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Hitting us with a double LP of sublime dance music lingering on the border of ambience, Interstate is the alter ego of DJ Swagger. Earlier this year, he graced Shall Not Fade's Time Is Now sub label in collaboration with DJ Aedidias for four feelgood UKG cuts - now returning for the second album in the Seasons Series, expect something a little different. Dominion Swing is his first LP under the Interstate moniker.

The four sides of vinyl hold their fair share of punchy kick drums and funky melodies, though across them is a blissed out ambient softness that comes to the forefront by the end. "Doublet Doureet" is a low end groover driven by skippy percs, the speedy bass melody chilled out with some lingering natural chords. "Second Mass" is futuristic and clean cut, tickling the ear with panning synth stabs and a powerful electro bassline that cuts through the track sharply, giving memories of the dancefloor while perfectly leading into "Habitat" - the sustained ambient shimmer that closes the A side.

Onto the reverse side, "This Rather Than That" and "Misty" are glitchy, playful evening music, "Misty" leaning into a fun organ ditty. The almost imperceptible bassline of "Two To Get Ready" hangs in the air giving it a dub atmosphere.

More genre exploration is to be found on the C side, from the pulsing but delicate house of "Appliance" to the tranquil guitar-lead journey of "Condone The Drama", ending with a return to blissful, oceanic ambience in "Bubblebath".

The closing side of Dominion Swing stays in this vein - blissed out haze is soaked into summer sundowner "Ascension" and its romantic melodies. "Stigma" is built on misty ambient pads but carries a persistent heartbeat rhythm, fading slowly into album closer "Yosemites" tropical field recordings and scattered drum hits.

Rippikoulu's Musta seremonia is both an international cult item and an integral part of the history of Svart Records as well - a reissue of the original 1993 tape was one of the earliest Svart releases back in 2010. Back then, this album was considered as one of the best kept secrets in the Finnish underground metal scene. Four years and one quickly sold out reissue later Rippikoulu's greatness is no longer a secret, and we are happy to bring Musta seremonia back on the market.
Rippikoulu began their musical endeavours back in the late eighties, and like so many of their contemporaries, evolved from primitive punk noise to death metal. However, while many bands played death metal with groovy riffing and overall headbanging attitude, Rippikoulu's choice of style was darker. Their downtuned metal is bleak and nearly unbearably heavy in its execution, dark and soul-searching in its themes, intertwining faster bursts of chaos with slow, doomy passages.
Rippikoulu released the Musta Seremonia demo album on tape in 1993 and then disappeared. They never gained much popularity in their time, but their legacy has steadily grown in time. The album has been carefully remastered from the original DAT master tape, cleaned up and amplified.

Rippikoulu's Musta seremonia is both an international cult item and an integral part of the history of Svart Records as well - a reissue of the original 1993 tape was one of the earliest Svart releases back in 2010. Back then, this album was considered as one of the best kept secrets in the Finnish underground metal scene. Four years and one quickly sold out reissue later Rippikoulu's greatness is no longer a secret, and we are happy to bring Musta seremonia back on the market.
Rippikoulu began their musical endeavours back in the late eighties, and like so many of their contemporaries, evolved from primitive punk noise to death metal. However, while many bands played death metal with groovy riffing and overall headbanging attitude, Rippikoulu's choice of style was darker. Their downtuned metal is bleak and nearly unbearably heavy in its execution, dark and soul-searching in its themes, intertwining faster bursts of chaos with slow, doomy passages.
Rippikoulu released the Musta Seremonia demo album on tape in 1993 and then disappeared. They never gained much popularity in their time, but their legacy has steadily grown in time. The album has been carefully remastered from the original DAT master tape, cleaned up and amplified.

Since making her debut with the 2011 album Weightless, singer/songwriter/multi-instrumentalist Becca Stevens has tested the limits of musical identity, mining everything from jazz to Irish folk to indie-rock in her striving for complete and authentic expression. In her latest musical endeavor—the five-track EP WONDERBLOOM and a soon-to-follow full-length of the same name—the North Carolina-bred, Brooklyn-based artist again defies all expectation, this time dreaming up a groove-heavy, dance-ready sound infused with elements of pop and funk and R&B. But despite its brighter textures and uptempo rhythms, WONDERBLOOM finds Stevens achieving a profound complexity in her lyrics, ultimately redefining what’s possible in creating music that elevates and edifies. Centered on the captivating vocal presence she’s showcased as a member of David Crosby’s Lighthouse Band, WONDERBLOOM telegraphs an unabashed joy that Stevens partly attributes to the project’s production. In a bold new turn for her musical career, Stevens co-produced and co-engineered WONDERBLOOM alongside Nic Hard (Snarky Puppy, Ghost-Note, The Church), overseeing every aspect of the recording and claiming a sense of agency that had long eluded her in the studio. “Nic and I were truly working as equals and trusting each other to get the job done, and it was an incredibly empowering experience for me,” she says. In another major departure, Stevens purposely brought a communal sensibility to the making of WONDERBLOOM —an undertaking that resulted in more than 40 musicians contributing to the album, including Vulfpeck guitarist Cory Wong, Jacob Collier, and all of her Lighthouse bandmates (i.e., keyboardist Michelle Willis, Snarky Puppy bandleader Michael League, and David Crosby himself).

