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A reliable traditionalist with a penchant for bittersweet songs of heartbreak and loss, Ashley Monroe pulled a complete 180 for her spectacular new album, Rosegold, riding the joyful emotional wave that followed the birth of her son to create her most ecstatic, blissed-out collection yet. Written and recorded over the past two years, the record finds the GRAMMY-nominated Nashville star pushing her sound in bold new directions, drawing on everything from Kanye West and Kid Cudi to Beck and The Beach Boys as she layers lush vocal harmonies atop dreamy, synthesized soundscapes and sensual, intoxicating beats. Monroe worked with a variety of producers on the album, letting the tracks dictate her direction rather than any arbitrary adherence to genre or tradition, and the result is a record as daring as it is rewarding, an ecstatic, revelatory meditation on happiness and gratitude that tosses expectation to the wind as it celebrates our endless capacity to love, and to be loved, even in the midst of chaos and tragedy.Born in Knoxville, TN, Monroe first began turning heads in Nashville as a teenager, when she arrived in town with a notebook full of mature, emotionally sophisticated songs that belied her young age. A jack-of-all-trades, she picked up work behind the scenes at first, singing on sessions at Jack White’s Third Man Studios and penning tunes that would appear on albums by the likes of Guy Clark, Carrie Underwood, Jason Aldean, and Miranda Lambert. Monroe and Lambert forged a close personal bond through their collaborations, and in 2011, they teamed up with fellow Nashville journey woman Angaleena Presley to launch the critically acclaimed trio Pistol Annies, which would go on to top the Country Album charts, crack the Top 5 on the Billboard 200, and earn a GRAMMY nomination for Best Country Album. Monroe’s solo output was equally lauded, with NPRhailing her work as “subtle and breathtaking” and Rolling Stone praising her writing as “riveting and sharp-witted.” Over the course of three studio albums, Monroe would land her own GRAMMY nomination for Best Country Album, share bills with the likes of Vince Gill and John Prine, and perform everywhere from The Tonight Show and Conan to Late Night and The View.

Critically acclaimed debut studio album by American soul/R&B singer. Originally released digitally/CD in 2019 by Keep Cool Records via RCA. The album was broken up into two EP's, part of a series to lead up to his debut album. The album received a nomination for Best R&B Album at the 62nd Grammy Awards, while the album's lead single "Roll Some Mo" received nominations for Best R&B Song and Best R&B Performance. Album cut "Real Games" received a nomination in the Best Traditional R&B Performance category. To mark the album's first anniversary, a deluxe edition of 'Painted' was released digitally in May 2020 including new mixes and alternative versions of previously released songs as well as four new tracks. Here the album is available phisically for the first time, as a double LP. Specialist marketing activity.

2x Grammy nominated band Gojira have announced details of their long-awaited new album, FORTITUDE, which will be released April 30th via Roadrunner Records and have released the forthcoming album’s first single, “Born For One Thing”. FORTITUDE stands is Gojira’s first album in five years and the follow-up to 2016’s Grammy nominated LP MAGMA.

Recorded and Produced by Joe Duplantier at Silver Cord Studio - Gojira’s Ridgewood, Queens, headquarters – and mixed by Andy Wallace (Nirvana, Rage Against The Machine), FORTITUDE is a collection of songs urging humanity to imagine a new world—and then make it happen. The band initially laid the foundation for FORTITUDE last year with the surprise release of the 2020 single “Another World.” NPR hailed the track as “an apocalyptic banger,” while STEREOGUM declared, “Gojira are one of this century’s most important underground metal institutions.” Voted by fans as the #1 release on REVOLVER’s “5 Most Anticipated Albums of 2021,” FORTITUDE continues Gojira’s career-long tradition of harnessing their music as a vehicle for environmental activism with songs like “Amazonia” and “The Chant” not only surveying critical cases, but also catalyzing listeners to take action.

On 2016’s MAGMA, Gojira found strength—and crossover success—through a singular commitment to self-reflection. The intensely personal record, penned in memory of the Duplantier brothers' late mother, was a painful significant turning point for the French group. The album earned the band two GRAMMY nominations - ‘Best Metal Performance’ and ‘Best Rock Album,’ and upon release, MAGMA took the #1 spot on BILLBOARD’s ‘Hard Rock Albums’ chart, a first for a French band. MAGMA also asserted itself as one of the most acclaimed albums of 2016, earning METAL HAMMER’s coveted “Album of the Year” title while also landing on ROLLING STONE’s “Top 20 Metal Albums of 2016,”

Serj Tankian is the vocalist of iconic much loved metal band System Of A Down

2020, The Year Of Our Pandemic: A year of social unrest, police violence and a monumental US election. The year of COVID-19 and its mounting death toll. A massive explosion and mass death in Lebanon. Political upheaval in Belarus. A spiraling world economy. Global protests. If ever a stage was set for new music from Serj Tankian, this is it.
With his trademark eclecticism and one-of-a-kind vocal style, Serj delivers, Elasticity, a five song EP that run the gamut from hard-driving, electronically enhanced anthems like the title track to rallying cries for his beloved Armenia (“Electric Yerevan”) to the tongue-in-cheek political mash-up of “Your Mom.” Elasticity is comprised of songs originally intended for System Of A Down. But it didn’t quite work out that way.

The EP will delight fans of System who have waited a long time for new music. Alongside the release of the EP, Serj will release the documentary ‘Truth To Power’ which he directed himself and is released in conjunction with Oscilloscope Laboratories and Live Nation. The documentary features music from the EP and there are comarketing initiatives in place with the film company.

Gatefold Double LP Pressing of Us and Them on Clear Purple Colored Vinyl. The artwork has been updated in celebration of the 15th Anniversary of this album.

Optimo Music presents “Janara” the new album from Italy’s José Manuel. We always have our ears open for music that is unique, powerful and that can conjure up a ritualistic atmosphere, and this meistrerwerk did all that, and then some. We knew we had to release it after the first listen.

We’ll let José tell you about it….

This album is a result of the necessity of exploring and opening my mind to new musical horizons, by testing the main traditional instrument of the Italian region Campania, whose name is “Tammorra”. It is a big drum, which must not be confused with the typical tambourine, made from a wrap of wood shaped in a circle and covered with dried skin (almost always goatskin or sheepskin). This instrument was used during playful events, especially during rituals and ceremonies, such as the frequent devotional pilgrimages in honour of the Virgin Mary. By using this instrument, the sound, the rite and the magic could take possession of the mind and the body creating a perfect union. Also, the dancers, as if they were bitten by a tarantula and possessed by a strange evil, launched themselves to an uncontrolled dance by moving every part of their body.

In addition to the Tammorra, I also inserted some texts, which have been written by some Neapolitan friends and interpreted with Neapolitans voices, in honour of the “JANARA”. The Janara represents a popular belief of the Southern Italian regions, particularly of the Benevento area. The Janara is one of the many types of witches represented by folktales belonging to the rural tradition.

The Janara was expert in medical herbs, which were also be used for her magical practices, such as the manufacturing of ointment. The ointment gave her the power to become incorporeal with the same nature as the wind. According to the tradition, in order to snatch the Janara it was necessary to grab her by the hair. It was also said that if anyone was able to capture the Janara during her incorporeal moment then Janara herself would offer protection to them and their family for seven generations, in exchange for her freedom.

