Buscar:still life

'Say What's On Your Mind' by Rikki Aaron was the song that brought Rikki to prominence within the rare soul scene. We decided to allow UK based Ourra to give it some new life with a sprinkling of 80s boogie vibes. On the flip we've got a very raw stripped back version of the song. The song itself was originally written by Rikki whilst still at school in the 70s and is a timeless piece of classic soul music.

RICO PUESTEL debuts on his TIME IN THE SPECIAL PRACTICE OF RELATIVITY label with a mind-boggling journey of 41 minutes — split in two parts to fit on vinyl! HEPTAKAIDEKA is what it won't be and will be what it never was: Something from in-between worlds, a place beyond far beyond, where time dissolves into relativity...

Every modern electronic music presenter should be able to find joyful, elevated, convulsing or simply useful moments within the extent of this track that is designed to have its inherent connecting factors and starting points in place for every DJ set — letting it be just a few minutes, well-placed groove looping or bigger amounts of its entirety for diving into a long night, bringing it to an end or making it standing out in-between.

Starting off with a hazy half-grasp hint of what's to come, a mysteriously pervasive bionic loop emerges, slowly coalescing with a bone-dry groove on the rise. Taking up a first quadrant of the track, already gnawing into the long-term memory, it manages to gradually establish itself along the pathway while the "rhythmatics" endure some subtle layer-shifting with occult-like strings come sliding in from somewhere unknown like an admonitory subtext.

Being halfway through (and all the way in), everything smoothly crumbles down to its basic framework, still shaking off its own reminiscences while foregone vestiges almost perilously try to reassemble themselves. All of that leading to a clearly unforeseen yet fortunate drift into a 1980's-like synth peak time section after about 27 minutes being in that track, finally cherishing an evolving emotional felicity and the climax of its own being that tends to feel like an overarching salvation.

As everything being eventually finite, the track starts to bring to mind where it came from by assuredly falling back into a story told before with the well-established bionic loop that once used to run free, sounding somehow different and more tamed now. Ending with dignity, the consistently resurfaced admonitory strings lead the way to its conclusion and possibly new beginnings, solely leaving behind the heartbeat-like booming that carried it all, now fading away...

Coming into existence during a series of multiple productions of exuberant proportions with Rico making the studio his citadel-like stronghold, this is an extensive story of desires, instincts, pride, fall, mirth, solicitude, tension, détente and basically life itself while subtly yet versatilely entertaining on a dodgy yet accessible level throughout the wingspread of Techno, House, Minimal, Dub, Electronica and Ambient influences.

The CD version not only brings you the title track in the guise of its non-split completeness but eminently churns out the extra drumming dub treat DEKAEPTA for a pleasurable groove-delight as well as the trippy bonus beauty VOSEM' that transits as a precious component of infinity.

Even if you don't know her name - you will know her voice. It's 'Melbourne's High Priestess Of Soul' Kylie Auldist's unmistakable vocals on the 2016 global dance hit 'This Girl' by Kungs vs Cookin' on 3 Burners - the track that not only topped almost every pop chart across the planet, featured in many TV shows, adverts and films and social media memes, and has achieved over 1 billion streams & climbing. But of course, that's far from the whole story. Kylie established her enviable reputation as the featured vocalist in the awesome Australian outfits The Bamboos, and Cookin' On 3 Burners, and her fantastically well received solo albums for Tru Thoughts; 'Just Say' (2008), 'Made of Stone' (2009) and 'Still Life' (2012) and 'Family Tree' Freestyle Records (2016). Kylie's brand new album - 'This Is What Happiness Looks Like', her first for Greg Boraman's brand new label Soul Bank Music, further develops the musical approach she began on it's predecessor 'Family Tree' - and is very firmly entrenched on an electro boogie tip, rooted deep in the New York club scene of the early 80's. The opening track 'Everythink' sets out that 1980's electro-boogie sound and then fuses it with the song writing of a classic Wham or Hall & Oates tune - it has an infectious, slinky Moog synth bass line that will lodge itself in people's minds. Kylie's simply stunning vocal performance on this breezy and summery tune will surely make it a future classic. Producers Warren Hunter and Lewis Moody skills in the studio have brought forth many musical highlights on this album, but special mention has to be made for Is It Fun? This is where a brilliant and incredibly infectious composition is further enhanced by some top notch instrumentalists, perfectly executed production, a simply beautiful vocal performance, and results in what should surely end up being an anthemic, brand new 'soul weekender' style classic. Soul boys & girls, funkateers and disco fans won't be able to stop themselves falling deeply for this new collection of tunes, because it's not only a highly original take on a classic sound, but it was conceived, performed and recorded with a genuine passion and love, as Kylie says "Some albums are written fast, some take a long time, some albums experience setbacks, become beset by creative blocks and personal issues, and can generally be a whole lot of hard work which makes you question why you even bothered to start it in the first place - this was not one of those albums - hence the title 'This Is What Happiness Looks Like'!

LTM presents a limited double vinyl gatefold edition (500 copies only) of B9, the definitive collection of cold wave and minimal electronica from Belgium, recorded between 1979 and 1983.
Originally released on Sandwich Records in May 1981, B9 featured 10 exclusive tracks by luminaries such as Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese, the latter the first recording project by Daniel Bressanutti of Front 242. Now digitally remastered, with 10 additional tracks on the second disc, this new deluxe vinyl edition also features Front 242, The Names, Marine, Siglo XX, The Neon Judgement, Berntholer, Allez Allez, Isolation Ward and more.
Cover op-art by Victor Vasarely. Design by Benoît Hennebert, based on a poster for The First Belgian Rhythm Box Contest (1981). Liner notes by James Nice. The existing CD version of B9 is also still available (LTMCD 2486) 

From their early singles and their 1993 Mercury Music Prize winning debut album to their break up in 2003 , Suede were a fixture in the single and album charts , and in the music press too . They scored twenty hit singles and five hit albums (three of which debuted at # 1), and a double album of B sides even charted at # 9.

The band reformed for a one off charity concert in 2010 and decided to make it permanent they have released three new studio albums since 2013 .