The debut album of the singer-composer Rita Ray from Estonia packs powerful, warm vocals and crisp production to go with it. "Old Love Will Rust" contributes 8 soul-heavy cuts to the current scene: it's got that slower, classic R&B side of affairs, as well as an uptempo disco delight, that keeps things tight. While miss Ray herself has credits in almost all aspects of the LP, it's a certified Solid Gold Production, led by Martin Laksberg of Lexsoul Dancemachine. Blue-eyed soul hasn't sounded so strong in ages! Rita Ray is a small-town girl whose vocal chords are hardened by a decade in choir singing, spirit toughened by the city life and a foundation built in jazz studies. She's the first contemporary soul diva to rise from the post-Soviet state. Her soul-stirring shows have yet to leave a heart cold - she'll have you in her palm to deliver tender melodies, irony-filled lyrics, catchy riffs and disco-stomping sessions.

Berlin’s Philipp Priebe delivers the ‘Ectoplasmatic Friends’ EP via his Stólar imprint early December.
Since the launch of Philipp Priebe’s Stólar in March 2020, the label has set the tone for its sonic palette which leans towards emotive deep house, dubbed out techno and hypnotic electronica. So far the labels has stood as a platform for Priebe’s own material while welcoming remixes from the likes of Just Another Beat artists Kim Brown and
Osaka, Japan’s Metome. Here the story continues with a fresh EP pencilled for 12’’ release in December, again showcasing more of Priebe’s work with accompanying remixes courtesy of Tilman and Lifestyles.
The original mix of ‘Dial 7 For Ghost’ is up first, featuring a robust drum groove, swirling resonant licks and chanting voices before the latter stages ease in a warm, atmospheric chord sequences to carry out the composition. Fine regular Tilman follows next with his take on ‘Dial 7 For Ghosts’, taking things down a typically soul laden house direction from the German artist as he merges the original’s airy atmosphere and bumpy drums with vocal stabs and a classic house bass line.
Lifestyles interpretation of ‘Dial 7 For Ghosts’ follows on the b-side, employing amen breaks, tripped-out warbling effects on the original pad line and a dynamic feel. The second original, ‘An Image Slowly Fades’, then wraps up the EP with cinematic, melancholic synth textures, low-pitched ghostly vocals and low slung drums.

NewDad emerged from Galway at the beginning of last year, self-releasing their first string of songs. The ‘Waves’ EP is their debut EP and features the BBC 6Music A-list singles “I Don’t Recognise You” and “Blue”.

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."

‘Code of Conduct EP’ the second instalment from Obia Records takes the labels sound through a darker path. Sinful acid spirits are summoned to drive out the past period of solitary confinement in which we all linger. ‘Discharge’ the records main cut is built by a solid acid line and crispy clear drums that highlight the slow tempo. ‘Code of Conduct’ continues on a similar pattern but with adverse drum programming that shapes the feeling of inner conflict. ‘Ethic of Reciprocity’ completes the cycle of healing with a more rhythmic and uplifting vibe and warm pad. All tracks were made with an original Roland TB-303.

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

Der in Chicago ansässige Multi-Instrumentalist JODI, aka Nick Levine* (ex-Pinegrove) ist sanft und doch sehr kraftvoll in seinem Songwriting und veröffentlicht mit "Blue Heron", das JODI selbst als "queer country" bezeichnet, - eine Reihe von intimen und bemerkenswert präsenten Momenten, die an Größen wie Jason Molina, Mount Eerie, Duster und Julie Doiron erinnern. Für Levine ist JODI eine Art Alter Ego, eine Linse, durch die es Fragen stellen, Grenzen verschieben und aus der inneren Welt heraustreten kann. Das Album fängt Levines fortwährende Suche nach Bedeutung ein; eine Suche, bei der während des Schreib- und Aufnahmeprozesses ein paar zufällige Begegnungen mit einem Vogel - einem großen blauen Reiher - JODI lehrte, den Zufall des kreativen Ausdrucks zu umarmen und sich seiner Symbolik als Metapher für das Verständnis der eigenen Arbeit und der Welt hinzugeben. Indem JODI sich ganz der Symbolik verschrieb, ließ sich Levine einen großen blauen Reiher auf den Rücken tätowieren und tauchte in einen gefrorenen Teich in Chicago ein, um den Blaureiher für immer als Cover und Titel des Albums zu verewigen. Während "Blue Heron" an den Fäden der Bedeutung kratzt und versucht, der Welt einen Sinn zu geben, ist es ein Werk, das letztlich nur in der vollständigen Hingabe an Kräfte, die größer sind als man selbst, einen Abschluss findet. Es umarmt den Zufall, die Zufälligkeit und das Schicksal mit einer erhabenen Neugierde und findet schließlich einen Sinn in der Zufälligkeit von allem.

Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

Acid Dad is an American alternative-rock band composed of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer, Trevor Mustoe. Vaughn first started recording the band in his Bushwick, NY basement releasing singles “Brain Body” and their first EP “Let’s Plan a Robbery.” Appearing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018. During 2020, the band spent their time building a new studio space in Queens, NY, while continuing to independently produce all their own music, art and even building their own guitars. With a new space and vision, the band produced their second LP, “Take It From The Dead,” set to be co-released in June 2021 by Brooklyn’s Greenway Records and psych powerhouse LEVITATION’s label, The Reverberation Appreciation Society. “Take It From The Dead” features an array of different influences ranging from 90’s neo-psych, modern post-punk and 70’s rock-n-roll. Acid Dad has crafted a record that sounds new, yet feels nostalgic. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic. To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound. Take It From The Dead is out June 11th via Greenway Records / The Reverberation Appreciation Society on Deluxe LP & CD.