With this work I hope that the listener might get carried away by the spirit of this pagan and popular legend that can be still be considered as current. As a matter of fact, the folk tales speak of a probable comeback of the Janara, who after being burned at the stake seems to be thirsting for revenge for the evil suffered.

Inspired from Romanian cultural heritage, be it film, dance or musical instruments, Folclor Abstract is a glance back to the roots in search of a meaningful future.

The first track is inspired from the soundtrack composed by Cornelia Tăutu for the Romanian historical adventure film “Buzduganul cu trei peceți” (1977). The film presents a politicized version of the events that led in 1600 to the unification of the three Romanian countries, in the aftermath of a victorious battle against the Ottoman invasion (Călugăreni, 1595). Dance your way through as the story unfolds.

Dans cu balans is the result of a personal fascination for the cimbalom, an instrument of high versatility, frequently used in the Romanian fiddle music. In contrast to orchestral performances, which adhere to the composer’s notes to reproduce a work faithfully, fiddling is also open to improvisation and tends to produce rhythms that focus on dancing, with associated quick note changes.

Searching for inspiration within Romanian folklore, I found Ivan Braga who was on his own pursuit of cultural heritage, experimenting with a variety of traditional instruments and rhythms from different regions of the country. Doba lu’ Braga is Ivan’s modern take on Romanian drum patterns performed on a traditional Moldavian drum (dobă) with an uplifting twist and arrangement for the dancefloor experience.

Reverie is an expression of the creator’s state of mind. Lost in thought, stolen by imagination, haunted by memories, liberated by dreams

• Marion formed in Manchester in 1994, releasing their debut single on Rough Trade. Signed to London Records, the band found themselves bundled in with the ‘Britpop’ scene, and made their national TV debut by performing ‘Sleep’ on Channel 4’s cult TV show ‘The Word’ in February 1995.
• The band gigged throughout 1995, building up a fan base, and supported Morrissey on his ‘Boxers’ tour.
This World And Body was released in February 1996 and entered the top ten of the UK album chart.
• Demon Records is proud to present This World And Body pressed on 180g heavyweight translucent gold vinyl.

"Flowers Bloom, Butterflies Come" is the result of a dialog between the stunning Japanese photographer and artist Miho Kajioka and the wonderful UK musicians and composers Ian Hawgood and Craig Tattersall (The Humble Bee), initiated by IIKKI, between August 2019 and January 2021.

Born in the United Kingdom, Ian Hawgood spent most of his adult life living in Japan, Italy and Poland. Currently he calls Peacehaven (on the south coast, near Brighton) his home. Since 2009, he’s well-known with his work as the curator of the Home Normal label. He makes music using an array of reel-to-reel and tape machines in his studio by the sea, where he also master works for many labels and artists alike. You could often catch him on the coast with his faithful Nagra recorder, hydrophone and field microphones. These days his focus of music is on decayed ambient works using old synths and reels mostly, alongside his childhood piano. (site)

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 12 albums on his moniker The Humble Bee.

Miho Kajioka (b. 1973, Japan, lives in Kyoto) is an artist and a photographer since 2011. Kajioka’s work has been exhibited in Spain, Italy, France, the Netherlands, the USA, Germany, Belgium, Portugal and the United Kingdom. Kajioka’s latest book ‘so it goes’ won Prix Nadar in October 2019. "Kajioka's artistic practice is in principal snapshot based; she carries her camera everywhere and intuitively takes photos of whatever she finds interesting. These collected images serve as the basic material for her work in the darkroom where she creates her poetic and suggestive image-objects through elaborate, alternative printing methods. Kajioka regards herself more as a painter/drawer than as a photographer. She feels that photographic techniques help her to create works that fully express her artistic vision. Her images evoke a sense of mystery in her constant search for beauty. The focused, creative and respectful way in which she uses the medium of photography to creating her works seems to fit in the tradition of Japanese art that is characterized by the specifically Japanese sense of beauty, wabi sabi. (…) According to her, photography captures moments and freezes them; printing impressions is like playing with the sense of time and getting lost in its timeline." (Ibasho Gallery)

Vomito Negro is the mythical EBM-industrial act formed in Belgium in 1983. The band has a vast discography that started with a self-titled EP in 1985 and continued with diverse releases on renowned labels like KK Records, Antler-Subway and more recently on Out of Line and Scanner.

Vomito Negro’s musical approach, essentially based on the European “Industrialist” tradition, takes a different angle on every record with synthesized psychodramas that range from danceable to contemplative, from instrumental and ambient to voice-ridden and brutal.

The new album “Entitled” was created with unreleased tracks from the early 80’s. All songs were re-arranged and re-recorded by Gin Devo at his own studio, “The Lab”, with the use of original vintage hardware synthesizers, sequencers and drum machines.

Rich in musical associations yet utterly singular in its voice, joyous with an inner tranquility, the music of Natural Information Society is unlike any other being made today. Their sixth album in eleven years for eremite records, descension (Out of Our Constrictions) is the first to be recorded live, featuring a set from London’s Cafe OTO with veteran English free-improv great Evan Parker, & the first to feature just one extended composition. The 75-minute performance, inspired by the galvanizing presence of Parker, is a sustained bacchanalia of collective ecstasy. You could call it their party album.

This was the second time Parker played with NIS. Joshua Abrams: “Both times we played compositions with Evan in mind. I don’t tell Evan anything. He’s a free agent.”

The music is focused & malleable, energized & even-keeled, drawing on concepts of ensemble playing common to musics from many locations & eras without any one specific aesthetic realization completely defining it.

“The rhythms that Mikel plays are not an exact reference to Chicago house, but that’s in there,” Abrams says. “I like to take a cyclic view of music history, can we take that four-on-the-floor, & consider how it connects to swing-era music? Can we articulate a through line? I dee-jayed for years in Chicago & lessons I learned from playing records for dancing inform how I think about the group’s music. The listener can make connections to aspects of soul music, electronic music, minimalism, traditional folk musics, & other musics of the diaspora as well. It’s about these aspects coming together. I don’t need to mimic something, I need to embody it to get to the spirit, to get to the living thing.”

For jazz fans, the sound of Parker’s soprano & Jason Stein’s bass clarinet might evoke Coltrane & Dolphy, even though they didn’t necessarily set out to do that & they play with complete individuality. Abrams sees a bridge to the historical precedent, too. “Since we first met in the 1990s, one of the things that Evan and I connected on was Coltrane’s music,” he says. “I hoped that we would tap into that sound world intuitively. In this case, I think that level of evocation adds another layer of depth, versus a layer of reference.”

Indeed, this is a performance in which the connections among the ensemble & the creative tension between improvisation and composition build into a complex mesh of associations & interactions. While the band confines itself to the territory mapped out by Abrams’ composition, they are remarkably attentive & responsive, making adjustments to Parker’s improvisations. When Parker’s intricate patterns of notes interweave with the band, the parts reinforce one another & the music rockets upward. Sometimes, Parker’s lines are cradled by the group’s gentle pulse & an unearthly lyrical balance is struck.

Drummer Mikel Patrick Avery is locked-in, playing with hellacious long-form discipline, feel & responsiveness. Jason Stein’s animated, vocalized bass clarinet weaves in & out with Lisa Alvarado’s harmonium to state the piece’s thematic material; the pulsing tremolo on the harmonium brings a Spacemen 3 vibe to the party. Abrams ties together melody & rhythm on guimbri, a presence that leads without seeming to. Like his bandmates, he shifts modes of playing frequently, improvising & then returning to the composed structure.