Compiled by the band , this comprehensive six LP set features the huge 90s hits like “Metal Mickey”, “Animal Nitrate”, “Stay Together”, “Trash, “Filmstar”, “Lazy”, “Beautiful Ones”, “Saturday Night”, “Electricity”, “She’s In Fashion”, “Everything Will Flow” and “Can’t Get Enough”Enough”, along with favourite B sides like “To The Birds”, “My Insatiable One” and “Killing Of A Flashboy”Flashboy”. Also featured are classic album tracks like “The Asphalt World” and “He’s Gone”. The collection brings the story up to date with sixteen tracks from the three recent albums , including “Life Is Golden”, “It Starts And Ends With You” and “ Outsiders”.

The six LPs are pressed on 180 gram white vinyl and are housed in inner sleeves featuring all the lyrics as well as photos of dozens and dozens of items of Suede memorabilia and promotional items , all lent by fans.

“Joe McPhee is a legend of modern music, which from the release of the classic "Nation Time" album almost 50 years ago has had an incredibly diverse career that's spanned a wide range of expressions, from jazz and improvised music to experimental and electronic free music. McPhee's life in music could basically be read as a map of leftfield music of our time, but after all these years he refuses to stand still or lock back with any sense of nostalgia.

After 30 years of making electronic music Lasse Marhaug is now synonymous with Norwegian noise music, with hundreds of releases and countless collaborations and projects to his name, including music for film, theatre and dance. In the last ten years he has also made a name as a producer for other artists, including Jenny Hval and Okkyung Lee.

McPhee and Marhaug has known each other since the early 2000s, but only in 2015 did they find time to record together as a duo. The result is "Harmonia Macrocosmica", an album that the two considers a science fiction inspired work. For McPhee it can be read in the linage of his 70s work with John Snyder, as well as collaborations with Pauline Oliveros and the Nihilist Spams Band. Marhaug of course is well versed in this field, but McPhee's sax and voice puts his electronics in a whole new perspective. The pair also found inspiration in early electronic music and vintage science fiction films, with McPhee describing going to the cinema in the 50s as a kid to see "Forbidden Planet" and being blown away by its electronic score as the start of a lifelong love of cosmic music.”

Hypnoskull is part of the global anti-music conspiracy networkTM (since 1992). Hypnoskull was created in 1992 as a solo project in order to experiment in the area of electronic noise combined with rhythmical structures. In the first years of its existence, Hypnoskull was releasing cassettes and tracks on international labels in the so-called cassette network, a widely spread network of independent and experimental musicians and artists who expressed themselves throughout limited tape releases often including artworks, ideas, texts. In 1998, hypnoskull signed to the German label ant-zen and up to today he is still releasing his albums on this highly influential record label. That is not a coincidence: ant-zen stands for ‘anti-zensur’ (anti-censorship), one of the main starting points of the provocative hypnoskull project. Patrick Stevens does not limit himself to just producing music as such, albums always include a severe message, a thought-provoking underlying concept text, questions. The main philosophy: ‘the dance floors, the clubs, the festivals,… are staged warzones with a different set of rules – a therapeutic zone where hidden anger and even aggression of both the artists as well as the spectators can be released in a proper, human way. Music as a means to open up the deepest anger inside human beings, letting it out in a way which is not harmful to others. A strange symbiosis between the two worlds Patrick Stevens is a part of: the techno and the industrial scene. Techno being a genre promoting a peaceful yet hedonistic way of life, industrial on the other hand being a highly nihilistic, philosophic but pitch black reflection on society. The mix of both musical as well as content wise elements of these genres result in what hypnoskull is all about. Added to this an explosive mixture of post-war and contemporary western subversive philosophy – in a rather impulsive manner – makes the project what it is today, after 30 years of existence.

Truth is stranger than fiction they say, 2020 has proven it. This is not the year we asked for, but it's the year we received. Remarkably, even as clubs and social events across the world shuttered, the spirit of Techno remained alive in living rooms, bedrooms, and basements planet-wide. We hope you still draw inspiration, and excitement in the culture we've collectively nurtured for so many years. Before long we will see each other again, hug and kiss one another, and reconnect under more auspicious stars. For now, we wait. Luckily, we have new music for you to pass the time. We present our latest vinyl 12” record release: 'Life Under Lockdown', featuring tracks by Kessell (1/2 of the legendary Spanish duo, Exium), Joton (founder of Newrhythmic Rec.), HD Substance (co-founder of Sub_tl, and teacher at the Bass Valley), and JX-216 (co-founder of From 0-1). Modern, syncopated Techno for the new world.

These two pivotal figures, who have stood at the forefront of drum & bass for over two decades, have now teamed up with an array of globally respected producers including Calibre, Roni Size, Nu:Tone, S.P.Y, DJ Zinc, Chimpo and DJ Marky, to create an uncharted 16-track LP. Following on from the success of the pair's first single 'Fix It All (feat. London Elektricity)', sit back and get ready to embark on the lyrical journey of a lifetime.

DRS first came across Dynamite during his time in Roni Size's Bristol collective Reprazent, the winners of the 1997 Mercury Prize 'Album Of The Year', now showing full circle movements in 2020. 'Playing In The Dark' pays respect to this collaboration and the combination of styles which is signalled so clearly throughout DRS and Dynamite's sound. As Dynamite explains that "the producers brought their pallets" for himself and DRS "to paint on", the duo were able to convey their message, history and wisdom in one of the most boundary pushing
projects that drum & bass has seen.

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

Albert Ayler’s 1969 album New Grass has been misunderstood from the day of its release. The album fi nds Ayler experimenting with soul music and digging back into his R&B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with the avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that New Grass is nothing like his albums before — that it is of “a different dimension of his life” — in the album opener “Message from Albert.”

New Grass deserves reconsideration, if not for the heavy grooves and surprising arrangements, then for its bravery in challenging norms of the time; by the ‘60s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own. At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music’s potential freedoms. The album has gone on to infl uence generations of Jazz, R&B, Funk, Hip Hop, Post Punk, No Wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic
Youth and Mark E. Smith.

Third Man Records can’t recommend this record highly enough. We are confi dent that it won’t take but one listen for you to understand New Grass is an undeniable healing force

Here is the highly anticipated sixth volume of the well received electronic compilation series from the relaunched 1980's color tapes label. As with the other volumes you can find great examples of cold wave, minimal wave and synth electronics and pro to EDM made by obscure British bands in the 1980's such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord and Mystery Plane

"Up there with V-O-D selections, the Color Tapes series so far has provided invaluable insight to hidden or much lesser-known currents of the ‘80s cassette subculture which gave birth to myriad artists, styles and industry conventions whose influence can still be felt over 30 years later. " - Boomkat

“Electronic work that’s way different from mainstream pop of the period - often forgedout of the same instrumentation as the hits - but in a stripped down way - with lots of dark and moody corners!” Dusty Groove

“Evil Synths and evil beats” - Norman Records

“Gary Ramon’s re-born Color Tapes imprint is every bit as essential as it’s Minimal Wave and electro-focused predecessors” - Juno

Limited edition of 500 copies comes with poster insert

Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation.