Cryovac Recordings recognizes and recruits artists with individualism and creativity to add to its list of collaborators. Cryovac has evolved into a project that is brought to life by craftsmen, musicians and visual artists that give their time and effort for a common cause. Cryovac aims to weave a thread between the varying sonic approaches that describe a direction techno must go. A. García tends the cryovac from conception to press; combining with Mike Kretsch to create a unique minimal sound. Mr. Joshooa has the tools and know how to describe his personality as his work. He swims the Detroit techno-sphere wearing many hats, and is always pushing techno forward by any means necessary. Cryovac is a vehicle for the rebel spirit; we hope you listen to it.
The Cat Lover E.P. starts with Mr. Joshooa taking his time weaving a slow funky grind. “Horse Hockey’ is the name of this 4/4 two step that gallops and bangs its way through cinematic synth rises, heroic harmony, and crunchy to smooth samples. Mr. Joshooa's mischievousness is on full display with his second jam “fuck around”. Tumbling samples form a bop that is maneuvered playfully through a hectic arrangement. Side 2 is a. garcia and Mike Kretsch’s domain. Their first effort minimally clicks and rings into a soulful melody; popping rhythm holds your body to terra firma so your mind can “spacetravel”. B2 ,”meerkat”, opens with a raw kick on top of marmic synth evolving into a dramatic techno drive turning and shaking along a desolate road

A 14 track single black vinyl LP compilation featuring many of the group’s most cherished hits including "Together", “Cowboy to Girl”, "(We’ll Be) United”, “I'll Always Love My Mama (Part 1 )”, “I Wanna Know Your Name”, “Mother and Child Reunion", "Slow Drag" & "Sad Girl". Marketing activity across all 6 of these titles.

This album is a sequel to trumpeter/bandleader Red Rodney’s ‘One For Bird’ recorded live at the Tivoli Gardens 1988. The band he brought from USA includes then up-and-coming young players: Dick Oats (alto saxophone), Garry Dial (piano), Jay Anderson (bass) and John Riley (drums), musicians that have become regular SteepleChase recording artists. Red Rodney (1927-1994) succeeded Miles Davis’ post in the Charlie Parker Quintet from 1949 to 51. This indelible experience enabled him to be an adviser on Clint Eastwood’s 1988 Golden Glove awarded film “Bird”, which featured Red’s character extensively. The publicity that came with the film seemed to have given a boost to his career. Red started to play professional at the age 15 but slowed down during early and mid- 70s due to his addiction. He made a successful come back later and toured the world with his band. “Rodney rockets through most of his solos here, ascending into high-register terrain with the audacity if youth. At 62, he plays with the ebullient spirit more typical of men half his age.” - Mark Stryker, Cadence

"Certain loud guitar rock records serve as brain erasers, a form of shock therapy zapping through aural inputs and (to mix metaphors) cleaning the proverbial clock. Lightning Bolt is one such thing." - LA Times Since their first moment it seems like they've been as electric as their name suggests. Lightning Bolt, their first album, captures that energy in a raw form. Famously lo-fi, this is the album that's been described as most feeling like being at one of their shows. It's difficult to listen and not want to jump with the crowd it feels like must be huddled around the amp producing an incredible wave of noise, astonishingly coming from just two musicians. You can hear the threads of their later work; use of repetition, a sense of grinding and building, noise melting to guitar solos. This album is loud, and the riffs repeated become mesmerizing as they warp slowly thru the songs. Long saught after, this record has not been available new on vinyl since it's first pressing. This edition includes songs which have never before been released on vinyl. A must have for any Lightning Bolt fan, or really anyone who loves noise.

Etruria Beat founder Luca Agnelli unveils his long-awaited debut album, ‘Source Drops’ – presenting a ten-track journey through techno and beyond.
A name at the centre of Italy’s rich house and techno scene for over a decade, Etruria Beat head-honcho Luca Agnelli continues to showcase his talent as a leading DJ, producer and label boss on the international stage. With releases via a host of globally renowned labels, plus standout remixes including Moby’s iconic ‘Porcelain’, the Tuscany native’s reputation has seen him become of the genre’s leading artists when combining energetic, entrancing productions throughout his powerful DJ sets. Yet, the core of his work has always found a perfect home on his own Etruria Beat imprint, with July now welcoming the arrival of his highly-anticipated debut album ‘Source Drops’ – an in-depth musical story presenting growth, development, self-reflection and raw emotions via a collection of ten tracks ranging from powerful peak-time anthems through to EBM influenced cuts and slower, hypnotic productions.
“This is the journey that traces my musical evolution of the last 20 years, discovering more conceptual, deeper musical territories; taking inspiration from what influenced me in my career as a DJ and from my continuous research without musical barriers. A journey always in equilibrium, at times dark and sharp, solar and fluid, that develops a different creative vision in each track trying to convey my most intimate and strongest emotions". – Luca Agnelli
Opening via the slow-blooming builds and atmospheric and waves of ‘Black Mirror’, before diving into the heady and menacing tones of ‘Mutant Circle’, the ten-track project quickly showcases a wide-reaching range of influences and nuances central to Agnelli’s development as an artist over his career. Productions such as ‘Balance’ and ‘Oxigen’ contrast with one another whilst bringing space to proceedings, guided by breaks-influenced percussion, minimal arrangements and warping leads, whilst the driving ‘Resistance’ harnesses classic techno tendencies to provide an energetic and lively, snaking journey through rich soundscapes.
Title cut ‘Source Drops’ brings that trademark Luca Agnelli energy to the heart of the project, merging scintillating melodies, acid-tinged stabs and icy hats to unveil a high-octane ride into the peak-time, whilst ‘Raw Surface’ keeps the tempo high with sweeping leads, oscillating basslines and resonant lasers. Next, ‘Omega’ spirals into an off- kilter ride through glitchy echoed vocals, crunchy percussion and rumbling low-ends, with the epic ‘Losing Control’ welcoming an infectious lead melody at its core guided by punchy kicks and slick drum licks. To close, the package veers to an eerie yet ethereal close as hazy, celestial vocal chants meet panning sirens and swooping electronics – punctuating an expansive and diverse offering from the Italian favourite and shaping up an impressive debut LP in the process.

