Suche:white

Repress

It´s all about fusion. good fusion, you know! can you hear the bandsmen marching to the dancelfoor~ they´re coming !! limited 1-sided pressing in white vinyl !! this is a old sven väth track, remixed by matthias kaden!!!

Ramona Córdova is a sound artist — passionate about writing, communicating, linguistics, behavioural & social psychology, observation & investigative research, photography, sound recording, and design. Their artist focus is on project-based sound and visual media, public engagement and live performance — although they are best known for their music and are typical regarded as a singer songwriter. Ramona Córdova intends to speak to the challenges of living under systems of oppression while inspiring introspection and personal growth toward the maturing of our societies. Ramona is Haitian-Filipina, Puerto Rican, born in Kingman, Arizona, USA and is inter-feminine trans non-binary.

"When I first started working on Naïve I was completely consumed by all of the technical details involved in making a 'professional studio recording' on my own - one which could not be refuted or disregarded as subpar. My only other hope was to tell some sort of story with whichever songs i could piece together. The content and message of which were much less important to me.

The story that Naïve ended up telling comes from a cohesion of themes, ceaseless in my personal experiences living day to day in the world. Although the album dares to tread on tact while speaking poetically and lyrically about issues such as systemic oppression, racism, misogyny, policing and patriarchy - I think the album really just wants to reflect - to serve as a reflection - in order to foster healing and healthy growth towards maturing. I feel it commanding a kind of firm kindness as a reminder to love yourself enough to accept others, by way of accepting yourself.

Pressed onto this 180-gram vinyl are 10 songs I wrote while living in many different places around the world. Spontaneous recordings of inspired notions of song, written one rainy evening up high above the vineyards in Banyuls-sur-Mer became Men on the Mountain. A Scrap of paper holding jots about a sudden storm on a hot day in August while helping friends on their farm in Puglia became Mouth of Autumn and Peace Through Violence. As I dressed myself into the fragile reality of the United States, I became flooded by its manipulative social governing systems. As the monuments of slave-owners, colonisers, and white supremacists came crashing down in the name of responsibility and accountability, The Bridge Works was built, a song about crossing bridges towards empathy and equality. Civil rights activist and American-Football quarterback, Colin Kaepernick, taking the knee during the United States national anthem pre-game ceremony, brought about So Long. The incessant murdering of black, brown, and transgender citizens brought Woke, Scared I'll Bite You, and The End. The murder of Eric Garner and the feeling of being choked-out and suffocated under the weight of systemic oppression brought about Still.

From all of this birthed the collection of songs that is Naïve, a title given to the album by French Ghanian artist Eden Tinto Collins. Although written both in Europe and the U.S., most of the songs were performed and recorded at the end of the year 2018 in Philadelphia, during the American-Holidays season. Still, Loving Him, and The End were written in Philadelphia, but produced in Vlorë, Albania. This helped serve as a reminder that the issues these songs speak of are not isolated to the United States of America." - Ramona Córdova

Though most debuts are the culmination of a lifetime of influences
and experiences, few artists succeed in mapping their musical
journey quite as vividly as Baba Ali has on ‘Memory Device’.
Tracing his Nigerian heritage, an adolescence absorbing No Wave
and the hip-hop on NYC’s Hot 97, time immersed in the techno
scene in Berlin, and the experimental punk spirit of his current
base in London, ‘Memory Device’ is an enthralling introduction to a
musician who resolutely defies pigeonholing.
Written during lockdown and recorded with Al Doyle (LCD
Soundsystem, Hot Chip) in East London, ‘Memory Device’ is both
a dizzyingly inventive exploration of Baba’s complex musical DNA,
and a thought-provoking treatise on the collective angst of modern
existence; a dance record dealing in small ‘p’ politics that,
spiritually, has been three decades in the making.
It was after moving to London that he began writing new music as
a solo artist, with his debut EP, ‘Nomad’, released in 2017. Soon
after he met British guitarist Nik Balchin while they were working
together at a bar in Whitechapel. Nik brought with him an entirely
new set of references, ranging from LCD Soundsystem and the
Pixies to Suicide and Iggy Pop. The new collaboration resulted in
the February 2020 release, ‘This House’, an eclectic four-track
collection fusing funk, blues and soul and featuring production
from Jamie Hince of The Kills. In July the same year the duo
released an unofficial mixtape, ‘Rethinking Sensual Pleasure’,
which they wrote while locked down together at Baba’s parents’
house in New Jersey, having been temporarily stranded in the US
following their New York shows.
Today Baba describes this process of producing a longer body of
work as being akin to “ripping a Band-Aid off,” giving them the
confidence to begin writing their debut. Work on ‘Memory Device’
began shortly afterwards, culminating in the pair recording the
album between November 2020 and February 2021 with Al Doyle,
who was chosen for his vast experience operating at the
intersection between dance and rock music. There’s no question
that Baba is leading by example with ‘Memory Device’.

