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The Psychedelic Romance experience is birthed, combining future-facing electronic music, art and healing. The venture is a collaboration between former Trouw & De School resident JP Enfant, energy practitioner & artist Cuevawolf and artist & label manager Maren Monika Brombeiss. It will offer an immersive sensory experience to its audience via an event series and label, with music produced at 432hz, a frequency known to uplift emotional wellbeing.

The trio linked in Amsterdam last year. JP had been previously running Psychedelic Romance events at the legendary Trouw, an opportunity he used to explore the musical terrain linking techno, UK bass and ambient. Over the years, the cream of the underground scene was invited to play, from Pearson Sound to boundary-pushing dubstep/bass producer 2562. He met Cuevawolf by chance mid-way through 2020, after fate would have the Mexican artist “stuck” in the Dutch capital during the pandemic. The click was instantaneous. Seasoned music industry professional and yoga practitioner Maren Monika completed the triangle. Together they seek to combine their passion for cutting-edge electronic music with consciousness-raising events and healing.
The label strand of Psychedelic Romance comes to life via JP Enfant’s ‘Somewhere Else EP’, a veritable musical Rubik’s Cube encompassing techno, ambient and bass. The five-track work includes a remix of lead track ‘Muzieklokaal’ from Bristol’s acclaimed experimental producer LCY, who reworks the playful original into a dynamic pastiche of industrial breaks and techno.

Dubbed a “local legend” of the Amsterdam scene by RA, JP Enfant has built up a credible reputation with gigs across Europe including Berghain, Melt Festival and fabric. His nuanced approach to techno has seen releases on Planet X, a.r.t.less and DGTL Records.

The conscious ethos of the project runs through every thread of Psychedelic Romance. Alongside the music being produced at 432hz, a frequency believed to support a calm body and mind, at upcoming Psychedelic Romance events, Cuevawolf will play the crystal singing bowls, which will transition the night from an uplifting sound healing session into an immersive electronic rave experience, led by JP. “Our goal is to create purposeful healing frequencies through music and art that ultimately raises and harmonizes our audience’s vibration,” Cuevawolf explains. “The idea is to marry electronic music and spirituality providing a safe space for transcendental and self-healing experiences that evolve onto a dancefloor.”

Psychedelic Romance hosted an intimate family and friends gathering during ADE week at Amsterdam’s Pamela, with music led by JP and emerging Amsterdam selector DJ Corridor. On the label front, other artists slated for appearances on Psychedelic Romance include Dutch techno artist Mary Lake and ascendant Austrian talent Arthur Robert.

This album is a tribute to Pastor Wylie Champion, who died while we were in the process of releasing this, his first record, and his wife, Mother Champion, who died a few months earlier. We met Pastor Champion a few years ago while we were putting together another release, The Time for Peace Is Now: Gospel Music About Us. We found him in a collection of YouTube videos from the 37th Street Baptist Church in Oakland, California, put together by the pastor there, Bishop Dr. W.C. McClinton. There was quite a lot of talent in those videos, and among them was Pastor Champion whom we liked so much that we decided to make a record with him. Pastor Champion wasn’t like any other pastor you’ve ever met. As an itinerant preacher, a carpenter, and a father of five, he made a name for himself traveling up and down the California coast with his electric guitar. He traveled alone and he played alone, well into his seventies. The easiest way to describe him would be as an outsider gospel artist. Other than these bare facts, we never learned much about him—except that he was also the brother of the well-known soul singer Bettye Swann. In fact, most of what we knew about him we got from his sister’s Wikipedia page. We decided that because we met Champion through the 37th Street Baptist Church, we would record him there too. We recorded him live on a two-track Nagra reel to reel, as we wanted the album to be analog in the style of traditional gospel recordings. Over the course of two evenings (when the workday was done), Champion taught his band—musicians who had never played together before—a handful of songs, a small selection of the nearly 2,000 fragments of songs and sermons that he regularly performed. We listened in as they all got more familiar with the material and each other over time. At some point, we mentioned to Champion that he would have to be interviewed by someone to write notes for the album. He wasn’t too pleased with this idea, saying he’d had a hard life and he didn’t want to talk about it. Over the next few months, we kept asking Champion to talk to someone about his life. He told us that he didn’t want to talk about growing up in Louisiana, his mother being accosted by the Klan, or that his father was a gambler. He didn’t want to talk about being jailed for 90 days for using a whites only bathroom, being in gangs or having a street name. We told him that was fine—he could talk about what he wanted to talk about. And he told us that he didn’t want to talk about anything. You know, there are times when you make a record where it’s already made in your mind before you start. But then in the end, the record you thought you were making is not the record you made. We spent years puzzling over this one, trying to figure out what it was saying, who it was for, and how to get people to pay attention to it. But Champion knew that this record wasn’t going to be for everyone. He didn’t really care. The important part for him was just getting the message out there in the same way that he always had, travelling alone with his electric guitar. “I want to say what I mean,” he said, “be practical, precise, to the point, and, at the same time, diplomatic.” In other words, he just wanted to be a good man. God bless Pastor Champion and Mother Champion, peace be with them and their family. Love to all.

This album is a tribute to Pastor Wylie Champion, who died while Luaka Bop were in the process of releasing this, his first record, and his wife, Mother Champion, who died a few months earlier. The Label met Pastor Champion a few years ago while they were putting together another release, The Time for Peace Is Now: Gospel Music About Us. They found him in a collection of YouTube videos from the 37th Street Baptist Church in Oakland, California, put together by the pastor there, Bishop Dr. W.C. McClinton. There was quite a lot of talent in those videos, and among them was Pastor Champion whom they liked so much that they decided to make a record with him. God bless Pastor Champion and Mother Champion, peace be with them and their family. Love to all.

‘Aloha Got Soul’ encompasses a vibrant era of contemporary music made in Hawai’i during the 1970s to the mid-1980s as jazz, rock, funk, disco and R&B co-existed alongside Hawaiian folk music. Hawai’i’s identity had undergone huge change: statehood into America in ‘59 and the Vietnam War were the backdrop as Hawai’i’s youth found inspiration in a new wave of international music led initially by The Beatles and Stones and, later, by US R&B bands like Earth Wind & Fire and Tower Of Power. Garage bands flourished during the ‘60s and, by the ‘70s, live music was at its peak. Waikiki was filled with clubs: The Point After, Infinity’s, Hawaiian Hut, Spats and more.
For the ‘70s generation of artists, some came through the talent contest ‘Home Grown’ and its accompanying compilation LP. In 1978, Hawaiian was made the official state language and a huge movement arose to revive hula and traditional music. Steve & Teresa’s ‘Kaho’olawe Song’ longs for an island long gone: the US military had used Kaho’olawe as a bombing range since Pearl Harbor. Nohelani Cypriano sang about the once sleepy town of Kailua, now a popular tourist destination: “Kailua needs no high-rise with her blue skies, not for our eyes. Can you realize?” Leading Hawaiian artists like Aura, Mike Lundy and keyboardist Kirk Thompson’s Lemuria took time in high quality facilities like Broad Recording Studio to make albums. Others grabbed studio time when they could: Tender Leaf’s Murray Compoc worked for the city bus by day and recorded an album during night sessions. Other albums were spontaneous. In 1983, Steve Maii & Teresa Bright recorded an acoustic set in just 3 hours after being invited to a studio following a gig.