The Jamaican reggae group The Wailing Souls was formed in 1965. They released their debut album Wild Suspense through Island Records in 1979, after their singles releases through Channel One became popular. Wild Suspense became a roots reggae stemple, renowned for its staggering musicianship. The album contains a mix of Studio One do-overs (such as “Row Fisherman” and “Feel the Spirit”), a handful of self-productions with added horns (“Bredda Gravalicious”, “Very Well”) and tunes by Rudolph “Garth” Dennis (“Slow Coach”) and George “Buddy” Hayes (“Wild Suspense”). Wild Suspense, overall, contains a reflective and thoughtful body of music, with beautiful harmony singing and majestic instrumentation.

Repress

Calibre's mighty wind has blown through the drum 'n' bass scene ever since his first tentative forays into production in 1998. As a trained musician and student of the genre, he quickly developed a unique sound that was warm, orchestral and hypnotic. Attracting the attention of tastemakers like Fabio, the Belfast-born producer and DJ was encouraged to work harder and faster on this liquid funk, resulting in what would become his signature sound. By the time his sophomore album, "Second Sun", came into orbit, Calibre was recognised as a shining star of the scene.

One of the few who had realised the potential of the album format, he crafted dubbed out house grooves, jazzier downtempo numbers, and introspective vocal-led tracks amongst the more trad tempos the largely dancefloor single-based genre was known for.

The album is awash with high points, from the anthemic "Drop It Down", to the more reflective MC tracks like "Timeout" and "Blink Of An Eye". Most producers would labour over such delicately balanced arrangements for weeks, but the fact that Calibre can knock such masterworks out in a matter of hours tells you how effortlessly and naturally his music comes to him.

"Working quickly gives me a unique and personal sound," says Calibre. "It also helps that I like to sample my own playing. Any type of instrument I could get my hands on, I'd record it live. Maybe quite badly, but I still did it. It helped create my own sound. If you can play an instrument, and you can play it with a little bit of passion and a little bit of love, it'll give you something back."

In the fourteen years that have passed (Second Sun dropped in October, 2005) Calibre has written more material than quite possibly anyone else in the scene, and this year shows no sign of him slowing up. Besides the usual wealth of remixes in the pipeline, and a forthcoming techno album on Craig Richards' label, a sixth Shelflife compilation of unreleased Calibre material will be dropping on his own Signature Records label. But for now, let's rewind the story, as the man himself takes us, track by track, through Second Sun.

custom cut full colour sleeve

In moments of calmness, you can feel her presence glowing.
Ajna slowly tingles your senses as she makes contact.
Moving elegantly to find her way into your vision.
Where she shares her energy through vivid lights.

Tkać means ’to weave’ in Polish. On this album, Swedish–Polish composer and musician Marta Forsberg delivers two compositions that capture her unique ability to transmit visions of light into glimmering sonic landscapes. To weave: crossing threads of dreams and light under and over each other.

LED AND LOVE SOUNDS is a live recording of a piece based on frozen and processed violin sounds. Weave and Dream was composed on an OP-1 synthesizer, and Forsberg’s use of LED light strips played a crucial role in the composition process.

This is tactile drone music, enriched by Nikos Veliotis' mixing work (MMMΔ) and the mastering by Mell Dettmer (collaborator of Eyvind Kang, SunnO))), Earth, Tim Hecker).

"The composer and sound artist now lives in Berlin, but is closely associated with the so-called Stockholm Drone Society around artists such as Kali Malone, Mats Erlandsson and Ellen Arkbro.

Having recently presented a composition for an installation with LED lights with her album New Love Music, now combines older material from very similar contexts: »LED AND LOVE SOUNDS« was performed in an art gallery and consists of processed violin sounds that Forsberg layers into haunting drones in front of the clearly audible soundscape of the room. »Weave and Dream« has been written for synthesiser and was part of an installation style that combined LED lights and fabrics with music.

