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Cutting his teeth on New Orleans session work while still a teen in the 1950s, pianist and singer Dr. John (born Mac Rebennack) emerged in the late 1960s with GRIS-GRIS, a blend of snaky rhythms, Crescent City funk, and swampland voodoo flair. Since then, he has remained one of New Orleans’s prime musical ambassadors, an artist with his own trademark sound and style. These sessions actually have a feeling not unlike his early-'70s work. Most of the titles are self-penned, and there are also a few Professor Longhair covers. If you like vintage Dr. John, this is almost mandatory.

Following the release of their brand new fifth studio album ‘The Absolute Universe’, progressive rock supergroup Transatlantic are pleased to reissue their much-loved sophomore album ‘Bridge Across Forever’ on Gatefold 180g 2LP + CD & LP-booklet. Originally released in 2001, and this year celebrating its 20th anniversary, the album saw Neal Morse, Mike Portnoy, Roine Stolt and Pete Trewavas producing the epic compositions that have become their trademark. The album was ranked #5 on the Prog Report’s Top 50 Prog Albums from 1990-2015, and is still a favourite of fans to this day. It follows the recent vinyl reissue of the bands debut album ‘SMPTe’.

Welcome valued share-holder, great to have you on board! This musical soundtrack by Running Out Of Time is a digital epic consisting of federally approved 99,9% original material carbon-dated to the last previous 12-24 lunar cycles. For 50 minutes, sit back and let our R.O.O.T. executive branch provide an experience like no other - neuro-programmed especially for your individual cerebral make-up. Choose from a selection of premium Terraform Realities, ranging from cyborgs battling human rebels through synthetic jungles and swamplands, to alien organisms escaping through intricate water tank systems. As you can see in diagram 2.1 in our presentation, each territory is mapped out in complete dimensional fidelity. For example, the water tank causeways also lead to a long-forgotten underwater world full of hidden creatures. Embrace your inner subaquatic explorer, as you search for artefacts and alien embryos that could be exploited for the corporation. Just remember - our trademark Quantum Parallel Reality Experience is guaranteed to feel as authentic as the real thing!* As a top tier investor, you will also have early bird access to our Platinum Realities selection - including our award-winning Apocalypse Cityscapes. With fully-rendered city centers that once bustled with 21st century traders, these abandoned heritage sites are now home to the lost souls of a free market economy that collapsed eons ago under its own weight. But beware! Some of the spirits will help you, and some will lead you into deadly traps - so choose wisely. Your investment portfolio depends on it! We are excited to have you join the team and look forward to sharing many more experiences together. *Tax Free corp accepts no liability for cognitive dissociation or neural dysfunction as a result of any Quantum Parallel Reality Experience.

Adam Cook aka Tommy Rawson returns to Bergerac with another killer EP of uplifting, tropical deep house, broken beat and Brit funk vibes. Following on from 2018s Gilles Peterson hammered 'Deep Blue' EP, he returns to Red Rack'ems Bergerac label with an absolutely killer 3 tracker which showcases the Watford, England based producers world class musical chops. Surely a contender for THE summer record with a sun kissed Brit funk A side which is tailor made for the WWFM and We Out Here crew. A tropical house and broken beat burner make up an equally strong flip. We are very happy (and relieved) to be presenting to you an absolutely belting EP of UK soulful dance music.

It's nothing short of a miracle that the A side track 'Illusions' has ever made it on to vinyl. Jonna from City Fly remembers 'Adam had this on a CDR at Southport in 2008 and it became our official track of the festival as we all partied together the whole weekend it got played again and again back at our Chalet parties'. But then as these things often sadly go, the funk diamond was lost for a few years in the digital ether. Fast forward to 2014 and Danny Berman aka Red Rack'em is playing a 320 of 'Illusions' everywhere but alas it's just a demo and Adam can't locate the arrangement to complete the track as it's on a broken computer in his Mums attic.

Then finally this year, after many pleading emails and plenty of gentle cajoling, there's some amazing news! Adam has located the broken computer and after a day of digital open heart surgery, and then a re-edit over Zoom (no really) we finally had the killer, classic UK soulful anthem you're listening to today. A voice over from a disco documentary cleverly introduces each instrument on the intro before Tommy pushes the button marked 'biggest bassline of the year' and takes us into boogie heaven.

'Sound Crazy' on the flip is another one of those classic Afrobeat tinged Tommy rollers. Big room vibes but with a lot of soul. Rolling broken drums and a huge bassline combine with plenty of spicy, tropical atmosphere on top. The trademark Rawson uplifting chords begin after an anticipatory vibe filled breakdown, taking you to the stratosphere.

'Ads Mood' is the most 'classical' broken beat track on the record, but they are all playable in multiple environments and transcend mere genres. Heavy bass and extra funky syncopated beats climax into a beautiful almost orchestral feel to close off an exemplary EP of higher quality moods and emotions. Don't sleep.

Double vinyl on blue and orange transparent vinyl in gatefold sleeve with download code.

 Former bIG*fLAME singer and bassist Alan Brown returns with his long term solo project The Great Leap Forward, releasing a powerful and trademark new album ‘Revolt Against An Age Of Plenty’. 

Vigorous, scintillating and life-affirming, this 13-song album sees Brown reach a milestone birthday, as explored in 'Can You Kanreki?’ - the Japanese concept of second childhood and re-birth. Then there are the trademark political and social vignettes, such as the title song of the album 'Revolt Against An Age Of Plenty' – railing against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – a scathing attack on the lack of openness, honesty and humility of our political leaders.

Brown featured on the legendary and influential C86 NME cassette as singer and bassist with Manchester agit-post-punk trio bIG*fLAME, and recorded nine John Peel sessions for BBC Radio One in the 1980’s with bIG*fLAME (4), The Great Leap Forward (2), A Witness (2) and Inca Babies (1). 

Formed by Brown following the disbandment of bIG*fLAME in 1986, The Great Leap Forward is essentially a solo project in which Brown writes all songs and lyrics, and plays / programs all instruments on recordings.

The style and sound is more melodic and accessible than bIG*fLAME, but still with overtly political lyrics and a socialist / humanist ethos: incisive political and social commentary layered over sharp yet melodic guitar pop – and with a touch of electro and humour thrown in for good measure…
Stuart Maconie, writing for NME, summed up the band's sound: "First there's the jagged guitar melodics, sweet but never tacky. Then there's the ferocious rhythmic drive. But best of all there's the stylish and witty use of found voices...snatches and snippets of speech and propaganda that are integral to the songs."

Little wonder that as with McCarthy, The Great Leap Forward were loved by a young James Dean Bradfield.

