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Morikawa Seiichirou, vocals, bass
Yamagiwa Hideki, electric & classical guitar
Takahashi Ikuro, drums & percussion

je prie pour que la goutte ne tombe pas
(I pray that the drop does not fall) is the first international release by Japanese trio Chi To Shizuku. While they have released five albums and a 7” in Japan, their spectral, haunted rock songs haven’t yet reached a much wider audience overseas. With this album, then, a live recording taken at Koenji HIGH, Suginami, Tokyo on 23rd November 2021, the unique, quartz-like character of Chi To Shizuku’s music is writ large, the bleak bliss of their songs carved onto twelve-inch vinyl.
Perhaps the best-known member of Chi To Shizuku, at least for audiences with an ear turned to Japanese psychedelia, is drummer Takahashi Ikuro, known for his membership of almost every group worth a damn from that scene – Fushitsusha, Nagisa Ni Te, Ché-SHIZU, Kousokuya, High Rise, Maher Shalal Hash Baz, LSD March, the list goes on. But the core of Chi To Shizuku’s music is the collaboration between vocalist, bassist and lyricist Morikawa Seiichirou, and guitarist and arranger Yamagiwa Hideki. Morikawa is a member of long-running punk/goth group Z.O.A., and has also played with YBO , Zzzoo, and as collaborator with Takeshi and Atsuo of Boris in A/N; he’s also recently been performing with Mitsuru Tabata. Yamagiwa’s history takes in stints with Katsurei and Cock C’ Nell, and he also recently guested with la scene 裸身.

All this contextual information does relatively little, though, to prepare you for the unique vibration of Chi To Shizuku’s lustrous songs. They shimmer in the same half-light, perhaps, as Shizuka and the quieter moments of LSD March, sharing a similar poise and classicism, and there’s a tenderness and wracked poetry to Morikawa’s voice that reminds of the emotional intensities both of traditional Japanese folk, and of British folk music: on “Musuu No Nemuri No Naka De Kumo Wo Tukamu”, the combination of his singing, backed with gorgeously plangent guitar, reminds of no-one so much as it does The Pentangle or Spriguns Of Tolgus. Chi To Shizuku’s love for the ballad as form gifts their music an archaic, sometimes arcane resonance, and from what you can hear on this album, it’s clear they’re in love with graceful melancholy.

But this is not a folk album, by any means; it just shivers with the same eternal spirit. There are also hints of prog rock, and you can catch some passages of scratchy, distended free rock, on the extended spirit invocation of “Nanhito Hanhito”. je prie pour que la goutte ne tombe pas is an extraordinary album, a melancholy surprise, that reminds dedicated listeners of the seemingly bottomless well of great music to be found via the Japanese underground in its many forms. Perhaps Michel Henritzi says it best, though, in his liner notes, when he writes, “Chi To Shizuku’s music reminds us that our life is a dream that lasts only a season, and that oblivion will follow.”

Recorded at Koenji High Suginami, Tokyo, 23 November 2021
Mix & Mastering: Taku Unami, photography : Noriko Akiyama
Liner notes by Jon Dale Printed by Alan Sherry

Svart Records are proud to present the vinyl debut of the album '8 Convulsions' (1994) by Crisis (NYC, USA) "I am really glad that Svart are re-releasing 8 Convulsions, so more people can rediscover this wonderful and intriguing heavy music." Michel 'Away' Langevin, Voivod Remastered and repackaged with the vinyl format in mind, the package comes with a large booklet full of lyrics and exclusive photos. This is the first time an album from the NYC cult band's oeuvre is pressed on vinyl. There will also be a CD edition of the remaster. Hailing from the mean streets of NYC in the year 1993, Crisis was a band that defied classification from the very start. During a time when heavy music was dominated by a mostly male presence, founders Afzaal Deen and original drummer Fred Waring envisioned a female-fronted band to run against the grain and destroy expectations. Seeking out a singer with a singular sound and presence, and found their match in groundbreaking vocalist and avant-visual artist Karyn Crisis. Soon after, a newspaper ad for a bass player was answered by Gia Chuan Wang and the original unit was formed. During their first rehearsal, Karyn became so enmeshed and driven by the music that she inadvertently destroyed a microphone stand and threw herself to the floor in an outpouring of unmitigated expression. This was barely a hint at the intensity she would soon bring to the stage and studio. Karyn’s guttural growls and angelic melodic notes meshed perfectly with the mixture of grinding guitar, pounding rhythm and deep bass tones. The underground music scene would now begin to experience the dynamic intensity of this burgeoning powerhouse band in full force. Crisis signed to Too Damn Hype records and released their debut album '8 Convulsions', now being reissued to mark its 30th anniversary. In a time where inclusivity is more crucial than ever, Crisis remains a band as diverse and distinct as the city from which they originally hailed. “The United Nations of Rock” as they’ve been called, continue to break boundaries and crush antiquated archetypes with their unprecedented sound and vision. "One of the most captivating bands I’ve ever experienced in New York City in the early 90s. They had a very unique sound where you couldn’t categorize them though they had elements of metal, punk with a very dark experimental approach, which gave them their unique sound. Just raw and relentless energy." Roy Mayorga, Ministry/Soulfly/Nausea etc 8 Convulsions is available on Svart exclusive blue/red marble vinyl, limited transparent yellow vinyl, classic black vinyl, and CD. Release date October 20th.