More insistent in style and more intense in sound, the effect of »Weave and Dream« is similar to that of the first piece: Forsberg’s music enters into a dialogue with space and time that unfolds its full power even without the originally associated visual and physical experiences – very slowly and carefully, of course." (field notes)

Roma Zuckerman is in fact the trippiest artist on the label and he is back with a new solo release 'stage of loyalty'. Nobody ever knows what is on his mind when recording his next 13 minute long composition at home in Krasnoyarsk but his signature slow mo murkiness and Roma-like mental groove are unmistakable. 'Stage of loyalty' does just that but also contains minimalist techno tracks and a wonderful italo-esque sounding anthem ,,I like you" that could easily soundtrack a movie where everything is going to be just alright! Artwork by Daria Galeeva.

Fantas is the epic opening track on Caterina Barbieri’s acclaimed 2019 release Ecstatic Computation. The original Fantas laid out a magical path of patterns leading the listener on a journey into the sound itself. Fantas Variations maps out eight new potentials sprung from this initial path as constructed by a diverse mix of artists lending to a wide spectrum of new works extrapolated from the original work. For this project Barbieri invited friends and long time collaborators from a variety of musical backgrounds to create a more sustainable and inclusive landscape in terms of stylistic, geographical, gender and generational balance. The results are a diverse array of approaches and instrumentation which blur the boundaries between the acoustic and electronic.

Fantas Variations embraces a platform for mutual exchange and support between like-minded artists, where active and collective re-imagination is prioritised over the traditional model of remixes, which is often strategic, functional and more passive.

Longtime friend and collaborator Kali Malone rearranged Fantas to a slowed-down, austere and eerie version for two Organs. Evelyn Saylor created a piece for a vocal ensemble consisting of her, Lyra Pramuk, Stine Janvin and Annie Garlid, joining forces to express the choral, psychedelic and vitalistic nature of the piece. Barbieri’s former guitar professor at the Conservatory in Bologna, Walter Zanetti, composes Fantas for electric guitar, by translating every single gesture of the original electronic piece into a personal, nuanced and detailed interpretation. Bendik Giske’s reinterpretation for Saxophone and Voice captures the atmospheric essence of Fantas and its psychic meteorology. Longtime collaborator and along with Barbieri the other half of the outfit Punctum, Carlo Maria, resynthesizes Fantas for TR808 and MC202, bringing a more club-oriented dimension of the piece to life whilst unveiling the sonic continuum between rhythm and pitch through a sensitive timbral approach. Jay Mitta’s Singeli reinterpretation of Fantas transpires with pitched-up percussion and turbo-fast polyrhythmic patterns unleashing the frenetic, shifting, transformative matter within the piece to a higher plain of euphoric dance. Baseck’s variation is a rave fantasia, where the prismatic trance of the original is channeled into fierce, uncompromising hardcore, whilst Kara-Lis Coverdale’s take is a phantasmagoria for piano that gently, yet inexorably, captures the relentlessness chimerical qualities of the original, unveiling its spectral backbone.

Evelyn Saylor (feat. Lyra Pramuk, Annie Garlid & Stine Janvin) - Fantas Variation for Voices (7’38’’)
Composed by Evelyn Saylor. Performed by Evelyn Saylor, Lyra Pramuk, Stine Janvin and Annie Garlid. Recording, mix and additional production by Bridget Ferrill at Real Surreal Studio, Berlin 2021.

Bendik Giske - Fantas for Saxophone and Voice (7'31'')
Adapted and performed by Bendik Giske. Recorded, mixed, and produced by Bendik Giske in Funkhaus, Berlin 2020.

Kali Malone - Fantas for two Organs (10'21'')
Arranged for The Utopa Baroque Organ, The Sauer Organ and tuned sine waves. Recorded by Benny Nilsen at Orgelpark, Amsterdam 2020.

Walter Zanetti - Fantas for Electric Guitar (7'27'')
Recorded by Walter Zanetti, Bologna 2020.

Jay Mitta - Singeli Fantas (12'03'')
Recorded by Jay Mitta in Sisso Studios, Dar Es Salaam 2020.

Baseck - Fantas Hardcore (4'44'')
Mixed by Anthony Baldino, Los Angeles 2020.

Carlo Maria - Fantas resynthesized for 808 and 202 (4'29'')
Recorded by Carlo Maria, Milano 2020.

Kara-Lis Coverdale - Fantas Morbida (3'04'')
Performed, recorded and mixed at The Shop in Valens, Ontario by Kara-Lis Coverdale, January 2021. Engineering assistance from Robert Coverdale and Adam Feingold.

Dublin's Splitradix delivers an EP of intense and melancholic acid / braindance with plenty of ''light in darkness'' to quote Yellow Magic Orchestra. Opener Laplace Formal is a moody, hyper melodic piece for a dreamy dance floor. The oddly titled second track, The Dry Canal, is the centerpiece of the EP. Dry, deep and stomping acid taking you through a tunnel of sound - the two dark droney melody lines slowly but surely turn the piece into something truly epic and unforgettable... Opening the flipside, Empty Sea 1000 is a slow, lazy acid cut from another dimension, very nice! Lucan 303 Distribution Service is heavy on the kick. Basic at first, it later turns into a wonderfully melodic Rephlex-like cut. Last one, Laplace Formal (Navs' No Jacket Required Remix) is a laidback and more euphoric version of the EP's opening track.

Legendary artist Isotonik steps back to the front with this HUGE ep of classic rave sounds. Hitting the slower, piano led and summery vibe had always been his strong point, and it remains so with these three future classics, each containing more soul and style than the majority of rave releases from then or now.