Brown writes- “This album is the culmination of four year's writing, and it has a much more varied approach than previous releases. Whereas previously I've concentrated on a political approach, this album takes a wider view of the world. Of course I still provide the trademark political and social vignettes - how could I not - such as the title song of the album 'Revolt Against An Age Of Plenty' – named after a collection of works by the English writer Jack Common in which I rail against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – with what I think is a scathing attack on the lack of openness, honesty and humility of our political leaders.

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From Another Mind continues to establish itself as an essential label with a fantastic fifth
release entitled 'Die Augen Des Teufels' from label bosses SHDW & Obscure Shape.

Marco Bläsi and Luigi Urban are main room techno talents who make no bones about the size of their
sound. Classic techno, rave, EBM and acid all colour their grooves. In 2016 Groove Magazine chose
them as Newcomer of the Year', while they have also released their 'Himmel Und Erde EP' on the
mighty Rekids, as well as remixing the boss's anthemic 'Grindhouse' in recent months. Two years later,
the duo now follow up 'Die Weiße Rose' - their last original release on From Another Mind - with four
tracks that reflect the pair's trademark versatility as producers and the sound they play as DJs.

Things open in monstrous fashion with the brilliant 'Die Augen Des Teufels.' Built on tightly
programmed and unrelenting drums, it has a hypnotic synth line riding about the scales that locks in
your mind while your feet march to the beat. Frazzled synths and icy hi hats add to the pressure and
ensure this one makes a devastating effect. 'Wächter Der Nacht' is equally forceful, with hammering
kick drums and minimal driving percussion joined by a brain frying acid lead synth line that will blow up
any DJ set.

The flip maintains the release's rave-spirit whilst taking things into a more melodic direction. Keeping
up the high class pressure is 'Die Prophezeiung', which has hulking kicks leaning into a stiff wind as
hugely texted synths rumble up top to bring real rawness and impact. This one stays relatively stripped
back and builds atmosphere throughout before closer 'Verlorene Seelen' picks things up again with
quick and slick drums, nimble chords and an irresistible sense of techno force that cannot fail to carry
you away.

Barcelona's Pau Roca is back with his 2nd release on LA label Pleasure of Love, EP of cool-hazy balearic house with equal parts sunrise and sunset energy.

Roca is a standout in the Barcelona DJ scene, with his party Libido and labels Escola and Bons Records, he’s established himself as a premiere record collector/DJ and a producer in the scene. You can hear it in "Euphoria", a track that shows Roca’s deep understanding/appreciation of this music’s roots while updating the sound and capturing the mood and essence of the title. "Marble Arch" is another chugging, deep italo/spanish house number - filtering in breakbeats, choir patches, and a resonant lead to hypnotizing effect.

The legend Pal Joey brings a trademark sound to his version of "Euphoria" on the flip, lending vocals and organ to a tripped out and blissful vision of the track. "Hope" rounds out the EP, a downtempo, uplifting piece for lovers of atmospheric retro-house.

Certain Sound Records are pleased to announce the release of the brand-new album from Montener The Menace – Anyone Home?

Anyone Home is the hotly anticipated follow-up to “I Have a Hidden Hobby” and is comprised of 14 superb tracks featuring an ensemble of legendary figures from both the US and UK Hip Hop scenes with appearances by Masta Ace, Rah Digga, Craig G, Keith Murray, Edo.G, Micall Parknsun, Cracker John, AG & Guilty Simpson to name just a few.

Production is handled by such heavyweights as Domingo, Roccwell, Keynotez and all cuts are provided by the legendary JabbaThaKut.

The album campaign was launched with the release of 3 excellent singles – High Noon, The Struggle and Take it Back all of which were met with extremely positive reviews from blogs and magazines alike, in addition to this acclaim the tracks have received airplay on a global scale via stations such as Shade45 and Itch FM.

Montener showcases his massive progression as an artist since his previous release with great confidence while still maintaining his trademark sense of humour that fans have come to love and adore. He demonstrates great diversity throughout by being able to touch on some difficult subjects such as suicide and mental health and parenthood as well as his more traditional upbeat content.

“Its gonna make a great impact on the scene, just what we need, when we need it most.” – Skinnyman

Hot on the heels of releasing indie/dance single ‘Treat You Right’, The Jungle Giants reveal their highly anticipated fourth studio album Love Signs. It will feature their trademark alternative dance-pop hooks that veer from dissonant to euphoric. Love Signs was written and produced solely by Sam Hales and features previous singles ‘Treat You Right’, ‘Heavy Hearted’, ‘Sending Me Ur Loving’, and ‘In Her Eyes’. Not only was making this album “really self-affirming” for Hales, it’s also shaping up to be The Jungle Giants’ most successful. With a recent ARIA Nomination for ‘Best Song Of The Year’, multiple platinum and gold singles, alongside back to back Top Ten entries in triple J’s Hottest 100, this album is shaping up to be one of Australia’s best releases this year.

Following the release of DBA's tenth anniversary digital compilations in 2020, the label presents a vinyl edition sporting the four most in demand tracks. Kerrie opens proceedings with a barnstormer in her trademark dark machine funk style. Bristol's Lurka follows with 'Clean' which has been receiving plays from Ben UFO and other leading DJs. On the flip Mr. G slips down a gear for a deep house workout which is guaranteed to get floors moving, and The Room Below completes the package with futurist batucada bomb 'Bassika'.

Debut album from Cleveland born, NYC-based multi-instrumentalist, producer, singer-songwriter, and artist Cautious Clay. Deadpan Love, which includes previously released singles “Roots,” “Dying In The Subtlety,” and “Agreeable,” warps influences from R&B, Hip Hop and Indie Pop in Cautious’ trademark sophisticated songwriting and jazz- and blues-inflected instrumentation. “Deadpan Love explores the ways I cope with the worst of what humanity has to offer,” says Cautious. “It’s about opposites—having an outer layer that’s tougher, this “deadpan” state, and an inner layer of compassion, where you’re open to being there for the people you care about. It’s this warring compassion and cynicism that has empowered me to express myself through this medium.”