Though most debuts are the culmination of a lifetime of influences
and experiences, few artists succeed in mapping their musical
journey quite as vividly as Baba Ali has on ‘Memory Device’.
Tracing his Nigerian heritage, an adolescence absorbing No Wave
and the hip-hop on NYC’s Hot 97, time immersed in the techno
scene in Berlin, and the experimental punk spirit of his current
base in London, ‘Memory Device’ is an enthralling introduction to a
musician who resolutely defies pigeonholing.
Written during lockdown and recorded with Al Doyle (LCD
Soundsystem, Hot Chip) in East London, ‘Memory Device’ is both
a dizzyingly inventive exploration of Baba’s complex musical DNA,
and a thought-provoking treatise on the collective angst of modern
existence; a dance record dealing in small ‘p’ politics that,
spiritually, has been three decades in the making.
It was after moving to London that he began writing new music as
a solo artist, with his debut EP, ‘Nomad’, released in 2017. Soon
after he met British guitarist Nik Balchin while they were working
together at a bar in Whitechapel. Nik brought with him an entirely
new set of references, ranging from LCD Soundsystem and the
Pixies to Suicide and Iggy Pop. The new collaboration resulted in
the February 2020 release, ‘This House’, an eclectic four-track
collection fusing funk, blues and soul and featuring production
from Jamie Hince of The Kills. In July the same year the duo
released an unofficial mixtape, ‘Rethinking Sensual Pleasure’,
which they wrote while locked down together at Baba’s parents’
house in New Jersey, having been temporarily stranded in the US
following their New York shows.
Today Baba describes this process of producing a longer body of
work as being akin to “ripping a Band-Aid off,” giving them the
confidence to begin writing their debut. Work on ‘Memory Device’
began shortly afterwards, culminating in the pair recording the
album between November 2020 and February 2021 with Al Doyle,
who was chosen for his vast experience operating at the
intersection between dance and rock music. There’s no question
that Baba is leading by example with ‘Memory Device’.

LA-based rockers The Bronx return for their sixth studio album 'Bronx VI' which comes out worldwide on Cooking Vinyl August 27th. Bronx VI builds on the legacy The Bronx has established in its near two-decade existence, but which definitely proves the door to what’s next has not just been kicked down, but chopped up and burned to a cinder. Yes, the first four tracks – “White Shadow”, “Superbloom”, “Watering The Well” and “Curb Feelers” – bristles with the wild and untamed energy that’s defined the band from the off, but then – all of a sudden, as “Peace Pipe” kicks in – the pace and mood shifts to something a little less aggressive. Elsewhere, “Mexican Summer” and its (relatively) chilled-out mariachi vibes serve as an homage to the band’s alter-ego, Mariachi El Bronx (and was written while that incarnation of the band was on tour), while fatalistic closer “Participation Trophy” masks the Caughthran’s existential dread behind searing riffs and a catchy, defiant and exuberant melody. “The feelings I got when writing for this sixth record is the same type of feeling I got writing “Heart Attack American”. It all comes from the same place and it’s all still 100% genuine and real. Believe me – I’m still feeling the raw emotion that I felt when this band first started. That’s just who I am, that’s who we are as people. You can’t fake stuff like that when it comes to music or art. You have to stay connected. You’ve just got to be real” - Matt Caughthran, vocalist. Bronx VI was produced by Joe Baressi (Melvins, Tool, Bad Religion).

LIMITED EDITION WHITE VINYL LP Jesca Hoop has a tradition of reimagining and rerecording her own albums and having previously created beautifully stark versions of her albums "Kismet" and "Hunting my Dress" it is the turn of "The House That Jack Built". Recorded in her Manchester based home-built studio in December 2020, these intimate and immediate reworkings shine the spotlight on Hoops intricate, complex song writing with her astonishing vocals front and centre "The Deconstruction of Jack's House" comes on limited edition white vinyl.

Demon Records presents the narrated TV soundtrack of a ‘lost’ four-part adventure set in ancient
Greece, starring William Hartnell as the Doctor.
When the TARDIS lands on the plains of Asia Minor, not far from the walled city of Troy, the
Doctor is hailed as the great god Zeus. He’s enlisted by the Greek army – led by Odysseus and
Agamemnon – to come up with a strategy for defeating the Trojans. With his companions already
prisoners of the opposing side, the Doctor draws his inspiration from the legend of a certain
wooden horse…
Presented across two 140g vinyl Trojan Sunset splatter discs, this 1965 TV soundtrack – no
episodes of which survive as film recordings - is narrated by Peter Purves, who co-stars as the
Doctor’s companion Steven, with Maureen O’Brien making her final appearance as Vicki. The
guest cast includes Max Adrian as King Priam, Barrie Ingham as Paris, Frances White as Cassandra
and Ivor Salter as Odysseus. Incidental music is by Humphrey Searle, and the familiar strains of
the Doctor Who theme are courtesy of the BBC Radiophonic Workshop.
The coloured LPs are presented in a gatefold sleeve with fully illustrated inner sleeves. Original
episode billings, and full cast and credits, are included.
Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

Who cares, who cares?!

Does anyone remember the great Barry Künzel?! Of the band Butter?! The funk-pop duo Q?! Or Fuschimuschi?! All this funk-, jazz- or hip-hop-influenced, wondrous psychedelic soul music from German lands?