Nightports is about amplifying the characteristics of the musician – celebrating what’s particular about them, finding sounds that nobody else can make, constructing a complex sonic weave that, however radical the transformations, still bears the watermarks of its origin.



“Within the depths of the drum takes, we found hidden melodies, chords, structures and bass lines which we distilled and exaggerated to realise this album,” Slater explains. “On the one hand, this album is fully improvised in that all drum performances were spontaneous, intuitive and responsive; however, they were then subjected to editing and manipulation to arrive at a sound that is neither purely improvised nor constructed.”



Nightports w/ Betamax will be released on CD, digital and limited edition vinyl LP. As with the prev-

ious album, the vinyl is packaged in an intricate die-cut sleeve, designed by Split.



Recorded in one day in February 2018 with The Comet Is Coming’s Betamax at Malcolm Catto’s Qu-

atermass Sound Lab studio.



The Comet Is Coming continue their stratospheric trajectory, this record follows 2019’s Trust In The Lifeforce of the Deep Mystery.

2x12"

Parisian label Another Moon are pleased to announce the imminent release of the second collaborative album by Scott Monteith aka Deadbeat and Paul St Hilaire aka Tikiman entitled 4 Quarters of Love and Modern Lash. When asked about about the album's motivations and production process, Monteith had the following to say: “I first heard Paul's voice back in 1996 when I stumbled upon the first Burial Mix 10 inch in a local shop, and it would be no exaggeration to say it has echoed in my mind ever since. We began working together in 2008, and it's fair to say the experience of performing and learning from him has left an indelible mark on my artistic process and my outlook on life in general. He is possessed of a truly electrifying spirit. I’ve had a folder on my hard drive called “For Tiki” for 14 years now, for those more often than not late night studio moments when I stumble upon a rhythmic or musical phrase and hear that unmistakable voice bubbling up in my mind. When that folder fills up with enough of those little magic moments I know it's time to call him, though strangely enough, he more often than not ends up calling me around those times. Such is his deep universal awareness.” “I wrote the initial sketches for what would eventually become this new album over the course of last year to a large extent as a way of trying to process what I perceived as a creeping darkness and sickness in both my own life and the world in general that desperately needed exorcising. When I received his initial responses I nearly fell off my chair. It goes without saying that Paul is a lyricist and poet second to none, and anyone familiar with his enormous body of work can attest to that. And yet, there was something in these latest pieces that hammered the proverbial nail clean through the wood. They perfectly captured this sense of rising tension, of a world that was getting almost psychedelically weirder and darker by the day, and both held a mirror up to this and offered some much needed release. Little did we know, nor could we possibly have imagined, that by the time the record actually hit the shelves, things would get exponentially weirder and darker still.” “It is my great hope that at some point in the coming months we will be able to get back on the road and share these new pieces with people in a live setting, as performing with Tiki is truly one of my greatest joys, and I think it’s where the fire in our work together truly burns brightest. In the meantime, it is my great hope that these 4 long form meditations might provide a little solace for people in their isolation, be it quietly, eyes closed lying on the coach, or cranked up, full on raving in their living rooms.”

THE definitive collection of one of dance music's most enduring and infamous left-field anthems, across 2 x 12"s and 1 x bonus 33rpm 7"!

The collaborative team of Arthur Russell and Steve D'Acquisto crafted some of the best wonky disco not disco cuts during their short lifespan and 'Is It All Over My Face' is one of their crowning glories. Collected here, to celebrate the 40th anniversary of this gloriously weird record, are all the best versions from then, and now. Even a quick dig in the archive yielded some treats with the male and female acapella appearing for the first time EVER, featuring on a specially 33rpm cut 7" alongside Larry Levan's promo 7" mixes. Also, the instrumental version has never been released before, but it is here for this very special limited package in it's full, unedited glory. This is one for the heads, an essential do-not-miss RSD special edition for those who are still 'love dancin' 4 decades later, housed in a classic special West End disco-bag. Don't sleep!

Produced in collaboration with Sony / Above Board distribution, 2020.

Carving out an enviable reputation across the globe for his distinctive and highly personal brand of House music, Kiko Navarro's voyage of sonic discovery has been going strong for almost three decades now. From London to the Far East, Kiko has travelled far and wide with his music, embracing sounds from each continent as he goes. Kiko's new album, Afroterraneo- also named after his music label- defines the sound of his home. The album incorporates sounds touched by the Mediterranean Sea, drawing influences from Europe, Africa and his roots in the Balearic Islands. Afroterraneo is all about fusion. It includes Afro-Cuban songs like "Okere", "Karabali" and "Ekobio Monina", Midwest-African flavour on "Ihabogi Rawaly" and "Beréde", Flamenco with "La Fatiga", Balearic emotions with maestro Joan Bibiloni on "El Salto Del Martin" and "Vida", South African vibes on "Olwakhuthando", Afro Mbira lines with European TB303 acid blips on "Cacao Ceremony" and it all ends with his own tribute to his mother on "Para Mama". Born on Mallorca, Kiko's sound reflects the sun-drenched, slow living atmosphere of the Balearic island he still calls home. Obsessed from an early age with the more soulful side of US House music, Navarro's DJ skills soon attracted the attention of nightlife behemoth Pacha who offered him club residencies both in Palma and in Ibiza. Next came a monthly gig at Space Ibiza and the rest, as they say, is history. A true Renaissance Man; now also a family man, today's Kiko Navarro is perhaps even more focused and dedicated to his life in music than ever before. An album tour this year will see him play DJ sets in Italy, Bulgaria, Macedonia, Greece, Japan, South Korea, China with many more to be confirmed. Whether in the studio crafting records or in the club controlling the dance-floor, Kiko's musical mission has become the habit of a lifetime.

Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year’s Zoom, a collection of in-situ, spontaneous recordings – Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses. A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera’s soundworld. Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi’s hymnal vocal performances. It’s a more adventurous work than Rossi’s previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.