Album Description BROS VOL 2 takes you on a technicolor journey via your ear drums. The eclectic flavours of VOL1 are taken to new heights. The musical scope is wider, and the worldly sonics more exotic. The power pop refrains sink their hooks deeper, the sly musical jokes sell out harder and the hard charging grooves really pack a wallop. BROS make music that is fun and colourful, the way it's supposed to be. Bio After boldly displaying their full musical range on the 2016 debut album Vol. 1, BROS—aka The Sheepdogs’ Ewan and Shamus Currie—return with Vol. 2, an endlessly surprising new 13-track collection that’s something akin to a party thrown by your friends with the best record collection. Recorded over a two-year span with producer/engineer Thomas D’Arcy in Toronto, BROS sought to expand their scope on Vol. 2 by inviting a host of collaborators, from a horn section and tabla drummer, to Sheepdogs guitarist Jimmy Bowskill (on a range of instruments he doesn’t normally play) and even their father Neil Currie on piano. The results contain something for everyone, from the Tropicalia-inspired “Sunflower” and the smooth jazz of “Clams Casino,” to the lowdown funk of “Never Gonna Stop” and the vintage AM radio homages “Crazy Schemes” and “You Love This Song.” With Vol. 2, the combination of visually evocative instrumentals and finely crafted Pop and Soul nuggets is now undeniably BROS’ trademark sound, one that’s utterly distinct from The Sheepdogs’ arena-ready, guitar-fuelled rock. As a pure studio creation, the album not only displays the Curries’ dynamic creative bond, but also their playful sense of humour and easy-going relationship, something that can’t often be said of fraternal musical partnerships. So as we all wait patiently to return to bars and concert halls, BROS Vol. 2 is here to provide the perfect soundtrack for whatever you happen to get up to within your bubble, just as long as the intention is to have some fun. For Fans of: The Sheepdogs, Dan Auerbach, The Doobie Brothers, The Allman Brothers Band, Eric Clapton, The Band, The Black Crowes

Beautifully presented translucent blue heavyweight vinyl LP, cased in 4 panel printed outer and inner sleeves.
Subexotic Records presents our first project with talented producer Onepointwo. Konstantinos Giazlas (aka Onepointwo) hails from Thessaloniki, Greece, and sites influences from the late 50s electronic experimental sounds, motorik,krautrock, lush shoegaze melodies and modern electronica. Talking about hiscreative outlook, Kostas says: "I continually look to emulate a musical journey into space, time, memories and frequencies". This journey is conducted with the use of minimal electronics, abstract and distorted shortwave radio signals, dystopian soundscapes, all carefully wrung out from criss-crossing digital and analogue sources, fused with a passion for heavyeffects and percussive sounds. Fashioned from a collection of tracks hitherto believed to be lost to a cruel computer malfunction, Synchronization was salvaged from a final reboot. No editing, no tweaking, no second chance - these tracks have reached terminal velocity. Luck is on our side, as what remains reveals a series of intricate yet powerful soundscapes, with finely wrought motifs that repeat and build to create Onepointwo's trademark shimmering psychedelic impact. His previous discography includes Keene (Poeta Negra) / SANS (Lotus RecordShop Editions) and various appearances & remixes on domesticlabel compilations. 2020 brought about 2 album releases on highly regarded cult UK labels Miracle Pond and Woodford Halse, garnering a slew of positive reviews, including warm praise in Electronic Sound Magazine.

Sam Prekop's eponymously titled LP is a study in pop nuances. Simultaneously transporting the listener from mild climes and swinging palms to darkened skies and wind blown steppes, the record will be easily recognized by fans of The Sea and Cake. Known to many as the singer and main songwriter for said group, Mr. Prekop is assisted on this release by Chad Taylor (Chicago Underground Duo), Josh Abrams (ex-Roots, Town and Country), Jim O'Rourke (Gastr del Sol) and Archer Prewitt (The Sea and Cake). Those expecting to find more of the computer beats and trickery found on The Fawn and Two Gentlemen are in for a surprise. Whilst prevalent on "Faces and People" - (a lucious groove overlayed by cornet and guitar), the computer takes a back seat to real strings, drums, piano, electric piano and organ as well as electric and acoustic bass. The subtle grooves, a trademark of The Sea and Cake records, are still present here as Sam and his band blend West African rhythms with a bit of soul, jazz and pop. The resulting record is something wholly original, elegant and earthy. A cauldren, if you will, of sweet smelling and enlightening stew. So line up, grab a spoon, and dig in. All the ingredients and intoxicating aromas necessary for an auditory feast are contained within.

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

DJ Loser returns to Veyl with ‘Urban Survival Anthems’, a collection of indestructible high-speed rave workouts, acid hooks and his trademark self-awareness. Marking new territory for both the label and the Greek producer’s genre-spanning discography, these 7 tracks will make you feel like you’re simulating a 90s rave through VR in 2046
The limited edition cassette features photography by Tomaso Lisca.
For fans of AFX, the Blade club scene, The Matrix trilogy and The End of Evangelion.

UK veteran The Dexorcist debuts on Traditions with his trademark hardcore & rave infused electro , 5 killer cuts for quirky dancefloors ...

Milanese imprint Ansia returns with a new V/A of warped, unconventional techno. Following his critically acclaimed debut LP 'Perdu', label-head Piezo continues to carve out his club-ready and explorative sonic niche, this time calling on a team of kindred left-field sound manipulators to get the job done. Manchester's BFFT (Whities, Gobstopper, Cong Burn) leads the charge with a dexterous cut that marries mind-bending sound design with club-ready functionality. Next up is Timedance-affiliate Metrist, who is as playful as ever on 'LB Steaua': a deceptively simple 4/4 beat peppered with distorted glitches and psychedelic details reminiscent of Perlon's more left field releases. Moving to the B-side, Piezo delivers his trademark brand of ruffneck techno - buzzing with off-grid tribal drums, cartoon synths and nonsense vocal samples. To close, Mexican leading-light Siete Catorce ratchets up the tempo for a singular track in a world entirely of its own: rude, fast, no-frills, sitting somewhere between digital cumbia and hardcore tekno. Unsurprisingly this one ended up in Batu's relentlessly forward thinking BBC Essential Mix.

Born in rural Mississippi and associated with Memphis, versatile entertainer Rufus Thomas is a legendary figure, having been a tap-dancer, comedian, and DJ before recording for Satellite in 1961—the label that soon became Stax. Thomas’ improvised hit, ‘The Dog,’ led to immortal follow-up, ‘Walking The Dog,’ so massively popular that it became the centrepiece of his debut LP, an irresistible blend of funk and soul with lashings of Thomas’ trademark humour. Whether with originals or standards like ‘Ya Ya’ and ‘Land Of 1,000 Dances,’ Thomas keeps the action tight and in addition to both ‘Dog’ hits, there is further instalment, ‘Can Your Monkey Do The Dog,’ co-penned with Stax’s Steve Cropper. A killer set!

Shifted offers the latest distillation of his trademark sound.

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

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

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

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

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

Repress!

Two Ike & Tina Turner sought-after classics on either side of a 7 inch. The A side sees the ice cold early funk jam ‘Bold Soul Sister’ featuring the trademark funk guitar stylings of Albert Collins, originally released on the Blue Thumb in 69 and favoured by hip hop producers for its wealth of sampling gold. The flip side houses ‘Somebody (Somewhere) Needs You’ a rare and pricey Northern Soul number penned by Motown songwriter Frank Wilson that goes for £150+ on Discogs. A 50 year anniversary release in a picture sleeve.

