quête:walk

A folk/bluegrass troubadour from Vermont who delves into shape-note traditions and Appalachian ballads and makes it all beguilingly his own. His guitar lines have the fancy fingerwork of a crack banjo player and his banjo lines have the tugging suspensions of a jazzer.’ – Guardian

‘Amidon is a rare Americana artist whose … signature banjo-strewn style … and disparate mix of influences play into a sound that is at once archaically rootsy and savvily refined.’ – Wall Street Journal

Sam Amidon considers his new self-titled album the fullest realization to date of his artistic vision. It comprises his radical reworkings of nine mostly traditional folk songs, performed with his band of longtime friends and collaborators. Amidon produced the record, applying the sonic universe of his 2017 The Following Mountain to these beloved tunes, many of which he first learned as a child. ‘Pretty Polly,’ for example, was one of the first traditional tunes he learned to play, and ‘Time Has Made A Change’ is a song that his parents – singers who were on the 1977 Nonesuch recording Rivers of Delight with the Word of Mouth Chorus – sang around the house when he was young. Amidon will perform two concerts at Kings Place in London on October 3. A limited number of tickets will be available in the venue, as well as tickets to stream the event from home. Further details are available here.

Amidon and his frequent band of multi-instrumentalist Shahzad Ismaily and drummer Chris Vatalaro were joined in the studio by Belgian guitarist Bert Cools (who played on his last EP), as well as Amidon’s wife, Beth Orton, who adds vocals on three songs. Acoustic bassist Ruth Goller and saxophonist and labelmate Sam Gendel also play on the album, which was mixed by Leo Abrahams. Sam Amidon was mostly recorded live in the studio. Amidon arranged the songs, which are traditional tunes, with the exception of Taj Mahal’s ‘Light Rain Blues’, Harkins Frye’s ‘Time Has Made A Change’, and ‘Hallelujah’, which is an 1835 William Walker shape-note tune using earlier words by Charles Wesley, found in the Sacred Harp collection of early American folk-hymns.

Sam Amidon is Amidon’s fifth recording on Nonesuch and follows the 2019 EP Fatal Flower Garden (A Tribute to Harry Smith). Additional recordings include his 2017 album The Following Mountain and Kronos Quartet’s Folk Songs the same year, on which he was a featured singer along with Rhiannon Giddens, Natalie Merchant, and Olivia Chaney; Lily-O in 2014; and his label debut, Bright Sunny South, in 2013.

Kiwi Jr. are a phenomenal rock and / or punk and / or indie rock (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass) and Brian Murphy (guitar). ‘Cooler Returns’ is their second album and their first for Sub Pop.
Despite being a snapshot of the pandemic-infused beginnings of this decade, ‘Cooler Returns’ is truly a whole lot of fun. For fans of indie pop from down under and things that are smart / exuberant / catchy all at once.
‘Cooler Returns’ was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

‘A Mind of Your Own’ is the debut release from The Bright Siders, the duo of acclaimed songwriter and musician Kristin Andreassen and NYC child psychiatrist Kari Groff, MD. Brimming with uplifting and empowering songs, the album invites its listeners to think deeply on feelings and emotions that come with growing up, while focusing on resilience and mindset.
Along with a slew of all-star guests including Ed Helms, The War and Treaty, Oh Pep!, The Hokes (a.k.a. Punch Brothers), Gaby Moreno, and more, The Bright Siders bring profound sensitivity and vivacity to songs about friendship, bullying, anger, acceptance of others, and coping with sadness and change.
This music is sure to spark meaningful conversations and bring families closer as they explore the beauty and complexity of their emotional lives together.

• Doctor Who Edge of Time is an immersive VR video game and Demon Records are proud to release the soundtrack to this adventure.
• On Vinyl for the first time, this is an original composition by Richard Wilkinson, specially created for this VR experience.
• Double LP, pressed on 140g colour vinyl (Red and Purple LP) and presented in a gatefold. Side D has an etching of the ‘Seal of Rassilon’
• Story line: Mysterious enemy threatens to tear apart the universe and only you can stop them! Armed with the Sonic Screwdriver, players will solve mind-bending puzzles, grapple with iconic monsters and encounter new horizons in a quest to find the Doctor and defeat a powerful force that threatens to destroy the fabric of reality.

Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn"s newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his "70s classics. There"s no mistaking the musical mind that created legendary albums like Infant Eyes and Adam"s Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn"s past work but which could only have been made right now.

'An expanded edition of KT’s second studio album ‘Drastic Fantastic’, to be released on 2LP + 10″ coloured LP set, 3CD and digitally. Bonus content includes acoustic versions, live tracks, remixes and b-sides such as Journey which has never been delivered to streaming or released physically in the UK. The bonus 10″ will consist of 4 brand new, unreleased remixes of the album’s singles Hold On, Saving My Face, If Only and Little Favours.




























[xb] Hold On (The Freelance Hellraiser [Holed Up] Remix)


[xe] Little Favours (MyRiot [Big Flavours] Remix)

DAUW present the release of What the Fog, the second album of David Allred & Peter Broderick. The album is a follow-up of their first full-length LP Find the Ways, which was released through Erased Tapes in 2017.

The music itself was originally composed as a soundtrack for an 11-hours slow motion journey in the Louvre museum in Paris. The title, #monalisa, can be interpreted as a new way of perceiving art through technology and social media such as Twitter or Instagram. The movie is directed by Jennifer Anderson and Vernon Lott and tries to make us more aware of the presence of technology in our lives as well as the way we experience an exhibition or art itself. The album is a 42-minutes extraction of the 11-hours journey they went through. Each track is built in a way that makes it possible for the listener to travel from one place to the other, as if you were walking in the museum yourself. In that way, the record can even be perceived as a music documentary.

Being completely instrumental, What the Fog distinguishes itself from their first album in which the voices of both artists held a central place. Nevertheless, in line with an earlier observation from Clash Magazine, the music still combines minimalism and serenity to construct intense pieces of music.

“It presents a moment of calm that uses sparsity to create something quietly intense.” (Clash Magazine on their debut album)

Born in Maine, raised in Oregon, Peter Broderick learned to play several instruments such as piano, banjo and violin. In 2007 he joined the Danish ensemble Efterklang on their tour and had numerous collaborations with artists such as Machinefabriek and Nils Frahm. His most recent release Blackberry was released this August through Erased Tapes. It marked his first vocal album in 5 years and once again showed the variety in his ever growing repertoire.

In a relatively short period of time, Portland-based musician and multi-instrumentalist David Allred showed his songwriting capabilities through several releases on Oscarson and Erased Tapes. Besides his own music, he played as a session musician for several artists and ensembles such as Heather Woods Broderick, Masayoshi Fujita and The Beacon Sound Choir. His most recent album Felt the Transition sees the light late December 2020 through Erased Tapes.

INDIE EXCLUSIVE, LTD PURPLE VINYL! Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his '70s classics. There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right now.

Contents:
Gangland Landlord CD
GL Styrofoam cup
Custom GLLL pendant with chain
GLLL Bandana
GLLL Poetry magnets (each has their own mozzy slang on it)

Two 12” Black 140 gram vinyl discs in plain white paper inner sleeve.
12” 4/color Single-packet jacket with wide spine
12” 4 color lyrics/credits insert
4 color labels
2/c Marketing Sticker

This release is available all retail.

“Garrett III is more of a swan project. A final installment, if you will. Garrett is now retreating more deeply, as evident by the album cover by @GangCulture into obscurity. The time has come for a landing via this 3rd installment of his ‘private life’. After surviving a lockdown x worldwide pandemic in 1 piece, without going insane, he has finally decided 2 conclude this phase of his tightrope walk between lush Ambient touched Modern-Funk & the choice of no vocals / strictly instrumental aural experiences, for listeners of all hues, backgrounds & taste. The hope is that it’s enjoyed in whatever way feasible for all human (& alien) kind.”