While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi’s singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic’d and intoning in a loop or in full flight, Maria Rossi’s voice remains in the foreground, set here against a more synthetic backdrop. This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi’s vocal to duel. The effect is often dazzling. On Salvia Salvatrix, an ode to the medicinal plant used to ward off evil spirits, Rossi’s invocation is encircled by a distorted synth sound tearing at the fabric of the composition. It’s an inspired juxtaposition, leaving the listener to appreciate both sounds as separate and as a duet. Anarkian kuvajainen embraces a sense of chaos, an accidental transmitting mobile phone’s pulse is swept up gently with looped synth swells as Rossi’s prayer-like vocal rhythmically teases the composition into loops that embrace and then drift apart. Teerenpeli flirts with a minimal beat rendered by sampler and processed, layered field recordings of capercaillies, while Side A ends with one of Rossi’s most beautiful, simple tracks yet recorded. Varjokuvatanssi is an a cappela recording built on top of a wordless glossolalia, a shadowy interplay which foregrounds the solo vocal.

Pölytön nurkka is the most melodic song yet recorded by Cucina Povera. While it still maintains an off-the-cuff performance style, the synthesized chimes and 4/4 beat are smothered by a distorted synthesizer which almost replicates the bravado of an electric guitar feedbacking into the night. Rossi’s subject matter talks of trying to start anew, getting rid of extraneous material, perhaps still feeling powerless to affect positive change. On Haaksirikkoutunut, the protagonist vocal is lost, a vessel rudderless on the ocean, buffeted by waves metaphorical or real, digital, atonal chords gurgling and splashing against the bow, a storm forever brewing on the horizon. Saniaiset recalls Coil in its eldritch, nocturnal tone and digital-bell like synth, Rossi’s half-spoken/half-sung voice attaining a creepy tone before flipping into flight. Album closer Jolkottelureitti uses an escalating, sequenced synth that splinters into both abrasive tones and harmonising chords creating a kosmische effect, reminding the listener of Kluster or synth-era Popol Vuh, all the while elevated by Rossi’s searching vocalising.

For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.

The Advent (Cisco Ferreira) delivers his first full-length Electro album in 17 years. Released this May on Sync 24's burgeoning Cultivated Electronics label, 'Life Cycles' finds the past meeting the future. Because, to get a truer feel for this new long-player, we should head back even further to a 1995 classic - The Advent's debut album, 'Elements Of Life'. In fact, fans will recognise a nod to the original artwork of that seminal release, as 'Life Cycles' takes us full circle, containing unreleased Electro gems from the '90s, available for the first time.

"I have been making electro music for nearly 3 decades now and excited to see that it is in demand with this new wave of talented producers out there. 'Life Cycles' is an album where I explore my older past and connect with the future, 2020 and this new electro generation," says Cisco. Ever since Cisco Ferreira discovered Acid House in the London clubs he frequented, his journey has been about making his mark on the electronic music scene.

Fresh from college he landed a job as assistant sound-engineer in several recording studios where he learned the art of translating feelings to frequencies, recording high profile artists from the world of Rock, Pop, Dance and Reggae. When acid label, Jack Trax moved in next-door, Cisco started recording for the likes of Adonis, Fingers Inc, Marshall Jefferson and Derrick May.

These rendezvous sparked the inspiration for his first EPs on R&S and Fragile. By 1994 Ferreira had signed a record deal for 12 EPs and 3 albums together with Colin McBean. This was the beginning of an era during which the duo set a worldwide standard for high quality underground Electro and Techno.

They hit the world with a refreshing sound, both as The Advent, and G Flame (Cisco) and Mr G (the alias Colin still uses today). Nowadays The Advent is a solo project for Cisco as he bombards crowds around the world with his trademark raw, energetic sound.

As much as The Advent is known for uncompromising Techno, so his Electro has been a huge influence for a lot of young Electro artists today (including his own son and sometime Electro collaborator, Zein) and when you listen to 'Life Cycles' you'll understand why. From the moment the beats kick in on track 1, 'Music Is Life' we're met with full on Advent power. The album explores classic old-school Electro vibes from the tough machine funk of tracks like 'This Is Not' and 'Vast' to the acid excursions on 'Panda', via some the ghetto boogie of 'L.U.' or 'Stasis V2'. And lest we forget what an amazing live performer The Advent is, there's even the deeply hypnotic 'Live@Motor 1998'.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin’ Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin’ HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin’ vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Further out from the early 90’s these two 1998 tracks still exemplified the established D&B Junglist vibe that Ant Miles (Liftin’ Spirits) adored and honoured. Only recently located in the DAT tape archives, it’s focused production of twisted up organic bass lines has a foot in the present as well as the past.

Promotion across chosen internet websites and Hardcore/Jungle/Drum & Bass 12” vinyl communities.

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

LTD. GREEN VINYL

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.

Try Anything Once is the first solo album created by Alan Parsons following the split of The Alan Parsons Project. This album features vocals by Ambrosia's David Pack, Duran Duran backing singer Jacqui Copland, former Mindbender and 10cc guitarist Eric Stewart, and Manfred Mann's Earth Band frontman Chris Thompson.

The album takes a different turn from the previously ethereal Project albums, and seems to continue the directional development that started with Stereotomy and Gaudi (MOVLP631), combining rock elements ( Back Against The Wall' & Breakaway') and mood-oriented beats ( Turn It Up' & I'm Talking To You'), while still retaining certain elements of the classic Project albums that are unique ( Mr Time', Wine From The Water', the instrumentals).

With the Music On Vinyl edition of Try Anything Once, this awesome album is available on vinyl for the very first time!

Telfort’s seductive sound returns with three new cruise missiles from the faultless producer. Deep house done with a dazzling expanse, his imaginative and charismatic influence on the genre have previously piqued the attention of the more creative DJs and diggers who’ve dug the producer’s umami-esque palette: intangibly savoury, hard to define but unequivocally tasty.

On his fourth release via the sporadic yet impactful TLFT imprint, the producer retains his playful touch as he delivers three bright, optimistic dancefloor vistas that shimmer and shine like sunbeams off a dappled ocean. “As Though It Were” immediately injects energy and light into our minds and bodies with its candescent bass riff and catchy three note melodies. Synth-strings are arranged with perfection, hinting at a brave New World full of compassion, love and unity; while its driving and buoyant beats urge us into a hips’ n ’shoulders workout comparable to a high-octane gym session.