Svart Records are proud to present the vinyl debut of the album '8 Convulsions' (1994) by Crisis (NYC, USA) "I am really glad that Svart are re-releasing 8 Convulsions, so more people can rediscover this wonderful and intriguing heavy music." Michel 'Away' Langevin, Voivod Remastered and repackaged with the vinyl format in mind, the package comes with a large booklet full of lyrics and exclusive photos. This is the first time an album from the NYC cult band's oeuvre is pressed on vinyl. There will also be a CD edition of the remaster. Hailing from the mean streets of NYC in the year 1993, Crisis was a band that defied classification from the very start. During a time when heavy music was dominated by a mostly male presence, founders Afzaal Deen and original drummer Fred Waring envisioned a female-fronted band to run against the grain and destroy expectations. Seeking out a singer with a singular sound and presence, and found their match in groundbreaking vocalist and avant-visual artist Karyn Crisis. Soon after, a newspaper ad for a bass player was answered by Gia Chuan Wang and the original unit was formed. During their first rehearsal, Karyn became so enmeshed and driven by the music that she inadvertently destroyed a microphone stand and threw herself to the floor in an outpouring of unmitigated expression. This was barely a hint at the intensity she would soon bring to the stage and studio. Karyn’s guttural growls and angelic melodic notes meshed perfectly with the mixture of grinding guitar, pounding rhythm and deep bass tones. The underground music scene would now begin to experience the dynamic intensity of this burgeoning powerhouse band in full force. Crisis signed to Too Damn Hype records and released their debut album '8 Convulsions', now being reissued to mark its 30th anniversary. In a time where inclusivity is more crucial than ever, Crisis remains a band as diverse and distinct as the city from which they originally hailed. “The United Nations of Rock” as they’ve been called, continue to break boundaries and crush antiquated archetypes with their unprecedented sound and vision. "One of the most captivating bands I’ve ever experienced in New York City in the early 90s. They had a very unique sound where you couldn’t categorize them though they had elements of metal, punk with a very dark experimental approach, which gave them their unique sound. Just raw and relentless energy." Roy Mayorga, Ministry/Soulfly/Nausea etc 8 Convulsions is available on Svart exclusive blue/red marble vinyl, limited transparent yellow vinyl, classic black vinyl, and CD. Release date October 20th.

In ¿Quién?, Sylvia Meyer combines music, image, sound and poetry. Her lyrics, so subtle, acquire a singular dimension. They grow and become an essential lyricism that vindicates art and music. Almost 30 years after her last album release, Sylvia Meyer released ¿Quién?, an album where everything happens between his piano and his voice. Its exquisiteness, sensitivity, luminosity, and refinement coexist with arranging complexity and virtuosic, achieving a unique texture and a voice that penetrates souls to nest there, and grow beauty. The musical atmospheres and the universes of beauty to which the songs that make up this album transport us rescue that sound so complete and, at the same time, so inevitably montevidean, which travels absolutely free. Meyer is one of the most important Uruguayan artists of the last four decades. Composer and owner of a unique and special voice. Everything that sighs fills it with beauty and mystery. His music manages to transcend the borders of cinema, theater, concerts and art. "Because a the music, the only thing that interests is music" repeats Sylvia Meyer

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."

Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."

Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

9Million is a Toronto shoegaze band helmed by the multi instrumentalist, songwriter and producer Matthew Tomasi. Best known for his work with alt pop icons like Ethel Cain and Nicole Dollanganger, Tomasi has gained increased notoriety in recent years for his behind the scenes work as a producer and mix engineer, but he is also a tireless creator and songwriter himself; playing and contributing to the music of countless bands and independent artists. With 6 other members including Ace Mendoza (Lead Guitar, Vocals), Danielle Clark (Vocals), Lia Lepre (Keys), Jamie Fastlane (Bass), Brandon Santi (Drums), and Looch Man (Guitar, Vocals); Tomasi says 9million started out “as a creative outlet for myself to explore new sounds and ideas that I wasn’t touching on with any of my other projects or clients'', but quickly the project took on a collaborative spirit not unlike his hardcore band Friction.

The sound of 9million infuses a shoegaze / alt rock foundation with elements of brooding alternative pop, indie rock, and synthwave - resulting in something that recalls ahead of their time 90s bands like Hum and Failure while connecting that sound from the past to the modern world of post-Lana Del Rey slowcore pop sound that Tomasi traffics in on records like Preacher’s Daughter, Natural Born Losers,
and Married In Mount Airy. Featuring several new original songs and two covers, the mixtape explores more electronic elements and layers of vocal processing that, when paired with the fuzzed out rock sound of Between Us, present an exciting blend of styles the band is pulling from. As a whole, Gush is a loose yet emotionally hefty collection of songs that highlights Tomasi’s distinct approach to shoegaze while also capturing the unique dynamic and possibilities of this band as a whole.

StriIn 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North
Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring drummers Gracie Clements, Tim
McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first
professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to
Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy,
short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.
During their last tour, the band introduced a handful of new songs, but never made it to the studio.
While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the
following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature
ending, their legacy is now immortalized with this physical recording.