A quarter of a century later, "Who Cares Who Cares" is the name of Wolfgang Pérez's solo debut album. In recent years, he was mainly busy as the keyboardist of the native German speaking pop band GOLF. Now he is preparing to leave the German pop worlds as a solo artist - supported by an opulent session band. As the son of a Spaniard, Wolfgang grew up multilingual anyway - an alien by nature, so to speak. His music, on the other hand - caught between indie pop, funk, jazz and tropicalismo - doesn't sound at all like coming from someone who doesn't know where he belongs. Quite the opposite: It sounds like the big wide interconnected world of pop out there and inside of us.

The result is some groovy music between Frank Ocean, The Whitest Boy Alive, Phoenix, Melvin Van Peebles, Marcos Valle and the record collection of a lovable jazz records collecting uncle. And Wolfgang is hailing from Essen in the Ruhr region, of all places. Yes, why not, or, to stay with the album title: Who cares, who cares?!

On the cover packshot we see the album title scrawled in countless variations. The short story: Wolfgang started the following call in his messenger portals one night:
- Write "Who cares who cares" at last 10 times now.
- Do it in your own style.
- You are free to vary a bit like using small letters or writing without spaces between the words.
- You don't have to go crazy, if you feel like it, keep it simple.

Fractal City, the latest Cubenx album is a collection of terrestrial jams and arachnean ambient ballads that are particularly apt for urban listening. If its predecessors cracked the musical codes in force and shone by the versatility of their references, this new opus offers its listener an intense and symbolic sound environment.


The raw material of Fractal City was first conceived as a series of sound patches, designed to run in parallel with Canadian digital artist Maotik's installation. Broadcasted in real-time by generative patches reacting to various external and non-human data, those musical excerpts have been rendered in hundreds of nuances and extended over infinite durations. This unusual approach confers to the recording of the finished album's outstanding immersive strength.

Recorded live on a single track over a short period of a few weeks, the nine compositions of Fractal City capture the obsessions of its author for postmodern urban landscapes, and the revelation of new perspectives on the city of Paris.

The opening piece `Ssarg´ seems to hide the figure of the Mexican ambient producer Jorge Reyes. Cubenx built a cocoon of energetic layers, a new home of the mystical kind harmoniously integrated in a flourishing rainforest ecosystem.

`Transect ´refers to the urban development model of the same name, which is based on a division of the city into autonomous "fractal" zones. It also echoes the concept of "metro polarities" which considers the city as a mosaic of social groups. "By cycling in the evening with a friend, we could get away from the city centre to the suburbs of Paris. The contrasts are striking. You move from chic districts to bedroom communities, from industrial zones to improvised caravan camps. But there is a kind of energy in this heterogeneity that pushes you to always pedal further."

A few miles away, it would look like Art and urbanism have tried to level the cultural and social discrepancies of the outskirts of Paris. "Architectural sites like the Arcades of Bofill are splendid. There are completely extravagant projects, which seem to emerge from nowhere."
These buildings with ambitious aesthetics off the beaten tourist track, deteriorate over time and often remain far from the expectations of the local population. A feeling of nostalgic beauty is particularly perceptible on the slowest and most introspective ballads of the album as 'Urban Decay', 'Hagel' or 'Axe Majeur'. The producer leaves nonetheless no room for melancholic emptiness. "Every time, I have the impression that urban culture is taking its rights back and that young people appropriate the places in one way or another."

Just like `Transect', ` Quantified' and `Fractal City' present themselves as mirrors of a daily urban life in constant motion. All three are empowered by an overheated factory, which dispatches hypnotic beats and burst of analogue compressors with a clinical precision and direct them straight away to the reptilian areas of their listener's brains.

The sequencing leaves however space and time to take breath and makes way for aerial sonic excursions of spiritual and enlightened nature. On `Human Dilemma', Cubenx shows some concerns to opening the Pandora's box of transhumanist theories. While a long cosmic wave gives the listener a feeling of perfect fullness, a dizzying guitar distortion cast doubts on long term outlooks. `Smash Other' on the other way alternates gentle dissonances over an ocean of white noise and concludes the album on ethereal note.

With ´Fractal City", Cubenx eludes his irreconcilable love for shoegaze pop song and techno to concentrate exclusively on the production of mutant experimental materials. The result is an uncanny musical object, rich in image and sensation. Cubenx give us a guiding framework, enthralling enough to engage the listener to a tour of town. But he leaves it to the sole listeners to design their own projection of the city.

Launching Hakuna Kulala's new club white label series, is young Congolese, Kampala-based DJ & producer Oyisse. Oyisse drops a pure gem of a debut EP featuring 4 fresh tracks of slower and somber forward-thinking club music bridging abstract electronics, obscure gqom and trap with various Central African influences, rude esoteric voices from Congolese singer, Sekelemebele and a cascade of futurist imagination. A clever, harmonious balance of kicks and sophisticated experimentation that will grace our ears and bodies on the floor.

Bored At My Grandma's House is the moniker of 19-year old Leeds-based Amber Strawbridge, starting out as an exercise in passing time when she was quite literally bored at her Grandma's place. First single & EP opener 'Showers' is about time alone & listening to your mind - “Do you ever think of showers as like a new beginning?“ is a poignant opening line, about that therapeutic space for you to really think and let your thoughts surface. In Amber's own words "showers are a kind of therapy in my opinion, they give you time to reflect and think without influence from anything external."