“As specific as the composition is, the goal is to internalize it & mix it up,” Abrams says. “The idea is to get so comfortable that we can make spontaneous changes, find new routes of activity, stasis & byways every gig. It’s like a web we’re spinning. If someone makes a move, we all aim to be aware of it, make room for it. Experiencing & listening is what it’s about, & Evan supercharges that.”

& “supercharged” is the word for this album. With Parker further opening up their music, descension (Out of Our Constrictions) is the sound of Natural Information Society growing both more disciplined and freer, one of the great bands of its time on a deep run.

Aguirre edition: Mastered by Helge Sten, Audio Virus, Oslo. Lacquers by Dubplates & Mastering. Liner Notes by Theaster Gates. LPs pressed on premium audiophile-quality vinyl at Pallas Records. US 2xLP edition available thru Eremite records.

‘Any Other City’ by Life Without Buildings, the only
album recorded in their brief existence, is
repressed and available again. Originally released
on Tugboat Records (a Rough Trade affiliated
label) in February 2001, ‘Any Other City’ has slowly
become a widely admired cult album.
Life Without Buildings formed in Glasgow in 1999,
they existed for three years and then split in 2002,
having released just one album and three double A
side singles, yet they’ve continued to build a
strong underground following in the years since,
which has culminated in copies of the original
album on vinyl changing hands for exorbitant
figures and numerous musicians citing it as a
major influence and inspiration.
Frontwoman Sue Tomkins’ unique vocal delivery
which is somewhere between talking and singing,
a kind of narrative, combined with the often spiky,
course backing that the rest of the band provide,
tends to prove magnetic after a few listens.
Life Without Buildings managed to be utterly
unique in the sound they made and ultimately
that’s what has made this album’s reputation grow
over time to be deemed absorbing, timeless and
utterly essential listening.

A ground-breaking new collaboration for fans of African music (Ali Farka Touré, Oumou Sangaré) as well as contemporary orchestral music (Max Richter, Olafur Arnalds, the London Symphony Orchestra)

Kôrôlén is a very special collaboration between two titans in music: Toumani Diabaté, the Grammy-winning Malian kora virtuoso, and the London Symphony Orchestra, renowned worldwide for their performances of orchestral music on record, film and stage.

Diabaté, a griot whose musical lineage stretches back generations, is well known as one of the most creative musicians on the African continent, and is almost single-handedly responsible for bringing the iconic sound of the kora to worldwide audiences. No stranger to a genre-defying collaboration, he has recorded two Grammy-winning albums alongside desert blues pioneer Ali Farka Touré, as well as projects with Taj Mahal, Björk, Béla Fleck, Damon Albarn and Afrocubism.

Commissioned as a special project by the Barbican Centre in London and produced by World Circuit, these recordings feature Diabaté and his group of eminent Malian musicians (including Kasse Mady Diabaté and Lassana Diabaté), accompanied by the soaring presence of the LSO, in dedicated arrangements by Nico Muhly and Ian Gardiner and conducted by Clark Rundell.

The title bestowed by Diabaté on this unique and groundbreaking release, ‘Kôrôlén’, translates from the Mandinka language as ‘ancestral’ - a fitting theme for an album that brings together ancient griot melodies and Western orchestral arrangements, resulting in an achingly beautiful and fresh Afro-neo-classical sound that will appeal to admirers of African, traditional and new classical, and ambient music.

TRANSVITAEXPRESS is a psycho-phonic tale of the afterlife. Maybe one of the weirdest italian albums ever released.

'TRANSVITAEXPRESS is the sonorous realization of an idea that had been developing in me for some time and to which the encounter with the poet Barbarino gave the decisive push. I used the "tape-sound" technique, that is the organization and integration of sounds, noises, speech, song and rhythm, of which the resulting sound, being the result of electronic manipulation of the sound events themselves, is audible, therefore repeatable, only by means of magnetic tape. The sound material is, in part, reportage, so the work often takes on the character of a “disc-truth”, in part it is a faithful reconstruction of parapsychological events. We have defined this work "Psycho-phonic tale" in fact it is a sound experience, that is, a journey into the world of sounds of an "afterlife", rooted in us due to childhood, ancestral reminiscences, superstitions, legends, anxieties, utopias and above all fear. Fear of the mystery, fear of the unknown.

TRANSVITAEXPRESS is therefore the sound representation of these cultural and existential limits, and is therefore a critical, liberating, provocative work. I certainly do not expect, and perhaps I do not want someone after having listened to tell me that it is "beautiful".

TRANSVITAEXPRESS is the name of a train full of ... that travels in an afterlife so "beyond" that it coincides with the most central point of my ego. Perhaps the most logical "end-continuation" of life, the least imaginative, the least corrupt. The distortions, things that are too, or too little, defined, realistic situations, clichés, monotheisms and captions are embedded in the most traditional dream fabric, the most suitable in my opinion to promote approaches with the mysterious, with the esoteric, with the magical.'

M. GIOMBINI

After NEF's album in 2019, Ici Bientôt is happy to present today the reissue of Comme Au Moulin by Nyssa Musique.

Paris 1985... ‘Extra-European’ Traditions meet Jazz and Minimal Music. An unusual array of instruments turn music into a dialogue. For a unique record ... vivid, full of texture, somewhere between Midori Takada, Don Cherry and Jon Hassell.

Beginning of the eighties, 5 musicians rehearse in a contemporary dance class hall, upstairs from the ‘’New Morning", renowned Music venue in Paris. Nyssa Musique is born. Passionate for a long time about traditional music, like those of the Middle East, India and East Asia, but also about African traditions, they throw a bridge between Jazz and ‘Extra-European’ traditions, resulting in what would be called "Spiritual Jazz" today, a little bit in the style of Don Cherry's Organic Music or Pharoah Sanders. With the notable difference, however, that their creations are strongly infused by contemporary classical and repetitive music, notably Steve Reich's work with whom they share a great interest for the traditional cultures of Southeast Asia, particularly Indonesia and its gamelans.

In the original group we have Armand Amar, Ballet Music composer and John Boswell. Both specialists of traditional hand percussion which they had been studying for a long time in India and the Middle East, they are also very fond of synthesizers. Three other talented musicians quickly join them: Jean-François Roger, percussionist, marimba and vibraphone specialist, Henri Tournier, multi-flutist and Renaud Garcia-Fons, double bass player, who has a passion for the Middle East and has developed a virtuosic play of the bow, reminding that of Cecil Mc Bee.

Each of them enriches the ensemble with their personality, originality and musical generosity. The rehearsal hall is rapidly invaded by the phenomenal instrumentarium put together by Armand Amar. A great opportunity for the musicians, for the dancers, to have access to an endless choice of instruments, offering infinite possibilities for mixing different colors and timbres. Their sense for being a group and their great capacity for improvising culminates, in 1986, in the composition of their first and only album Comme au Moulin (« As by the windmill"), testimony of years of creating without hidden agenda.

Authentic, free and vibrant, still today, this album has no real equivalent. Even though it recalls the Fourth World current by its combination of traditional instruments with a subtle use of synthesizers, Comme au moulin gives more space to improvisation. It may also recall those of Midori Takada, less the New Age esthetics. An album that should delight as well lovers of "Love Supreme" by John Coltrane, of "Vernal Equinox" by Jon Hassell, as those of Moondog, an artist who, like them, invented a music based on the use of untypical percussions, at the confluence of 'Extra-European' traditions, Jazz and Classical, all together complex and hypnotic.