Here comes another bundle of Timmion soul to decorate your record shelf and grace your turntables. It's a fantastic opportunity to sink yourself into Pratt & Moody's second release, the crossover gem "Words Words Words", the equally sublime rolita by Thee Baby Cuffs "My My My Baby" or continue your soulful trip with Willie West's latest deep offering "I Can't Leave You Alone".

In case you didn't yet get your hands on Carlton Jumel Smith's beautiful dancer "This Is What Love Looks Like", it's naturally included in this box of joy, as is jazz funker Ernie Hawk's non-album blaxploitation tinged track "Tracking Down", which can only be found as the b-side of "Cold Turkey Time" single release. Buy now and you'll be unboxing in no time.

Previously unreleased original 90s archive tracks from Morphid (Mephisto). Classic deep techno excursions and moody downtempo electronics from Lucid Recordings in Amsterdam.

Remember this guy? Walking through your black screen TV
in a white circle, from right to left? You just know he has a
gun, even though you can’t see it yet… He suddenly stops,
and BANG! A gunshot - epic music in the background -
beautiful women falling from the sky - weird graphics from
the 2000s - then you hear a dark voice with a french accent:
“He’s back…and he’s equipped with ¦ve brand new & deadly
weapons to bring justice to the dance§oors! Watch out for
Laroze and his o¨cial RTCT.007 Licence To Kill!

Philipp Otterbach’s psychedelic music never been a sunshine pleasure pill. But yet, the souls of his notes are deeply gentle. With “Everything Else Matters” the Berlin based DJ and producer now introduces his debut album, that follows a long introduction. Already since a while he devotes himself with endurance to music. He was an early resident at Düsseldorf’s shrine for outernational grooves Salon Des Amateurs. Since 2014 he releases music under his given name or as Grand Optimist on labels like Grokenberger Records, Knekelhuis or Themes For Great Cities and leaves marks as a remixer for artists like DJ Normal 4, Brainwaltzera, Wolf Müller and Niklas Wandt on labels like Growing Bin Records or Second Circle. His long DJ nights and already released music prefigures the spirits, that he now bunched on his first album. It’s a record, that does not want to pursue a straight categorization. It rather aims to spellbound with an atmosphere, that is made for moments in the absence of hysteria. Tribalistic, trip-hopping rhythms, menacing sounds, cold cool vocal passages, drone chants, morbid goth-ambient spheres, Indie rock indications: its many facets meld into some kind of black highway sound for thoughtful night prowlers in a dissociative state of mind. In context all particles achieve delicate sculptural effects that operate like the surprising architecture of a dream. A forward- thinking dream, that bundles something otherworldly, something unspeakable, that lives hauntingly between the sounds, rhythms and suggested melodies.

- Unreleased full version of this rare 45 for the first time.

- Cut from tape to lathe by the masters at Timmion Cutting Lab.

Western Michigan had a very healthy music scene throughout the '60s and '70s, with Georgia-born soul legend Jackey Beavers (aka Jackie Beavers) and producer Palmer James forging that area's soul identity. Beavers produced the recording by this obscure band from Battle Creek and issued their only 45 on his Jaber label. The rhythm section of Wright, Teasley and Scurlock were better known as Jr. Walker's All Star group, and they made this recording shortly before leaving the bandleader's ranks. The Us would share ties with the Apachies (track 20), for both bands included at some point members of Jr Walker's All Stars. Trombonist Jack Hill would be involved in both bands and would help create the unique arrangement on 'Let's Do It Today.' Bassist Larry Scurlock recounts the origin behind the song's theme, "We were ready to get on with it. No draggin' around, let's do this now, today is the day! I've lived this motto for all of my life."

The full-length version here shows The Us head into psychedelic regions in the final minutes of the song that have never been heard since they were recorded over 30 years ago. "I wrote it in less than half a day to get some royalties" remembers Scurlock. "We were experimenting with tuning, a quarter tone below the note. We were sure under the influence back in those days!"