Born in Whitehaven, Cumbria to musical family, and raised on the likes of Bowie & Pink Floyd there was always plenty of opportunity to mess around on the various instruments lying around the house. Attempts at proper music lessons went awry as Amber shunned the rules & rigidity, and so instead she gradually taught herself piano, guitar & drums. After time travelling in Cambodia, teaching English & helping with projects in various villages, Amber stayed with her Grandma & began to use the aeons of spare time to make tunes on Garageband & upload them to soundcloud. As a wave of BBC Introducing support rolled in, coupled with a move to Leeds to study music, the bedroom set-up evolved & a full EP began to take shape.

Playing all the instruments & self-recording most of the EP at home, Amber took the tracks to Alex Greaves (Working Men's Club, Bdrmm) at the Nave studio for live drums & some final mixing flourishes, leaving an EP full of lo-fi charm but with a studio feel.  Inspired by Slowdive, Wolf Alice & Alvvays, Sometimes I Forget You're Human Too showcases Amber's singular vision of indie-pop, on an EP that deals with topics like humanity, nostalgia & the current refugee crisis.

Speaking on the EP title Amber says "Sometimes I forget you’re human too is the realisation that everyone is the same. In the sense that we are all human, everyone has issues and problems to face, everyone makes mistakes and has success. I used to compare myself to others a lot and think ‘wow they have their life together’ or ‘how are they so happy all of the time’ but that’s not the case it’s just what you can see on the outside ...so it’s kind of an EP of self assurance and reminding myself that it’s ok to not have it together all the time because no one does as we’re all just human after all"

The EP is just the start for Bored At My Grandmas House "I’ve already got a few tracks which I’m thinking could be potentially for an album, I’d definitely like to do a bigger project next and have the sound I’d like in mind. I’ve recently just got a band together so hopefully when live shows are resurrected I’ll have a few of those!" 2021 is looking to be anything but boring for Amber Strawbridge.

The hit Netflix show ‘The Umbrella Academy’
returns along with another outstanding score from
Jeff Russo and Perrine Virgile.
Based on the comic book series by Gerrard Way of
My Chemical Romance.
Pressed on Black/White split coloured vinyl.

’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70’s and 80’s. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

The documentary Hitsville: The Making Of Motown’, featuring Motown founder Berry Gordy and many of this artists, will premiere in cinemas across Europe this summer as well.






RELEASE: 23-7-2021

MOV proudly presents new Collected compilation albums in collaboration with Universal Music. Motown Collected is the first one, available as a limited edition of 3000 numbered copies on white vinyl. It includes an insert with photos and credits.

Malice Records was a short lived, but hugely popular gabber offshoot from Kniteforce Records back in the early 90s. Focused on a direct, uplifting but hard and nails sound, it incorporated big distorted kicks with furious amen breaks and ridiculous riffs. Malice returns for this limited release, with beautiful artwork and on its customary white vinyl, with original artist Dj Psycangle bringing two unreleased tracks, made in 1995, straight from DAT to vinyl, and two brand new tracks showing that while the years might have passed, the talent remains…

White Vinyl

For a second installment of The Instinct Series, we have invited Kursk (Berlin) and Volsent (Amsterdam). Both, alien to one another, their musical language broke through the borders and laid-out foundations of unity on this split EP.

Stylistically, the two artists’ have already crafted their distinct styles. Yet it is the rawness of their respective sounds, which is the glue that binds this release together. And to complete it, Duellist, the industrial techno warlock, lends his hand with a remix.

The whole EP embodies our vision, not only in the form of the “sonic medicine”. By offering our creative platform to the emerging artists’ as well as being true to our motto, we are “setting fire to the rage of acceptance”. Unearthing the yet unheard and locating them at the heart of our community.

The name of the label itself is about us working on bettering ourselves and being united in all our differences. “Reptile” is about our relationship with the reptilian brain and our efforts to understand what truly means to be human (tools to perfect your instinct), becoming aware of ourselves and the others around us. “House of” is a direct allusion to the “house and ball culture” movements in NYC in the early 80s.

CHORUSING ist das Projekt des in Raleigh im US-Bundesstaat North Carolina, ansässigen Songwriters/Produzenten Matthew O'Connell. Auf seinem Debüt "Half Mirror" überlagert O'Connell warme analoge Synthesizer mit "confessional folk". Ein laut Eigenbeschreibung gleichzeitig kosmisches wir irdisches Unterfangen. Aufgenommen wurde "Half Mirror" zu Hause in den Bergen von North Carolina mit einem Vintage-Tape-Delay, einer E-Gitarre und einem selbstgebauten Synthesizer, den O'Connell Balsam taufte. Das Album ist in gleichen Teilen ein einsames Hin- und Herschieben von Elektronik, die durch Folk-Elemente vermenschlicht wird, und Folk-Musik, die durch elektronische Verzierungen verfremdet wird. Die an einem Tag geschriebene und aufgenommene hypnotische Lead-Single "Watching The Beams" ist ein guter Einstieg in den Ambient- Klangkosmos von CHORUSING.