Beautiful orange & yellow sunburst vinyl - Solstice '21 sees twelve bright lights of independent electronic music mark the coming Summer Solstice. In such dark days, the age-old practice of celebrating the move from shadow to light, feels steeped in a renewed symbolic power. Solstice '21 marks this significant moment with a rich array of musical offerings. Reflective, lively, and always powerful, this collection is spun with modern twists of an ancient thread. Rotator - This is the first outing under this moniker from Justin Owen, also known under the alias Licit, as well as being a protagonist in the world of modular synthesis as the man behind the Abstract Data modules; Letters from Mouse - "Bubbling analogue synthesis from Scotland." This analogue synth maestro and inimitable broadcaster (aka The Magic Window), boasts a string of quality releases, including the recent highly acclaimed album An gàrradh, also on Subexotic; Cub/cub - "Cub/cub explores the world in-between nostalgia and nihilism, analogue and digital, real and false; creating evocative and mournful musical collages." First discovered on Boards of Canada forum Twoism, Cub/cub's two debut releases with Subexotic demonstrated his considerable talent to mix fascinating texture with beguiling melody. With an astonishing follow-up album coming soon, his rising star feels unstoppable; Orbury Common - "aural ephemera from the home of the orbs." This mysterious duo from the West of England are blessed with delightful musical cunning; their brilliant debut on Subexotic lifted the lid, and this offering reaffirms exciting times lie ahead; Onepointwo - "Minimal electronics, abstract radio signals and dystopian soundscapes are proceeded from both digital and analogue sources." A creator of intricate yet powerful collage, with finely wrought motifs that repeat and build to create a shimmering psychedelic impact. This is Onepointwo's glorious trademark. Spell-binding releases already exist on Woodford Halse, Poeta Negra, Lotus, as well as an imminent powerhouse album forthcoming on Subexotic; Giants of Discovery - "Experimental electronica with the occasional noisy guitar thrown in." Giants of Discovery's ability to get to grips with the musicality of his subject, has lead to previous exquisite sojourns into realms such as Victorian cosmic horror and Greek mythology, as well as an equally fantastical, towering follow up album on Woodford Halse; Wonderful Beasts - "A Wonderful collaboration between boycalledcrow and Xqui." Their playful interaction finds ways of crafting acoustic fragments into unexpected kaleidoscopes of sound. With beguiling debuts on cult label Wormhole World (soon to be followed up by an extraordinary new album on Subexotic), there is a kind of breathless magic about everything they do; Dogs versus Shadows - Electronic Sound Magazine says "A rare example of gamekeeper turned poacher...a welter of impressive electronica." Lee Pylon's ability to straddle a wealth of uncompromisingly inventive creations, and his broadcasting prowess as the much loved Kites & Pylons, is already the stuff of legend. A multitude of releases across many labels including Subexotic, Woodford Halse, Miracle Pond, Third Kind, Submarine Broadcasting, Sensory Leakage, provide a glittering treasure trove of work; Counter Silence - A stalwart of Subexotic, Counter Silence's sparkling and wistful musical work very much stands alone in temperament and style. 2020's Pathways EP on Subexotic remains a precious oasis, imbued with a haunting solitude that lives on in the memory; Transient Visitor - "All music unlocked by Alex Cargill (C.O.I. Central Office of Information) and Martin Jensen (The Home Current)." These two intercontinental maestros (well Sidcup & Luxembourg) boast impressive solo back catalogues across many labels (including Castles in Space, Polytechnic Youth, Woodford Halse). Their newly conceived collaborative Transient Visitor project, brought about the superb TV1 album in 2020 - we can see the sparks fly again in this welcome 2021 return; Simon Klee - "Natural, Electric, Organic Psychedelic - Sounds, noise and psychedelic beats." Klee's playful alchemy engages the mind and spirit, as witnessed in a flurry of top quality releases in recent times (e.g. Subexotic, ANR, Woodford Halse), and there is a visceral joy in his work that is perfectly placed for a midsummer celebration. Klee also produces a truly excellent mixcast and increasingly essential tape label, both under the guise of Anticipating Nowhere; Rupert Lally - "Hailing originally from England but now based in Switzerland, Guitarist, Percussionist and Electronic Musician Rupert Lally began his career as a Sound Designer and Composer for Theatre and TV, before launching his solo career in 2005. Since then his releases have blurred the boundaries between electronic and acoustic music." Lally's consistently brilliant work is always a highlight of the electronic music calendar, including recent stellar works across many labels such as Spun Out Of Control, Third Kind, Woodford Halse, and Modern Aviation.

Detroit artist Javonntte’s third album for Ten Lovers Music continues the theme set by the 2019 album No Rush and the 2020 album Runaway Galaxy. Flight 77 is full of summer jazz fusion grooves for the dancefloor now the world is getting back to something like normal. Javonnttes unmistakeable trademark sound runs through all the tracks on this album with Annette being a tribute to his mother who introduced him to jazz. Free Your Soul written by Caruso and Javonntte rounds off the album with a reprise by label boss Steve Conry.

Lucky Brown is the alias and stage persona of American composer Joel Ricci, who conducts myriad combinations of musicians drawn from his Seattle Washington based Westsound Recording Collective in dynamic and spiritual public and private happenings. Via his dozens of self-produced experimental deep funk vinyl singles released by Tramp Records over the past 13 years, he has been hailed by music mavens worldwide as a deep funk pioneer.

Deep Blues EP Some Kinda Blues by the Mosquito Hawks is the fruit of a one-off early morning session in a practice room at the Seattle Drum School in 2010 featuring luminaries from the Seattle funk community including fiery guitar phenom Jabrille "Jimmy James" Williams of Delvon Lamarr Organ Trio renown, versatile drummer Jens Gunnoe and dynamic bass player Bob Lovelace. Rounding out the horn section is longtime friend and collaborator Thomas Deakin, who's singular tenor tone will be familiar to owners of the Space Dream and Mystery Road records. A tantalizing glimpse of the session was released by Tramp as a single under the name T.D. & The Jimmy James 3 on the extremely limited edition Mosquitohawk imprint, but this EP offers us time to appreciate the transformative alchemy of the session in its entirety. The new EP makes room for highlights that just couldn't have been contained on one 45, such as the remaining 7 minutes of brutal jamming of Mosquito Eater, the New Orleans street party shout of Hydrangea and the exalted kind of blues of Some Kinda Blues.

On this album, Ricci proves once again that he has developed his own trademark production and sound whose depth and honesty form a basis from which his work will ever remain timeless. Although this is just a 5-track EP we truly hope that the Mosquito Hawks gets at least as much attention as all of Ricci's other marvelous projects he did for Tramp during the past 15 years.