35th Anniversary reissue of legendary
Canadian/American singer, composer and transgender
activist Beverly Glenn-Copeland’s beloved seminal
work, ‘Keyboard Fantasies’.
An ahead of its time synth exploration which somehow
combines the essence of new-age minimalism, early
Detroit techno and the warmth of traditional
songwriting.
Beverly Glenn-Copeland’s third album, ‘Keyboard
Fantasies’ was originally self-released on cassette in
1986. Initially overlooked by mainstream media, it
caught the ear of a Japanese collector who contacted
the artist in 2015 and asked for copies to sell. These
sold out instantly and led to more copies being
distributed and multiple offers from record labels.
Features stunning alternative cover artwork and liner
notes by Robyn.
This album is available on CD for the first time.
Digisleeve with spot gloss to the cover and 8-page
booklet.
This is only the second time the album has been
repressed (with the previous repress being extremely
limited). LP format is housed in a gatefold sleeve with
spot gloss to the cover, printed inner sleeve, 180g
black vinyl and digital download code.
Also available again on tape as a white cassette.

FUSE reveal the first single from Paolo Rocco’s forthcoming album ‘Ever So’ alongside house icon Robert Owens, backed by two slick remixes from S.A.M.

Ahead of the release of his ten-track album on the label in late-April, FUSE unveil the first single from Montreal based talent Paolo Rocco’s ‘Life In Pieces’ LP as he combines with legendary singer-songwriter, DJ, producer, and one of the most iconic voices in house music, Robert Owens, to deliver the soulful and slick ‘Ever So’ – accompanied by two warping remixes from Mandar member and Delaphine boss S.A.M.

A warming and rich production from the off, ‘Ever So’ welcomes a melting pot of classic and modern influences as Rocco’s bright keys and resonant chords meet Owens’ infectious and inimitable vocals to reveal a smooth, classy slice of house music. On the flip, S.A.M’s first interpretation of the production sees the introduction of trademark swirling, spacey synths and vibrant stabs, whilst his ‘Hypnotic’ take on the production flows and journeys into deeper moments guided by arpeggiated melodies, acid-tinged basslines and sweeping atmospherics.

The Badasonics mixes soul and funk together with Jamaican riddims and horns with the soulful rock and reggae voice of Caz Gardiner to deliver a pulsating party of soul steady beats. Caz has performed with the BandHouse Gigs, Newmeyer Fyler productions and The Beat Hotel. She was the lead singer for The Ambitions, a 60's influenced soul/rock band which in 2008 was nominated for a Wammie (Washington Area Music Association) in the best new band category; and the rock steady/reggae band Caz and The Day Laborers. In 2010, she was nominated for a Wammie in the best traditional blues/RnB vocalist category for her work with Caz and The Commotions. The Badasonics, consisting of former members of The Moon Invaders & The Caroloregians, were also known as the busiest backing band for Jamaican artists in Europe and have played with Lee 'Scratch' Perry, Ken Boothe, Alton Ellis, Dave & Ansel Collins, Rico Rodriguez, Doreen Shaffer, Pat Kelly, Derrick Harriott & many more.

On the Corner have taken a deep dive into the murky waters whereancient percussion are jolted through history with a high voltageshock of experimental electronics. Across the territory of 'When theWaters Refused Our History', Sunken Cages channels his ownjourney and that of the world of his ancestors and adroitly breachesthe porous frontiers being pushed by the cosmic adventures-led OntheCorner. Sunken Cages is the moniker for Ravish Momin, an Indian-borndrummer, electronic music producer and educator. For the pastdecade, Momin has been experimenting with enhancing his acousticdrum sounds with electronic ones, and has crafted a unique electro-acoustic approach. He triggers sounds and textures, layers live-loops and manipulates them 'on the fly', to blur the lines betweencomposition and improvisation. While rooted in Indian folk and BlackMusic traditions, Sunken Cages is also influenced by the streetsounds of South African G'com, Angolan Kuduro and Egyptian Mahraganat. He currently leads the electronic music focussed duo 'TurningJewels Into Water' with Haitian percussion virtuoso Val Jeanty.Ravish's unique approach quickly led him to work as a sideman witha diverse cast of musicians ranging from pop-star Shakira tolegendary avant-saxophonist Kalaparusha Maurice McIntyre (of theAACM).

Die Footwork Legende aus Chicago, DJ RASHAD, beschließt ein erfolgreiches Jahr auf Hyperdub mit seinem ersten Album für das Label und baut damit auf zwei EPs auf, die deutlich demonstriert haben, wie sich der Sound von ihm und seinen mannigfaltigen Teklife Kollaborateuren im Jahr 2013 entwickelt hatte. Benannt nach dem Freizeitcocktail aus Sprite und Kodein treffen auf ,Double Cup" traditionelle 808 Footwork Ausbrüche auf die neuesten Mutationen des Sounds und zeigen so die Vielseitigkeit und Kraft der Chicago Szene im Jahr 2013. Das Album wirft Hip Hop, R&B, Acid, House, Techno und Jungle in seinen Footwork Shredder und spuckt diese auf der anderen Seite als zusammengeklebte Fragmente wieder aus, zusammengehalten durch schnurrende 808 Subtriplets und kantige Polyrhythmen. Das Album wärmt sich langsam mit einem G-Funk Swing auf, der typisch ist für RASHAD und SPINNs Kollaborationen mit TASO aus San Francisco. Diven mit Schluckauf räkeln sich auf den Rhythmen von ,Show U How", ,Only One" und ,Everyday Of My Life" mit Raps von der Crew auf ,Pass That Shit", ,She A Go" und ,Kush, Drank, Barz". Das bereits veröffentlichte "I Don't Give A Fuck" markiert den düsteren Dreh- und Angelpunkt des Albums; das Tempo zieht in der zweiten Hälfte an mit dem treibenden Viervierteltakt des Titeltracks ,Double Cup", dem donnernd gepressten ,Acid Bit" und dem Chicago House von ,Reggie" und ,Leavin. Den Höhepunkt markiert die Breakbeat Wissenschaft von ,Let U No" und ,I'm Too Hi". ,Double Cup" ist vorausschauende Musik für die Tanzfläche und unterstreicht, dass Footwork an der Macht ist.

Half & Half Colour Vinyl Disc 1: Yellow/Magenta Disc 2: Turquoise/ Magenta


Double album that includes;
45rpm bonus disc with the singles and B sides
Gloss laminated gatefold sleeve
printed inner sleeves, containing lyrics, photos and interview by The Mouth Magazine
“Pleasure Bag” containing 4 postcards, 2 stickers, A stencil, Repro Tour Poster, Repro promo posters for “Go For Gold” and “Politics/ Its Fashion” singles. Press photo and Press Flyer

In 1980 post punk pop indie band GIRLS AT OUR BEST came out of nowhere (Well, Leeds actually) with GETTING NOWHERE FAST and was the NME’s Single Of The Week reaching the Top 10 of the indie chart. The band, fronted by Judy Evans, released four further singles plus the album PLEASURE which reached the UK album charts in 1981, before splitting up two years after that first record.

Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands who cropped up at the turn of the 80s – long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. Formed in Leeds from the ashes of punk band SOS, the group were fronted by distinctive female vocalist Jude ‘Jo’ Evans, forming a songwriting team with guitarist James Alan and bass player Gerard Swift after they met at art college. All four of their singles for their own Record Records, Rough Trade and Happy Birthday Records are included here as bonus tracks on a 45rpm 12”– including the wonderful ‘Getting Nowhere Fast’ (later covered by The Wedding Present), its coruscating b-side ‘Warm Girls’, ‘Politics!’, ‘Go For Gold’ and ‘Fast Boyfriends’

Their influence can be seen on innumerable C86/indie bands who came afterwards

LEGENDARY SESSION ! FIRST TIME EVER ON VINYL AND CUT DIRECTLY FROM THE ORIGINAL MASTER TAPES WITH NO DIGITAL PROCESS WHATSOEVER!!!

TIP ON SLEEVE PRINTED JUST LIKE THE OLD NIMBUS LP’s FROM THE 70’s and 80’s… BRAND NEW ARTWORK FROM ORIGINAL SESSION PHOTOS AND LINER NOTES BY Mark Weber

At long last…On Vinyl…From original tapes. 3/5ths of the Quintet that recorded "‘the Giant is Awakened’ LP in 1969…this album sat unreleased for 20+ years before it saw a small run on cd (with poor mastering the early 2000’s), now, 40 years after it was recorded, finally released in the original format it was intended for….This LP sounds fresh and amazing…if you’ve only heard the cd, you’ve not truly heard this lost gem in its full glory. edition of 500




Born in Mississippi in 1937 and beginning to play the saxophone at 14, Billie Harris relocated to Los Angeles in 1965 after a 4 year stint in the Air Force, becoming one of the great, unsung forces of underground jazz in the city for many years (he later relocated to the Mojave Desert, where, at last record, he still plays in a church band). A Venice Beach street musician and longtime member of the Pan Afrikan Peoples Arkestra - you can hear him playing on Live at I.U.C.C. and Flight 17, as well as Jesse Sharps Quintet & P.A.P.A.’s Sharps and Flats (reissued in 2018) - he was also director of the AZZ IZZ jazz club in Venice Beach during the 70s.




On April 29 and May 3, 1980, Harris entered the studio, backed by Horace Tapscott on piano, David Bryant on bass, Daa’oud Woods on percussion, and Everett Brown Jr on drums, recording, over those two days what was to be his only outing as a leader. Once heard, the tragic lack of further material can’t be ignored. It is a truly stunning piece of work, even more surprising for the fact that it sat unreleased for over 20 years, only to be released as a small, poorly mastered edition on CD during the early 2000’s. Now, finally appearing very first time on the format and label for which it was intended, 40 years after it was recorded, we can hear this lost gem in all its glory.




Harris was 43 years old at the time of the Nimbus West sessions that resulted in I Want Some Water, and the power and experience of his playing, honed over three decades, shows in full force. The band is equally imbued with power, sensitivity, and experience. Tapscott, Bryant, and Brown’s working partnership goes back to 1969, when they recorded Tapscott’s debut as a leader, The Giant Is Awakened. In quintet’s hands, channeling the heavy modal relationships pioneered by Coltrane, heavy spiritual groove lock and unfurl, threaded by the release via incredibly forward-thinking improvisation.




Like so much of the work that came out of the Pan Afrikan Peoples Arkestra scene, I Want Some Water has a giant sound, each track long in length, building slowly over time toward towering heights that leave the listener immersed in one of the greatest treasures of spiritual jazz that almost nobody ever heard. Rhythmic, rollicking, and tonally inspired, the joyous interplay of the band goes deep, locked in, and challenging the predictable path, while making nods to numerous, discreet traditions of music.




As far as reissues go, Nimbus’ first ever vinyl pressing of Harris’ I Want Some Water is about as good as it gets. Not only does it deliver some of the best music we’ve heard all year, but it takes huge steps toward allowing a crucial artist to be celebrated in a way that he’s always deserved.

Cut directly from the original master tapes, featuring brand new artwork from the original sessions and liner notes from Mark Weber, and issued in a limited edition of 500 copies, it’s an absolute must that can’t be missed.

Kink Gong is back with his unique take and re-interpretation of the music he’s been recording and documenting for years in the South East Asian highlands.

Zomia Vol.1 takes the conceptual idea of ZOMIA, proposed by James C Scott in The Art of Not Being Governed, an Anarchist History of Upland South East Asia, to construct its very own mythological soundscape inspired by a semi-utopic region where state rules don’t apply. Zomia might be (almost) gone but Kink Gong is keen keep its spirit alive by releasing a series of albums celebrating the region’s quasi mythological features.

‘’Zomia is an idea, a concept that, not so long ago, there were two very distinct worlds in southeast Asia, the valley VS highland/hinterland, the civilisation VS the primitive, paddy rice VS slash and burn agriculture, Buddhism VS Animism, fixed territory VS movement/migration, written system VS oral culture, the state VS anarchy, property VS squat, controlled population VS autonomy, bricks VS bamboo and wood and, at my level museumified traditional mainstream music VS real emotions/songs of devastated lives and/or gongs ceremonies with buffalo sacrifices, extreme heat in the valleys VS shade in the jungle. I could go on and on but let’s not forget that ZOMIA is disappearing fast, if not altogether already. How many of the people I’ve recorded are still alive?

As you might know, before composing new music from my own ZOMIAN experience (from 2001 to 2014 in Cambodia, Laos, Vietnam, Thailand and China) I had to find those musicians, be able to communicate with them, record them as good as I could with very limited finances and gradually release a collection of 160 CDrs. It is very important for me to make sure you to listen to the fantastic original recordings before or after you’ve listened to this experimental reconstruction I called ZOMIA!

Expect more volumes to come, this is my biggest source of inspiration, and the reason why I’ve been involved for years in constructing a mythological experimental musical ZOMIAN soundscape.’’
Laurent Jeanneau, Berlin 2020

Melvin Ukachi needs little introduction, the Lagos (Nigeria) based vocalist and bandleader is a living legend. Melvin is known for his fantastic solo albums, his vocals for the afrobeat star-groups M.F.B. and Ozzobia_but his biggest legacy is without a doubt him being the singer and bandleader of Ofege. Melvin formed Ofege in the early 1970s (when he and the other band members were all still a bunch of teenagers). Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom to follow. At the turn of the century (and because of tracks appearing on various compilations) Ofege would receive international acknowledgment for being the first of their kind and THE ultimate West-African psychedelic funk band! Melvin Ukachi recorded four milestone albums with Ofege: 'Try and Love' (1973) 'The Last of The Origins' (1976), 'Higher Plane Breeze' (1977) and 'How Do You Feel' (1978). When the Ofege story came to an end, Melvin recorded two astonishing solo albums: 'Evolution-Bring Back The Ofege Beat' (1981) and 'I am Ok' (1985). Both of his solo recordings have now become much sought-after holy grails for collectors and fans alike. On the album, we are presenting you today (Evolution-Bring Back The Ofege Beat) the listener is treated to the trademark Ofege sound (as the title of the record obviously suggests). Next to the rootsy and raw Ofege sound, we're shown a perfect glimpse of the late '70s afrobeat works combining soul, jazzy rhythms, William Onyeabor style synths & fluid boogie-danceability Expect some serious 'all-star' guest musicians as well_featured on the album are Chyke Madu (The Funkees) on drums, Berkley Jones (Ofege) on guitar_and many other local legends. To top things off the tracks were recorded and mixed at the legendary Abbey Road Studios in London_all slickly engineered by Rafiu Ayoade (The Apostles) and produced by the president of sound himself Odion Iruoje (known for his work with Manu Dibango, Fela Kuti_and many others). 'Evolution-Bring Back The Ofege Beat' was released on EMI Nigeria in 1981 and is a total Afro-psych-funk classic that begs for a special place in your record collection. It's tight, funky and Melvin's soulful vocals are to die for. This record is a monster! Tidal Waves Music now proudly presents the first-ever reissue (supervised by Melvin Ukachi himself) of this amazing Nigerian Afrobeat album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork made at Grafikad (who were responsible for designing landmark sleeves for renowned artists such as Fela Kuti).