“It’s A Phase” is as finely crafted a piece of Telfortian house as one can hope for. With a direct and rugged B-line, peppered with light perx and decorated beautifully by one of Telfort’s trademark, textural synth patches. It’s further garnished by a dreamy, weaving lead solo that should draw heartfelt feelings of desire and nostalgia out of all who experience it.

“MSR Dub” completes the session and deep bass plumes and breathy flute melodies give us Big feelings as we floor the speedboat’s accelerator and splash across the rollers and swells at max speed. Achieving a tranquil and calming terminal velocity, time appears to stand still as gorgeous scenery rushes past our eyes. It’s a picturesque and evocative end to the trip which should etch itself into one’s memory hole, full of jubilant and joyous sentiments and overwhelming positivity throughout.

Evoking ambrosial notes and feels throughout, reminiscent of spending life affirming time with top friends in exotic locations and holiday house music splashing in corals. You only live once; ensure it’s spent enjoying tunes like these loaded with carefree abandon. Telfort’s In A Good Place right now…

Thembisa’s Hot Soul Singers were formed in 1975 by promoter and producer Sam “Jiza Jiza” Mthembu. In the early years the trio was called the Thembisa Happy Queens and consisted of sisters Ntombifuthi and Nombuso Mabaso and Lindiwe Ndlovu. The trio would start out playing Jive, Zulu Disco and other popular sounds of the 70s . In 1979 they became the Hot Soul Singers and would begin a career in the emerging Disco scene which their group name was now more fitting for.

Their first single under the new name was a tribute to their producer Sam, and their first album “Together” would come 2 years later in 1981. It contained their Lamont Dozier rip off from a year earlier, and biggest hit to date “ Give Me My Love Back” which was playing in jukeboxes across the country. At this time the Hot Soul Singers were also gaining popularity due to their demand as an opening act for American groups. Sam’s ongoing pursuit to be a successful promoter also helped to ensure they were always in the headlines and playing shows. It would be in 1983 that the group would temporarily step away from a major label and go onto record their first Maxi single with the independent Raintree Records new Lyncell Imprint.

Like most places in the world the early 80s was a fast changing time in music for South Africa. Although the Maxi had a disco standard for years in other parts of the world it had only recently been popularized in South Africa. Thanks to the Brenda and the Big Dudes smash, Weekend Special, the maxi took over as the preferred format for pop music, replacing the cheaper but time restricting 7” single. Singles were being pushed to the limits in the early 80’s with running times of 4+ minutes a sides by some labels. The Maxi allowed for groups to extend their grooves onto a full side and later album art containing smiling musicians infant of cheesy backdrops became the norm. Synthesizers had been used in pop music for years already but the DX7 wouldn’t land in the country for another year. Drum machines were being used but had yet to fully replace live drummers like would happen in the years to come. The recording of this new single would require a full band resulting in it being one of the gems of the crossover period before the complete midi takeover. Durban’s Graham Handley was recording some of the best upcoming Disco sounds for labels like Heads Music and groups like Kabasa and Masike Mohapi and was tasked as engineer. Other known musicians in the session would be Jimmy Mgwandi from the group Image, who’s signature bass playing can be heard on both songs. A young Daniel Phakoe aka “sox” was also present and took care of the male parts of the vocal line. Both musicians have writing credits along with lead singer Nombuso. Other possibilities of musicians would be Thami Mduli aka Professor Rhythm who had been with the group since their early days as well as a young Chicco who was best friends with Jimmy at the time.

The single, which was packaged in a customized but simple company disco sleeve, went on to do quite well. Less than a year later they would feature on a track with Sunset which would lead to them singing with Sounds of Soweto records label. The group would enjoy the growing fame when tragedy struck in 1984. On their way to a show in Mpumalanga they were involved in a car accident which took the life of Nombuso and left her husband Sam with a leg injury he limps with to this day. Upon recovering Sam would organize a tribute concert at Soweto’s Jabulani Amphitheatre. Even though the tragedy left the group broken and without a member the band went back to work to record their second full length album. They worked with Mac Mathunjwa who had written Nombuso’s favourite song “Going Crazy”. This album would be released with two different names and covers. One took the former singer’s favourite song as the album name and used a photo consisting of all three girls where the other released under the name “ A Tribute” and would only have the remaining members on the cover.

Although the tragedy never halted the group, moving forward the trio of singers would see a few members change. Lindiwe would leave to join Freeway and then become Linda “Babe” Majika so by the time they were ready to record in1986, now with Teal records, the only original member was Ntombifuthi. She would also shortly leave the group and provide backing vocals to other artists including her old band mate Linda. The Hot Soul Singers would be kept alive by Jiza Jiza and go on to record 5 more albums before calling it quits in 1990 after a successful 15 year career. Today the only core member left is Sam Mthembu who still lives in Thembisa and is occasionally promoting live events. Even though he did produce a handful of artists back in the 70s, his most significant additions to the music industry were the Hot Soul Singers and his event promotions, which is what he is best known for and will most likely be the legacy of his career.

The Devonns dust off the golden age of 70's Chicago Soul with their self-titled debut album on Record Kicks. Straight from the streets of Chicago, Illinois, The Devonns (pronounced "De vaughns") are the brand new soul outfit and the latest addition of the Record Kicks' family, whose self-titled debut album that drops April 03, is an assortment of influences taking us back to the heyday of soul.

Drawing influences from bands such as The Dramatics, The Isley Brothers and Leroy Hutson, yet bringing in their own unique modern twist, influenced by artists such as Jamie Lidell and Raphael Saadiq; singer Mat Ajjarapu explains how unintentionally, the rich heritage of Chicago's history with soul music influenced him.

"The city was at the epicentre of a lot of good music back in the 50's all the way to the 80's, a lot of the labels specialising in soul were based in the Chicago and we even had our own sound known as "Chicago soul". Through several years of crate digging it surprised me how many songs I loved were recorded in this city, for example one of my favourites is this great little song by The Natural Four, produced by Leroy Hutson 'Can This Be Real', and released via Curtom Records."