For the artists of the ‘70s, the climate for music changed rapidly during the mid-‘80s as DJ culture grew and live venues shut down. Hawai’i’s R&B era shone brightly and relatively briefly but, despite brilliant musicians, regular gigs and LP releases, most of the music barely made it to the mainland. Thanks largely to Aloha Got Soul’s Roger Bong, a new interest in this fertile era of Hawaiian music has grown, culminating in this compilation of overlooked gems. ‘Aloha Got Soul’ is compiled and annotated by Bong and features rare photos and original artwork.

Recorded in 1991 by the quintet of vocalist Billie Ray Martin and Birmingham-based electronic musicians Brian Nordhoff, Joe Stevens, Les Fleming and Roberto Cimarosti, Electribal Soul was conceived as the sequel to the band’s 1990 debut album, Electribal Memories.
Electribal Memories had yielded the hits ‘Talking With Myself’ and ‘Tell Me When The Fever Ended’ and pushed Electribe 101 to the forefront of a crossover electronic scene that fused dance music with pop savvy. They were snapped up by Phonogram, managed by Tom Watkins and hailed as “the next band to meet the Queen” by i-D. The band took the coveted support slot for Depeche Mode on their epochal World Violation tour and supported Erasure at Milton Keynes Bowl. Seen as the next big thing, everything pointed toward enduring critical success for Electribe 101, and the band settled into putting their second album together.
“There was a degree of confidence among us when we came to write the second album,” recalls Billie Ray Martin. “To me, the songs we put down sound like some of our finest moments.” More immediately lush and warm than the dancefloor-friendly structures of Electribal Memories, the clue to the sound of Electribal Soul lies in the second word in its title: soul. Songs like the aching sensuality of opening track ‘Insatiable Love’ or the emboldened defiance of ‘Moving Downtown’ showcase Billie Ray Martin’s distinctive vocal range as it moves from haunting quiet to dramatic, euphoric rapture. Lyrics from ‘Moving Downtown’ had found their way into ‘Pimps, Pushers, Prostitutes’ by S’Express, and the song would appear as ‘Running Around Town’ on Martin’s 1996 solo album. The strikingproduction on the version of the song presented on Electribal Soul suggests classic late sixties soul influences, such as those of legendary Motown producer Norman Whitfield, with the long shadow cast by Kraftwerk never being far away.
‘Deadline For My Memories’, the song that provided the title for Martin’s first solo album, was originally intended for the second Electribe 101 album. Its lyrics document a sense of freedom and liberation from the darkness of a bad relationship, accompanied by jazzy piano and organ sounds over a quiet rhythm and discrete electronics. In contrast, ‘A Sigh Won’t Do’ finds Martin in soothing vocal mode, despite its devastating message about the final ending of a strained relationship, her lyrics framed by restrained and subtle beats and sounds.
To spend time with Martin’s voice on Electribal Soul is to find yourself moved deep into the ordinarily impenetrable emotional corners of your own psyche. “I was into big ballads at the time and listening to all kinds of US and UK singers, and I was also young enough to want to prove myself as a belter of ballads,” explains Martin of the classic soul edge the album showcased.
Electribal Soul heads into darker territory with ‘Hands Up And Amen’. Originally written by Martin in Berlin in the period before moving to London and forming Electribe 101, the song was then perfected and enhanced by the band’s production nous. ‘Hands Up And Amen’ savagely documents the mugging of a woman in Queens, NY at gunpoint, only to resolve itself with a middle section that nods reverently toward gospel tradition. The song coalesces around a regimented break and burbling synths, finally ending with layers of urgent synth sounds.
Meanwhile, a cover of Throbbing Gristle’s ‘Persuasion’ takes us into a seedy world of sexual coercion and creepy infatuation, predating Martin’s chilling version of the track with progressive house unit Spooky two years later. Supported by a minimal, nagging rhythm and barely-fluctuating sounds, Electribe 101’s take on ‘Persuasion’ makes for uneasy listening, even though Martin manages to inject a sort of twisted sympathy for the protagonist as the song progresses.
That Electribe 101 were as comfortable offering complicated, nuanced tracks like ‘Persuasion’ alongside pop house bangers like ‘Space Oasis’ – written by Billie Ray Martin with Martin King before Electribe 101 was formed – is testament to the way the band wove their way effortlessly through electronic music reference points. Framed by light, jazzy piano melodies and string sounds, the energy of ‘Space Oasis’ soars so high that it could easily reach the moon, while highlighting how well-suited Martin’s voice has always been to club music. We hear the same reminder of her dance music credentials on ‘True Memories Of My World’, finding her describing a Hollywood actress who reflects on being used by directors to sell her ‘tears’.
Hooking up with the Birmingham-based Nordhoff, Stevens, Fleming and Cimarosti after placing a Melody Maker ad in 1988 (“Soul rebel seeks musicians – genius only”), it was clear that Martin had found a group that recognised the unique power and importance of her voice. Having worked with genres as diverse as reggae, rock and R&B, the four producers proved to be perfect collaborators, presenting carefully-sculpted backdrops that emphasised the towering emotional dexterity of her voice.
“Listening back to these tracks now, I was reminded of what a bunch of great musicians they were,” says Martin. “They had a rule that if a part still sounded good after a day or two then it could stay. If it bothered the vocals, it would go.” Even more so than on Electribal Memories, Electribal Soul places Martin at the captivating centre of these pieces, surrounding her voice with everything from dubby rhythms to chunky R&B beats to nascent trip hop breaks; wiry, acid-hued synths uncoil gently without ever dominating, while horn samples and lush, disco-inflected strings provide a rich, naturalistic accompaniment for Martin’s emotional outpourings.
The band finished mixing the album at London’s Olympic Studios in 1991. They were assisted by Apollo 440’s Howard Gray on production duties for ‘Deadline For My Memories’, ‘Insatiable Love’ and ‘Space Oasis’, with Gray supported by talented engineer Al Stone. Pre-release promo tapes were issued and an enthusiastic energy started to build around the band’s anticipated second album.
It was not meant to be. Against a backdrop of a worsening relationship with Tom Watkins, and a disinterested Phonogram, instead of receiving a positive reaction to the new tracks, Electribe 101 were swiftly dropped by their label. Electribal Soul languished, unreleased, and the band yielded to pressures that had been building and split up. After collaborating with Spooky and The Grid, Billie Ray Martin went on to release her seminal debut solo album in 1996, with it securing the era-defining hit ‘Your Loving Arms’, while the other group members continued to work together as The Groove Corporation.
Thirty years after the songs were recorded, we’re now finally able to hear what the second and final chapter of Electribe 101’s story sounded like. Electribal Soul shows that the band had really only just got started when they dropped their first album in 1990. Heard only by a select and privileged few, what followed elevated the band’s music to a completely new level, making Electribal Soul musical buried treasure of the most precious and rare variety.
Electribal Soul will be released on LP, CD and digital formats on 18th February 2022 through Electribal Records. The physical formats include extensive liner notes from Billie Ray Martin, and the album sleeve features unseen archive photographs by Lewis Mulatero from the original 1990 sessions with the band that were never used in the sleeve designs for Electribal Memories.