"On August 13th, the first-ever vinyl reissue of UK top 5 album 12 Memories from Travis continues the reissue streak from the Scottish rock band. Cut at London’s Metropolis Studios & features all original packaging replication including photography by Anton Corbijn. As well as the standard black vinyl, a limited white vinyl edition will be available exclusively at Travis’ official store & Independent record shops.
None other than Sir Elton John raved that 12 Memories would “take you on a real journey… like The Beatles’ Revolver”. And, just like The Beatles in 1966, Travis were at a critical juncture when it came to recording their fourth album & the follow up to the multi-Platinum international breakthrough The Invisible Band. 12 Memories is the third vinyl reissue from Travis so far in 2021, it follows 2007’s The Boy With No Name vinyl re-release May 28th & the first ever vinyl reissue for debut album, Good Feeling released April 2nd via Craft Recordings. "

Aus Down Under stammend, sind sie nun auf dem Weg nach ganz oben. Melbourne’s THE UGLY KINGS stehen mit ihrem bombastischen, zweiten Album Strange, Strange Times, welches am 13. August 2021 auf Napalm Records erscheint, in den Startlöchern um für mächtig Furore zu sorgen. Die vierköpfige junge Band vereint ihren unverkennbaren Power-Blues und rohen Punk mit einer metallischen Rockkante und dürften mit ihrem Sound bei Fans von Bands wie den Queens Of The Stone Age, Danzig oder The White
Stripes voll ins Schwarze treffen. Messerscharfe Riffs, dynamische Grooves und clevere, eingängige Vocals machen Strange, Strange Times zu einem Album mit hohem Suchtpotenzial! Mit Strange, Strange Times ist THE UGLY KINGS ein erfrischendes, inspirierendes und grandioses Meisterwerk gelungen, und eine mit Sicherheit mehr als willkommene Abwechslung in diesen seltsamen, seltsamen
Zeiten.

Jade Bird’s new album ‘Different Kinds of Light’.
The British singer-songwriter’s second LP, which follows on from her
self-titled 2019 debut album.

Calypso developed into its modern form in Trinidad around the turn of the twentieth century as a primarily English-language topical song associated with pre-Lenten Carnival. By the 1920s, Calypsonians, as the singers and composers were called, performed in “tents” (yards covered by a tarp, union halls, and such) for the people of Trinidad and for tourists. As early as the 1930s, the genre was gaining a following outside of its homeland ; for example the British writer Aldous Huxley visited a tent in 1933 and wrote with admiration about calypso singing : “ The Calypsonians of Trinidad live in another ‘Zeit’; so the ‘Geist’ they obey is not the same as ours. In that, it may be, they are fortunate.

Finland’s Nightwish have always stood for virtuoso perfection. They are able to evoke fantastic dream worlds, fade out time and space, and touch you deep inside with their symphonic majestic compositions. Since their formation in July 1996, they have risen long ago to become the most successful Symphonic Metal band.’Once’ is their 2004 breakthrough (5th studio album, Silver in the U.K.) featuring the hits ‘Nemo’ and ‘Wish I Had An Angel’.

Lift-top box including the first 10 numbered records and objects, with a 60-page exhibition style book, plus a bonus 12” single and 2CDs of unheard Joy Division interviews. Strictly limited and numbered to 4000 units WW.

Use Hearing Protection: Factory Records 1978-1979 contains facsimile editions of the first 10 numbered Factory items: 4 vinyl records, 3 posters, a short film, Factory stationery and an egg-timer design. The early history of the label is traced in a 60 page book with text by James Nice, photos by Kevin Cummins and archival interviews with Tony Wilson, Rob Gretton, Joy Division and more.

All 3 original Factory posters are contained in the box as well as the first 4 records: The Factory Sample EP (Fac 2), including the Fac2 stickers, All Night Party by A Certain Ratio (Fac 5), Electricity by Orchestral Manoeuvres in the Dark (Fac 6) and classic album Unknown Pleasures by Joy Division (Fact 10).

Bonus items include a white label 12” single by The Tiller Boys (originally intended as FAC3 but ultimately not released), and a lengthy audio interview with Joy Division, Tony Wilson and Rob Gretton, conducted in August 1979 by journalist Mary Harron, never before heard and now restored across two CDs. Also newly restored, and seldom seen since 1979, is evocative 8mm short No City Fun (Fac 9), featuring music by Joy Division.

Compass Records is proud to announce the release of Colin Hay’s
(Men at Work) 2001 classic ‘Going Somewhere’ on LP for the first time.
The release will include a limited pressing of white vinyl. For many of his newer fans, that weren’t already familiar with Men At Work, ‘Going Somewhere’
was their point of discovery of Colin Hay and his music.
The album includes some of Colin’s best known solo work, including “Beautiful World,” “Waiting For My Real Life To Begin, and “I Just Don’t Think I’ll Ever
Get Over You,” which was featured in the hit film, Garden State. That song
has gone on to be featured in numerous television shows including Dawson’s
Creek, Judging Am and Scrubs where it was sung by the entire cast.
Writing about the song, guitarist John Mayer said: “This is without a doubt my
favorite song of the year. I’m still trying for a tune like this of my own. It’s my
favorite kind of ballad, ‘chin up’ sadness that even a cold bastard would get
swept away by - ‘And if I lived til I could no longer climb my stairs / I just don’t
think I’ll ever get over you.’ No further comments.”