StriIn 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North
Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring drummers Gracie Clements, Tim
McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first
professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to
Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy,
short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.
During their last tour, the band introduced a handful of new songs, but never made it to the studio.
While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the
following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature
ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

If there’s a secret to time travel, Kool Keith owns the patent. Even a flying DeLorean seems too
conventional for the Bronx legend. He’d more logically orbit throughout the galaxy in a gleaming
chrome spaceship, teaching the stars and aliens new forms of originality. He is too weird to live, too
rare to die, too uniquely ultra-magnetic to be accurately mimicked. Released on Mello Music Group,
Time? Astonishing! is the latest dimensional warp from hip-hop’s premiere astral traveler. His union
with MMG producer L’ Orange finds him exploring uncharted terrain: choppy volcanic rock planets, ice
glacier moons, new surgical procedures, and fresh rappers to toss into the ether. The scalpel remains
eternally sharp. The beats glow with radioactive grit. Hard enough to knock from your car speakers,
cinematic and plutonium-propelled enough to transport you to strange terra firma. Buck Rodgers
movie serials meet boom-bap. And along for the odyssey are a cast of the best underground MC’s of
the last decade: Blu, Open Mike Eagle, Mr. Lif, J-Live, and more. These are space symphonies and
occult odysseys, fuel for wanderers, wonderers, and all the a-likes. Welcome to the new world, even
more sinister and suspenseful than the last one. We live in astonishing times: abstract, absurd, and
indelibly Kool.

In his “Pulse Music” compositions of the mid-1970s, composer John McGuire forged a unique interpretation of European serialism. A student of Karlheinz Stockhausen, Krzysztof Penderecki and Gottfried Michael Koenig, McGuire moved to Cologne, Germany in 1970, where he become associated with the world-leading Studio for Electronic Music at Westdeutscher Rundfunk (WDR) in Cologne. Like Stockhausen, McGuire found his musical imagination both constrained and inspired by the technology that was available to him.

A conversation with sculptor Hans Karl Burgeff led McGuire to think beyond the horizon and into limitless space. For “Vanishing Points” (1985–1988), McGuire used an entirely digital set-up for the first time: a digital sequencer, eight Yamaha DX-7 synthesizers and a Studer 24-track digital tape recorder. The piece was conceived as a “sequel” to the Pulse Music series, but also a step forward from it. Whereas the Pulse Music pieces had employed steady streams of pulses, with Vanishing Points McGuire employed pulse layers that accelerate or decelerate against one another, vastly increasing the resulting rhythmic complexity.

McGuire's exploration of music technology continued in “A Cappella” (1990–1997), written for his wife, the soprano Beth Griffith, known for her recording of Morton Feldman’s “Three Voices” made in 1983. Using samples, he created a four-voice choir of voice samples and arranged them into interacting parts. The composition faced challenges due to the organic nature of the human voice compared to the precision of synthesized sounds. This process involved extensive editing and a negotiation between the "material" and the "original conception". This sort of negotiation applies as much to the composition of a single piece as it does to the work of two decades.

Formed in 1987 in Umeå, Sweden, Meshuggah has been called "one of the ten most important hard and heavy bands" by Rolling Stone and enjoys the respect and admiration of fans and musicians alike. It is impossible to talk about experimental or avant-garde metal without mentioning this truly groundbreaking band: MESHUGGAH mix ultra-complicated rhythmic patterns with massive riffs and aggressive growls, combining death metal, mathcore, thrash and progressive metal to create their unique style. The year 2023 now marks the 25th anniversary of one of the band's first milestones, "Chaosphere".

Originally released on November 9, 1998, Meshuggah's third studio album shows the band toning down some of the thrashier sounds of earlier releases in favor of the more technical, polyrhythmic and groove-oriented sound they would explore on subsequent albums.

The album includes the songs "New Millennium Cyanide Christ", "Corridor of Chameleons" and "Neurotica", among others, which are some of the band's most streamed tracks.

Formed in 1987 in Umeå, Sweden, Meshuggah has been called "one of the ten most important hard and heavy bands" by Rolling Stone and enjoys the respect and admiration of fans and musicians alike. It is impossible to talk about experimental or avant-garde metal without mentioning this truly groundbreaking band: MESHUGGAH mix ultra-complicated rhythmic patterns with massive riffs and aggressive growls, combining death metal, mathcore, thrash and progressive metal to create their unique style. The year 2023 now marks the 25th anniversary of one of the band's first milestones, "Chaosphere".

Originally released on November 9, 1998, Meshuggah's third studio album shows the band toning down some of the thrashier sounds of earlier releases in favor of the more technical, polyrhythmic and groove-oriented sound they would explore on subsequent albums.

The album includes the songs "New Millennium Cyanide Christ", "Corridor of Chameleons" and "Neurotica", among others, which are some of the band's most streamed tracks.

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

Recital presents the first full-length vinyl LP by sound artist Asha Sheshadri. Whiplash combines elements of sound poetry, diary-like narrations, and delicate incidental music. Sheshadri has crafted a unique and marvelous album.

Asha Sheshadri is a visual artist and musician, who “meditates on meaning, context, and impermanence” (Joshua Kim). Moves freely between video, writing, sound, and photography. Her forms flow together to create unpredictable observations of the overlooked, while documenting personal and political networks within our collective, imperfect memory.