Those who pay close attention to DJ Harvey’s sets should already be familiar with NuNorthern Soul’s next single, a fully licensed reissue of a sought-after 1980 promotional seven-inch from legendary Spanish Flamenco singer Manuel Mancheño Peña, better known as El Turronero (‘The Nougat’).

Both ‘Las Penas’ and ‘Si Yo Volviera A Nacer’ have long been secret weapons in the sets of dusty-fingered Balearic DJs, with Harvey regularly dropping the tracks during his sessions at Pikes Hotel on the White Isle.

Both tracks first appeared on Pena’s 1980 album New Hondo, a set that updated the then veteran Flamenco artist’s sound for the disco era. Whereas most of his previous albums were more traditional Flamenco affairs, New Hondo combined his throaty, effervescent Flamenco singing style with the driving grooves, swooping orchestration and spacey synthesizer sounds of European disco.

To promote the album, Spanish label DB Belter pressed up a promotional “45” featuring two of the most club-friendly cuts on the album. It’s this release that is being reissued for the very first time by NuNorthern Soul.

A-side ‘Las Penas’ is undoubtedly an off-kilter, late-night disco classic. Built around a flanged, action-packed disco-funk bassline, metronomic beats. soaring and layered female backing vocals, intergalactic synth sounds and stirring strings, the track steps up a level when ‘El Turronero’ takes to the microphone to belt out an infectious, energetic vocal in his trademark Flamenco style. It’s the kind of cut that’s as haunting and intoxicating as it is funky and floor friendly.

Flipside ‘Si You Volviera A Nacer’, another of New Hendo’s most sought-after tracks, is another unique and righteous concoction. Looser, groovier and warmer in tone, it sees another sublime, Flamenco style lead vocal from Pena accompanied by even funkier bass, spiralling ’70s synthesizer sounds, sweaty drums and some seriously exotic instrumental flourishes (think sitar and kalimba). It’s every bit as alluring as the more driving A-side, and equally as playable.

Both tracks may be unusual in comparison to the artist’s other releases, but they expertly capture a moment in time, when disco dominated dancefloors all over the world and inspired even the most traditional and historic of European musical styles. Quite a number of flamenco-disco records were made in Spain during the late ’70s and early ’80s, but very few are quite as magical as these.

Wayout Records head honcho, Manchester DJ and producer James Kumo aka K.Mo, takes the reins for their next release ‘Space Funk EP’, featuring man of the moment Byron The Aquarius.

The deep house groove of title track ‘Space Funk’ has Byron on keys, laying down his trademark synth and bassline stabs courtesy of his Prophet 6. The warm and soulful vibes sit alongside driving drum patterns and additional live percussion by Mauskovic Dance Band member Chris Bruining.

The B side opens with ‘Moon Light Shuffle’, delivering a captivating bass line with synth lead melodies accenting the organic solo to die for from the super talented Tim Jules.

Close ‘Inner Soul’ is full of sparkle with heady pads, luscious piano chords again from Tim Jules, elevating this very credible record to a whole other level.

Manni Dee returns to Perc Trax for the release of 'A Low Level Love', his second full album following on from 'The Residue' released in 2018 by Berlin techno institution Tresor. Manni opened his Perc Trax account back in 2017 with his 'Throbs Of Discontent' 12" which featured his breakout hit 'London Isn't England' and since then he's become Perc Trax regular releasing his recent 'Everyone's Replaceable Now' 12" plus his 'Gulabi Gang' contribution to first of the 'Forever' various artists series. During this time Manni has gone from a cult UK favourite to being internationally recognised, performing all around the world.

On 'A Low Level Love' Manni expands on both his previous album and his recent run of Perc Trax releases, mixing his trademark club techno rhythms with broken beat and non-dance floor outings. 'No More Heroes' and 'You Don't Always Get What You Want' see Manni at his most melodic and introspective, whilst the storm of kick drums on 'Closer' shows a new intensity and aggression to Manni's music even when compared to the heaviest of his previous releases.

Guest slots and collaborations can often detract from the artistic vision of an album, but Manni chooses his co-conspirators well, with vocalist Sylph adding a human element to album opener 'Persist & Change' and London acid techno legend Chris Liberator providing both vocals and some of the inspiration for club hit in waiting 'London In My System'.

'A Low Level Love' will be released by Perc Trax on 17th June on 2 x 12" vinyl, CD and digital. The album was mastered by Matt Colton at Metropolis, London. The front cover photography was taken by Bruna Kazinoti and design was handled by Adult Art Club.

Repress

Punctual like a Swiss watch, Driftmachine presents a new album that once again astounds and delights. We know their trademark: solid mechanical percussions, forceful bass and melodies systematically built around circular patterns. "Spume & Recollection" is the sixth Umor Rex album by the Berlin duo, and what better way to celebrate the label's 15th anniversary than with a new record from the masters of labyrinthine cables and patches. Regarding "Nocturnes" (UR 2014), their debut album, we described their sound as precise and symmetrical, identical concrete blocks mounted and articulated in a random order. Their already obsessive style continued to evolve with their third record, "Colliding Contours" (UR 2016), now pushing further into abstract dub, ultra-tense grooves, and even more kinetic loops, moving further away from conventional musical structures. Between these two albums they released the remarkable "Eis Heauton" (UR 2015), a kind of hypnotic experiment informed by shadowy atmospheres, chance, and an intuitive dialogue with their musical machines, a unique situation in which they acted as bemused observers in hunt for epiphanies, resulting in an exquisite amalgamation of lucid dream-logic and mechanical precision. A one-of-a-kind soundtrack for minute and wordless scenes unfolding in pitch-black back alleys and hidden, alchemical basements. A similar map was explored with "Shunter" (UR 2018), a superb secret meeting between avant-garde phantasmagoria and concrete experimentation. "Radiations" (UR 2017) offered B-sides and bonus tracks, in addition to collaborations with Shackleton and The Sight Below, a kind of preamble that united Driftmachine’s different expressions and leanings.

When Andreas Gerth and Florian Zimmer come up with new material, one listens with high expectation. Looking back on their discography, one could safely anticipate a high quality album densely layered with their familiar leitmotifs. And yet, "Spume & Recollection" takes us by surprise and finds a new way to transfix. Fresh methods and ideas are introduced to their dynamics and formula. Yes, of course, you can still expect a healthy dose of kosmische, which is one of the dominant features in Driftmachine’s DNA; but this is now entwined with novel materials, semi-material patterns of alien code stretching over exhilaratingly tense and detailed grooves, clouds of gas shifting on top of deep dub architecture and blocking out the sun for prismatic effect. Even more of a surprise is the immediate, streamlined nature of these tracks, making "Spume & Recollection" their most accessible record and, perhaps, the most addictive (and this without sacrificing the essential mystery and strangeness at the core of Driftmachine’s sound).