LP on white vinyl! What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record "Jade", Pan Daijing composes at a different scale than that we've come to know. Since the release of her groundbreaking LP "Lack" in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at institutions including the Tate Modern, Martin Gropius Bau, and the Haus der Kulturen der Welt. Developed for full casts of opera singers and dancers, and reaching for an all-encompassing durational experience of intensity for both performer and audience, the development of these works was for Daijing as emotionally disarming as it was thrilling. In order to continue accessing her own limits, Daijing had to develop a place of sanctuary within her own practice. Its nine tracks written and recorded over the last three years, "Jade" is the sound of solitary release and refuge, of creative self-sustenance. Written without the imperatives of direct address to performers or audience, "Jade" speaks inward, while inviting a kind of rhetorical listening. The artist draws on materials familiar from her previous work: namely, ascetic electronic textures that rumble and pierce, and voice bent in irreverent directions. In place of catharsis, however, her arrangements here linger in tension, extending curiosity towards the delicate void that nourishes extremes. They toy with the minor capacities of song: repetition, chant, observations that conclude without resolving. "Jade" comes from a vulnerable place, tender as in an undressed wound caught in the midst of healing over. Vocals, mostly Daijing's own, arrive as wordless sequences of notes soaring alongside a drone, or plain laughter, or in a few places spoken word. What is said or sung provides fragments of experience and reflection. In the process of piecing together these fragments, the listener is confronted with the tender parts of her own. "Solitude is like an immense lake you're swimming through," says Daijing of these songs. "Sometimes you dip your head in and sometimes you lift it above. On album centerpiece "Let," she speaks to us over the sound of rippling water, returning between anxious scenes to a refrain: "I take my bath in the ocean." We are not just consuming Daijing's story; we are being invited to join her in the water. The album is mixed and mastered by Rashad Becker, featuring artwork by Pan Daijing, cinematography by Dzhovani Gospodinov & design by NMR.

**LONG OVERDUE REPRESS - CLEAR VINYL 300 COPIES ONLY** “With Ela’s music I feel emotional, engaged… I can’t help but feel she’s always looking for a sense of belonging and it
seems to inform all the music that she makes. Glasgow must have more of that belonging feeling than most
cities because she’s spent the most time here, an exotic bird in a rainy city she maybe finds a lttle bit of comfort in. It’s
a pleasure to have her here, in this awful time to be living in Britain, her illuminations feel important and hopeful. A
stubborn light; someone making great timeless music out of the humdrum of the everyday.” - Stephen Pastel
Movies For Ears is a retrospective collection of works by Polish-born, Glasgow-based artist Ela Orleans which
navigates almost two decades of songwriting in the heart of the global pop underground. This remastered collection casts
an ear over what Orleans might call the ‘pop sensibility’ within her back catalogue. Released previously on a number of
small DIY labels, Orleans’ music coincided with the explosion of auto-didactic musicians finding their voice in the age of
the blogosphere, artists emboldened by the democratisation of music-making afforded by the internet. From the outset,
Orleans’ childhood studying formal music mixed with cut-up techniques, sampling, sound-art and experimentation to
create a distinctive signature cloaked in an innate melancholy and playfulness. Fully remastered by James Plotkin,
featuring extensive sleeve-notes and rare photos from Orleans’ archive, Movies For Ears presents an appraisal of the
musician’s work, painting a portrait of an artist with an uncanny ability to evoke emotions and ghosts of memories in the
listener.
Each song pulls sunshine from its surroundings, moments of pleasure plucked from eulogies. The Season employs a
hypnotic loop with Orleans’s prophetic voice heralding the season we’re doomed to repeat. In fact the singer is often cast
as the changing protagonist in her songs: on Walkingman, a hazy ballad heavy with ennui, the narrator is laden with the
world’s weight, forever pacing a groundhog day world blank, a pissed-off actor in a Kafka-esque melodrama. On Light At
Dawn we’re in a seedy kitsch bar-room go-go scene, a ghostly rock’roll romance with shimmering percussion, poledancing
in a Lynchian half-dream. Movies For Ears’ moods straddle memory and fantasy: scratchily invoking halfremembered
exotica, the flickering shadows of europhile cinemas screens, a delicately woven world anchored in Orleans
existential meditations on longing, intimacy, solitude and the search for love. These rich textures in every song don’t
overpower some crystalised moments of emotion however: on In Spring Orleans sings simply “I have been happy two
weeks together,” summarizing that feeling of elation when emerging from a depression, a long winter. It’s a moment that
perfectly illustrates the lightness of touch and clarity in the singer’s voice.
The power of the loop and Orleans’ weaving songwriting that breaks its spell is illustrated perfectly by I Know. Over an
aching chord progression, the vocal takes flight into bittersweet loneliness, Pachelbel’s Canon played at a wedding where
only one person shows up. The repeated refrain “I know, I know” ascends to the heavens as the chords descend to the
dumps and the listener is left in the middle, happy but not knowing why, maybe a little changed, two weeks together. On
Movies For Ears, Ela Orleans lets us into a secret: the rare moments of joy to be found in the joins of the loop, the spaces
between things, the spring after the winter are the moments that last after the day has faded.