“This record is an alternate approach to the autobiographical ‘confessional’ – I wanted to stitch together some pivotal sketches in self-understanding and forgiveness. While their designs may seem affectively disparate, they are in fact quite interrelated. My intention (as with past recordings) is to task the listener with tracing the contours of the narrative (or lack thereof). Each track contains sound from video work, excerpts from writers I admire, ethnographic methods, recovered and recycled voice/text memos, photographs from personal and public archives, and research-driven fictions. These sources expand and collapse into each other, only to reveal the eponymous "whiplash". To me, the feeling of "whiplash" is the collision of: a refracted ambivalence towards what was once real, the endless cycle of reckoning with wherever "home" has taken place, the fraught process of anchoring one’s self in the wake of slow-release trauma, and how (if even possible) to translate all of this into artwork.” –Asha Sheshadri, 2023

“Place is security, space is freedom: we are attached to the one and long for the other. There is no place like home.” –Yi Fu Tuan, Space and Place: The Perspective of Experience.

All tracks arranged & recorded by Asha Sheshadri; in bedrooms, living rooms, libraries, bars, airplanes, backyards and parks across North America.
Mastered by Sean McCann.

Blackfoxy is a jazz-funk group originating from Villeneuve La Garenne in the Parisian region. The group was formed in 2011 at the initiative of Kalid Bazi and Klaus Blasquiz (the singer of the legendary group Magma with Christian Vander, Jannick Top, etc.). They are notably known for the hits "Talk About Peace" (featuring Nina Attal, MB14, and Princess Erika), dedicated to the victims of the Bataclan attacks in 2015, as well as their performance on France 4 with 50 drummers on the Michael Jackson song "Don"t Stop" & "Til You Get Enough" One of their most notable features is their ability to innovate by skillfully and uniquely incorporating elements from "Blaxploitation" film music and African, Cuban, and Caribbean musical traditions into their funk, characterized by a high-quality brass section and arrangements borrowed from both 70s and 80s Funk. Blackfoxy"s music also stands out due to the complementarity of its two singers, Klaus Blasquiz (baritone and tenor, he sings over 5 octaves!) and Sista Wyndyz. Lastly, since the attacks of 2015, Blackfoxy has been involved in the movement (sponsored, among others, by Manu Katché) to promote the values of peace through music in popular neighborhoods and rural areas in France and elsewhere.

Singer-songwriter Thom Morecroft releases his sophomore album, “Waiting For Leo.” Drawing inspiration from the rich songwriting style of 1970s folk-rock and infusing it with the distinctive aesthetic lens of Glasgow’s C86 scene, Morecroft delivers a captivating lo-fi experience that pays homage to the past while carving its own unique path. Think Crosby, Stills, Nash & Young meets the infectious energy of Teenage Fanclub’s “Bandwagonesque.” During the pandemic-induced lockdowns of 2020 and beyond, Thom embarked on a remarkable creative journey, offering his Patreon subscribers a new digital album every month. It is within these prolific collections that the songs for “Waiting For Leo” were born. With an abundance of time and the freedom to explore his creative impulses, Morecroft crafted a collection of songs that are reflective, philosophical, and deeply personal. Some look towards the future with hope, others reminisce about the past, while some capture the essence of the present moment, and a few wander into realms of pure fantasy. As Thom navigated the challenge of selecting the final tracklist, he honed and refined each composition, adding production elements and creating a cohesive sonic tapestry. “Waiting For Leo” is an album that manages to strike a delicate balance, emanating a sense of contentment and carefree spirit while simultaneously delving into themes of family, alcoholism, grief, and loss. The introspective nature of these songs, born out of a period devoid of external stimulation, allows listeners to embark on a thought-provoking journey alongside Morecroft. Reflecting on the album’s title, Thom shares, “The album is called ‘Waiting for Leo’ because the songs were written and recorded during the period before my partner and I discovered we were expecting our son. There is also the famous Samuel Beckett play called ‘Waiting for Godot,’ which I must confess I have never seen. Is it good?” “Waiting For Leo” stands as a testament to Thom Morecroft’s artistic growth and showcases his ability to merge captivating songwriting with a distinct sonic aesthetic. As listeners immerse themselves in the intimate world he has created, they will discover a tapestry of emotions that resonate deeply.

For over a decade, Dean Johnson’s rustic tenor and simply strummed acoustic guitar have been perking up ears around the Pacific Northwest and beyond. Johnson has gradually built a devoted fan base — strictly through live performances and word of mouth — singing existential cowboy waltzes, ballads about wishing one could find a way out of heaven, honest confessionals, and other heartbreakers from a unique perspective. The phrase “hidden gem” would seem appropriate here, but it’s a misnomer when talking about Dean Johnson. He shines bright, in plain sight, and it was only a matter of time before people stopped to take a look. Dean’s gentle and passionate approach to songwriting has inspired many, and his work provides the listener the opportunity to believe once more that a song can be more than the sum of its parts. If you catch even a phrase of his melodies or the sobering tone of his voice, it waltzes its way into your heart like a letter written, signed, sealed, and delivered just for you. His debut album 'Nothing for Me, Please' (Mama Bird Recording Co.) was recorded at Mashed Potato Records in New Orleans with the help of Sam Gelband and Charlie Meyer, Dean’s bandmates in The Sons of Rainier; as well as Mashed Potato regulars Sam Doores (The Deslondes), Duff Thompson and Steph Green. The record is a hazy, relaxed daydream – anthems for those who know the sweetness and coldness of quiet moments, the power and the pain of love. Whether you’ve been waiting patiently these many for Dean to release these songs, or you’re just now coming across his work for the first time, the name Dean Johnson, much like his songs, won’t soon leave your mind.