We have previously described their work as post-industrial-dub; right now, we might just call it hypno-music for man and machine to dance and dream together. "Spume & Recollection" takes this concept as far as it can go without breaking, and finds some strange new feelings, and weirdly danceable grooves, to shed some light on this dark and dazzling ride.

All songs written & produced by Andreas Gerth & Florian Zimmer in Berlin Mastered by John Tejada Artwork & Photos by Daniel Castrejón

‘Sleek, impassioned and thoroughly modern’ - Prog Magazine
French atmospheric rockers Klone have built their name on making music that
is as deeply introspective as it is sonically powerful. Known for their trademark
dark guitar tones and epic brooding soundscapes, the band signed with Kscope
in 2019 before releasing their first album with the label, ‘Le Grand Voyage’, that
same year to critical praise.
Now, for the first time in the band’s career, Klone are releasing a live album.
Recorded between two different shows at Sjiwa in Baarlo, The Netherlands in
October 2016 and at Moloco in Audincourt, France in November 2019 respectively, Alive captures the true essence of Klone and includes stunning performances of the singles ‘Yonder’ and ‘Breach’.
Engineered by the band’s live sound engineer Chris Edrich and Mastered by
Pierrick Noel, the band describe the moment as “a way to pay tribute to our
audience and the people who support us.”
As we await live music to return on a large scale, this is a timely reminder of
what a superb live band Klone are. Featuring recordings which represent the
band’s most popular material whilst giving testimony to the shows recorded
during the period between 2015’s ‘Here Comes The Sun’ and 2020’s ‘Le Grand
Voyage’.
This LP edition of ‘Alive’ features a bonus track “The Last Experience” and is
available as a gatefold double black vinyl on 11th June 2021.

Indie/Psyche/Jazz/Soul/Dub. Originally released in 2014 and available for the first time on CD. CD only bonus tracks 'Surf Rider' and 'Rainy Dub' Written, recorded, mixed and produced by Will Dorey, Skinshape's self-titled debut album showcases the talents of the then 23 year old. Recorded in bedrooms, lounges and 'The Arch' studio in North London the trademark 'Skinshape' sound was already starting to emerge. Everything from psychedelia and rock to indie and dub is explored. A stunning debut for a now much loved artist.

Music in Exile announce their forthcoming remix EP, featuring reworkings of Music Yared by Melbourne cult hero, Mikey Young (Total Control, Eddy Current Suppression Ring, The Green Child). SINDAYO - MIKEY YOUNG REMIXES features remixes of an original track from Music Yared’s self titled debut EP, released last year through Music in Exile. In addition to today’s announcement, we’re delighted to also share the first single, Sindayo (Mikey Young’s Masinko Remix - Radio Edit), out March 26 via Music in Exile.

Mikey Young’s legacy is well known throughout the Australian music scene, most notably as part of garage punk band Eddy Current Suppression Ring, and synth-driven outfit, Total Control. However, the talents of Young extend well beyond the performance setting to the world of engineering and mastering with his name appearing in the liner notes of an incredible number of releases, becoming something of a trademark of quality. In this release, Young showcases his skill and nuance, creating a remix where tradition and sonic exploration co-exist.

Anbessa Gebrehiwot and Haftu Reda are masterful players of krar and masinko, traditional string instruments from Eritrea and Ethiopia. Now based in Melbourne, Australia, the pair collaborate with multi-instrumentalist Dale Gorfinkel to create an innovative ensemble sound that celebrates their East African culture. The band's seemingly endless repertoire ranges from modern takes on folk songs to new, original compositions with Anbessa’s strong vocal presence a perfect match to Haftu’s sweet lyrical modesty.

Music Yared’s compositions are inspired by traditional Etheopian and Eritrean folk songs and they sing about love, distance, separation and culture. Their songs also feature virtuosic mastery of traditional instruments - the krar, (a 5 string lyre style instrument), and the masinko (a single string violin-like instrument that is played using a bow.) Although inspired by tradition, Music Yared’s compositions embrace the notion that music is always developing and changing with the times. Taking influence from traditional folk songs, Music Yared finds newness and originality through their personal approach to their lyrics, their treatment of rhythm, and the creation of new beats. This change and openness to new sounds is also apparent in their instrumentation, as they pair their traditional instruments with drums, as well as samples of bass lines and percussion.

Given their openness to new musical approaches and experimentation, it only seems fitting for the songs of Music Yared to be remixed, allowing further exploration of their inherent musical attitudes towards change and development. The first single from the EP, Sindayo (Mikey Young’s Masinko Remix - Radio Edit) traverses new sonic territory, pairing the traditional character of Music Yared with contrasting ideas from different sonic landscapes. Beginning with a musical acknowledgement to the original song, Young’s remix then changes direction into a new sonic world; synth pads and melodies swell and intertwine, samples interject, whilst grooving electronic beats underpin a new approach to texture and song structure.

Recorded by Dale Gorfinkel in Thornbury. Mixed and mastered by John Lee at Phaedra Studios.
Remixed & additional production by Mikey Young in Rye.

Split #1 marks the debut of a new vinyl series, to be hosted on the Various Artists catalogue of Pi Electronics. The split series will be bringing two artists on the same vinyl, with this very first release presenting music by Greek producers Fragedis and Nemmett.

Coming from different backgrounds of electronic music, prolific figure of the Cretan islands' dance scene, Fragedis and one of the Athenean founding members of the "π" crew, Nemmett, contribute their sharpest weapons to this release.

On the A-side, Fragedis delivers a techno/breaks cut of dystopian melodies and vocal samples with his opening track "Flantza". His second track, "Klirish" blends industrial leaning percussions with Detroit techno flavored synths.

On the flip side, Nemmett returns with his trademark industrial / breaks sound, in a hypnotic, rap vocal atmosphere with the track "Altars". His broken beat influences go more noise with his second track "Teeth", which concludes the B-side of the vinyl.

Exclusive: The "excerpt" version of "Teeth" is available only on the Pi electronics Bandcamp page.

On Halloween 2014, the director and composer John Carpenter introduced the world to the next phase of his career with “Vortex,” the first single from Lost Themes, his first-ever solo record. In the months that followed, Lost Themes right-fully returned Carpenter to the forefront of the discussion of music and film’s crucial intersection. Carpenter’s foundational primacy and lasting influence on genre score work was both rediscovered and reaffirmed. So widespread was the acclaim for Lost Themes, that the composer was moved to embark on something he had never before entertained – playing his music live in front of an audience. 2016 will host the first ever John Carpenter tour and in true Carpenter spirit, a sequel to Lost Themes: Lost Themes II. The follow-up brings quite a few noticeable changes to the process, which result in an even more cohesive record.