- Rare 1987 Detroit experimental Funk/Soul album - Solo album by Tony Newton (Motown, Funk Brothers) - First ever vinyl reissue - 180g Black Vinyl Edition - Limited to 500 copies // Antonio L. Newton AKA Tony Newton (born 1948) is a multi-instrumentalist from Detroit, MI who began his professional career at the age of thirteen, playing bass guitar with blues legends like John Lee Hooker and T-Bone Walker. Discovered by Motown executive Hank Cosby while playing the Detroit blues circuit at the age of 18, he became the touring bassist with Smokey Robinson and the Miracles on the famed 1965 European 'Motown Review' tour. Within two years, Newton became the Miracles' musical director. Tony Newton also toured and recorded with other Motown artists such as The Supremes, Marvin Gaye, Stevie Wonder, The Jackson 5_and countless others. Earning the nickname "the Baby Funk Brother" he left his trademark of solid, hard-driving and deftly clever grooves on such timeless hits as "Where Did Our Love Go," "Baby Love," "Stop In The Name Of Love," "Nowhere to Run," "ABC," "Never Can Say Goodbye," "Don't Leave Me This Way," and many others. Next to his impressive body of work for Motown, Newton can be heard on several hit singles from labels like Invictus-Hotwax and Stax. Later, Newton gained recognition as a member of both the acclaimed jazz-rock fusion group: The New Tony Williams Lifetime (headed by Miles Davis' drummer Tony Williams) and the British hard rock group: G-Force (with veteran guitarist Gary Moore). Tony Newton also recorded several solo albums during his impressive career, including the two total classics: 'Mysticism & Romance' (1978) and 'Novaphonia' (1987). On the album, we are presenting you today (Novaphonia from 1987) the listener is treated to something UNIQUE (and this is not an overstatement). Newton really puts the 'multi' into multi-instrumentalist, playing the synthesizers, the electric bass and the drum machine. Experimental is the keyword here, sounds vary from psych/trance (almost like a soundtrack from a space movie), to funk, fusion, rock, R&B, soul and jazz. Novaphonia has both elements of Tony Newton's impressive musical past and his vision for the future. Spacious synths, unusual instruments and an all-around cosmic approach make this an 'out of this world' and VERY intriguing album. Resonant, sonically rich, sonorous, colorful, mind-expanding sounds are what one should expect from the 20th century Novaphonic sound developed to its greatest extent. These harmonies are innately pleasing to the human ear, mind and nervous system.

Antonio L. Newton AKA Tony Newton (born 1948) is a multi-instrumentalist from Detroit, MI who began his professional career at the age of thirteen, playing bass guitar with blues legends like John Lee Hooker and T-Bone Walker. Discovered by Motown executive Hank Cosby while playing the Detroit blues circuit at the age of 18, he became the touring bassist with Smokey Robinson and the Miracles on the famed 1965 European ‘Motown Review’ tour. Within two years, Newton became the Miracles’ musical director.

Tony Newton also toured and recorded with other Motown artists such as The Supremes, Marvin Gaye, Stevie Wonder, The Jackson 5…and countless others. Earning the nickname “the Baby Funk Brother” he left his trademark of solid, hard-driving and deftly clever grooves on such timeless hits as “Where Did Our Love Go,” “Baby Love,” “Stop In The Name Of Love,” “Nowhere to Run,” “ABC,” “Never Can Say Goodbye,” “Don’t Leave Me This Way,” and many others. Next to his impressive body of work for Motown, Newton can be heard on several hit singles from labels like Invictus-Hotwax and Stax. Later, Newton gained recognition as a member of both the acclaimed jazz-rock fusion group: The New Tony Williams Lifetime (headed by Miles Davis’ drummer Tony Williams) and the British hard rock group: G-Force (with veteran guitarist Gary Moore).

Tony Newton also recorded several solo albums during his impressive career, including the two total classics: ‘Mysticism & Romance’ (1978) and ‘Novaphonia’ (1987).

On the album, we are presenting you today (Novaphonia from 1987) the listener is treated to something UNIQUE (and this is not an overstatement). Newton really puts the ‘multi’ into multi-instrumentalist, playing the synthesizers, the electric bass and the drum machine. Experimental is the keyword here, sounds vary from psych/trance (almost like a soundtrack from a space movie), to funk, fusion, rock, R&B, soul and jazz. Novaphonia has both elements of Tony Newton’s impressive musical past and his vision for the future.

Spacious synths, unusual instruments and an all-around cosmic approach make this an ‘out of this world’ and VERY intriguing album. Resonant, sonically rich, sonorous, colorful, mind-expanding sounds are what one should expect from the 20th century Novaphonic sound developed to its greatest extent. These harmonies are innately pleasing to the human ear, mind and nervous system.

Explore new musical frontiers intended to catapult the listener towards new dimensions…this is an album that just begs for a special place in your record collection!

Tidal Waves Music now proudly presents the first-ever vinyl reissue of ‘Novaphonia’ since its release in 1987. This rare & private-pressed album (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

KOOL KEITH is the most legendary trailblazer of hip hop music. With characters spanning from Dr. Octagon to Tashan Dorsett to Black Elvis to Dr. Dooom, Keith is always delivering realness, spectacles in word and sound, and creating new worlds with his many auras. SCORN is the electronic beat project of acclaimed exNapalm Death drummer Mick Harris, the Dark Lord of ambient dub. Mick Harris' prolific ventures across numerous projects include Painkiller (with John Zorn and Bill Laswell), Quoit, Lull, Monrella, and many more. SUBMERGED is the King of Underground Drum n Bass DJs, having pioneered the scene for the hard sound from Astana to Sao Paulo to Kiev to Brooklyn. He is the founder of Galactic Enterprise that is Ohm Resistance. DISTORTION is a collaborative single with some of the 100% certified dopest Kool Keith verses. He is tuned into his co-authors, dropping lines about "Power sources, Mediterranean bosses", going "52 states, European, Worldwide", discussing "more power to explore", and knowing how to "stick my hand out the speaker and reach y'all". A massive energy liftoff occurs as Keith joins his multiverse with that of the Ohm Resistance artists. Mick Harris' instantly recognizable bludgeoning beat carries the weight, as he trades off bass blast duties with the organic overdriven bassline of Submerged. A warning shot fired in advance of Scorn's album, "The Only Place", this single adds the missing element to Scorn that brings out the richness and flavor of Mick Harris behind the mixing desk. "I'm so happy to be working with a great voice - I could do more of, it adds another dynamic to Scorn." says Harris. Submerged explains his usual streak of unusual luck - "I had a bassline I had written and wanted to send to Mick Harris for Scorn. When the opportunity came to work with Kool Keith, Mick made his beat, and my riff fit exactly - so we coordinated the forces to put this record together". With Kool Keith being one of the most-named influences by many of the Ohm Resistance artists, his arrival to the label couldn't have come at a better time - a integrated circuit across 4 dimensions, connecting 3 legendary musicians around the globe. Mixed by MJ Harris in the Lad's Old Room B14; Vocals by Kool Keith Recorded at Studio G Brooklyn; Engineered by Tony Maimone, Assisted by Ross Colombo; Bass Guitar by Submerged at Blue Site I, Saaremaa; Mastered by Daniele Antezza for Dadub Mastering Studio; Artwork by Sagana Squale, Layout by MachineÖ