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas

It was during his time with Miss Pottinger that Ossie began to produce records for himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

“But Delamere must be considered as a music street sheltering as it does such artists as Junior Byles, Don Angelo, Triston Palma, Phillip Frazer and producer Ossie of the Black Solidarity label…” Beth Lesser
And the man who had made his name in the business selling other people’s records now became one of the most important and influential record producers of the era.
With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

Parallel Traces of the Jewel Voice by dj sniff is a project that takes inspiration from historical narratives and personal memories constructed around The Jewel Voice Broadcast (Gyokuon Hoso) that took place on 15th August 1945. Contrary to common belief, Emperor Hirohito did not speak live on air to announce the surrender of Japan on this day. Instead, two lathe-cut discs with his recorded voice were skilfully mixed and played by NHK engineer Shizuto Haruna. Haruna’s proto-DJ/turntablist performance was heard not only in Japan but also throughout the colonized territories in Asia, marking the end of World War II and Japanese rule.

Interested in these aspects which often have been overlooked within the Japanese narratives of this historical event, dj sniff conducted research in both Taiwan and Japan. Over the course of 3 years he collected various materials that include; interviews and field recordings, audio samples extracted from phonograph discs and recordings sessions with improvising musicians, and a re-reading of the Imperial Rescript on Surrender in Chinese. These were used to compose two compositions that are paired differently depending on their distribution format.

The vinyl release is a multi-sided disc with two parallel grooves cut on one side, which in effect plays a different composition depending on where the stylus is cued. The other side has no audio but features two silkscreened lines that refer to how Haruna played the original lathe-cut discs. For the digital release, each composition is independently assigned to the left and right channel and is heard simultaneously.

Additionally, an extensive text written by dj sniff accompanies this release. Sniff uncovers technical details of the recording and broadcasting of the emperor’s voice that took place over 75 years ago. He also reflects on his encounters with the elderly community in Taiwan who spoke fluent Japanese and shared their personal stories after listening together to records from their childhood.

DJ Sniff – Biography

dj sniff (Takuro Mizuta Lippit) is a musician, curator, and educator. His work builds upon a distinct practice that combines DJing, instrument design, and free improvisation. His collaborations include Evan Parker, Otomo Yoshihide, Paul Hubweber, Tarek Atoui, Senyawa, and Ken Ueno.

He was the Artistic Director of STEIM in Amsterdam between 2007 to 2012 and a Visiting Assistant Professor at the School of Creative Media, City University Hong Kong between 2012 to 2017. He is now based in Tokyo where he is the Co-Director of AMF (Asian Meeting Festival) and teaches at Kyoto Seika University.

A masterful mix of timeless American soul with vintage 1970s African samples in a most rewarding way – musical traveler Eamon teams with production duo Likeminds for No Matter The Season, his second album for Now-Again. “I’ve been singing since I was a tike, promoters used to call me ‘the boy wonder’, but with this record it felt new, almost like I was singing every note as if my life depended on it,” says Eamon from his home in Southern California, a far cry from his native Staten Island, New York City. But you wouldn’t know his birthplace from the way he sings, especially on No Matter The Season, where Eamon put a new spin on vintage samples from the Now-Again catalog, crafting beats from various African rhythms such as Amanaz’s Zamrock, the Hygrades Nigerian funk, and Ayalew Mesfin’s Ethiopian tezetas. Shortly after the release of his last Now-Again project, Captive Thoughts, he began working with the production duo on two original compositions that appear on No Matter The Season. But as time went on, he came upon the idea of completing the album by sending the duo samples from the Now-Again catalog to work with. Which were expanded upon with a multitude of live instruments. “There was something special about combing through the African records at Now-Again,” Eamon reflects. “I had never heard the variety of funk and soul that existed in places like Lagos and Addis Ababa, it was like a history lesson in Rhythm & Blues. I was hearing the godfathers of the movement here in the US. I wanted to pay my respect to that lineage. Since singing in my father’s doo-wop group as a kid, I’ve always used music from the past to create and express something new in the present. But to be able to do that across continents and get back to the roots…that was really impactful for me.” Likeminds, helmed by Chris Soper and Jesse Singer, two East Coast transplants to LA who are as comfortable chopping up samples on an MPC as they are playing classic instruments, using vintage microphones, or recording to tape, offer up what could be described as a West Coast spin on the revivalist soul sound championed by Daptone Records. “For sure, the album is soaked in an old school feel, but to still tap into the depths of my soul today is always the end goal,” Eamon states. All but two tracks are based on Now-Again samples, using the classic rhythms as accompaniment to showcase Eamon’s emotional singing style that is still as honest and raw as when he was a 16, singing about heartbreak. The end result, No Matter the Season, is a celebration of the musical relationship between Africa and America and the thrilling soul music that relationship has spawned since the 60s and 70s. “My hope is people know that I’m not leaving anything on the table in this chapter of my career,” Eamon reflects. “Only thing I can do is pour my heart out on every single line. Even though I’m writing and screaming to the heavens about my joy, my pain, my love…these are songs for everyone, everywhere, anytime. You’re gonna walk away feeling something. This is why I titled the album No Matter The Season.”

After turning heads with the densely orchestrated Riddles, produced by Dan Deacon, the Baltimore-based duo Ed Schrader’s Music Beat have given us another giant leap forward with their fourth record Nightclub Daydreaming. The whiplash-inducing stylistic shifts between aggressive noise rock and operatic gloom pop that have become the band’s trademark have given way to a single aesthetic that fuses both impulses. On Nightclub Daydreaming, menace teems just below the surface as propulsive, stark arrangements leave space that Schrader fills with strident, reverb-soaked narration.

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When Ed Schrader and Devlin Rice began writing the record in 2019, the idea was to make a fun, danceable album, but an underlying moodiness proved unshakeable. As Schrader puts it, “The cave followed us into the discotheque.”

The duo road-tested the songs “This Thirst,” “Echo Base” and “Black Pearl” with drummer Kevin O’Meara on tour with Dan Deacon in February 2020. COVID restrictions cut the tour short, squashed plans to go immediately into the studio and sent the touring party on a sprint from LA to Baltimore. “We broke down outside Roswell,” Schrader recalls. “And these cops laughed at our dumb asses as we used all our pent-up stress and fear to propel our half-submerged bus out of the muck, yelling epithets to the sky.”

It was one of the last experiences they had with O’Meara, whose death in October 2020 weighed heavily on Rice and Schrader’s minds as they worked on the record. It was also a cathartic moment that presaged the aesthetic that would permeate the songs on Nightclub Daydreaming: “mad euphoria in the face of doom,” as Schrader puts it.

“This Thirst” is an alienation-fueled barn burner barely restraining itself through musically sparse, lyrically dense verses to culminate in a howling, synth-saturated chorus that beats horror punk at its own game. “Came from the north with a twisted planetarium, rock salt, nervous tic and novocaine,” Schrader sings, assuming the guise of a vagrant whose irresistible urges lead him through a fever dream of chemicals, back-alley bartering and existential threats.

The hyperactive “Echo Base” exudes agitated-cool, with breakneck drum fills and a relentless bass line. The narrator is stranded in a frozen landscape and running out of options. “She is just a night train away,” we are assured, and yet we sense that may not be an altogether good thing.

The band recorded and mixed Nightclub Daydreaming over a two-week period with Craig Bowen at Tempo House in Baltimore with David Jacober on drums, turning demos with artificial sounds and placeholder melodies into fully realized songs playable by a live band. The end result is not the album of “sunny disco bangers” that Rice says the band set out for, but something deeper, darker and more rewarding.

Following the release of Collision and Coalescence, Slovakian label mappa commits to the duo Grykë Pyje, releasing their third LP "Squirlich Stroll". Maintaining the fabled tone of their debut on the label, Jani Hirvonen (Uton) and Johannes Schebler (Baldruin) dig deeper into the sonic vein of myth and fabric of yonder. The music in "Squirlich Stroll" unravels as a yarn brought back from a wild voyage.

