Suche:work in progress

Repress!

Compilation of 80s Turkish-Swiss band Café Türk, featuring selected works from their discography as well as previously unreleased recordings!

Café Türk's unrestrained sonic palette explores new wave, psych, disco and reggae with influences from Anatolia and Azerbaijan.2xLP includes a 4-page booklet with extensive liner notes and photos.

Café Türk are an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus and Western Europe. The group’s frantic trajectory connects Switzerland and the Turkish city of Kars with a background story as rich and unexpected as their sound. After three decades since they disbanded, Zel Zele Records have collaborated with Turkish crate-digger Grup Ses to give the music of Café Türk a new lease of life. This eponym compilation features original album tracks, singles and previously unreleased takes that trace the outline of the group’s history. From the rolling disco of the group’s debut recording “Haydi Yallah”; to the previously unreleased kosmiche of “Yıldızlar”, “Ali Baba From Istanbul”s Azeri grooves and German language vocals, to the psyched-out interpretation of Causaccian folk tune “Şamil”, Café Türk showcases the endless stream of ideas the band had during their time together between 1983 and 1989. Tracks come with an unrestrained spirit, weaving in the crackling energy of new wave, rock, disco and reggae with influences from Turkey and Azerbaijan.

This fascination in pulling different worlds together goes right back to the formative days of Metin Demiral, founder of Café Türk. Metin grew up in Kars, a provincial town in the Northeastern part of Turkey. Kars was once known for its multicultural communities; where you could hear locals speaking a range of languages, from Turkish to Azeri, Russian and Kurdish. In 1983 Café Türk won a contest set for Turkish groups based in Europe, organised by the label Türküola, home to Turkish stars like Cem Karaca, Selda Bağcan and Barış Manço. The resultant recording sessions gave birth to his new band and debut LP, Pizza Funghi. But Metin turned down Türküola’s offer to put the record out and instead self-pressed 1000 copies on his own Sound Concept label - driving as far as Berlin to sell them face-to-face to record shops. The record was picked up by a member of the German city of Nuremburg’s Cultural Department and soon Café Türk were invited to play for the local workers’ unions, many of whom represented immigrants from Turkey. These events only grew in popularity, the group ultimately spending five years touring similar shows in Europe, alongside more conventional tours and festivals. Metin had hoped to bring his new record to audiences in Turkey again, however, he found it impossible to get any of his songs played on state-sponsored radio, something he attributed to the infamously strict supervisory board of TRT, Turkey’s state-funded broadcaster. TRT tended to not accept songs that blended both western and traditional Turkish music in order to avoid “degenerating” Turkish folk music. Cafe Türk tried to fight this conservative mindset, but progressively resigned themselves to the political restrictions of the time

Destroy All Neighbors is a twisted splatter-comedy about a deranged journey of self-discovery full of goopy practical FX, a well-known ensemble cast, and LOTS of blood. William Brown (Jonah Ray Rodrigues), is a neurotic, self-absorbed musician determined to finish his prog-rock magnum opus, facing a creative roadblock in the form of a noisy and grotesque neighbor named Vlad (Alex Winter).

He finally works up the nerve to demand that Vlad keep it down, and William inadvertently decapitates him. But, while attempting to cover up one murder, William's accidental reign of terror causes victims to pile up and become undead corpses who torment and create more bloody detours on his road to prog-rock Valhalla. The soundtrack is an infectious slice of progressive rock cues, EDM freakouts, 80’s synth pop and so much more by the brilliant Ryan Kattner & Brett Morris. Released in conjunction with SUB POP Records, and features an original song by MAN MAN, artwork by Johnny Dombrowski, and pressed on coloured vinyl.