18 tracks of rare early Beatles material, including In Spite Of All The Danger' (the only song ever co-written by Paul McCartney & George Harrison) recorded in Liverpool in 1958 when the Beatles (along with John Lowe on piano & Colin Hanton on drums) were still known as the Quarrymen, a 1960 home recording of McCartney's Cayenne' (with Stuart Sutcliffe), Ain't She Sweet' recorded in Hamburg in 1961, Besame Mucho' featuring Pete Best on drums, The One After 909', and I Saw Her Standing There' recorded live at the Cavern Club in 1962, and much, much more!!

• “Choctaw Ridge” explores a new country sound, one that emerged at the end of the 60s in the wake of Bobbie Gentry’s ‘Ode To Billie Joe’, a shock number one hit in 1967. When singers like Gentry, Jimmy Webb, Michael Nesmith and Lee Hazlewood moved from the south to Los Angeles to make it in the music business, they were not part of the Nashville in-crowd and they forged a new direction.

• ‘Ode To Billie Joe’ was the tip of the iceberg, and its success helped a bunch of singers and storytellers to emerge over the next three or four years. Some of the tracks on this collection bear that song’s stamp more clearly than others: Sammi Smith’s moody ‘Saunders’ Ferry Lane’ had a similar mystery lyric, and Henson Cargill’s ‘Four Shades Of Love’ is a portmanteau, with one (or possibly two) of the theoretically romantic situations ending in death.

• Suddenly, character sketches of southerners became a lot more rounded – women didn’t have to stay home, or take abuse at the office, and darkness wasn’t only found at the bottom of a bottle. Storytelling is the link between all of the songs on this collection. We have cautionary tales about what could happen to someone who heads for the bright lights and doesn’t make it, ending up in the grasping hands of ‘Mr Walker’ (Billie Joe Spears), or on the ‘Back Side Of Dallas’ (Jeannie C Reilly), or on a mortuary slab in the case of the songwriter with the ‘Fabulous Body And Smile’ (Robert Charles Griggs). And there are stories about wanting to go home – Nat Stuckey’s ‘What Am I Doing In LA?’ and Charlie Rich’s ‘Feel Like Going Home’ – and others from Ed Bruce and Lee Hazlewood, who know that their home isn’t home anymore.

• The tracklist and fulsome sleeve notes have been put together by Bob Stanley (Saint Etienne) and Martin Green (Smashing, The Sound Gallery), who have been collecting these records for decades.

• The voices are resonant and relatable, and the productions take in the best of what pop had to offer in the late 60s and early 70s. Before the factionalism between smooth pop-conscious Nashville and the hedonistic ‘outlaws’ made it look inward again, this was a golden era for an atmospheric, inclusive and progressive country music. It began on the third of June, another sleepy, dusty Delta day.

»Dog Mountain« is the second release by the Zurich-based producer and composer Laurin Huber on Hallow Ground. After last year’s »Juncture« saw the Edipo Re co-founder work mostly with synthesizers and programmed rhythms, the four tracks are much more restrained, drawing on tape loops and feedback, recordings of acoustic guitar and synthesizers such as the Korg MS-10 as well as field recordings that relate to the overarching topic that informed the making of the record. While »Juncture« had previously aimed at deconstructing the binaries and dualities that shape our lives and thinking, »Dog Mountain« is dedicated to geographical divisions that result from political processes and social constructions. »›Here‹ means one nation, ›there‹ another,« writes Huber in a literary piece that accompanies the record. »Being in sound, such a separation seems odd.«

While treating the metaphor of the border as a »membrane, registering and translating the vibrations of its surroundings« and thus as something that is constantly (re-)defined, maintained and defended however, the artist also takes into consideration that »one cannot escape one’s standpoint,« as he puts it. The music on »Dog Mountain« may transcend and overcome certain borders, but it does not deny the realities that they impose on each and every one of us – whether in our political lives or in the realm of sound. This is mirrored in Huber’s engaging in the structural and sonic interplay of repetition and difference. Working with slowly evolving and modulating elements that are exposed to slight shifts, »Dog Mountain« puts a focus on the interaction between small elements that together form a bigger whole which is marked by constant evolution and change.

Opener »Raja« (»border« in Northern Sami and Finnish) starts off with a two-note melody played on an out-of-tune guitar. Different field recordings and synthesizer sounds drop in and out of the mix until the dynamic shifts and Huber starts playing more notes on his instrument, thus increasing the tension. It’s a meditation on minimalism, but also a piece that mediates between notions of what constitutes the difference between noise and music or referentiality and abstraction in sound. After »Nickel« (named after a Russian monotown near the border to Norway) dedicates itself to explore the friction between hissing white noise and melancholic tape loops, »A Town Is Not a Town« (a phrase taken from the documentary »Kiruna – Rymdvägen«) structurally mirrors the experiment of »Raja« with very different sonic means.