With his seventh studio album, Shapes of the Fall, Piers Faccini, pursues his passion for the kind of cross-cultural dialogues that have long been heard on Mediterranean shores throughout the centuries, bridging southern Europe with the Near East and Africa. Although the songs are written and sung in English, the musical influences in Shapes of the Fall draw heavily on Faccini's own Mediterranean ancestry, creating a musical voyage whose geography varies from song to song, crossing multiple frontiers with his voice over the course of the journey, from the snow tipped anglo-american Folk registers of songs like Paradise Fell or Together Forever Everywhere to the eerie desert blown notes of Middle Eastern or north African modes in tracks like Firefly or Dunya. Ruin or repair and hope or despair are the album's parallel narratives and if shapes of the fall are the myriad endangered forms that make up the mosaic of our environmental collapse, the descent, Faccini sings, is of our doing or undoing. ''Bring me my home back'' the chorus of the album's emblamatic opening song They Will Gather No Seed is not then, the singer's personal cry for a home but the animal lament of innumerable species on the brink of extinction. Faccini who has previously collaborated with cellist Vincent Segal for their 2014 duo album Songs of Time Lost has collaborated over the years with musicians far and wide in search of musical dialogue such as Ballake Sissoko, Ibrahim Maalouf or Jasser Haj Youssef. Two exceptional voices feature on the album; Californian singer-songwriter Ben Harper, a collaborator from his 2005 album, Tearing Sky and Moroccan singer and master of the trance traditions known as Gnawa, Abdelkebir Merchane. The album was co-produced by Piers Faccini and Fred Soulard.

Following the release of their Top 20 charting second album So When You Gonna..., Dream Wife (Alice Go, Bella Podpadec and Rakel Mjöll) now share live album IRL – Live in London 2020, a limited vinyl pressed on Neon Orange wax. Fortuitously recorded by their FOH engineer at London's Peckham Audio this past January, it documents what was expected to be the band’s first of many shows of 2020. Featuring highlights from their first and second albums, plus the previously unreleased song "Cheap Thrills", the recording has undoubtedly captured a blistering performance that showcases the trio's trademark ferocity.

Virtuosic ‘70s rock guitar ruminations encounter an irrefutable mixture of astonishing modern elements and classic psychedelic / progressive rock trademarks: Icelandic frontrunners THE VINTAGE CARAVAN return with their fifth studio album, Monuments, out April 16, 2021 via Napalm Records. After countless high-voltage live performances at festivals such as Roadburn, Wacken and Hellfest, and touring with Opeth, the Icelandic band’s new full-length impressively demonstrates that they have matured both musically and lyrically – presenting their very own potent mixture accented by bold, nostalgic nuance. On 11 diverse tracks, these youngbloods from Reykjavik truly cast a spell on fans of bewitching, guitar-driven classic and blues rock influences. The album opener, “Whispers”, clearly showcases the band’s musical progression without sacrificing their tried-and-true, retro-inspired sonic trademark. “Crystalized '' convinces with light blues influences, encircling the listener in enchanting guitar lines and quickly rising to the full extent of its power while evoking anecdotes of retro nostalgia. “Can’t get you out of my mind” takes its listener on a blistering ride through pounding drums, intense guitar solos and an undeniably catchy chorus, while tracks like “This one’s for you” represent a stunning blueprint in THE VINTAGE CARAVAN’s musical universe with unconventional, surprisingly calm melodies and Óskar’s gripping, tranquil vocal power. In contrast, bold drumming merges with fast-paced riffs, enveloping an impressive galloping vortex and pronouncing tracks like “Dark Times” and “Said and Done” as top notch rock pieces. The soft plugging, atmospheric sound of album closer “Clarity” symbolizes the crowning culmination of a 60-minute journey through the eternal landscapes of Iceland and the poetic lyricism of the trio.

“A Woman’s Heart” is a classic album by any standards and now available on vinyl.
Originally launched in 1992, this album has since gone on to become one of the best selling traditional albums of all time. 12 tracks that capture the varied vocal and musical talents of Maura O’Connell, Frances Black, Dolores Keane, Sharon Shannon, Eleanor McEvoy and Mary Black.

Shapes of Rhythm welcomes Emanative to the label for his first vinyl project following contributions to its Isolation Compilation and an Awkward Corners EP both earlier in 2020. Known for his love of collaboration, Emanative connected remotely with Bex Burch during the global lockdown. Disrupt #4 is the result of a meeting of two percussive minds in the midst of a pandemic, and like all good things it started with a groove. Nick initially provided Bex with a hazy, electrified afrobeat sketch. What followed was a musical dialogue which quickly gained momentum. A punk-esque vocal mantra was added, reflecting the here and now of 2020 to drive the track forward. Bex's trademark Ghanaian Gyil xylophone is the conversation with the groove throughout the track. Hector Plimmer also joins the collaboration, seasoning the mix with synthesizers and fx.

Following his stunning Dislocation Songs LP, the label drafted in Awkward Corners AKA Paradise Bangkok's Chris Menist for a remix on the flip that heads towards the club (remember clubs?). Adding 808s, his own conga recordings, synth lines, a sprinkle of acid and a warped vocal treatment, this is classic Awkward Corners: pumped with feeling and rhythm. If Andrew Weatherall was still with us today he'd be digging this take on the a-side.

Being a jack of trades has enabled Teyana Taylor to become a master of all. From her smoky melodic vocals to her dynamic dance moves, the R&B superstar entertainer dips ’n dives between her talents as singer, songwriter, producer, director, dancer/choreographer, actor, fitness guru, model, and mother. When it comes to describing herself, the Harlem native can only think of one word: Everything. In 2014, Teyana’s love for the arts and R&B earned her the title of the first woman signed to Kanye West’s G.O.O.D. Music imprint.



THE ALBUM, released June 19 2020, was tapped by Pitchfork as one of the “most anticipat­ed albums of the summer.” In addition to "Wake Up Love," Teyana’s masterpiece included her new graduation anthem "Made It," pegged by NPR as a “a triumphant, isolation-proof anthem for the Class of 2020.” In August, it was announced that "Made It" was picked by President Barack Obama as one of the tracks on his 2020 Summer Playlist.



Debuted at #1 on the Billboard R&B Charts, the album has spawned a number of standout creative moments, from her self directed video for “Lose Each Other” featuring Elton John. Following the release of her album, Taylor was awarded Video Director of the Year at the 2020 BET Awards.