• With more than 60 MILLION STREAMS across his catalogue listened to by fans all around the world, ‘…TO BE CONTINUED’
is the best ‘greatest hits’ album that you’ve never heard!
• This 12-track Limited Edition Vinyl LP collection, with a brand new floorfiller, features his most popular tracks and fans’
favourites, and this is his first Physical release album to celebrate, LE FLEX has signed 500 prints for this Limited Edition.
• Although LE FLEX clearly states that “I just make Pop music”, his 6 EPs and 6 Studio albums are nothing short of serious and
brilliantly creative blends of nudisco, poolside vibes and slow-jams but retaining the essence of his familiar ‘80s
synthpop/dance-based infusions. The accompanying videos are purely tongue-in-cheek, with more than a smattering of
self-deprecation, as you will see on his dedicated YouTube channel.
• Judging by the comments from long-established fans and music lovers from South America to Australia, via the UK, through
Europe and the Far East, discovering LE FLEX for the first time, they are quick to state that his vocal inflections share more
than a passing resemblance to George Michael, an icon about whom LE FLEX modestly says, “I’m not fit to shine his shoes”.
• LE FLEX is a renowned Producer with his popularity rising, having worked with Jaki Graham, Lemar and Ben Macklin and
was commissioned to produce new Donna Summer remixes in 2020.
• Released on heavyweight 180g Clear Vinyl, if you fancy summery escapism, there aren’t many better ways than doing so
than with LE FLEX

Blue Vinyl
Lynch protégé and Twin Peaks sound designer Dean Hurley coaxes an incredible puzzlebox of atmospheres and mood pieces on this killer contribution to our Documenting Sound series, now remastered and pressed on vinyl for what is, perhaps unsurprisingly, the most cinematic and neon-lit instalment in the series. Like a
smudged and overdubbed copy of the BoC Maxima tape, with added iridescence.
Across almost 40 minutes we transition from aerosolised synths to romantic chromatics, thru to Nurse WIth Wound-style severed rhythms and fading glimmers of hope, ‘Concrete Feather’ epitomises Dean Hurley’s prized knack for nuanced instrumental story-telling in the finest and most engrossing style we could imagine. Against the backdrop of the Hollywood film industry that has primed us for as long as we can all remember, the music spans a panorama of lush, mirage-like choral pads and starry flickers thru to gloaming
nightmare sequences and screwed drums, while touching on some of the dankest synth tones this side of his ‘Anthology Resource’ volumes or indeed his soundtrack work for Twin Peaks: The Return. It’s full of dread and a slowly unfolding sense of tragedy.
“Having a regular practice of recording is probably the single most important element to my craft. It’s a way of dropping indiscriminate mile markers while constantly moving forward in time without ability to pause.
Over the years, working for David Lynch taught me a great deal about this and the concept and importance of experimentation. I’ve found myself clinging to those lessons during this time and using them as tools for both productivity and balance. His notion of experimentation is a simple one, yet incredibly profound. It was one of the very first words I heard him say during our initial meeting, and I never stopped hearing the term daily over the subsequent 13 years working together. An ‘experiment’ can provide a legitimate mental back-entrance into the act of creation. It can position an approach toward discovery as opposed to effort, and eliminate the thought that one needs to ‘will’ something into existence. It also aids in calming the judgmental
side of a brain from stepping on/interfering with expression…after all, experiments are not about success or failure, they’re simply about learning. In the Lynch school of thought, multiple experiments then become firewood…and with firewood, one can not only build but actually sustain a fire…even turn it into a multipleacre blaze or more.
Dean Hurley

The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest.
The subsequent recording was lathe-cut on to a 7-inch, then “scratched and abused to add texture and color,” from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres.
Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for ‘bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where “shadows are amplified and bright spots dimmed.”

This is the very first original soundtrack of our new Japanese Anime Collection!

MEGALOBOX is the tribute animation to the legendary Ashita no Joe, produced by TMS Entertainment and broadcasted worldwide since 2018 with a dazzling success.

MEGALOBOX Original Soundtrack is produced by mabanua (Manabu Yamaguchi) and features several renowned artists such as DJ TAKU, KOMA-CHI or Michael Kaneko. It was acclaimed by the critics for its unforgettable rhythm and melodies, inspired by a broad variety of genres such as hip hop, black music and rap.

This soundtrack is now entirely remastered for the sumptuous vinyl format!

The Megalobox Vinyl Edition features:

- The illustrated gatefold with Joe and Yuri

- 2xLP black color, housed in two illustrated sleeves

- A 12-page booklet with comments from the composer and the team (Yo Moriyama, Keiichirô Miyoshi) and the English translated lyrics from the songs

'The inventive record producer and vocalist Lee 'Scratch' Perry was involved in every musical shift of note in his native Jamaica, from the rhythm and blues that pre-dated the arrival of ska in the early 1960s through the slower and more spacious rocksteady style that appeared middecade and, of course, the frenetic sound of reggae, which he helped to birth as an independent producer during the late 1960s. Operating as 'The Upsetter' from his base in a downtown Kingston record shop, Perry found his greatest success with instrumental music during this phase, the organ and saxophone re-castings of standard vocal issues proving exceptionally popular overseas.