Kogarashi is a Japanese word that means “the wind preceding the onset of winter”, – thus Kogarashi Tales showcases itself as a collection of stories that are connected and carried by that cold, windy feeling with songs that share the personal, yet universal, stories about love, loss, loneliness, dependence, and inner strength. Thoroughly crafted lyrics poetically penetrate the psychology of the mind, human desires, and flaws.

Trouble, the aptly named new album on Goner Records, is a confident and joy-filled statement delivering the good-news gospel message unapologetically through music influenced by Ray Charles, Junior Kimbrough, Bill Withers and of course, his father.

Recorded at legendary Royal Studios in Memphis by Lawrence “Boo” Mitchell (Al Green, Solomon Burke, John Mayer, Buddy Guy, Mark Ronson & Bruno Mars, North Mississippi Allstars), Trouble is the culmination of everything in Rev. Wilkins’s remarkable life, his regional history, his family music history. And in a world once again riven with discord and division, like the Memphis of Wilkins’ youth in the 1960’s, Trouble delivers passionate and confident musical performances with a message of hope that meets our present moment equal to the best music from that earlier era.

To call the Reverend John Wilkins a national treasure would not be an overstatement. He is the son of pre-war blues/folk-revival legend Reverend Robert Wilkins and he leads one of the most exciting and uplifting musical acts on the blues and gospel circuit today. His multiracial, multi-generational band blends soul, southern gospel and hill country rhythm, into a sound that has the infectious drive of hill country blues with the emotional heights of a summer tent revival.

Following in the footsteps of his famous father Rev. Robert Wilkins, a blues-singer turned preacher who went from the juke joint to the pulpit, the life of Rev. John Wilkins took a similar path, echoing the story of the elder Wilkins’ most famous song, “Prodigal Son.”

But in 2020 John Wilkins’ life has been closer to a different iconic bible character, Lazarus, as he has miraculously risen after surviving a month-long stay in intensive care battling Covid19 in a Memphis hospital. As Rev. Wilkins sings on the closing track of his forthcoming album, “I’ve come through the storm and rain, I’ve come through the storm and rain, and I made it!”

After the very successful EP releases of quickly, quickly’s “Over Skies” in mid 2018 (27m spotify-streams) and Please Wait’s “Black & White” in late 2019 (6,4m spotify-streams to this day) Jakarta Records and Ta-ku take their joint label to the next level presenting 823’s very 1st longplayer - a compilation feat. an international line-up of already established as well as up & coming Lo-Fi producers, handpicked and curated by none other than 823 label-head Ta-ku himself.
1st single to be released on 21st of August is „Serenity“ by prolific 27 year old producer eevee (1,5m monthly listeners) from the Netherlands aka „the queen of Lo-Fi“ delivering a loopy and very hypnotic tune w/ quite jazzy horns feeling like watching the sunset on a desert planet like Dune - from outer space.
2nd single will be a double-single, coming on September 11th w/ finnish indie-producer Idealism (2,5m monthly listeners) and his tune “Somehow” – a steady and softened beat w/ colorfull and chilled piano chords – on the one side and Ta-ku’s “Remember Me” - another powerful Lo-Fi anthem by the Australian allrounder and 823 patron - on the flipside.
The compilation’s 3rd drop will be a double-single as well featuring 19 year old, US-based self made producer Peachy! (2,6m monthly listeners), delivering his Shanghai inspired, very spheric walk-by tune “Stroll” on one side while Laguna contributes his slowly uplifting but very keen “Lone Rider” on the flipside, catching that specific moment when switching from boredom to euphoria right away.
All singles off the compilation will be accompanied by customized visuals from different filmmakers catching the songs’ very own vibes. The compilation’s artwork comes along in its very own and unique 823-style.
Worldwide web promotion for this release will be handled and taken care of by Jonathan Kim.
_____

Ta-ku’s 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. The artwork is shot by the artists themselves and each release has an accompanying photo zine that acts as a visual story to compliment the music being showcased. 823 is also the numerical representation of the phrase 'Thinking Of You'.