A hidden gem of Uruguayan music, Los Terapeutas's second album, released in 1990, is an original take on candombe and its hypnotic groove, blending pop songcraft with expansive soundscapes, never losing their rhythmic pulse. Los Terapeutas is a band of songs, where new wave, candombe beat, funk and rock were mixed in a unique way, with a strange frontman who had traces of Eduardo Mateo, Damo Suzuki, Frank Zappa and David Byrne. "Candombe del no sé quien soy" is related to what the group did live at that time: looking for a state of hypnotic hanging with their songs. The playing of the candombe drums was obviously an inspiration to look for that trance state, as was the music of Mateo and that of Opa, but influences can also be traced from the rhythmic experiments of German band Can of the 70s. The album was released in the late 1990s, a complicated time for Uruguayan music. The album was released on vinyl, a format that was losing weight compared to the CD. They would not release an album together again until 1997. In the 2000s, Los Terapeutas slowly expanded their audience, while also leaning towards a more electric sound. The new generation of Uruguayan musicians recognized the pioneering work of the band and Alberto Wolf was seen as a kind of godfather by several of the rock groups that were beginning to become massive.

We know you're not supposed to because it's often said to be a cheap marketing gimmick but frankly, we love a good anonymous new producer to get wondering about.

And here we have just that in the form of Skat who we're told is "heavily influenced by East End Edits and Digwah Ltd" and opens a new series with a one-sided 12".

'Skat 01' is a worthy tech cut with minimal drums loops and brushed metal surfaces all wound up into a tight groove and overlaid with some rudely vocal raps. It's the sort of tune that brings a unique character to any set and is sure to get the crowd demanding its ID.

Next up on Rocky Hill is a limited edition, vinyl only white label, featuring 2 edits licensed from Terrestrial Funk and Darone Sassounian's compilation from 2021, and two original tracks from LA - based DJ and producer, Lara Sarkissian. The A side (Silk Road Side), features two previous exclusives from Darone's compilation on Terrestrial Funk titled, 'Silk Road: Journey of the Armenian Diaspora (1971 - 1982)'. The two edits on the A side were only available digitally, on CD, and Cassette formats. A1 features an edit of Marten Yorgantz's "Ammenain Serdov De Tout Coeur" from NY-based DJ duo, Fundido. A2 features an edit of Jozeph Sefian's "Karoun E Yegel" from Darone Sassounian. The B Side (Lara Sarkissian Side), features two original tracks sampling duduk (Armenian woodwind), songs - named as Lezginka Dance Scene and Ojakhum Nightmare. The tracks are reworks of the originals from 2016 - 2017, when Sarkissian began the creation of her own unique process of synthesizing duduk as percussion, bass and voice. Both tracks have been used in her early live sets from 2017 - 2018. They're finally available now only on vinyl. This is Rocky Hill.

SAIS005.5 — a companion piece to the PMA EP by B-2DEP’T released on SAISEI earlier this year — is a unique one-sided 10” EP featuring a remix by Uruguayan producer Z@p.

The Phonoteque resident reworks ‘BSMH’ with a classic 80s electro beat and bassline, funking up the groove for all the breakdancers in the crowd. The original vocodered lyrics — “Body/Sonic/Mental/Health” — resonate today as much as they did back in 1993, acting as a mantra for a new rave generation.

Repress!

Having established himself as a talented, Jungle-influenced artist, Sam Binary is to appear on The North Quarter with his first extended project on the label. Collaborating with fellow producer Deviant on three tracks and spanning multiple tempos, the EP stays rooted in a common theme: Sam Binary’s love letter to 90s Intelligent Jungle. 

Using modern techniques and production styles combined with classic hardware such as the E5000 Ultra sampler and the Mackie CR1604-VLZ mixing desk, the Bristol producer has created a unique, 90s-reminiscent sound. The result is bundled in a 7-track EP, equally suited for the dance floor as it is for listening at home.

“This release is really a love letter to 90s Intelligent Jungle and the Liquid Funk that emerged after it in the 2000s, paying homage to the music that inspired me to originally start producing nearly a decade ago”, Sam Binary explains. ‘Reality Slip’ will be released August 19th on The North Quarter.

Get Ready for Another Mind-Blowing Journey with Two Tales From The Mind!
After a first volume featuring Janko Nilovic & The Soul Surfers, Broc Recordz is back with a new banger. This time, we've
got none other than the legendary JJ Whitefield (known for The Poets of Rhythm, Karl Hector, Embryo, W.I.T.C.H...) and
the incomparable Igor Zhukovsky from The Soul Surfers.
Our concept remains unchanged – two sides, two unique vibes:
Side A: Groove to the funky beats of "One Hand Clap" – it's pure funkadelic ecstasy!
Side B: Take a trippy ride with this psychedelic tune, "Munich Bells" – it's a sonic journey like no other.
Two Tales for the mind, is meticulously crafted to blow your mind. Get ready to immerse yourself in the experience. Enjoy
the ride!

Broc Recordz is proud to announce the album "Puzzled" by the legendary JJ Whitefield, you'll immerse yourself in the enigmatic universe of this master of funk and psychedelism.