The band started in 2016 after multi-instrumentalist and songwriter Mathew Ajjarapu dropped out of med school and found himself unemployed and drifting. Listening to music constantly at the time, he found inspired to put a band together and create his own music. Pairing up with some of the best musicians Chicago has to offer, he founded The Devonns: the rhythm duty is entrusted to Khalyle Hagood (bass), Ari Lindo (guitar) and Khori Wilson (drums).

Originally he wanted to focus on 50s style doo-wop, similar to The Flamingos; rich in reverb and vocal harmonies, but in the first initial practise they had it was evident the band clicked on their love of soul music from the 70s, so their music took a natural turn towards that sound, with tracks such as the Wilson Pickett-esque single 'Tell Me'.

The release took almost two years to complete as Mat explains "I am a perfectionist, I had a very specific vision in my head about how it should sound and I wasn't going to rest until I achieved it."

"This is a definitely a throwback soul record, as well as being drawn to lush and intricate arrangements of Motown, I was also inspired by the more lo-fi works of smaller labels such as Chess and Capsoul, and I wanted to capture the magic they had in those recordings in our record, as everything feels too precise nowadays" clarifies Mat.

It was thanks to his engineer Mike Hagler, who introduced him to Paul Von Mertons (Mavis Staples, Paul McCartney, Elton John) who arranges and conducts for Brian Wilson's live touring show and after a 45 minute phone conversation about what Mat wasn't keen on, on the album, he realised Paul totally understood where he was coming from.

After a few months wait for Paul to get back from touring they entered the studio with "Paul's players" and as soon as they hit record, Mat explains "I was getting chills up my neck, it was one of the happiest days of my life, and finally we had nailed it!"

Tracks such as 'Come Back; which Mat wrote in ten minutes on a $300 Daneelectro Singlecut guitar initially, came to life, with Paul's rich string arrangements and features guitarist and percussionist Ken Stringfellow (R.E.M.).

It still took a few months to get the recording process finished but finally after a torturous nineteen months they album was finally finished.

The result is an album filled with lavish arrangements and catchy melodies which take us on a nostalgic musical journey inspired by chic 70s soul, yet the band don't hesitate to add their own unique and elegant contemporary stamp to the record.

To coincide with the announcement, the pair have shared a video for the album’s title track directed by Sam Davis and Tom Andrew, who has previously received two UK Music Video Awards nominations for his work with Avery. Speaking about the video, Andrew explains, “We were keen to capture a visual representation of the tempo and atmospheric emotion of the track and make a video exploring the notion of collaboration. A super-motion approach allowed us to explore details of motion shared between two people, in tactile actions of aiding and supporting.” Cortini adds, “The video embodies the volatility and hidden nature of the music’s subject and meaning. A meaning that is ultimately personal and unique the listener/spectator.” Watch the clip .



Beginning as a collaborative experiment before the pair had even met, Avery and Cortini then worked remotely and free of concept or deadline over several years. The result, finally completed when both artists were touring with Nine Inch Nails in 2018, is a quietly powerful album rooted in trust, process and experimentation. The first fruits of their labour were unveiled last year when ‘Water’ and ‘Sun’ appeared online, subsequently released as a very limited 7” run that was sold at FYF Festival and Mount Analog in Los Angeles, and Phonica Records in London. Both tracks are included on the album.



“It was very much a shared process”, notes Avery. “I would like to credit Alessandro with his belief that music has a life of its own, as well as the importance he places on the first take... That even something that may be considered out-of-step by some should be respected. Some of the tracks were borne simply out of a tiny synth part, or a bit of tape hiss that we had recorded. And that approach taught me a lot. It’s a record that’s been worked on hard, but not laboured over.”



“I was a big fan of Daniel’s, and his work always spoke to me in a certain way,’’ explains Cortini. “Then, when we started working together, it just clicked. It’s very hard to explain, but I can always hear the love in his work, and that is true on this record. After our first collaboration, we just kept sending each other music and maintaining that dialogue. Next thing you know, we’re sitting in a hotel room in New York and had finished the record in three hours.”



The collaborative album follows Avery’s second record Song For Alpha, released in early 2018, and last year’s expanded edition B-sides & Remixes. Mixmag called the sophomore LP “A beautiful maturation of Avery’s work as a producer,” while The Guardian hailed its “Majestic, cavernous techno” and Loud & Quiet praised Avery as “A producer fast approaching the peak of his powers,” “This album cements Daniel Avery as one of the best,” wrote DIY. The London-based producer will perform at BBC Radio 3’s Unclassified Live on April 3rd, a new series of concerts in the Southbank Centre's Queen Elizabeth Hall presented by Unclassified host and presenter Elizabeth Alker and conducted by André de Ridder – tickets are available here. Avery has also just been announced in the first wave of acts for London festivals Re-Textured and the inaugural Wide Awake, taking place in April and June respectively.



Cortini released his most recent solo album Volume Massimo on Mute in July 2019, following Fine, the Italian artist’s final album under his SONOIO alias, which came out the previous year. The Quietus called the former “an album that showcases just how much Cortini‘s aesthetic has developed since his early days,” while Exclaim! hailed it “a melodic exploration of textures and layers … an instrumental masterpiece that adds to an already incredible body of work by the gifted and skilled composer.”

Fast-rising Lisbon-based DJ/producer PEDRO has shared details of his long-awaited debut album, ‘Da Linha’, which releases on March 20 via Enchufada. First teased with the release of bubbling lead single ‘Calores’ in January, ‘Da Linha’ crowns a defining breakthrough three years for PEDRO that has seen him establish himself as one of Portugal’s most vibrant and exciting new-school producers. His debut EP, ‘EP ‘Damaia’ (2017) – named after the suburb of Lisbon he was born in – immediately signposted a bright, borderless club sound rooted in experimentation, which has since been best emphasised by 2019 releases including the Buraka Som Sistema-sampling ‘Rapazes’ and a breathless collaboration with Nigerian MC, Magugu (‘Too Much’), both of which feature on the LP tracklist.

First inspired by his older brother, who would introduce PEDRO to the latest electronic music coming out of Portugal, he still references DJ Rolando’s ‘Knights Of Jaguar’ as a memorable early touch point – a record he still credits with influencing the melodies he writes to this day. Living and growing up in Damaia, PEDRO also went to school with friends of Angolan, Cape Verdean, Brazilian and Mozambican descent, exposing him to a whole patchwork of new sounds and genres like kuduro and kizomba from a very young age. With such a rich and diverse musical upbringing, it is perhaps no wonder that ‘Da Linha’ is bursting with energy and colour across all 10 tracks, melding together the hyper-specific sounds, instruments and voices that have sound-tracked PEDRO’s life so far. From the marching, militant rhythm of ‘Stuck On You’ ft. standout Ghanaian MC, Bryte, to the silky, bubblegum vocals and gloopy, earworm melodies of closing track ‘Para Ti’ featuring Xcelencia, you’d be hard pushed to find a debut record that captures a city so viscerally.