On uncharted areas of medieval maps where potential dangers were thought to exist, the inscription "Here be dragons" was used to warn as much as to tempt explorers willing to cross limits. Myth awaited them as a blank page of dormant territory, yet also to be proved unlike and reinvented. In such pliable borders, wonder had the favorable conditions to blend experience and imagination, crafting creatures with an eye instead of a bellybutton, arms instead of ears and ears instead of fingers, hypnotizing spirals where a mouth should have been. These chimeras, though fictitious, allowed explorers to express their delusions along with their fears. "Here be dreams", we hear nightmares. Here be mushrooms the size of pyramids that sing lullabies for mountains. Here be talking roads that lead to volcanoes throats and spit you back to flight. Here be art of bending trees into braided bridges like in Meghalaya, and the time gap between seed and living ruins.

Let that be the compass, the astrolabe. Yet, the music in Squirlich Stroll comes with these journeys already embraced, unraveling as a story told by wanderers visiting town, nourishing fantasy. The sonic language and diction employed here are crystal clear. Sounds are sharp and pure. Growls, howls, shrieks, tingles, rattles, moans, excretions and even hymns sung by landscape and creatures alike do not run over each other. There is no chaos, but ambience, cohabitation. The duo masters dramaturgy, providing every voice with focused turns and character, guarding their parley with caution and care, convoking them mainly through soothing synth melodies that enable an analgesic, sedative mood. Clusters of sounds gathered are articulated through the album with the inherent luminosity and required stability to accomplish what peaks in, as the title of the final track reads, a new dawn.

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

Nearly 24 years ago, on 7th July 1998, the first Hefner LP was released, it garnered some great reviews, ensured the band were to become one of Peel’s favourites (they had 5 entries in 1999’s festive 50!), and cemented their reputation as Britain's largest small band. NME - “truly independent, unassuming and painfully honest: the sound of thin, white indie dukes in spectacles.” Melody Maker - “heart-skeweringly astute” combination of “grimly sweet lyrics and delicate, tentative tunes.” Time Out - “awe-inspiring in their naked honesty” More recently, the album was number 25 in Pitchfork’s 50 greatest Britpop albums, above A Northern Soul (Verve), Fuzzy Logic (Super Furry Animals), Vauxhall and I (Morrissey) and Tellin’ Stories (the Charlatans) Breaking God’s Heart now gets the essential 20th anniversary vinyl re-issue, accompanied by some shows where Hefner frontman, Darren Hayman, will play the album in full Here’s what Darren has to say about the record now: Breaking God's Heart is an awkward, over confident start to my career. I have yet to get to grips with it again properly in preparation for these anniversary shows. It's so far away in my past that I have some difficulty in relating to the person who made it. Mostly when I hear it I'm just amazed at the confidence, and possibly arrogance, I had then. I insisted on mostly first takes being used, vocals being recorded live in the room with the instruments, a ban on any reverbs or ambience being used. It was like I was trying to sabotage my career at the first hurdle. Many of those decisions were based on half understood, interviews with my idols from the American Lo-Fi scene but I really didn't know what I was doing. It does make a bizarre and caustic record though, and I know there are plenty of people who think this is my best work and I never got back to the blunt energy of these recordings. I do see their point. Quotes - Hefner's is a bedsit world of spindly guitar and towering passions; of skewwhiff ideals and surprisingly smooth melodic surges; of awkward outbursts and slow-burning lo-fi for lovers… 'Breaking God's Heart' is all about sparkling melodies, twinkly-eyed poetry, intimate confessions, a thrillion knowing references to sex, soul and sadness and the sort of chipper attitude that says: 'This is a record you will relish for years to come'. So save yourself time, start treasuring it now. 8/10 NME // Hefner are running on the same rock-not-rock fuel as early Violent Femmes or The Modern Lovers, and like those groups are expert at building emotionally charged arrangements by adding or subtracting at precisely the right time. 8/10 Drowned In Sound

40th anniversary edition of the debut album by the multi-talented musician Carlos Perón. “Impersonator” was originally released in 1981 when he was still a member of Yello. This first solo work represents a desire to conduct daring electronic experiments, to achieve stylistic variety and musical intensity while at the same time it is an example of Mr. Perón’s bizarre sense of humour.
Since the beginning of his career he pushed experimentation beyond limits with noise atmospheres, loops and complex textures which he has long used since before the introduction of sampling technology. With the arrival of sound sampling, he was among the first to experiment with equipment such as the Fairlight, Emulator and Mirage. During his time with Yello, Carlos may well have been one of the world’s first sampling masters.

This new re-issue of “Impersonator” includes all original tracks with some bonus including the whole Frigorex EP from 1984 and six previously unreleased cuts recorded between 1982 and 1983. Limited edition of 500 copies with gatefold sleeve and an exclusive postcard.

'Their Dark Dominion' charts the haunted history of Clapham Wood in Sussex, a paranormal hotspot linked with tales of UFO sightings, mysterious disappearances, unexplained deaths, and dark worship. In 1978, local investigator Charles Walker was contacted by a black magic initiate who claimed that the woods were being used for dark rituals and animal sacrifice by The Friends of Hecate - a secretive occult group whose number were said to include those at the highest levels in society. “We will stop at nothing to ensure the safety of our cult!” The soundtrack to an imaginary documentary or TV series circa 1987 - the year in which the area’s ‘demonic connection’ was severed by the great October storm - ‘Their Dark Dominion’ conjures digital synthscapes and swirling gothic guitar to invoke an ethereal atmosphere of supernatural menace.

The Chronicles of Narnia: The Voyage of the Dawn Treader is a 2010 fantasy-adventure film based on The Voyage of the Dawn Treader (1952), the third novel in C. S. Lewis’ fantasy series The Chronicles of Narnia. It is also the third and final installment in the original Chronicles of Narnia film series. Set three years after the events of Prince Caspian, the film follows the two youngest Pevensie children, Edmund and Lucy, as they return to Narnia to join the new king Caspian in his quest to rescue seven lost lords and to save Narnia from a corrupting evil that resides on a dark island.

Composer David Arnold scored the film, with themes composed by Harry Gregson-Williams (who scored the first two films). It was Arnold’s fourth collaboration with director Michael Apted. He created specific themes for the characters The Dawn Treader and Reepicheep, and used themes from the previous films for the opening and closing scenes as well as recurring characters, to ensure that the film is consistent with the franchise. The score was performed by an 87-piece orchestra and a 40-piece choir, resulting in an epic soundtrack with just the right magical touch to compliment this film.

The Original Soundtrack to The Chronicles of Narnia: The Voyage Of The Dawn Treader is available on black vinyl and includes an insert.

Featuring: Deena Abdelwahed, Rabih Beaini, Fari Bradley, Dieb 13, DJ Sniff, Gavsborg (Equiknoxx), Electric Indigo, Donzilla Lion (Nyege Nyege), Marina Rosenfeld, Microhm, Muqata’a, Bob Ostertag, Rrose

Project presentation:

Sampler / Sampled is an album made of two interdependent parts rather than a double-album.

The first part of the project, Sampler, is a trumpet solo album that catalogues the unique sounds and extended techniques that Mazen Kerbaj developed for the instrument in the past 25 years; it consists of 318 pieces ranging from less than a second to forty seconds each, and presenting different sonic materials. This catalogue of sounds works on various levels: first and foremost, it is a trumpet solo that could be played in its original order, or in random mode to create different pieces of music. But it is also a collection of samples that could be used for various applications (ringtones, phone sound effects, cinema…) and, of course, to create new pieces of music based on sampling.