Second Ballet Mechanique re-issue from the Eevo Lute archives. Originally released in 1997, it was his second appearance on the legendary Eevo Lute imprint. The Borrenbergs 12 EP II marks Jeroen Borrenbergs return with three jams of 90s feeling electro and half-stepping techno that easily passed the test of time. First track 'Where's The DJ (Pissbreak Mix)' counts over 13 minutes of gritty acid electro, making a halfway transformation into a moody two-step mover. The perfect two-in-one track gives you all the time to go for a toilet break while still being in the mix ;). On the b-side the emotive side of Borrenbergs returns to the surface, with 'Vinyl Voyage' being a spooky bleep jam and 'Diamond Cut' presenting his trademark bassline energizers. Fully re-mastered 2021 edition.

Deepology presents the final EP of the ‘Four Seasons’ series. Four releases, vinyl only, each corresponding to a specific season of the year. Quality deep and underground house gems from past and present.

Mr. Fedor Velyaminov aka Cossway, a Russian producer currently based in Paris kicks things off. ‘Raw Feelings’ is an ethereal journey exploring the depths of deep and tech house whilst firmly placing its sights on the dancefloor appropriate.

Next up Andrey Djackonda & Minube, our friends from Moldova. These guys have got groove and style in abundance. ‘Softly’ is a modern minimal interpretation of deep house, ranging from more traditional house vibes to somewhat abstract deep and dreamy moods.

On the flip side, Erefaan Pearce, a legend of Cape Town house music in collaboration with Perspektif let loose ‘H O U S E’. The track originally appeared digitally back in 2010, but this is the first time it has been pressed to vinyl. True classic deeeeep-house gem.

Finally, a lovely tune by Dance Chance Romance, a contemporary dance music project by Kyoto DJ and producer Yusuke Yamamoto. Having released more than 20 vinyl albums on various labels around the world his work is not influenced by trends and is highly valued for its unique sound.

Limited Edition of 300 copies. Pressed on black vinyl with white disco bag.

;Damir Imamović is a Bosnian sevdah master singer and instrumentalist. Described by The Huffingdon Post as ‘the king of sevdah music’ he has become a well-known representative of the new generation of traditional musicians in Bosnia-Herzegovina and the region. Imamović is both a brilliant and charismatic performer and a tireless innovator who continues to find original ways to connect sevdah’s rich past with an expanding and invigorated future. He also regularly composes for other artists, theatre and film. Limited Vinyl Release

“This is the time. And this is the record of the time.”

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25thanniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I travelled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I wasfascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization,shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

Self titled debut album from NOLA based indie psych rock band. Silver Synthetic is comprised of indie rock all-stars with members formerly from The Bottomfeeders and Jeff The Brotherhood. The mega talented musicians formed at a record store in New Orleans because of course they did. Summer 2020 EP from Silver Synthetic garnered playlist placements on Spotify's Indielandia and Fresh Finds Rock. Debut album Chiming, driving, relaxed rock & roll minimalism For fans of Television, T. Rex, The Velvet Underground, chooglin' 02/17 - Announce/Pre-Order w/ IG: In The Beginning + music video 03/17 - 2nd IG: Chasm Killer 04/07 - 3rd IG: Around the Bend 04/09 - STREET DATE w/ focus track: Around the Bend INDIE RETAIL PROGRAMS: Retailer Time Program Details Rough Trade US March 31 Transmission livestream Rough Trade US April 2021 US Edit Rough Trade UK April 2021 UK Edit Euclid NOLA March/April 2021 Mural PREX April 2021 banner Record Grouch Brooklyn April 2021 socials program Resident Records April 2021 web package, mail order flyers Piccadilly Records April 2021 web banner Drift Records April 2021 web package AIMS May 2021 Tier 1 Broadtime April 2021 Level 1 ads, listening stations, preorders Indie retail April 2021 Promo posters (x400)

PRIMAL FEAR's ferocious new record “Metal Commando” has been an undisputed highlight of 2020. The German power metal band's 13th full length detonated in the midst of a raging pandemic, leaving no stone unturned in its path. The whole world got stuck in, achieving the 6 piece some of their highest chart positions in their 20+ year career, which included; a top ten in Switzerland (6), Germany (7), Japan (7), Finland (9) and Sweden (9) next to multiple high entries in countries such as Austria, Spain, France and the USA.

PRIMAL FEAR are Germany’s metal band of the hour, again. Right now however, they want to show us something new, a different side to them - after releasing a string of heavy and hard-hitting singles from “Metal Commando”, mastermind Mat Sinner and vocal force Ralf Scheepers have something extraordinary up their sleeves; a 5-track single, built around an exclusive new rendition of their achingly beautiful ballad ‘I Will Be Gone’, re-recorded with none other than Finnish metal diva extraordinaire, Tarja Turunen.

“There were three famous vocalists on our final wish list,” Mat Sinner comments. “That it was Tarja who got involved in this song is a matter of pure joy for all of us. Working together on the song and video was totally relaxed and professional – a great experience also because Tarja’s and Ralf’s voices go together incredibly well. Now, we can expand the ‘Metal Commando’ saga with a unique chapter. We’re all really proud of this single.”

The Finnish icon can only agree: “I was very happy to receive the invitation to take part in PRIMAL FEAR’s beautiful song ‘I Will Be Gone’. We started our careers nearly at the same time many years ago, and finally got a chance to work together. I love the song and personally it helped me to stay connected and rock again, even if at the studio this time. I really hope that people will like this collaboration and that it will bring them joy especially during these difficult times we are living through at the moment.”
The song, fragile and touching, gets an altogether new and deeply melancholic vibe with Tarja’s unbelievably emotional performance, showcasing a different facet of PRIMAL FEAR. Yet, it’s not the only gift they deliver on this 5-track sensation - just take ‘Vote Of No Confidence’ for example, an all-new, previously unreleased beast of a song. Clocking in at over six minutes, this storming, furious anthem gives a brilliant glimpse of things to come. Previously only available as bonus tracks on the limited “Metal Commando” digipack, three more tracks complete this release; enchanting guitar instrumental ‘Rising Fear’, massive mid-tempo smasher ‘Leave Me Alone’, and heavy metal monument ‘Second To None’, making ‘I Will Be Gone’ so much more than just another off shoot of a successful album.

“Metal Commando” is so much more than just another album by a veteran band. The songs are too strong, the hooks too merciless, the refrains too huge, and their trademark phalanx of three guitars too indomitable for any meek kind of listener response. “We’re simply an awesome team,” Sinner laughs. The “we” he’s talking about are of course himself on bass guitar and vocals, fierce vocalist Ralf Scheepers, guitarists Tom Naumann, Alex Beyrodt and Magnus Karlsson as well as that brand-new whirlwind of a drummer, Michael Ehré.

After six albums “abroad”, “Metal Commando” saw the band return to their first home Nuclear Blast. Where some bands would give in under such pressure, changing labels for PRIMAL FEAR has unleashed a huge amount of sublime heavy metal energy. Heck, we bet this seismic shock was visible on the Richter scale! “We wrote and wrote and realised quite early on that we had a lot of good ideas going”. Good ideas? The songs are bangers as only PRIMAL FEAR anthems can be – a sound that’s long become a trademark just got new, shiny alloys.

New track ‘I Will Be Gone’ showcases PRIMAL FEAR’s mellow, bittersweet side – available on multi coloured vinyl, shaped vinyl, CD digipack or digitally. Let’s all take a deep breath now; soon enough it’ll get loud again on stages around the globe.