WRWTFWW Records is too happy to announce the much anticipated official reissue of Japanese duo Inoyamaland’s quintessential ambient/environmental/electronic album Danzindan-Pojidon, produced by Haruomi Hosono and originally released in 1983 on his Yen Records label. Available outside of Japan for the first time, the new age classic comes as a limited LP with liner notes by band member Makoto Inoue.

With Danzindan-Pojidon, Yasushi Yamashita and Makoto Inoue created what they describe as "a special place where the kingdom of summer vacation never ended". Playful and magical, it’s a sonic landscape defined by tinkling synths, floating minimalist melodies, pastoral excursions, and mythical overtones. The 10-track adventure takes the listener on a joyful audio exploration of unknown but friendly territories, like childhood memories of an imaginary island where everything is vibrantly alive and peaceful.

The original recording sessions for the album took place in an apartment filled with Inoyamaland’s "favorite things and friends" and the wonders that came out of them were handed to master Harry Hosono who added his undeniable genius touch. And thus Danzindan-Pojidon was born, an absolute must-have, sitting in the pantheon of all-time 80s Japanese ambient greats alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way - and holding that mysterious power of "music that makes life a little easier and happier".

Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. This was completely unexpected, a major learning experience, and above all a lot of fun and gave the Lyon-based gang a whole lot of ideas for the next stage in their musical journey, propelling them towards new musical horizons: infectious riddims with grooving keyboard & guitar licks as their bedrock and free association leading them into jazz, broken beat, soul or disco vibes … During the creation of Let It Shine, all doors were wide open and all musical genres potentially welcome. The production still has a « home made » feel to it, like the previous album, but with a modern, sonic twist when needed- a result of three years on the road together and new creative input from group members. Whether it be on a New York summertime roof-top, or settled in a Low-Rider with some G-Funk, or moving to some phat Jamaican style bass-lines or getting sensual on a tight breakbeat, lead singer Hawa knows how to shine her feminine and versatile brilliance on the project. She gives to the songs the final touch and the emotion needed to share with us her stories about human relationships - everyday tales sharing her real life-experience. This ever-expanding musical spectrum, Da Break play with it, explore it and also let it kick
completely free at times ! Song after song, they bring a magic glow to LET IT SHINE.

It is with great pleasure that Public Possession and Cascine present to you the debut album of Bell Towers. Elev-en singles deep into his catalogue, his first LP is finally ready, an „Ode to escaping into (and out of) the emo-tional pits of dance floors – about finding a place in one night’s fantasy¹”. Musically it’s all we’ve ever wanted from a Bell Towers production: ear worm melodies, sharp baselines, wild cross-references in between genres and at last sees him explore his abilities as a singer/songwriter to full extent. Junior Mix is the sort of pop music that one is always looking for, but rarely finds - bright, charming and a little bit mad.

We sincerely hope you enjoy.
PP, Nov. 2019

¹Hayley Morgan, Oyster Magazine 117

Mirror Glaze Lavish” is Marc’s latest effort in trying to depict his cynical and disillusioned view of the present-day music scene, seen through a sonic magnifier that emphasizes its greatest controversies, by juxtaposing different electronic languages as a challenge to the current levelling artistic trends. The artist personality is nullified, standardized to a state of placid non-critical thinking. Everyday’s emptiness emerges as the structure of reality and only the cracks in it still lead to life. “Great souls suffer in silence”, once said Friedrich Schiller, but what if silence becomes an audible, danceable image? As if all these electro cuts, differently permeated with a balanced mix of playful darkness, were populated by eerie animals that cannot find peace with their habitat and keep dancing relentlessly until the very end of their miserable existence. Seen in this context, each of Marc’s tracks must be interpreted as an irreverent and poignant act of self-assertion vis-à-vis his contemporaries. Morah’s reinterpretation of “Celexxa” adds value to the original track, taking us for a dirty ride on a psycho-electro-charged rollercoaster.

"No Secrets" - Carly Simon (voc, g, p); Jimmy Ryan (g,b); Bobby Keys (ts); Lowell George (g); Kirby Johnson (el-p); Peter Robinson (p); Bill Payne (org); Klaus Voorman (b); Andy Newmark, Jim Keltner (dr); a.o. & orchestra & backing vocals.

Carly Simon’s unquestionably best album, "No Secrets", was also her commercial breakthrough. It topped the Billboard charts for over five weeks, thus quickly gaining gold status, as did the single release of "You’re So Vain".

This song determined the album’s flippant tone, with its sexually unashamed autobiography (»You had me several years ago/When I was still quite naïve«) and its observations on the lifestyle of the jet set. But Simon’s sincerity also meant that her lyricism was double-edged. Now that she thinks she has found true love, she expresses her joy over her relationship to James Taylor with "The Right Thing To Do", another top ten hit.

On the other hand she was just as willing to recognize her own mistakes and regretted pointing her finger at other people. It was not just Simon’s frankness that made the album a success, but also Richard Perry’s simple, elegant pop-rock production, which lent Simon’s music a vitality it never known before.

Perry was mindful in particular of Simon’s vocals, making them more perceptive and stirring than in her other productions. And of course her fellow musicians, such as Paul and Linda McCartney, Mick Jagger, Klaus Voormann, Lowell George, Bobby Keys, Jim Keltner as well as her ex-husband James Taylor all contributed to the success of the album, which was awarded official platinum status by the Recording Industry Association of America.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.
All royalties and mechanical rights have been paid.
Recording: September-October, 1972 at Trident Studios, London by Robin Geoffrey Cable. Production: Richard Perry.