The second part of the project is the composition Sampled for a musician working with loops and/or samples. The composition has one instruction: create a piece of music using solely tracks from Sampler as your sound source (with the possibility to use all kind of effects or treatment). Each interpreter/musician becomes thus a co-composer who appropriates the piece and makes it their own. In this regard, the musicians that were commissioned to play Sampled were chosen from different geographical origins and musical genres to create highly different and personal pieces of music.

One important output of this project is putting in practice the overused idea of music as a universal language. This idea is very present in “free improvised music” where musicians from different origins can meet for the first time and make music together without the need to adapt to different musical traditions. But here, the collective part of creating music in real time is not involved. It is rather the contrary: it starts with one middle-eastern musician creating a new language/vocabulary for his western instrument, to be later used by other musicians from around the globe who will appropriate this vocabulary and use it with their own language/grammar.
The final output of this double faceted album that was recorded during the Covid lockdown proved to be a very efficient new way to collaborate from a distance in times of world isolation, and ultimately put in practice the universality of music by breaking the boundaries of genres that are the most difficult to break.

Produced by Kelly Finnigan of The Monophonics. Album comes with INSTRUMENTALS on the B-Side. Comes with full color insert with lyrics.

Alanna Royale, for fans of Sharon Jones, Lady Wray, and The Monophonics. Come drop the needle on this Kelly Finnigan produced album that comes complete with INSTRUMENTALS on the B-Side. Alanna's voice takes center stage while being supported by blaring horns and a thumping rhythm section. Everything you could want in a SOUL record, you will find on this LP. Pick it up, drop the needle, and discover one of Soul music's emerging talents.

In the early 1970s the island of Jamaica, and in particular its reggae musicians, developed a love affair with small Japanese motor bikes. Honda bikes were eulogised in Big Youth’s ‘S90 Skank’ and Dillinger’s ‘CB200’, whilst their rival was lauded on Shorty The President’s ‘Yamaha Skank’, to name the most obvious examples. The plot of the film ‘Rockers’ revolved around how transformative a motorbike could be, providing a livelihood whilst projecting an image of success in the ghetto.
Vivian ‘Yabby You’ Jackson had been fiercely independent as a singer and producer, and the success of his early self-pressed productions, mostly on the Prophets or Vivian Jackson labels, had given him a sense of hard earned autonomy. A motorbike was one of the fruits of his labours, acquired as a way of zipping around the capital’s roads to deliver records and organise recording sessions. His wife Jean could often be see hanging on to the back. Twelve years after his death, she remembers various exploits on the pot-holed roads of Kingston.
Jean Vencella Williams: ‘His first motorbike was a Honda 50 and then a 100, a Yamaha. I remember the Yamaha, it was a dark blue colour, it must have been from the mid 70s til the early 80s. I used to ride around on the back and we ride all over, like we go to the country cos his mother lived in Clarendon. And he had a little carrier thing for boxes of records, so we go to Mandeville in Manchester, sometimes to Spanish Town fe sell records. Most of the time he sell them to the shops, like Randys, and the people them buy it from there. He had pressing plants like Byron Lee and later Tuff Gong, so when the records pressed we find out the time when we get back the records, which usually was at least a couple of days or about a week. And later when we living in Clarendon we come into Kingston to pick them up at the pressing plant. And when he book the studio he might book two or three days and we come in and usually stay til late.

‘He used to carry the records from the different pressing plants on the bike, but because of the rain and weather you know it not so good for the records, and also the sun beating down. Then Wayne Wade had an accident on the Yamaha, and he was hurt quite bad, and he had to go to the hospital for quite a while. Well Yabby didn’t ride it after that, cos it was getting dangerous with so many cars coming in. So he gave up the Yamaha and bought a Toyota Carina, and that car was very good to him. Then the Carina become a little shaky, so he got a Toyota Corolla which he drove until his death.’

This album presents a sample of the best of those ‘Dubs and Versions’ that Yabby was ferrying around town, whether rarities, B-sides or tracks culled from albums that showcase the breadth of Yabby’s productions between 1975 and 1982.

This release comes with sleevenotes original artwork.

This spring Gymnasty is debuting with his release Yugoslavian Space Program. Alongside satellites, rockets and asteroids you will get a chance to discover a country that was once a bright star itself. Get ready for a nostalgic journey from ambient scapes to electro club slappers.

Norwegian musician and novelist Jenny Hval
announces her new album, ‘Classic Objects’.
 ‘Classic Objects’ is a map of places; past places,
like the old empty Melbourne pubs Hval’s band
used to play in, public places Hval missed
throughout lockdown, imagined, future places, and
impossible places where dreams, hallucinations,
death and art can take you. It is interested in
combining heavenly things and plain things.
 ‘Classic Objects’ is Hval’s version of a pop album.
Every song has a verse and a chorus. There are
interchangeable moments of complexity,
interesting melodies throughout, and a feeling of
elevation and clarity in the choruses. Heba Kadry
mixed it to sound as though it’s played through “a
stereo in a mysterious room.”
 Since 2019’s ‘The Practice of Love’, Hval
published the English translation of her third novel,
‘Girls Against God’, and released an album under
the name Lost Girls.
 Hval will play London’s EartH venue on 11th April,
2022.

In 2002 well-known for his albums by the progressive rock project Ayreon, Star One “Space Metal” is an exciting project from one of rock's great visionaries, Arjen Lucassen. With its stellar musicianship, visionary production and a simple yet far-reaching concept, Star One “Space Metal” shines bright as a giant sun in the galaxy of rock. “Space Metal” isn't a continuous story or a rock opera like the Ayreon albums. Yet it is still very much a concept album and a journey through Arjen's mind and memory. He takes the listener on a trip where they relive those great science fiction space films that made such an impact on him. Without a doubt Arjen Lucassen set a trend with his Ayreon albums. Especially after the highly successful release of “Into the Electric Castle” many musicians and producers have followed in his footsteps and new rock operas with multiple singers are surfacing all over the world. To ensure to keep the involved voices diverse he used very different sounding singers appearing in the same songs -- different singers for different moods. Dan Swano (ex-Edge of Sanity, Nightingale) sings the low parts, Russell Allen (Symphony X and more) sings the powerful rough parts, Damian Wilson (ex-Threshold, Headspace) sings the high clear parts, and to top it off, Floor Jansen (Nightwish) sings the really high choruses. Robert Soeterboek (Ayreon) sang the backing vocals with his huge smoky voice. Of course Ed Warby played the powerful drums, and Erik Norlander once again added his huge analog synth leads. Arjen also managed to get Jens Johansson (Yngwie Malmsteen, Dio, Stratovarius) who played some incredibly fast synth leads as well. Arjen even succeeded in getting Hawkwind's Dave Brock to make a guest vocal appearance, something no one has ever managed to do before. “Space Metal (Re-issue 2022)” is available as: Ltd. 2CD Digipak, Gatefold 2LP+2CD & LP-Booklet and Digital album (2CD).