“823 celebrates the simple beauty of everyday life and the people in it that inspire us. In that spirit we are proud to present our very first compilation featuring artists we love. All Things Considered Vol.1” (Regan Matthews aka Ta-ku)

• Libertine is Gene’s final studio album released in 2001
• Highlights include the single ‘Is It Over?’ and ‘O Lover’
• Double LP pressed on 180g Heavyweight vinyl with original artwork and printed inner sleeve
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

Reissue of Mort Garson’s long-out-of-print soundtrack for the 1970 experimental film Didn’t You Hear?
•One of the first-ever all-electronic film scores
•Remastered from the original master tapes

Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear? While not much is known now about the exact nature of their collaboration, we have Garson’s magnificent score as a record of those heady, early days after his lifechanging discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film’s release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn’t You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best known album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

This 3LP compilation documents B.B.King's breakthrough years, when, initially signed to the Bihari Brothers' RPM label, he unleashed a torrent of superb recordings that would establish him as the world's most famous blues singer-guitarist. He made scores of remarkable recordings during his career - but the ones on this compilation represent that marvelous moment in time when Riley King and Lucille combined to make their indelible mark on the history of the blues.

Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.

Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.

Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.

Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!

Discover the world of Luis Ake on his recent “Zeit EP” delivering an overdue update of Neue Deutsche Welle, paired with the fundamental sparseness of synth pop projects with a touch of house music anthems. Join the dance in the forest to “Lilith”, walk with Luis
nostalgically through the streets of Kiev, feel the excitement for new adventures to come in “Zeit” and discover the dreamy common world of Luis Ake and John Moods with “Deine Welt”. To complete this special vinyl release Luis added his first german club anthem
“Komm Verlieb Dich In Mich” due to popular demand. Vinyl tastes better ...

Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear?

While not much is known now about the exact nature of their collaboration, Here's Garson’s magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then.

A culmination of paranoia emerges as we lose the human dimension of the city. Glittering canals shape the light in our eyes as we pass by, guiding our spirits safely home as the sounds slowly fade away into night sky. It’s not our time to go although the balancing act slowly becomes more extravagant and abstract until we find another way to stand on one toe. Piecing together all the perplexations, realization that all the shit that you have chatted float down the ether stream to Timbuktu never to be seen again, and the lion at the end dribbles and spits, waiting for words of shite to come walking his way so him and his lioness can slowly butcher every last note, until just dust is left.

“Easy rider, come and take me higher”. When the world seemingly crumbles around, music can provide an escape few other mediums can. For their debut self-titled LP, Velour effortlessly levitate you above the madness below, each track taking a new turn, cruising over hazy flecked skylines, bustling walkways and bleary eyed bedlam. A trajectory that takes in all of jazz’s vibrancies, blending elements of neo soul, broken beat and hip hop coupled with a much-needed sense of hope across nine deep, soul-searching tracks released via WOLF Music Recordings.

A style and sound taking influence from genres and moods, environments and experiences, Essen-based Velour stretch their legs for this, their first full length album. From the off, they nestle you under their wing with the rustling sax washes of opener ‘CLP’ before diving into an epic slo-mo burner, swooping down into the chaos as singer, Eva Czaya, wistfully narrates the scenes beneath.

Unafraid to shift pace within songs, the likes of ‘Pose’, sauntering from soulful summer groove into woozy late night affair, and ‘Tom's Garage’, that progresses from roadside recounting to grungy basement blowout, finished with a sample of jazz-tinged dusty beats, show that accomplished and adept heads rest on the shoulders of these relative newcomers.

WOLF Music mainstay Mr Fries continues to head up production for Velour, his trademark touch capturing the intimacy of Velour’s sound presenting it in a way that’s considered yet raw - nothing feeling rushed, nor cluttered. A separation and space that gives each element the room it deserves to breathe, with short interludes and skits providing the perfect bridge between tracks, guiding you through smokey jazz bars and twilight whisperings.