Across 13 tracks, you will discover all facets of this musician hailing from Munich, ranging from raw funk to krautrock. JJ Whitefield is an iconic figure in the music scene, having played an essential role in diverse projects such as the mastermind behind Poets Of Rhythm, Karl Hector, The Whitefield Brothers and his essential role in the recent careers of Ebo Taylor, embryo and witch“. "Puzzled" is the perfect opportunity to delve into his unique musical world.

'Bruno & The Birds' is an album by Jullian Gomes that dives into the depths of the internal battles we face and the courage required to break free from our comfort zones. With forward thinking production and introspective messages in the music, the album takes listeners on a transformative journey of self-discovery. Throughout the album, Jullian Gomes skilfully weaves a narrative centred around the character, Bruno, who serves as a metaphor for the struggles and conflicts we encounter within ourselves. The songs delve into the inner demons that individuals face, representing the personal challenges and doubts that affect us all. The album is thought-provoking and emotive, resonating with the universal themes of self-doubt, fear, and the quest for personal growth.

With its dynamic soundscapes and diverse musical influences, 'Bruno & The Bird' invites listeners to embark on their own introspective voyage. Jullian Gomes combines elements of electronic soul and jazz, and pushes the ideas of traditional house music, creating a rich and immersive sonic experience.

The album features the likes of Jordan Arts, Sio, Kuniyuki Takahashi, Sabrina Chyld, Dwson, NLite, Robin Fassie & KJM Cornetist which all add their unique touch to this soul-stirring album.

repress!

Back by popular demand, the same unique spirits that brought forth the sound of Detroit streets and turned it into the futuristic soundscape known as "Techno-Bass", The Original members have collaborated to re-issue their catalog 25+ years later. Starting with their 1st double pack LP, "Bass Magnetic" (considered to be a mesh of influences between Miami bass and Detroit techno), AUX88 established themselves in an effort to stay true to their roots in the streets and the clubs creating their own genre into a global dance culture. After the release and production of their own documentary ("AUX88-Portrait of an Electronic Band"), the group celebrates its now classic recordings. Harkening back to its first days on cassette tape to revive a future generation of vinyl aficionados.

CNTRL presents his latest EP, "NRG BRKZ," a captivating exploration of the UK garage sound fused with minimalistic broken beats.

Opening the EP is "GT DWN," an track that features a athmospheric choir. It sets a grandiose tone, instantly captivating listeners with its powerful energy and rhythmic drive.

Moving to "8cl NRG," CNTRL infuses the track with breaky energy, masterfully blending broken beats and mesmerizing synth stabs. The result is an infectious and irresistible groove that will have listeners moving to its compelling rhythm.

"NDRSTND" takes a more stripped-back and deep approach, showcasing CNTRL's versatility. It features a solid foundation of minimalistic beats, allowing haunting melodies and subtle harmonies to create an introspective and ethereal atmosphere.

Closing out the EP is "BRKZ," a homage to UK garage. CNTRL expertly layers broken beats, driving sub basslines, and spooky atmospheric synth work, paying tribute to the genre while infusing it with his unique touch.

The Sad Clown Bad Dub series first started as a string of limited cassette tapes and CD-R's for Atmosphere to sell exclusively on tour. Since its inception in 1999, the Sad Clown series has seen over a dozen iterations in numerous formats, including rare 4-track demos, live recordings, a DVD of behind-the-scenes tour footage, a mixtape, 7” vinyl singles and more. To this day, one of the earliest volumes – Sad Clown Bad Dub 2 – still remains one of the most celebrated and coveted installments from the series.

Originally released in 2000, Sad Clown Bad Dub 2 was a rather stripped-down DIY release – a simple CD tucked behind an illustrated cover with handwritten tracklist and liner notes. The recordings were equally as rough, consisting of a dozen raw 4-track demos that hadn't been treated to any sort of mixing or mastering. Although Atmosphere initially produced only 500 copies of these CD's to sell on the road for extra cash, the buzz and the subsequent demand from fans eventually led the group to pressing more of the CD's, this time stamp- ing the cover art with the phrase "Authorized Bootleg" as a sly nod to those who'd been ripping and sharing the files. The unpolished nature of Sad Clown Bad Dub 2 was no deterrent from the appeal of its contents though.

Generally considered an underground classic in hip-hop circles, Sad Clown Bad Dub 2 is often mentioned as one of the standout releases in Atmosphere's extensive discography. It is a deeply introspective project that explores a range of complex thoughts and emotions, counter-balanced by occasional moments of darkly humorous sarcasm and wit. Slug's writing is sharp and insightful with a knack for turning his personal struggles into universal themes that listeners can relate to. Ant's production is minimalistic, moody, even eclectic in nature, full of atmospheric textures and unconventional rhythms. This release is very clearly one of the early stepping stones in developing their unique and distinctive sound together, helping to establish their reputation as one of the most innovative and boundary- pushing acts in hip-hop.

We're excited to reintroduce the legendary Sad Clown Bad Dub 2, digitally remastered from the original 4-track tapes and available on vinyl for the first time ever!

Multidisciplinary artist GAIKA returns with a new track titled “LADY” featuring bbymutha from his forthcoming album, Drift out on September 8th.

Thrashing drums and droned out guitars take immediate effect on “LADY” but it’s the two mavericks' electrifying chemistry that is the driving force of this track. Enlisting KIDÄ (Yves Tumor) on production with additional contributions from Azekel (Gorillaz) and Max Winter, alternative rock and audacious rap come crashing together as GAIKA and bbymutha flex their lyrical prowess, unapologetically expressing their devotion to their lovers on this twisted, feverish affair.