The Neptune Power Federation brings back the love song and rocks as furiously as ever on their fifth studio album, Le Demon De L’Amour! The Imperial Princess and her crew of Aussie rockers lord over eight love songs that prove few can push the boundaries of rock and metal like The Neptune Power Federation! Heading into the creation of their fifth studio album, Le Demon De L’Amour, Australian psychedelic rock and roll brigade The Neptune Power Federation couldn’t let go of the fact that love songs had been commandeered, in their words, by “soft rockers, bedwetters and the introvert crowd.” Whereas rock had its glory period during the 1970s and 80s, the art of the love song is now lost within heavier music. Few bands are now willing to venture into such territory — metal and rock have settled comfortably into typical, predictable lyrical tropes that fail to pull at the heartstrings the way they used to. On Le Demon De L’Amour, The Neptune Power Federation reclaims the art of the love song as their own. Off the heels of their acclaimed 2019 Memoirs of a Rat Queen studio album, the members of The Neptune Power Federation utilized the unexpected downtime afforded from the 2020 COVID-19 pandemic to craft an album that takes more chances than its predecessor. While the band’s trademark rock swagger and prog tendencies still come into play, Le Demon ups the voltage and energy. True, there is a multitude of genre-blurring taking place, but the album’s infectious choruses and leaden riffs easily re-imagine metal and rock’s glory eras without blatant thievery.

Of course, all roads to The Neptune Power Federation run through lead vocalist Screamin’ Loz Sutch and her stage persona, “The Imperial Priestess.” Le Demon’s eight cuts find the indomitable frontwoman in top form, belting out tales of love from a female’s perspective, weaving in stories of cult worship, murder and hypnotism. The album’s artwork (created by guitarist Inverted CruciFox) also introduces her new nemesis — The Wizzard Princess. Recorded at bass player JayTanic Ritual’s The Ped Food Factory in Marrickville, Sydney, with mixing duties provided by Clem Bennett, Le Demon De L’Amour leads The Neptune Power Federation into their tenth anniversary next year. Their journey has taken them from the sweaty clubs of Sydney to a global audience. Now armed with eight love songs sure to melt and captivate the most hardened metal hearts, The Neptune Power Federation boldly goes where few bands dare to go.



"Maybe their best album so far!" - Deaf Forever (DE), 8.5/10, Soundcheck pos. 7 !!

"They can even top the phenomenal predecessor!" - Metal Hammer (DE), 5.5/7

"'Le Demon De'L'Amour' is definitely their most mature and complete album to date!"

"Finest party rock music of the most beautiful kind!" -(DE), 9/10

"An album full of thick, good riffs, solos, melodies and choruses that stick in mind - definitely recommended!" - Rockmuzine (NL), 85/100

"They are in impressive form!" - Saitenkult (DE), 8.5/10

"The Neptune Power Federation add a great piece of music to their list of achievements." - Heavy Music Blog (DE), 8/10

"The band rocks a bit straighter and more pleasing than before through their love song concept." - Rock Hard (DE), 8/10, Soundcheck pos. 6 / Dynamit !!

On ‘Luminal rec.’ s next 12-incher Black Lotus starts the acid engines with the title track “Thrust”
- a raw old-schooled rave interpretation cut from a freestyle 303 jam.

“High-Octane” dives towards even faster worlds while developing a relentless grinding touch that reminds of good old days.

“Mechanic Galaxy” on Side B is their soft counterpart;
With its dreamy chords and dancing shakers it balances this four-tracker out - a constellation we are used to from previous EPs.

Also “Interplanetary” comes along with a puristic touch, while focusing on less elements
- never compromising on the speeds.

New stuff from recent times.
Play it loud!

Mixing funk, jazz, boogie, it is released for the first time on vinyl with remastered audio and new liner notes by Lebanese DJ and curator Ernesto Chahoud. In the early 80's, Rahbani created a landmark album, 'Houdou Nisbi' now considered one of the best jazz funk albums from the Middle East. Featuring such cult tracks as "Rouh Khabbir", a remake of the Crusaders' "Soul Shadow" sung by Rahbani
himself, the modern soul of "Bisaraha" and the Brazilian flavoured "For Sure", the album is both effortlessly groovy and steeped in Oriental music. Held as "one of Lebanon's best kept Musical treasures' by Ernesto Chahoud in his notes, the album is a certified Rahbani cult classic.

"Houdou Nisbi," which means "relatively calm", an expression used by news anchors on Lebanese TV to describe the mood during cease-fire in the civil war between 1975 and 1990 - has been remastered for vinyl from the original masters by David Hachour at Coloursound Studio in Paris. The artwork has faithfully been reproduced for the enlarged format. An iconic cover highlighting the strange life
in war ravaged Beirut during the cease-fire and in line with the political stance of Rahbani, a self proclaimed non- religious leftist. Wewantsounds is delighted to bring the first-ever vinyl release of this iconic album to the world.

**LTD BLACK AND RED MARBLE**

As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassion-ate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself.

World Eater, the new album by Benjamin John Power's Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, actual love songs.'

Maybe subconsciously this was some kind of countermeasure to restore some personal balance,' Power explains.

On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015's brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself.

As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.'

(A) 1. John Doe's Carnival of Error
(B) 2. Rhesus Negative
(C) 3. Please
(D) 4. The Rat
(E) 5. Silent Treatment
(F) 6. Minnesota / Eas Fors / Naked
(G) 7. Hive Mind

The long awaited third volume of our "Algo salvaje" series, featuring untamed 1960s beat and garage nuggets from Spain. "Algo salvaje" is an anthology devoted to a rich period when hundreds of bands appeared all over Spain and, after paying attention to what their US and British contemporaries were doing, found their own way to vent their teenage rebellion through loud guitars. With amazing results! Many of the 28 tracks are reissued for the first time, including very hard-to-find records. This double LP gatefold package includes extensive notes by Vicente Fabuel featuring all the original record sleeves and artist photos. "Algo salvaje" ("Something Wild"), now reaching its third volume, celebrates the darkest, neglected and rebellious side of Spanish beat. Internationally labelled as nuggets (after the original compilation of the same name concocted by Jac Holzman and Lenny Kaye in 1972 for the Elektra label), the more common garage rock label has been used to place and describe one of the most fertile chapters of rock & roll history during its most creative years. An underground story which has luckily become known, with participants from all around the globe which included anonymous musicians, independent record labels with impossible names and ridiculously limited pressings, often not more than a few hundred copies. The tracks chosen for the occasion, a selection filtered strictly by their musical value, adhere to the rules of the classic nugget genre while demonstrating the permeability of garage sound and its inevitable evolution at the turn of the decade (1967-1974) through mixes that embraced psychedelia, soul and even prog rock. Epic and pretty wild. Just the kind of material that this record label usually handles. Many of the 28 tracks are reissued for the first time, including extremely hard-to-find records. This double-LP package includes extensive notes by genre-expert Vicente Fabuel featuring all the original record sleeves and artist photos. So let the band play...

In the small inland town of São Domingos on Cape Verde's Santiago Island, The Ano Nobo Quartet delivers a fresh take on Koladera, a guitar-driven, subtly rhythmic sound of a lighter spirit. Their sound tells a global story with Cape Verde at its center, a creole melting pot in the middle of the Atlantic attracting the best from four continents: hypnotic, haunting Koladera guitars inflected with twangs of Salsa Cubano, Spanish Flamenco, Brazilian Samba Canção, Jamaican Reggae, Argentine Tango, Mozambican Marrabenta, and finished with a dash of Black American Blues. It's all here. Absent percussion, the quartet's sound still drips with rhythm. Rich, raw acoustic music you can dance to.