'Scratch The Upsetter Again surfaced early in 1970 as a largely instrumental set, but with dreamy reverb a hefty feature and keyboards veering away from standard organ motifs. Dave Barker, who was soon to hit the pop charts as part of Dave & Ansel Collins, tackles The Shirelles' 'Will You Still Love Me' in soul reggae mode, only for Perry to shift things towards the emerging dub spectrum with 'Take One.'

'As Perry inched ever closer to the dub experimentation he would turn into an art form at his own Black Ark studio later in the decade, Scratch The Upsetter Again shows him moving away from the standard approaches of his competitors in his quest to test the very limits of recorded sound. And reggae was all the richer for it.'
—David Katz (excerpt from the liner notes)

Re-mastering by: Cicely Baston at Alchemy/Air Mastering, London

Electric blues guitarist Melvin Taylor had been sporadically recording solo albums for 20 years when Dirty Pool arrived — and was somehow just beginning to find fame. Already a hit in Europe, it had taken a steady run of performing in Chicago’s famed blues clubs to slowly earn Taylor a well-deserved reputation as an equal talent among the giants before him, such as Otis Rush, Albert King and Stevie Ray Vaughan.

While early records like Melvin Taylor Plays the Blues For You show off an equally amazing jazz side, Taylor traded away his Wes Montgomery-inspired runs for more Luther Allison/Jimi Hendrix attacks with the formation of the trio Melvin Taylor and the Slack Band in the mid ’90’s.

The title song of the second album by that outfit, “Dirty Pool,” is actually more the balls-to-the-wall, no-compromise, hard-rockin’ electric Texas blues of Vaughan and Johnny Winter than the sweet Chicago soul of Buddy Guy.

Indeed, three tracks on this 1997 release, including “Dirty Pool,” were SRV tunes. Other standards, like “Kansas City” and “Floodin’ in California” also have more of a Lone Star State approach to them. But the Jackson, Miss.-born Taylor’s guitar is cleaner than his forebears and technically, he even surpasses them, yet the anger and sorrow of the blues is readily evident in his playing.

This rare combination of qualities really comes out in a slow blues tune like his solo in “Dirty Pool,” which after repeated listens, still makes me head shake in disbelief when I hear it.

“Too Sorry” is a good example of how well Taylor fares when he treads in Jimi Hendrix territory, whereas his rhythm work is the best I’ve heard from a lead guitarist since Vaughan; listen to “I Ain’t Superstitious,” “Born Under A Bad Sign” and the funky “Telephone Song” for your proof.

It also helps that Taylor’s drummer James Knowles is well in synch with him, while Ethan Farmer completely owns the low end of the sound. Farmer’s peppering bass lines in and “Floodin’ in California” is the textbook way electric blues bass should be. Overall, a tight little band.

Taylor’s vocals certainly won’t draw any comparisons to the Wide-Brimmed–Hatted One but he holds his own just fine until it’s cuttin’ time. This is right at the top of my list of best blues guitar playing on record over the last couple of decades. If you decide to give this one a listen, prepare to be blown away.

Nervous Horizon is happy to present 'Sogno EP', the new project by label co-owner Guglielmo Barzacchini, aka TSVI. Embarking on a journey inside the mind's most deep and intricate illusions and hallucinations, 'Sogno EP' is an exploration into various different types of dream states and altered states of consciousness. Characterised by intricate rhythms, slower beats inspired by techno, dancehall and little to no melodies, the record features Italian ASMR and spoken word to enhance the hazy and hypnotic mood permeating throughout. Taking a close look at his own states of unconsciousness and channelling them into his musical creation, TSVI dives into the abstract and eerie worlds of the subconscious with a project inspired by surreal dreamscapes, trance states and the concept of shadow work, in which each track explores a different aspect of the depth of the human psyche.

Los Angeles based Alt-rock quartet THE INTERRUPTERS are releasing their first-ever live album "Live In Tokyo!" with a set list that captures the live power that made them one of the busiest touring bands in the world, with fan favorite songs from each of the bands three albums including hit tracks such as "She's Kerosene," "Gave You Everything," "Take Back The Power" and "Bad Guy." Their greatest hits performed in the greatest way you can see THE INTERRUPTERS: LIVE! The past three years have been pivotal for THE INTERRUPTERS. The band toured the world in support of their Fight the Good Fight (2018) album, including their first ever tour stop in Japan, where they captured this energetic live performance for their first live album "Live In Tokyo!" This recording captures the band that is known for their powerful live performances which features the band's most popular tracks from their three Hellcat Records albums. Not to mention, an onslaught of successful touring worldwide including many sold out headlining dates as well as appearances at Download Festival, Slam Dunk and support runs with Green Day and Rancid throughout Europe and the UK. The band shows no signs of slowing down and have recently announced tour dates next year with the Dropkick Murphys across Europe and the UK.

Shifted offers the latest distillation of his trademark sound.

Following on from the recent release of “The Dirt On Our Hands” – Guy Brewer’s fourth studio album and the first to arrive on his own Avian imprint, “Constant Blue Light” – another full length, explores new avenues in caustic minimalism.

Eschewing the booming effervescence of his own more plosive dance floor material – Shifted takes a no less nuanced, but decidedly more introspective angle on this new LP. At the centre of Brewer’s practice as an artist, there has always been a sense of dedication to the refinement of a singular idea. In some ways “Constant Blue Light” represents a move closer to the apex of this approach.