Moving through the album, Czaya at points wanders in a serene spoken dialogue, at others letting her voice loose, but always with an ethereal demeanour that comes off with natural ease. One of many highlights, ‘Anthony Davis’ shows off this celestial prowess whilst perfectly embodying Velour’s dream-like escapism. A pent up release of creativity, as moody bass tones mix with deft keys, rolling snares sit behind swirling saxophones.

The journey ends with ‘Luminate’, a transcendent closer laced with space-echoed vocals that reverberate around over-driven Rhodes and feverish drums. Cymbals crash, as modulated synths rise, building and building before easing you off into the night and on your way to a parallel universe.

As a body of work, ‘Velour’ is a shining example of the freedom, energy and enthusiasm of the new school of jazz that’s been captivating minds the world over. An instant on repeat staple - let go, feel the flow, it’s what we need in a time like this.

Giallo is the fourth in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

When we think of 1960’s Italian pulp cinema, the spaghetti western is the genre that comes to mind. However, Italy was responsible for another classic cinematic exploitation movement around the same time, one that is equally as compelling, but less widely recognised. Giallo…

Giallo, meaning ‘yellow’, is the Italian term for crime fiction, it was named after the bright yellow colours of early pulp fiction paperbacks. Film audiences adopted it as the name for a peculiarly Italian sub-genre of thriller cinema that had its heyday in the 1970’s - just as the Spaghetti Western movement was waning. The Giallo can be difficult to define, but essentially it is an Italian crime film that draws from a pool of common themes: stylized murders, amateur sleuths, sleazy glamour, psychological crimes, enigmatic titles and all these themes are underpinned by creepily atmospheric Ennio Morricone music scores. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Giallo is available as a limited edition of 3000 individually numbered copies on “giallo and black marbled” (clear, yellow and black mixed) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a silver foil spot varnish on the outside and images of iconic movie posters on the inside.

We are excited to welcome young composer Noémi Büchi to the Light of Other Days roster.

Her debut Ep «Matière» is the result of an extensive study with a modular synthesizer as her instrument of choice mixed with field recordings of sounds and noises surrounding her every day life . Apart from being a student of Electroacoustic Composition and listening to tons of music, Noémi finds most of her inspiration in long nature walks through nearby forests and foggy hills situated close to her bedroom studio.

With her music she leads the listener safely through deep paths of complex rhythms and otherworldly sounds. Her awareness of timbre, nuance and harmonic diversity are constantly matched with her ability to produce fresh and revealing arrangements.
«Matière» is an exciting excerpt from the works and life of a very talented young artist with a bright future ahead.

Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.

Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.

Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.

Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!

Moses Boyd is at the forefront of the New British jazz scene having worked and recorded with like of Giles Peterson, Four Tet, Sons Of Kemet, Zara McFarlane and more. With 2 MOBO Awards to his name and Multiple Releases via his Label Exodus Records. Moses has established himself as one of the leaders in bringing the worlds of Jazz and Electronic music together.

This latest release is taken from the same sessions that brought us Rye Lane Shuffle. Displaced Diaspora is a collection of music from Moses Boyd recorded in 2015 that features some of the now leaders of the New British Jazz Scene Such as Theon Cross, Nubya Garcia and Nathaniel Cross. As well as the Iconic British Soul Vocalist Terri Walker, Saxophonist and Bata Player Kevin Haynes and his group, Grupo Eleggua and Rapper Louis VI. The music is a mix of Jazz, Yoruba chants with Hip Hop and electronica influenced beats.