Newly signed to Big Dada Recordings, home to Roots Manuva, Yaya Bey, Kae Tempest, Brian Nasty and more, GAIKA jumps back into music with new invigoration after delving into work as a composer to unveil Drift - his most expansive work to date. The visionary invites listeners on a high-speed journey where love, pain, brutality and beauty collide to produce a vivid and provocative cinematic masterpiece. The sonic universe of Drift is the most stylistically accurate representation of GAIKA’s personal tastes to date, stitching musical influences past and present such as Prince, Wu Tang Clan, Massive Attack, John Coltrane, Pink Siifu and A$AP Rocky to land on a gritty, distorted sound pulsating with an unwavering, formidable energy that’s disruptive yet timeless.

Drift is 14 tracks of nostalgic escapism, a shape-shifting body of work with hip hop and club music cultures at its core, as those simply run through the veins of GAIKA. Analogue and retro in feeling, Drift’s psychedelic feel is formed by incorporating 90s grunge, dark wave, post-punk and alt-rock into its tapestry. It’s a representation of his heritage and environment, featuring calypso steel pans to gospel vocals, reverberating dub to frenetic rap and elements of sound design taken from recordings of the real world. GAIKA’s music transcends borders and his nomadic nature means he simultaneously belongs and doesn’t, his music cannot be confined to just one genre and this unique new record further cements him as one of the most progressive artists of our time, telling the tale of modern day renaissance man driving away from the economic hierarchy he doesn't believe in.

GAIKA endeavoured to create a waking dream by constant participation in communal art making, removing the separation between art and life, his imagination and community and breaking the boundary between real life and any spectacular representation of it. He set up a number of situational arts facilities in the heart of London including shows at ICA, 180 the Strand, Now Gallery and as the world reopened, created pop up galleries, studios, exhibitions and raves with the intention to enhance the experience of real life by dreaming. To achieve this coherently and authentically the process became akin to a form of psychological examination of memories made before music “mattered” to GAIKA - before becoming commodified, individualised and his name capitalised.

Drift became the term used to describe the creative happenings in these spaces and the name for the collective of people who made this record. GAIKA is the central writer and composer working closely with KIDÄ on production and a group of classically trained musicians with contributions from Azekel, Charlie Stacey, Brbko and The Narrator over an extended period of time where they recorded music late into the night, night after night.

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

Taktatuka starts off the A-side with his unique bass-driven, but also melodic sound, ending with a perfect mixable outro. vaZdaZ's fast ride into funky underground tribe follows, while Jdis presents a interpretation of oldscool club sounds with a litte bit of warehouse feeling on the B-side. ValiG and vaZdaZ merge a hint of jungle and slapping bass with a bouncy 4x4 rhythm, originating from a hardware live-jam and completed in the studio.

It has been five long years since the Brazilian power metal kings Angra released their last album "Ømni". was released. Now the band is finally back with new music and once again proves their exceptional position as unique as unique bands in the genre.
Angra's unmistakable sound - the fusion of classic-virtuosic power metal with progressive with progressive elements and rhythms - comes to its perfect perfect development and makes "Cycles Of Pain" a highlight for every a highlight for every fan of sophisticated,
first-class metal.
The long-standing line-up of the band, which was founded in 1991, is joined has been joined since 2013 by the former Rhapsody of Fire singer Fabio Lione, who again delivers an incredible performance. incredible performance. Mix and mastering of "Cycles Of Pain" were once again done by Dennis Ward (Helloween, Magnum, Firewind).

It has been five long years since the Brazilian power metal kings Angra released their last album "Ømni". was released. Now the band is finally back with new music and once again proves their exceptional position as unique as unique bands in the genre.
Angra's unmistakable sound - the fusion of classic-virtuosic power metal with progressive with progressive elements and rhythms - comes to its perfect perfect development and makes "Cycles Of Pain" a highlight for every a highlight for every fan of sophisticated,
first-class metal.
The long-standing line-up of the band, which was founded in 1991, is joined has been joined since 2013 by the former Rhapsody of Fire singer Fabio Lione, who again delivers an incredible performance. incredible performance. Mix and mastering of "Cycles Of Pain" were once again done by Dennis Ward (Helloween, Magnum, Firewind).

"Rural" is the first long-play work of Carlos Asimbaya aka Kaifo, which sees a fully matured vision of Ecuadorian keyboard tradition catapulted into the future and rhythmically sustained by the "bomba" percussion; an Afroandean element that bears witness to the unique history of this country.

Trained in classical music composition and inspired by jazz, Kaifo's repertoire features haunting, extensive melodies and scales that inform listeners on the landscapes of Andean styles while delivering a postmodern dancefloor experience. " Carlos Asimbaya is a keyboardist, composer and producer hailing from the small town of Machachi, Cantón Mejía, Province of Pichincha Ecuador. In 2016 he began a process of personal research and exploration of various musical expressions of traditional music, collecting sonic resources from remote localities such as Aloag, Machachi, Chalguayacu, Cotacachi, Alausi, Borbon, Santo Domingo de los Tsachilas and more - customs that identify the history of Ecuador.