Still deeper forays into the musical landscape of the Windrush generation. A dazzling range of calypso, mento, joropo, steelband, palm-wine and r’n'b. Expert revivals of stringband music, from way back, alongside proto-Afro-funk. An uproarious selection of songs about the H-Bomb and modern phones, prostitution and Haile Selassie, mid-life crisis and the London Underground, racism and solidarity, the Highway Code and a 100% West Indian Royal Wedding.
For example some frantic British-Guianan joropo music-hall about Eatwell Brown from Clapham, who starts out biting off a piece of his mother-in-law’s face at a party, then devours everything in his path… a chunk of Brixton Prison, a Union Jack, a policeman’s uniform. Or Marie Bryant — collaborator of Lester Young and Duke Ellington — taking time off from skewering the South African PM Daniel Malan at her West End revue, to contribute some arch, swinging filth about uber-genitalia. Superior sound, courtesy of Abbey Road, D&M and Pallas; lovely gatefold sleeve; full-size booklet, with full notes, and fabulous previously-unseen photographs, including a set from the family archive of Russ Henderson (who led the first, impromptu Notting Hill Carnival march, in 1966).

M!R!M is the solo project of Jack Milwaukee, italian multi-instrumentalist based in London since 2011. Inspired by early 80's synth pop, cold and dark wave, M!R!M has been releasing on labels as Fabrika and Manic Depression. Since his debut album, he’s been touring and playing shows all around Europe building an important following and a significant name within the scene.

On January 31st, 2020, Avant! Records will release his third full-length, The Visionary. Still featuring Milwaukee at the helm along with selected collaborators as supplementation, The Visionary is a further evolution in M!R!M sound, which showcases how the musician’s vision has evolved throughout the years.

Holding firmly to the vibes that recall the most dreaming 80’s, Jack Milwaukee this time blends together that typical FM synth timbre, which has always characterized the artist, with deeper and sumptuous sounds found within the notes of Mellotron and sax; overcoming previous Lo-Fi approaches to undertake a solid, prominent and more mature path.

The Visionary is a collection of songs pieced together in a meaningful and harmonious way where the storytelling is very vivid and fundamental. Trapped between hope and melancholy each track evolves smoothly into another one until it gets to a mystical end, a point of no return. From syncopated punchy bass lines drove by solid drum beats to elegant violin quartets accompanied by almost religious choirs, The Visionary is an engaging work that doesn’t remain only inside the robes of shimmering synth-pop tunes but also explores more intimate and private territories as an ode to the most deep feelings.

Pulling from the ‘pop’ approach of mid 80’s synth-pop pioneers like New Order, The Wake, Tears For Fears to most iconic figures of the Italian 80’s era, M!R!M dialed in on a clear understanding of it's own specific sound, which has since evolved. The Visionary is the ultimate unified vision of M!R!M’s work, it’s the sweetest transition of the most nostalgic daydream.

The Word is one of the better kept secrets of 1980s Austrian disco music. Yet once you put the needle on this record, you notice that it sounds oddly familiar. The awe inspiring signature piece “Lobster” has the same analogue, slow moving aesthetic as Zenit’s timeless “Waiting” that was featured on Edition Hawara’s first release. The same goes for the three other wonderfully unconventional, proto electronic songs: “Easy”, “All My Life” and the eponymous “ The Word”. And there are even more commonalities with Zenit’s LP: The vocals are Linda Sharrock’s, who here teamed up with Karl “Charly” Ratzer and Peter Ponger, the twin brother of legendary Falco producer Robert Ponger. The result of this collaboration is, well, also quite legendary. How this kind of sound emerged in Vienna in 1984 is still a bit of a mystery, but clearly all the stars were aligned when Sharrock, Ratzer and Ponger were jamming in the studio. We are very proud to share this secret with you. Just as there are very few lobsters in landlocked Vienna, there are very few records like this out there.

• TWO INCREDIBLE SIDES • FIRST EVER 7-INCH RELEASE OF THE CULT “POURING WATER ON A DROWNING MAN” • PROBABLY THE MOST SOULFUL 45 YOU’LL BUY THIS YEAR!

LEE MOSES is back on Outta Sight in 2020. The cult soul figure caused a stir last year with our first ever reissue of the legendary “Bad Girl” (OSV188), still available.

Now, thanks to our friends at Gusto we are proud to present the FIRST EVER 7" SINGLE of the soul-defining side “Pouring Water On A Drowning Man”! This landmark track has been known to collectors since the mid-Sixties thanks to James Carr’s Goldwax recording and it has been covered many times by the likes of Percy Sledge, Otis Clay and in more recent times by Elvis Costello.

But none of them hold a candle to Lee Moses who tears into the track and spits out a definitive so-soulful masterpiece. Who needs a B-side when we give you something of this magnitude! Ok, so we’ll spoil you with the Dynamo-dynamic rarity “Never In My Life” produced by the legendary Johnny Brantley. A truly stunning 45 to see the New Year in!

For the 10th Shaw Cuts release, Lazarus and Farron join forces on their new collaboration project Pollaar, defying Pai Mei and his alliance with the ruling Manchurian Court who aim to quash the revolutionary rebels. Crane and tiger techniques vs. the seemingly invincible versatile villain and his squad.

The story begins when Pai Mei and his entourage raid the shaolin temple where the rebels have found refuge. Only a few rebels and students escape the attack, among them, Hung Hsi-Kuan. "Haslam" and its blasting drum patterns paired with bright sounding synth fragments help Hung Hsi-Kuan and his copartners to safety. They finally find a safe haven with a traveling opera group. Along the way, Hung encounters the fair Ying Chun, herself a master of the crane technique. They fall in love and have a son, Wen-Ting. Hung could not forget though, and dedicates himself to mastering the art of the tiger style for the next ten years, to finally compete against Pai Mei. The superiority of Pai Mei in the following clash is accentuated by the vigorous drum punches and spacial undertone of "Bonucci Unit". But Pai Mei spares the wounded Hung's life, letting him go. While Ying Chun teaches her son the crane style, Hung devotes himself to relentless tiger style training for seven more years, to challenge Pai Mei once again.

"P-9" and its forceful breakbeat punches, energizing pads and resonant percussion, sets the tone of the duel resulting in Pai Mei's victory and Hung's death. Wen-Ting vows vengeance and continues to tirelessly perfecting his crane style while still dedicated to learning the tiger style. Both combined is the only way to defeat Pai Mei. One year later, Wen-Ting is ready and embarks on the journey to Pai Mei's temple. The menacing and gritty atmosphere of "Compound" and its spellbinding groove filled with abstract machine sounds pushes Wen-Ting to his limit. The white-bearded master has been vanquished, but is he gone forever? Judge for yourself...