Lost Themes’cowriters Cody Carpenter (John’s son) and Daniel Davies (John’s godson) both returned. Cody was recently also heard as a composer for Showtime’s Masters of Horror series (Cigarette Burns and Pro-Life), and NBC’s Zoo. Davies was a composer for NBC’s Zoo, as well as the motion picture Condemned. All three brought in sketches and worked together in the same city, a luxury they weren’t afforded on the first Lost Themes. The result was a more focused effort, one that was completed on a compressed schedule — not unlike Carpenter’s classic, notoriously low-budget early films. The musical world of Lost Themes II is also a wider one than that of its predecessor. More electric and acoustic guitar help flesh out the songs, still driven by Carpenter’s trademark minimal synth.Keep your eyes peeled for John and his co-writers to hit the road next year performing both lost and newly found themes, in addition to retrospective work from Mr. Carpenter’s multi-generational career. Long live the Horror Master.

2012 von den Balfour Brüdern in Belfast Nord Irland gegründet, konnte sich MAVERICK schnell in der Szene etablieren. Mit ihrem ersten Album„Quid Pro Quo“ waren sie bereits mit den schwedischen Hardrock Stars THE POODLES auf Tour. Das von Presse und Fans überschwänglich gefeierte zweite Album „Big Red“ brachte sie wieder zurück auf die Bühnen, diese Mal mit den schwedischen Superstars TREAT. Außerdem waren sie Gast auf vielen Festivals wie z.B. das H.E.A.T FESTIVAL (D), ICEROCK und ROCKNACHT TENNWIL (CH), WILDFEST (BE) und dem ROCKINGHAM in England, was ihnen half ihre schon große Fanbase noch weiter zu vergrößern. Ihr nächstes Album »Cold Star Dancer« aus dem Jahr 2018 bekam beste Kritiken in der internationalen Presse und die Band spielte ihre erste Headliner Tour in Europa gefolgt von einer Tour mit den schwedischen Glam Rockern CRASHDIET. Außerdem spielten sie das das schweizer ROCK
THE RING Festival zusammen mit WHITESNAKE, TESLA und DEF LEPPARD. Die Tour wurde wieder mit Gitarrist Ric gespielt, der die Band wegen persönlicher Gründe verlassen hatte. Sein Ersatz Steve Moore kehrte zu seiner Band STORMZONE zurück. Ihr H.E.A.T FESTIVAL Auftritt im Dezember 2019 war die letzte Show für ihren Drummer Jonny Millar. Für ihn konnte mit Jason-Steve Mageney,
einem guten Freund der Band aus Wuppertal, ein mehr als adäquater Ersatz am Schlagzeug gefunden werden. Die Aufnahmen für das Album begannen Ende 2019 aber Covid-19 geschuldet, dauerte alles länger als erwartet. Durch den Lockdown in der UK war es lange Zeit unmöglich Jason für die Schlagzeugaufnahmen einzufliegen. Dies gelang dann endlich im Sommer 2020. Mit »Ethereality« ist der Band ein Album gelungen, welches alle MAVERICK Trademarks enthält. So findet man catchy, Hookline-orientiertes Songwriting von »Big Red« kombiniert mit etwas härteren Einflüssen von »Cold Star Dancer«. Man muss nur die Songs «Switchblade Sister”, «Bells Of Stygian”, «Falling” oder die Fast-Ballade »The Last One« anhören, um zu wissen, dass »Ethereality« ihr bisher bestes Album ist. Denn
so muss Heavy Rock klingen!

Olafur Arnalds' highly anticipated second full-length album '...and they have escaped the weight of darkness', continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Bar?i J?hannsson of eccentric pop/rock/electronica-formation Bang Gang. Bar?i has successfully coloured the brittle minimalism of previous releases through the addition of an array of new instruments.

Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly orchestrated work of his career: "The album has a very clear theme", Arnalds relates, "which is that there is always light after darkness. To me, it has a more positive note than my previous works." When ?lafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film's introductory monologue. Staying true to this positive note, '...and they have escaped the weight of darkness' will herald another intense year for ?lafur Arnalds, with the album being accompanied by a world tour, starting in China in March 2010.

Born in the suburban Icelandic town of Mosfellsb?r, a few kilometres outside of Reykjav?k, the 23-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Over the past eighteen months Arnalds has advanced from a former support-act for Sigur R?s to an internationally respected artists in his own right. He was privileged to be invited to write the 'Dyad 1909' score for award-winning choreographer Wayne McGregor, aired on BBC Four and on ITV1's South Bank Show. 'Found Songs', a collection of pieces each written, recorded and released in a single day via the Erased Tapes label website, as well as the video for 'Lj?si?' have since managed to generate half a million downloads and video views.

In many ways, the new record is clearly inspired and informed by these events. Several of the pieces were, in fact, written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road: "The first half of 'Gleypa okkur' was written in a sound check in Munich, for example", Arnalds relates, "while the second part was scored in Braunschweig, Germany." On the other hand it is the result of meticulous studio work, of refining compositions in close co operation with compatriot Bar?i Johannsson, known for his eccentric personality and unique electro-acoustic sound: "I definitely wanted to do something a bit different this time, something more. Working with a producer was a part of that." The enthusiasm translates to arrangements displaying a new sense of sonic diversity.

?lafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, '...and they have escaped the weight of darkness' makes use of diverse instrumentation ? drums, guitars, voice, Rhodes, a selection of subtle synthesisers, alongside Arnalds' trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind.

Arnalds fusion of 21st century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.

Thomas P. Heckmann's 30th Anniversary Special Edition ! LTD Splatter Repress !

On Acid Seduction 4 Thomas delivers no less than 5 tunes from bangin to trippy Acid in his trademark analogue style.
Acidicted is the real Acid-Banger and is already played by some insiders and now finally revealed on a special multi coloured Acid-Vinyl for DJs and collectors alike.
This track already made a lot of Ravers scream and the fat bassdrum is kickin' butt for real !
Followed by the dynamic Thunder Man, A Certain Age (remastered and slowed from the original AGE track Darkhold), the trippy and mental The Deep and rounded up by the TR-808 banger 808 2 !
5 mind blowing Acid tunes for your pleasure :-)

On “Skeleton Elevator”, a hair-tingling, spine-popping, ribcage-rattling slab of twisted tundra boogie, Finland’s Cosmo Jones Beat Machine have their bony fingers on the global pulse of underground rock’n’roll, invoking the spirits of Beefheart, the Fall and Funkadelic. Cosmo Jones Beat Machine have a history that spans over two decades and starts in the woods and the wild in eastern Finland. Over the years the band have lived through five album releases, countless lineup changes and furious live appearances around Scandinavia and Europe that have brought the band a minor cult following. Skeleton Elevator is their sixth album altogether and the first in six years. The six years spent in cultivating the album now at hand have further tempered the band’s trademark sound, which is comprised of primitive but captivating rhythms and a terrifying racket. The vocalist Pharaoh Pirttikangas’ trademark raspy delivery, which has deepened over the years, weaves stories dug up from the Mississippi Delta in the pale moonlight and distilled through an eastern Finnish swamp. The new album’s Beefheartian clatter is at times spiced with influences from unexpected directions such as disco (Minimal Brain Dysfunction Generation) and Funkadelic-style space funk (Transformed). The band recorded the bulk of the album during a 24-hour session without sleep, which only adds to the record’s pleasantly unpolished, frantic edge.

