titan', 'Shin Godzilla' and the full 'Evangelion' series to name a few. This is a double 140gm translucent blue vinyl set in a double sided gatefold sleeve with gloss varnish. Full colour expanded inlay with images from the show and notes from composer Shiro Sagisu. Marketing activity. Stock is limited/allocated.

Multi-Award winning, hugely influential musician Feist returns with Multitudes, her sixth solo album and first since 2017’s Pleasure.

Multitudes was produced by Feist with longtime collaborators Robbie Lackritz (The Weather Station, Bahamas, Robbie Robertson) and Mocky (Jamie Lidell, Vulfpeck, Kelela). Blake Mills (Bob Dylan, Fiona Apple, Perfume Genius) and Joseph Lorge came in to mix, with Mills as a co-producer in the final stages.

Multitudes took shape soon after the birth of her daughter and sudden death of her father, a back-to-back convergence of life-altering events that left the Canadian singer/songwriter with “Nothing performative in me anymore.” As she cleansed her songwriting of any tendency to obscure unwanted truths, Feist slowly made her way toward a batch of songs rooted in a raw and potent realism which is touched with otherworldly beauty.

Largely written and workshopped during an intensely communal experimental show of the same name through 2021 and 2022, the songs on Multitudes developed in parallel with and were deeply influenced by the mutuality of the unconventional experience. The production, developed by Feist with legendary designer Rob Sinclair (David Byrne’s American Utopia, Peter Gabriel, Tame Impala) was formulated to bring people together as they re-emerged from lockdown while providing an outlet for connection between artist, art, and community.

Antwerp synthesist David Edren describes his latest solo collection in conceptual terms: a harmony of space and time, elements and environments, perception and impermanence. Conceived in the morass of 2020, he began envisioning a widescreen suite of electronic compositions connected to the hidden rhythms of what surrounds and affects us.

The 12 tracks of Relativiteit Van de Omgeving trace a chain of miniature terrariums, from misty meadows and moonlit gardens to cosmic vistas of asteroid showers. It’s music both subtle and symphonic, attuned to the sweeping planetary clockwork of water and wind, birds and insects, seeds scattered in soil forever being reborn: “skating the thin ice of ideas, like a heroic water strider.”

In April 2023, Tresor Records will unveil a new EP from DALO entitled "GUM". DALO, aka Nadia D'Alo, is one of the founders of the R.i.O label and half of the duo INIT. After several years of performing as INIT with Benedikt Frey, she had her solo live debut in Berlin in 2022. This record follows releases on labels such as ESP Institute and Warning. "GUM" showcases DALO's expert mastery of rising tension through analogue sound sources, as it swings in and remains with minimal changes and accentuation.
"Woodpecker" enters a tunnel of reverberant claps, moving in a potent exercise of deftly manipulated acid. "Wavehall" draws vocal smears across expansive, droning basses and 140bpm techno rhythms. In "Bachlash", she takes inspiration from events of Iranian and Afghan women revolting for their rights, expressing hope for the rebound of control after long political oppression. Electro beats are introduced underneath the full-frontal melodic acid, while processed spoken word samples bring a new focus.
DALO takes the rebounding control and strives forward into the unknown with "GUM", its segmented vocal samples playing a
captivating partnership with acidic slides. The EP closes with "Pilot," a digital bonus track that releases some of the tension built up throughout and propels the dancer towards transcendent shapes.

Known as ‘Mr. Guitar’, Chet was one of the greatest and most influential musicians in Country
Music. He was an RCA Nashville Producer from the late '50s through to the mid-70's,
masterminding sessions for Dolly Parton, Charley Pride, Waylon Jennings and Jim Reeves. Chet
moved to Nashville and became a session man, playing on records by the Everly Brothers, Elvis
Presley and others, while also performing as a solo artist on the Grand Ole Opry. An in-demand
figure at this point, Chet commenced his own recording career with an instrumental version of
Indian Love Call. Followed by Yankee Doodle Dixie, a showcase arrangement on which Chet
played the Bass strings and Treble strings simultaneously! An architect of the Nashville Sound, he
recorded an instrumental version of the Chordettes' hit Mr. Sandman, which provided him with his
first Country Music chart entry. His records began to cross over into Pop and he enjoyed Hot 100
success with the percussive Boo Boo Stick Beat, Teensville, One Mint Julep, Sleep Walk and Oh
Lonesome Me

Long before today's 'rebellious' pop idols, singers Frank Sinatra,
Dean Martin and Sammy Davis Jr. plus Actor Peter Lawford and
Comedian Joey Bishop had entered showbiz legend as the
genuinely hellraisin' Rate Pack. The handle proved a gift to
journalists chronicling the life and high times of the all-male quintet
whose leading lights were, without a doubt, three of the greatest
entertainers of the 20th Century. Captured on this 3LP compilation
album are some excellent musical memories performed at their best