In June 2019, he finally published his first single "Desvío" - a warm fusion of bomba, albazo, dembow, global bass, etc. followed by other digital releases culminating in the EP "Curtido" as part of the 'Kipus' series of Eck Echo Records. With "Rural" Kaifo uplifts the Ecuadorian organ tradition inaugurated in the mid-1960s by the likes of Polibio Mayorga into futuristic clubbing arenas. "Tres Caminos" is a magnificent opener where psychedelia meets the soft snare elegance of the "albazo", the indigenous genre that defines the soul of this country. "Monte Espeso" introduces clubbers worldwide to the contagious grooves of "bomba", the trademark rhythm of Afroecuadorian communities. The raw keyboard melody strikes fast like a proverbial lightning. "Hecho Leña" sounds like the one-man orchestra that is Kaifo. Relentless timbales fills and an alcohol-fueled family vibe characterize this unique "chicha" track.

Released in 1976, Eternity was Alice Coltrane's first album for Warner Bros. after eight wondrous records on Impulse! Combining the drones and textures of India, the gospel and R&B of her Detroit youth and the dissonance of modern classical composition, Coltrane's music in the '70s would become increasingly difficult to categorize.

Having moved a few years earlier to California (where she founded the Vedantic Center, an Ashram for spiritual studies), Coltrane stretches out on Eternity – incorporating various musical styles, including a stirring adaptation of Igor Stravinsky's The Rite of Spring – and the results are dazzling, both in sonic scope and emotional range

Opener "Spiritual Eternal" sways between Alice's exploratory organ and the dramatic swell of lush strings. A meditative solo piece for harp, "Wisdom Eye," precedes the rollicking rhythms of "Los Caballos," which showcases some of her finest soloing.

"Om Supreme" is the album's first track to be built around bhajans (Hindu devotional songs). Featuring graceful keyboards backed by an angelic choir, this piece hints at the ecstatic devotional music that she would later make with members of her Ashram.

While Coltrane would delve deeper into her spiritual journeys and continue to expand her musical interests on subsequent LPs, Eternity remains a vivid and compelling display of her unique vision, myriad talents and passions.

2023 Repress

Reiko Kudo first debuted on the Tokyo underground music scene in 1980 with NOISE, a duo which apart from herself under her then maiden name Reiko Omura on voice, guitar and trumpet featured Tori Kudo on organ. Their only album TENNO (1980 on Engel) is probably one of the most outstanding and uncompromising records of all time.

Like other pioneering female producers from Japan such as NON (of NON BAND), PHEW and HACO, who had all begun their startling careers in the early days of the japanese Punk era, Reiko Kudo can surely be regarded as one of the most unique, uncategorisable and daring voices in the entire field of electronic and experimental music ever.

RICE FIELD SLOWLY RIPING IN THE NIGHT was REIKO KUDO's second album under her own name. It features TORI KUDO (MAHER SHALAL HASH BAZ) and SAYA and TAKASHI UENO (TENNISCOATS) on various instruments. The recordings took place in 2000 at Reiko' s and Tori's house in the rural surroundings of Shikoku island.

All recorded music on this album sounds like it originates in a parallel dimension where time and key signatures simply don't exist, Some might describe this as outsider music, but this doesn't really begin to do justice to the quality of the tracks, there is nothing accidental or forced here, this is simply music created in a very different way. Yet again REIKO KUDO had conceived of something utterly beautiful.

"After producing the album "Souvenir de mauve" with Maher Shalal Hash Baz which we released on our label Majikick, the idea came to us, to release Reiko Kudo's work. For Reiko's work, we brought our recording equipment from Tokyo to Shikoku and recorded the entire album at her house.

The piano was positioned in a room with a high ceiling. We would set up our small recording equipment in the room and started to record. The basic tracks were recorded without any rehearsal and just a few overdubs were added on top of it. To have a distant sound on the recording, Tori played trumpet in the next room. The choir was standing outside the house, singing "Enya-totto, enya-totto" through the open window. It was early spring, I remember that it was still a bit cold and the members of the choir were freezing outside.

Reiko plays only at certain times of the day, so that we were able to complete only two or three recordings a day. Therefore we had plenty of free time. We went to a hot spring, to a cafe, or we tried pottery on a spinning wheel at Tori's workshop. It was a very rewarding time.

When this album was finished, we brought it to her to listen to. She said happily "I think this is the best work I have ever done." We felt that all our efforts were richly rewarded. Secretly, we thought the same, so we are delighted that this album will be re-issued." - Saya and Ueno (Tenniscoats), Tokyo 2018

Originally released on Majikick Records, Japan, 2000 Restauration and mastering by Detlef Funder at Paraschall Mastering, Düsseldorf. Vinylcut at Calyx, Berlin Translation by Miki Yui and Claus Laufenburg. Many thanks to Reiko Kudo, Tori Kudo, Saya and Takashi Ueno, Satoru Higashiseto.

We're super happy to announce our 13th release by Sharhabil Ahmed, the actual King of Sudanese Jazz (he actually won that title in a competition in the early 1970s). Sonically it sounds very different from what Jazz is understood to sound like outside of Sudan. It’s an incredible unique mix of rock’n’roll, funk, surf, traditional sudanese music and influences from Congolese sounds. Original copies of Sharhabil recordings are often hard to find, so we’re happy they will now be widely available. “Argos Farfish” which was featured on our last comp amassed close to 400.000 plays already.