Closing the record, »Storskog-Borisoglebsk« (the title refers to the northernmost land border between Schengen-Europe and Russia) is the longest and most challenging piece, working with both long-form drones and musique concrète elements. It proposes a synthesis of the opposites that are explored patiently and with much attention to detail throughout this record.

LIMITED SPLATTER EDITION. The bands fifth and final studio album.
OUT OF PRINT FOR MORE THAN A DECADE.

Exclusively on vinyl, The 60s Album brings together some of the biggest and most iconic names of the decade.



A value packed 37 tracks kick off with one of the greatest of all time ‘Good Vibrations’ from The Beach Boys, and continues with solid gold smash hits including ‘House Of The Rising Sun’, ‘The Sun Ain’t Gonna Shine Anymore’, ‘You’ve Lost That Lovin’ Feelin’’, the timeless ‘In Dreams’ from Roy Orbison, ‘Blue Velvet’ from Bobby Vinton, and the epic ‘River Deep Mountain High’ by Ike & Tina Turner.

Side B begins with a 6-track salute to the soul female stars and groups of the era - The Supremes, Martha Reeves & The Vandellas, The Ronettes, The Crystals, The Shangri-Las and Lesley Gore are all here, alongside some easy listening from Andy Williams and Julie London, and the cool pop jazz of Astrid Gilberto and The Dave Brubeck Quartet.



The second LP begins with 6 of the most iconic U.S. tracks ever: Simon & Gafunkel’s ‘Mrs Robinson’, and Harry Nilsson’s ‘Everybody’s Talkin’ lead into the peerless ‘Witchita Lineman’ from Glen Campbell, the immaculate ‘California Dreamin’ from The Mamas & The Papas, Scott McKenzie’s ’San Francisco’, and Linda Ronstadt’s defining vocal as part of The Stone Poney’s on ‘Different Drum’. The side is rounded off with 3 of the most atmospheric pieces of music from the 60s… ’A Whiter Shade Of Pale’, ’Nights In White Satin’, and Fleetwood Mac’s stunning ‘Albatross’.

The final side offers up Aretha Franklin, Dionne Warwick, Ben E. King and Dusty Springfield as some of the best voices and most soulful performances ever, before some of the greatest pop from Petula Clark, Love Affair and ‘I Got You Babe’ from Sonny & Cher and then it’s left to two of the biggest names in music history to close the album - Bob Dylan, and the incredible ‘In The Ghetto’ from Elvis Presley.



37 of the greatest tracks and artists from an era-defining decade… The 60s Album.

The Dandara: Trials of Fear Edition Original Soundtrack features over one hour of ethereal, surreal and organic music created specifically for the exploration of the Salt's surreal world. Blending eclectic electronic scores with sweeping, melodious soundscapes, Thommaz Kauffmann's score is like taking a ride into a new, wonderous land.

Dandara's light but incredibly strong presence was the starting point for all the sound presented in this album, consisting of a soundtrack that sounds hopeful and melancholic at the same time. Her lonely journey into the corrupted regions of Salt narrates each gesture made to fight the fears deep inside the Salt's most uncharted caves.

The textures and musical aesthetics in this soundtrack match a world that suffers from its abandonment to spontaneity, creativity, and vitality. It is with the presence of Dandara that there is a break in these standards imposed in Salt by an authoritarian regime.

Wrapped up in a beautiful, sturdy tip-on gatefold with a rough, black and white aesthetic, this vinyl 2xLP comes with two "Salt" white 180g in two printed inner sleeves.

Composed, produced and mixed by Thommaz Kauffmann

Artwork by Luísa Almeida

Game developed by Long Hat House

Published by Raw Fury

John R. Miller is a true hyphenate artist: singer-songwriter-picker.
Every song on his thrilling debut solo album, ‘Depreciated’, is lush with
intricate wordplay and haunting imagery, as well as being backed by a band
that is on fire.
One of his biggest long-time fans is roots music favourite Tyler Childers, who
says he’s “a well-travelled wordsmith mapping out the world he’s seen, three
chords at a time.” Miller is somehow able to transport us to a shadowy honkytonk and get existential all in the same line with his tightly written compositions. Miller’s own guitar-playing is on fine display here along with vocals that
evoke the white-waters of the Potomac River rumbling below the high ridges
of his native Shenandoah Valley.
‘Depreciated’ is a collection of eleven gems that take us to John R. Miller’s
home place even while exploring the way we can’t go home again, no matter
how much we might ache for it. On the album, Miller says he was eager to combine elements of country, blues, and rock to make his own sound. He wanted
‘Depreciated’ to conjure references to recently lost heroes like Prine, Walker,
and Shaver without sounding derivative.
Miller has certainly achieved his own sound here with an album that is almost
novelistic in its journey not only to the complicated relationship Miller has with
the Shenandoah Valley but also into the mind of someone going through transitions. “I wrote most of these songs after finding myself single and without a
band for the first time in a long while,” Miller says. “I stumbled to Nashville and
started to figure things out, so a lot of these have the feel of closing a chapter.”