Repress

Carthago: Rare Tunisian Disco Including Unreleased Instrumentals And Eight Page Booklet When we first decided to start Habibi Funk, a label dedicated to re-releasing "funky" Arabic music from the 1960s to 1980s, a band called Dalton was the first release we worked on. Dalton was a band from the Tunisian capital of Tunis and they played a unique mix of soul & funk with an Arabic DNA. We licensed the release from the band's composer Fawzi Chekili, and when we spoke to him on the phone in preparation of the release he mentioned another band he was part of, called Carthago. Our work with Habibi Funk is like a big treasure hunt. There are too many great bands that fully vanished into obscurity and didn't leave any traces in the digital sphere yet. We are so used to the internet providing all informations we might be looking for, but Carthago was one of those bands where the internet largely failed to provide any infos despite the fact that Carthago created some incredible music in the form of an highly infectious Tunisian take on disco music. Luckily most of the members of the 1970s musical scene of Tunis are still around to tell their story.

Carthago was founded in the late 1970s as a fusion of Dalton and a second band called Marhaba Band. Both bands frequently played at hotels and night clubs in Tunis and Sousse. They had similar musical influences and despite the fact that they were competition for the most part, they came up with the idea to join forces for a new band. Musically Carthago kept on walking on the musical path of Dalton and Marhaba but incorporated disco music, a new style that was making its way to North Africa from Europe and North America. The band had quite some success on local radio and played a number of big shows with thousands of people showing up. The band's concerts were a mixture of their own compositions as well as cover versions of the hits of the time from Stevie Wonder to Chicago. At the end of the 70s they went to Paris to record their only, self titled album. For our reissue we picked out two of our favorite tracks: "Hanen" and the outstanding disco version of the Dalton track "Alech" which has proved to work on every dance floor we played over the last two years.

When I came to Tunis for the first time after the Dalton reissue I met Fawzi in person. He still lives in Tunis and still works as a full time musician though his focus has shifted more towards Jazz over the years. Luckily he did not only keep a spotless copy of the Carthago album but he also kept the master tape of the instrumental versions of the album which to this day were unreleased. Being able to add exclusive content to a reissue is something that is rare and we feel highly privileged to be able to do so. Futher more we are so happy that we will be able to add something new to the bands legacy not only musically but also visually: One day I realized that most of the releases from Tunisia I liked, be it from Dalton, Carthago or Marhaba Band had the same photographer credit.Hassen Turki started taking photos at a young age and when he was 18 he started going to the gigs of the bands of the time that were playing in the Marhaba Hotel which was managed by his father at the time. He became friends with the bands and ended up being the person to be asked when it came to shooting the photos for the covers of the records. After some research I managed to get in touch with Hassen and met him in his hometown Sousse. Luckily he kept most of the negatives of the photos he took so we're more than happy to be able to share these unseen photos with whoever is interested.

The cassette (TWI 007) is a faithful reproduction of the 1980 original, complete with PVC wallet, 16 page booklet and tracklist insert.

Les Disques du Crepuscule is proud to present newly remastered vinyl and cassette editions of iconic compilation album From Brussels With Love, which was the very first release on the Crepuscule label back in November 1980 – and is now celebrating its 40th anniversary.
Originally released as a deluxe cassette/book package in a PVC wallet, From Brussels With Love featured 21 exclusive tracks from the international avant-garde and new wave, as well as contributions from the celebrated Factory Records roster. Then, as now, the featured artists include A Certain Ratio, Gavin Bryars, Harold Budd, Thomas Dolby, Dome, The Durutti Column, John Foxx, Martin Hannett, Richard Jobson, The Names, Bill Nelson, Kevin Hewick + New Order, Michael Nyman and Der Plan.
Running for 78 minutes, the cosmopolitan ‘cassette journal’ was curated by Michel Duval, Annik Honore and Wim Mertens, and also includes extended interviews with Brian Eno and legendary French film actress Jeanne Moreau. The cover art by Jean-Francois Octave, with additional graphics by Benoit Hennebert, Marc Borgers and Claude Stassart in the booklet.
From Brussels With Love quickly sold 6000 copies around Europe, earning rapturous reviews in the UK music press. “This is a reminder – without really trying, without being obvious – that pop is modern poetry. Is the sharpest, shiniest collection of experiences. Is always something new” (Paul Morley, NME). More recently, Dan Fox of art magazine Frieze described TWI 007 as “a masterpiece of distinctly northern European post-punk eclecticism.”
To mark the 40th anniversary of From Brussels With Love, Crepuscule will issue 3 remastered editions.
There is also a deluxe 2xCD ‘earbook’ edition (TWI 007 CD) presented as a 10-inch square hardback book, with two full length audio CDs and 60 page book including rare images, posters, sleeve designs and period ephemera, plus a detailed history of the Crepuscule label between 1979 and 1984.