Opener “Slowly Counting Backwards” creates the framework for the record – reduced and meditative, owing somewhat to previous work, but still crisper and more precise. “Natural Elevation” riffs on airy patches that hiss and bend while “The Weight of It” transmits an unsettling hysteria with flanging leads and untethered rhythmic components. On the B side, the ominous dirge of “Soft Palate” brings a kind of uncanny energy to proceedings before “Into Your Ocean” utilises exquisite FM tones to create a captivating sonic montage. “Several Instances” hinges on dense low end and scattering white noise, before giving way to the machinations of “Clotting Time”. Closing piece “This I Know” offers a stunning, crystalline finish to the LP – upping the ante in its final minutes before giving way to a hiss of delay trails.

A continued exploration from a focused and diligent artist that provides yet another fully formed and beautifully articulated component to his own discography and that of the Avian label.

Zagreb-based Legalize Lambada are back with a four track jaunt taking in slow street trance, disco reggae, pumping house and lovers disco.

For his third full-length album, Jacques Renault explores his craft through the format of the classic late-night radio megamix. It's a tour de force that finds him blending his quick-cutting DJ sensibilities with his crate-digging, drum-chopping disco-chemist bonafides into one wham-bam party of pastiche. This is Renault as we know him—but at hyperspeed, tearing through twenty- three tracks in under half an hour. And while it's a head rush of his trademark funky drums, sassy horns, playful synths, it's arranged as an album, with songwriting and structure at the fore. Imagine it as a flip on the script for Renault's most loved club 12-inches of the past, which luxuriate in long-form, stretched-out grooves that burn for hours, fills that ride for days. Instead of on pulling a thread for six, seven minutes, he romps around in a bouncy ball pit, plucking out whatever captures his imagination for a moment, then diving back in to discover another buried
nugget. It's Jacques Renault as we've always known him, but this time through a suite of bite-size vignettes instead of slow-burn grooves.

Our second record from Sweden's Sune is a proper full-length. Ten tracks, forty- five minutes—classic LP!

And it's arranged as such, too; it tells a story through tightly-arranged chapters. Early on in the journey, they're bouncy and whimsically animated, pillowy white clouds slowly drifting across an azure sky. As we get more invested, the tempo rises and the warm, squishy house beats feel as though they can't always quite keep up. A delight. To conclude the A-side, Sune brings a twinkly ballad, a late- night Joe Jackson piano serenade with instrumental hip-hop drums keeping everything in place.

The other side only wants to party; it begins with a wiggly bass lick that's got a wicked charm to it, and continues to explore the unusual jazz-club-meets- sweaty-warehouse space that Sune's compositions are so often possessed with. The B concludes as the A did, with a lilting, hopeful, and heartfelt send-off. Everything is fine? Everything is fine.
Everything is fine.

Limited edition gold vinyl edition.
Hamburg's funk adventurers at the top of their game with special guests Ice-T, Charlie Funk, Peter Thomas, Gizelle Smith, Lee Fields, JSwiss & the Mocambo Kidz.

Original press release note (2019):
Carrying blistering funk lines in their fingers and worldly influences in their hearts, the unique and distinctive Mocambo sound is not one to be confused with retro bands trying to recapture an era. Eschewing traditional recording methods, this DIY crew are committed to driving forwards, and 2066 sees them at the height of their powers, broadcasting a call for unity.
After reaching new audiences worldwide and earning critical praise for their two long players on Brooklyn's Big Crown Records in their tropical guise as Bacao Rhythm & Steel Band, the band have reassembled and refocused in their original form, the workhorses behind dozens of 45s on the Mocambo label and beyond. Crossing generations, this album introduces some of the world's youngest funk talent to step up and rub shoulders with soul and rap legends, soul sisters, an elder statesman composer/arranger and a brand new emerging artist out of New York.
As with all Mocambo releases, the two sides of the record have been meticulously sequenced by the
band. Side A welcomes us aboard with joyous instrumental stomper Preaching To The Choir, and a call to build bridges from Mocambo chanteuse and percussionist Nichola Richards, duetting with emerging rap talent, New York MC JSwiss. B-girls and b-boys are called to the dancefloor as Superstrada and Concrete Stardust commence, all buzzing synth lines and relentless drums. New Jersey legend and Big Crown associate Mr Lee Fields is guest of honour for Where Do We Go From Here before a horn workout brings us to a close with Macumba. It's time for a breather.
The B side kicks off with the grand return of the Golden Girl of Funk, Gizelle Smith, a sister who's been busy taking on the world. Composer and presenter Peter Thomas narrates a Return To Space to mark the centenary of the debut of his score to sci-fi show Space Patrol, which first broadcast in 1966. We're back down to Earth and the mean streets for the furious drums and car chase workout of Golden Shadow. Today slows down the pace for a reflective ballad with Nichola front and centre - and here's the next generation: the Mocambo Kidz sing along to their parents' instrumentation for Here We Go, a new kids' block party anthem... with no sleep 'til bedtime. The album closer makes it clear that the Mocambos are nowhere near powering down as Ice T and Charlie F unk bring their A-game for an old school attack which, since you're up bouncing anyway, gives you no excuse not to flip the LP and drop the needle right back on to Side A. Onwards!
A summation of their journey so far and a celebration in anticipation of what's to come, the album is set
to take its place in a legacy of open minded, organically recorded music, showering listeners with the crew's maze of tantalising sounds pulled from funk, afro, hip hop with cinematic composition and storytelling.