Straight Outta Caledonia is the first commercially available “Greatest Hits” of the outsider songwriter Jackie Leven, an artist
who has largely remained in obscurity in his native Scotland despite being one of the greatest wordsmiths – and singers – it ever
produced. A well-travelled musician who began making psychedelic, progressive music in the late 60s before emerging as an
epic storyteller full of pathos, humour and humanity in the 90s, Leven lived and wrote like many of the fragile, gregarious
characters of his songs; large, full of life and empathy. Leven passed away in 2011 after recording 30+ albums under different
guises or with his briefly successful New Wave band Doll by Doll. Straight Outta Caledonia is a compilation collated by Night
School Records on its Archival label School Daze that seeks to introduce Leven’s music to new generations.
In an age of isolation, alienation and loss of visceral experience, Jackie Leven’s music can be massive and welcoming. It feels
connected to some universal humanity and vibrates with vitality. His songs are often full of tragedy and comedy simultaneously,
cutting straight to the heart, often plugging directly into the nervous system of the listener. His lyrics are rich, dense with imagery
that can veer from apocalyptic to the comically banal in a sentence, with a songwriting panache that can be heavy handed to
almost bursting point before skewering the song with a clownish, warm punchline. His productions ranged from Bob Dylan’s
Rolling Thunder Revue style rock band orchestrations with strings and organ as on the epic Ancient Misty Morning or they could
be pared down to the purest form of folk song as on Poortoun: Leven on stage alone with an acoustic guitar, albeit played with a
mastery of the instrument that he often only hinted at. Musically his sound can bend traditional structures or stay completely
confined within them yet still forever push towards an ecstatic release, as on the cinematic Snow In Central Park.
The most exciting, jaw-droppingly effective tool at Leven’s disposal was his voice. A multi-octave instrument that, though
damaged during a savage assault in Fife, he used with flair; he had both a brazen disregard for the rules and a deep humility, all
of which is evidenced with every phrasing. A baritone that could flit up through the register – always touched by his gentle
Kirkcaldy accent – it’s the prime delivery method for his songs. Leven’s voice enabled him to inhabit the characters in his songs to
an uncanny degree, a skill that in turn enables the listener to empathise with them and, subsequently, the singer. It’s most evident
in stand out song The Sexual Loneliness Of Jesus Christ, a breathtaking re-telling of the life of its protagonist, not as a pure,
sinless messiah but as a sexually frustrated, solitary man condemned to an existential loneliness no one else will ever feel. In
many ways the track is the archetypal Jackie Leven song. Produced by Pere Ubu’s David Thomas, what strikes the ear first –
after the samples of unemployed workers in Glasgow following the closing of the Clyde shipyards – is the audacious, rhythmic
tremolo effect Leven employs through the verses before the production opens up to allow Leven’s vocal to lift into a soar, a
freeing glide powered both by the force of the singer’s chutzpah and the inherent, doomed destiny of the protagonist. With any
other singer such subject matter could come across as gauche or worse, pretentiously sonorous, but Jackie Leven’s genius was
such that he could be this cinematic and brazen while touching something elemental and true in the beholder. It’s a skill evident in
every song on Straight Outta Caledonia, the trademark of a songwriter who revelled and excelled in intensity with a lightness of
touch.
In his lifetime, Jackie Leven toured, wrote and recorded at a ferocious rate. He recorded under aliases to avoid record contract
restrictions, played house shows in Europe after or instead of official concerts, events which were often spoken word story telling
masterclasses as well as performances of his often bewilderingly dense songbook. His music has traditionally been catalogued
as “folk” music and has been largely banished to a small, dedicated group of international fans and apostles both private and well
known, like author Ian Rankin or Glenn Matlock. Since his passing in 2011 however, there has been a growing recognition
amongst a newer generation, with artists like James Yorkston or Molly Nilsson publicly stating the influence of the unsung
troubadour on their own craft. Jackie Leven’s fairytales for hard men are often forensic deconstructions of masculinity, sad and
ecstatic, light and shadow, always endlessly rich, a resource as bountiful as Leven himself’s human spirit undoubtedly was.

We started First Word Records in late 2003. The core team is based in London, but our roster is comprised of artists from all over the globe. As we look ahead to our 20th anniversary, and hit our 200th release, this EP is a collaborative effort from some of our current artists.

As a label, we've often championed musicians that create sounds that fall within the cracks of more defined-genres. Our aim has always been to highlight unique talent where we find it, and ultimately find things we deem worthy of inclusion in the great mixtape of life! Quite often the links may not seem apparent, but we feel blessed to have been able to slowly build a family of artists that not only have great respect for each other, but will quite often collaborate together without any prompts from us. This collection of music is a series of examples of that. 'A Family Affair'.

For this vinyl EP, there is a heavy dancefloor vibe, with four tracks that nestle within the realms of broken beat.

Following her debut EP 'Light It Again' for us in late 2020, Allysha Joy's track 'Better' is re-visited by the don Kaidi Tatham, who reworks the track in his own inimitable way; starting on a half-tempo neo-soul vein, before switching to his trademark fusion of bruk, boogie and jazz mid-way.

After a lengthy absence we're delighted to welcome back Quiet Dawn and Sarah Williams White, with a collaborative piece between the two entitled 'One By One'. You can expect longer projects from them both later in the year, but here's a little vibe to wet your whistle. This, the 'Bruk It' version doing exactly what it says on the tin.

On the flipside, we have a delicious rub of Takuya Kuroda's 'Fade' featuring the vocals of Corey King and taken from Takuya's highly-acclaimed LP 'Fly Moon Die Soon'. The remix work on this one courtesy of a killer combo in their own rights, KEARL aka Earl Jeffers (Darkhouse Family) and K15 (Profusion).

Speaking of K15, this EP closes out with his interpretation of Teotima's 'But I Can't' originally from their 2019 album 'Weightless'. Taking elements of the original vocal from Ellie Rose Rusbridge, K15 transforms this one into a dreamy boogie-tinged groove - previously supported by Mary Anne Hobbs and the like.

Two of these tracks have never been available on vinyl before, whilst the other two are brand new tracks being released for the first time on any format.