This album was recorded in three locations on Santiago Island: at homes, by the sea, and on the volcanic hills of Cape Verde. Each location used a mobile recording studio equipped with different mics placed near and far to capture both the Spanish and Chinese-made guitars and the natural environment that shapes the saudade, a melancholic longing, of Koladera. Each space has its own atmosphere heard in the interludes.

A double LP pressed at 45 RPM for an even silkier listening experience and packaged in a luxurious matte-laminated gatefold with a high quality 12-page booklet along with a hardcover bookcase CD with a 24-page booklet.

As a confluence of ideas and methods, WILD ROCKET endeavour to interpret the subtle signals of the universe - the interplanetary vibrations - and present them as brash manifestations of sound. Scientists and Shaman alike have endeavoured to interpret the universal whispers, to elucidate meaning from the measurable and the sensible. It is known that to measure and interpret is to alter and colour those signals and this is what drives the development of WILD ROCKET's sound and interpretation.
FORMLESS ABYSS showcases the band's unflinching pummelling style, drifting from repetitive blows to unhinged swirls of din yet always remaining innately infectious and perhaps surprisingly danceable. The record is presented as a continuous piece in three parts.
The title track A FORMLESS ABYSS appears here for the first time in recorded form – a behemoth of a tune which builds around a drone, joined by dual drums and minimal bass locked into a repetitive groove. A groove that is slowly expanded via multiple guitars and synthesis. Vocals eventually join at just the right moment imploring the listener to “leave your criticisms down” and realise “we're all equal now” in the formless abyss or the place between worlds where our earthly preoccupation with human differences are meaningless. We're all in it together, whether we realise it or not.
The second track INTERPLANETARY VIBRATIONS may seem familiar to some in a simpler form. The expanded line up and extended development of the core theme brings a new interpretation and experience that is more than worthwhile. The track's vocals juxtapose the hybrid Germanic language of English with the ancient native Irish language of Gaeilge. Both used to promote meaning and interpretation of the interplanetary vibrations felt by all. The track features large dynamic shifts and changes of pace as the message that “it's time to leave” propagated by the Earth itself becomes more frantic and more desperate. The track culminates in a wash of smashed gongs and distorted guitars, leaving the listener to interpret the message for themselves. Should we leave, to protect ourselves or the Earth itself?
The final track FUTURE ECHOES is a doom/kraut juggernaut coming in at just under twenty minutes. Only one question is asked and none answered, are we doomed to repeat the mistakes of previous civilisations over and over, or can we find the cracks of light that echo through and show us a new way forward? We're left in a swirling formless abyss to consider who we are and where we're headed. Will we ever reach the cosmic truth? Or will we be continuously mocked by the cosmic trout?
WILD ROCKET have proven themselves on the live circuit, playing with such visionaries as Ufomammut, Slomatics, Earth, Boris, The Cosmic Dead and old school rock legends Girlschool. One of the heaviest bands to emerge from the melting pot of talent in the Irish music scene, WILD ROCKET's reputation precedes them wherever they travel and audiences and venues alike are left to piece themselves together in the discombobulation.

With songs that run the gamut from heart-breaking to satirical and a host of unforgettable film scores, Randy Newman has used his many talents to create musical masterpieces widely recognized by generations of audiences. After starting his song writing career as a teenager, Newman launched into recording as a singer and pianist in 1968 with his self-titled album Randy Newman. Throughout the 1970s, 80s, and 90s he released several acclaimed albums: 12 Songs, Sail Away, Good Old Boys, Little Criminals, Born Again, Trouble in Paradise, Land of Dreams, and Bad Love.
Good Old Boys is the fourth studio album by Randy Newman, released September 10, 1974 on Reprise Records. It was Newman’s first album to obtain major commercial success, peaking at #36 on the Billboard 200. Good Old Boys was initially envisioned as a concept album about a character named Johnny Cutler, an everyman of the Deep South. Newman made a demo of these songs on February 1, 1973; they were released as the bonus disc for the 2002 CD reissue, titled Johnny Cutler’s Birthday and are now being included on vinyl for the first time in this Run Out Groove deluxe edition.
In addition to his solo recordings and regular international touring, Newman began composing and scoring for films in the 1980s. The list of movies he has worked on since then includes The Natural, Awakenings, Ragtime, all four Toy Story pictures, Monsters Inc. and Monsters University, Seabiscuit, James and the Giant Peach, A Bug’s Life, and Meyerowitz Stories. Randy Newman’s many honors include 7 Grammys,® 3 Emmys,® and 2 Oscars,® as well as a star on the Hollywood Walk of Fame. He was inducted into the Songwriters Hall of Fame in 2002 and the Rock and Roll Hall of Fame in 2013—the same year he was given an Ivor Novello PRS for Music Special International Award. Newman was presented with a PEN New England Song Lyrics of Literary Excellence Award in 2014.

Ruder's debut album 'Rerajahan’, a journey into dualisms on a quest for balance.

Yantra (or Rerajahan in the Balinese culture and Sanskrit word for ‘a machine’) is a representation of the Tantric traditions of the Hinduism religions, used to worship deities and to gain benefits from their supposed occult powers. Its geometrical pattern changes the vibrations of the space it is placed in, altering frequencies.
On a view of the universe as a correlation of sound and frequencies, wavelengths have compression and rarefaction, representing dualities in our existence.

One of Europe’s most popular queer parties launches its record label, showcasing the residents who made Adonis such a cult, must-attend event. The four-track ‘ADONIS 001’ EP is released on 25 February, featuring four tracks from residents Nyra and Wilson Phoenix, representing the different music styles experienced across both rooms at their infamous party which ended its four-year residency at The Cause with a bang on New Year’s Day this year.

Long-term resident Nyra delivers both A-Side tracks, presenting the uplifting, main-room house sound of Adonis. Opening with ‘Used To Love Me’ which evokes classic early New York house with its sultry “you used to love me, basic lover” vocal refrain alongside deep atmospheric beats and hypnotic saxophone sounds. ‘Visions’ sparkles with vibrant electro beats which bounce and shimmer throughout, combined with the Italo house inspired synth chords for an anthemic track perfect for peak-time dance-floors.

Resident Wilson Phoenix, known for delivering the faster paced, darker sound of Adonis, provides both B-Side tracks. As the BPM rises, the vibe gets harder. The thumping yet euphoric ‘Dash Und’ flexes its muscles from the out, with its punchy 909 matched by robotic synths and nostalgic acid and rave influences. ‘K-12’ ups the intensity; a sweat-soaked techno stomper with stabbing hi-hats which make for the ideal heads down cut.

Oh Yeah" - Charles Mingus (p, voc); Booker Ervin (ts); Roland Kirk (fl, ts, siren, manzello, stritch); Jimmy Knepper (tb); Doug Watkins (b); Dannie Richmond.

Commenting on this album in 1962, Billboard magazine wrote: »He seems to be everywhere, everywhere that is but on his usual instrument«. Charles Mingus, one of the most impressive musicians in the history of jazz, doesn’t play a single note on the bass for a change, but leads the band from his (blues-)piano – the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages – apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass.) "Oh Yeah" is definitely Mingus’s most powerful and passionate album. He calls on two hot, intensive saxophonists – Roland Kirk and Booker Ervin – as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it’s not free jazz, remaining – as it does – grounded in blues and gospel. "Hog Callin’ Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form. Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humour is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words: »Don’t let ’em drop it! Stop it! Be-bop it!«

Your Planet Is Next is the nom de guerre of one Arvid Wretman –
multidisciplinary artist, live performer and noise maker from Stockholm, Sweden.
Since his 2014 debut cassette under the YPIN alias, through two floor-optimised solo EPs for Studio Barnhus, this self-proclaimed “Mr. Music” has terrorised us with the most gloriously disturbed electronic funk, all while cultivating his puzzling YPIN persona: part failed pop-star, part extraterrestrial threat. On his first fulllength release for Studio Barnhus, emotions range from acidic romance to pure paranoia. Rave, screw, electro, and chill vibes are all combined on an album that plays like an exhilarating journey through the mind of a mad genius.