Craig Charles has been a soul & funk fan since his teenage years in Liverpool, going to see local heroes The Real Thing live, and wearing out his shoe leather dancing in the city's many underground clubs. Craig has been sharing that passion for the music via his 6Music and BBC Radio 2 shows and DJ nights for nearly 20 years. His brand new 'Trunk Of Funk' compilation series, blends up-tempo club classics, with fresh music from the cream of the crop from the contemporary soul and funk scene, and will be Craigs very first vinyl release - a beautiful, double vinyl gatefold LP and he's certainly excited about it, stating; "I can't wait to bring you big beats, bass lines and booga-bloomin-loo! Presenting The Craig Charles Trunk Of Funk Volume 1 as my first ever vinyl release has put a proper wiggle in my walk!" This collection of 21st century disco, soul, funk & afro grooves from includes tracks from contemporary heroes of the scene such as Monophonics, Amp Fiddler and The James Taylor Quartet, it's also peppered with some old school classics and rare grooves from legends such as Roy Ayers, PP Arnold, Miriam Makeba and Patrice Rushen. Craig has personally selected and sequenced this collection to take the listener of a musical journey, the closest thing to having Craig visit and personally DJ for you in the comfort of your own home! It also includes two 'Trunk Of Funk Edits' that are 100% exclusive to this compilation and not available anywhere else.

2020 Repress!

After two self released EPs, Eterna joins the Modern Obscure Music family. In another musical life, Eterna is a drummer and a sound engineer. Here the Barcelona based artist presents a varied EP that features beautiful melodies backed by distinctive instrumentation and percussive arrangements. Remix duties fall to the wonderful LA based experimentalist DNTEL, aka Jimmy Tamborello. Regatta features choppy textured beats, a bold keyed melody and a smooth bassline groove. The “Jimmy Tamborello” Remix from DNTEL is composed of competing parts that fit together surprisingly well. A menacing bass, powerful stop start beats and spacey synths meet on this remix. 277 is the deepest cut, with emotional strings, almost steel drum sounding keys and layered percussion. A Day In The Life rounds off the EP with walking paced sturdy beats, modulating synths and a springy bassline. This is a truly versatile EP from Eterna.

2xLP: Gatefold, pressed on Gold Nugget vinyl


“I wanna thank me,” Snoop Dogg said as he accepted his star on the Hollywood Walk of Fame, “I wanna thank me for believing in me. I wanna thank me for doing all this hard work. I wanna thank me for having no days off.”

An Entertainment Icon, Snoop Dogg has reigned for more than two decades as an unparalleled force who has raised the bar as an entertainer and globally recognized innovator.  Snoop has released 19 studio albums, sold over 40-million albums worldwide, reached No. 1 countless times on Billboard charts internationally and received 20 GRAMMY® nominations. Snoop Dogg most recently released his highly praised and award-winning Gospel album, Bible of Love. He is currently working on his next studio album, I Wanna Thank Me, releasing this summer through EMPIRE.

In addition to his extensive work in music, Snoop Dogg has made his mark in the television and film space, including an Emmy Award nomination for his role as Executive Producer and Co-host of VH1’s hit show, Martha & Snoop’s Potluck Dinner, Executive Producer of MTV’s Mary + Jane, Executive Producer and Host of TNT’s game show, Joker’s Wild and Executive Producer of acclaimed Netflix’s show, Coach Snoop.