This is a very special EP. As many might know Toy Tonics started as a sublabel of now sleeping German indie dance label Gomma records. Gomma, along with DFA, Output Records and a few other was knownn for a very ecclectic, different approach in dance music. On this LOST GOMMA MIXES EP you find 4 now lost tracks that came out ca 10 - 20 years ago on Gomma, but fit very well in today’s zeitgeist again. Pete Herbert, In Flagranti, Jacques Lu Cont are featured. Who knows about modern disco - knows these producers. And there is a very special name here too: Nicky Siano. The now legendary New York DJ used to be resident at Studio 54 and other legendary NYC venues of the 1970ies and 1980ies. One of his are remix works was for the Gomma rcords band The KDMS. Pure disco euphoria.

Splash Blue is proud to present a brand new album borne from the latest collaboration between Jean-Paul ‘Bluey’ Maunick and Francisco Sales of Incognito – ‘The New Guitar Underground Vol 1’.

THE NEW GUITAR UNDERGROUND
The New Guitar Underground are Jean-Paul ‘Bluey’ Maunick and Francisco Sales of Incognito. Neither require introduction – Bluey – founder of the legendary Incognito, Inner Shade, CitrusSun and co-conspirator on the STR4TA project, solo artist, Composer and Record Producer & Francisco Sales, guitarist of Incognito and Citrus Sun, as well as being a solo artist in his own right, have come together to deliver a set of 10 highly crafted and accomplished tracks that lift the spirits and soothe the soul.
Inspired by the inspirational playing of the giants of the guitar world – Tony Mottola, Denis Budimir, George Benson, Bill Jennings & Melvin "Wah Wah" Watson to name but a few, the album reflects the deep love that Bluey and Francisco have for this multi faceted and beautiful instrument.
Guests on this album include bass players Francis Hylton, Hendrik Linder, Rui Pedro Pity and Julian Crampton, keyboardists Matt Cooper, James Berkeley and drummer Francisco Mendolia.
Of course the quality and depth of this musical composition should not be a surprise – given the pedigree of the artists involved, however, as Bluey says himself in the album notes, ‘’This is not a project seeking chart success. Just two guitar buddies having fun chasing musical waterfalls, and not sticking to the rivers and the lakes they’re used to.
We are just making ourselves happy. And if in doing so we make you happy too, then that, as they say, is "the payoff!" The result is an intoxicating fusion of guitars, samba, latin jazz, drum-driven beats, heavy bass lines - with some scratching and sampling thrown in for good measure!

Lia Ices was pregnant with her first child when she started writing her forthcoming record, Family Album, a stunning collection of psychedelic-tinged Americana. She was living with her husband, a wine-maker, on Moon Mountain in Sonoma, CA, where she walked from house to studio through a rose garden with an orchard at its center every day to sit at her piano and see what fell out. It was a “total Eden,” Ices describes. “I got pregnant in January, and Una was born in September, so I was on the same ripening mode as all the fruit.” “This album is terroir,” she says, using a wine-making term used for the complete natural environmental factors that make something taste the way it does. Fully, spiritually connected to the soil on which it was made, to the air Ices breathed. Ices hasn’t released music for six years, since her last album, Ices, in 2014. It’s been a long personal journey to get to Family Album, which she’s putting out on her own label, Natural Music. The first song Ices wrote for Family Album was “Young on the Mountain,” a breezy folk-rock track about life and death and freedom that’s the album’s highest energy. “The more real life gets, the more mystical it feels,” she explains. This idea reaches throughout the album, like on “Anywhere At All,” which is essentially an ode to “how psychedelic it is to be a first time mother,” Creating a life and creating this record at the same time is only part of the story. Those two acts also brought Ices closer to who she really is, and to the music she’s supposed to make. There’s a holistic energy around Family Album, epitomized by the opening track, “Earthy,” a gorgeous, dynamic song that begins with Ices solo on the piano, and midway through becomes a total psych-Americana jam. Though it starts the album off, even by the end it’s clear this is the record’s centerpiece, both its introduction and its heart; she sings about the Muse, about life and death, about both being here and giving herself away in order to find herself. She worked with producer JR White (Girls) all over California: three studios in LA, one in Stinson Beach, and one in San Francisco. Ices describes White as a “Brian Wilson type” with a singular mastery over gear; she says even just the way he rigged the mic while she was singing allowed her to get some of her best-ever vocal performances. And for the album’s accompanying visuals, she entrusted good friend and filmmaker Conor Hagen to follow her and her band around the west coast of California on tour over the course of 9 months for the album’s first single ‘Hymn’, as well as director Aaron Brown (Cass McCombs, Arctic Monkeys) to help her make the aura-themed video for the record’s title track. Ices says of Family Album. There’s a “universal timing” to this record that it’s had since its beginning, with Ices’ ripening. “It keeps being a teacher to me, it has its own energy field around it.”

Tape
“Stonewalling” offers a collection of electroacoustic pieces taking as input the Mexican vernacular music from the golden age of Mexican cinema of the first part of the 20th century. In those films, music was used as communication due their poor verbal communication-skills. This is an album about communication, about the impossibility to do so to resolve conflicts. In the technical side, some of the sources used as layering in the tracks come from radio frequencies taken from explorations into the software-defined radio universe, mixed with microphone feedbacks, oscillators, and random textures with field-recordings. In the melodic/harmonic structures of the tracks, the main instrument used is a classical guitar with hyper-processed chords using DSP tools. "Stonewalling”, in some way, follows to 444 (Umor Rex, 2019), serving as a Morse's follow-up into the Mexican vernacular music expeditions.

Produced by Alejandro Morse aka Edgar Medina in León, México. Mastered by Edgar Medina. Photos & design by Daniel Castrejón.

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962),(1) a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME´s Independent Chart in March 1994 and reached number 50 in the UK official album chart.

The track Novelty Waves was used in Michel Gondry's Levi's 501 Jeans "Drugstore" spot, and holds - according to the Guinness World Records 2004, the record for "Most awards won by a TV commercial".

One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy -- not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, "We had a dream last night," followed by a rougher sample saying, "We had the same dream," gives opening number "Phantasm" an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. Though not as openly dark as acts like Lull, for instance, Biosphere still has an edge which isn't just melancholic, it's downright ominous at point. There's the slow crawl of "Startoucher," for instance, with its buried vocal snippets and deep bass drone, or the blend of the space signal atmospheres of "Mir" into the low, brooding intro to "The Shield." Not everything is so shadowy, though, Patashnik is primarily a relax and chill listening experience, but not without its gentle high points. "Novelty Waves," which became a crossover single in some quarters, has a good dancefloor sharpness to it even as Jenssen slyly sneaks in odd drones and samples through the mix. The opening snippet talking about an extraterrestrial disc jockey on "SETI Project" is good for a smile, as well as acting as a sharp lead-in to a fast rhythm track. Mostly, though, things continue on a deliciously unnerving pace throughout, gentle enough to go down easy but still just off enough to ensure you can't call this new age folderol for the rave generation.