Having thrived throughout the underground realms for the last ten years, Question built a respectable body of work displaying a sound meeting constant progression, a vision sharpened and perfected with each output. Six years following the debut full-length recording, the Mexican quintet unleashes “Reflections of the Void”, a grand tome of sheer Death Metal might in eight tracks that take Question’s sonic traits and overall concept to a whole new level of magnitude. In perfect unison with the majestic Shoggoth Kinetics artwork that adorns the album’s cover, “Reflections of the Void” stands apart and invites the listener to a pathway beyond the horizon, a detailed journey on life and death and yonder. Such carefully threaded concept meets its aural accomplice as Question carries a cloud of impending doom, a dense and arrestive atmosphere on brilliantly crafted songs that drink from the fountain of the past yet blistering in its very own with a striking sense of dynamics which assuredly puts the group in the major leagues of Death Metal mastery. Obscure, threatening riffs blaze through the first moments of the record, trading somber licks and faster belligerent attacks, yet never failing to enter a redundant path, for a tempo change or a dissonant endeavor spells unexpectedly and takes the listener on an intense rollercoaster. Fiercely crafted, the pulsing bass impulses and organic drumming patterns exhale as the pounding heart of “Reflections of the Void”. Technical, precise, enter a scorching performance in taste and dexterity, never sounding dull or plastic but shining for its soulful presence, side by side with the dazzling production, utterly potent and vibrant, taking the defying arrangements to greater extents. In and above this sonic frenzy, a vociferated voice grunts the illusions of our existence with a resonating dark tone spawned directly from the imposing void. As this opus resumes into the boundless vacuum, we are left with a sense of distress and awe. Question crafted a work for the ages, one which with every listening reveals a further dimension, a hidden mystery, just like the classics in the unholy pantheon to which this opus will surely belong someday.

“Reflections of the Void” is released under the banner of Chaos Records.

This re-issue faithfully replicates the original 1971 Island Records UK release in gatefold sleeve, inner sleeve with lyrics, 8 page booklet, promotional poster and sticker; it is pressed onto high quality 180g vinyl. 'Babbacombe' Lee was Fairport Convention's foray into the concept album so loved by groups in the 70s. Instead of looking at something fantastical or progressive, the group went back to the tale of John 'Babbacombe' Lee, the man they couldn't hang: The gallows failed three times after he was convicted of the murder of Emma Keyse in Torquay in 1885. Dave Swarbrick found details of the trial in a junk shop, and the band worked up the story into an album. Released at the end of 1971 with ephemera from the day telling the story, 'Babbacombe' Lee had episodes listed rather than tracks. It contained the most original material of a Fairport album to date, and was seen as taking folk-rock a huge step forward. Within weeks of the album's release both Dave Mattacks and Simon Nicol left the group, leaving Swarbrick and bassist Dave Pegg to lead Fairport on through their next chapter. Today, 'Babbacombe' Lee is one of the group's most enduring albums.

Ashram Sun’, Surya Botofasina's much-anticipated album follows his hugely acclaimed debut ‘Everyone’s Children’ and his first offering since his contribution to ‘New Blue Sun’ and global touring alongside André 3000. It is an ode to Surya’s upbringing and musical teachings in the tradition of Swamini Turiyasangitananda - aka Alice Coltrane, by the spiritual jazz colossus Herself, at Her Sai Anantam Ashram in California. ‘Ashram Sun’ is a deep listening, spiritual masterpiece with close collaborators Carlos Niño and Nate Mercereau, and is produced by the prolific Carlos Niño, whose vision has become a pivotal point for contemporary progressive jazz music.

Ashram Sun features appearances from musical luminaries, including multi-instrumentalist Angel Bat Dawid, Los Angeles saxophonist Randal Fisher, vocalist Mia Doi Todd, as well as collaborations with vocalist MidnightRoba and acclaimed harpist and vocalist Radha Botofasina, among others. The album continues to expand on and conversate with the innovative spiritual-jazz configurations of recent works by Shabaka Hutchings, André 3000 and Carlos Niño —all of which Surya plays on. This evolution follows from his debut album ‘Everyone’s Children’, also produced by Niño, which was one of the earliest offerings of this fresh, spiritual approach. As the keyboardist on André 3000’s New Blue Sun and an integral member of André’s touring group, Surya has already directly brought the legacy of Alice Coltrane/Turiyasangitananda into this rich new current in creative music.

The music on Ashram Sun is tuned into these wavelengths, consolidating a new jazz lineage with energies directly from the source. The album blends improvisation in the creative music tradition with washes of cleanly spiritualised keyboard work, atmospheric percussion, and sanctified vocalisation. As Surya Botofasina explains, "Swamini (Alice Coltrane) and the Ashram have taught me that the only place worth going to, is within… I am always going to be an Ashram Sun."

Omni - the band, not the hotel - are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the spectre of the late `70s and early `80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of "Morning in America." Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It's still the summer of '78, and pushing the roots of rock & roll to its limits remains in vogue. "Deluxe" serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects. Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who've never asked: "'Sister Midnight' or `Red Money'?"

Indian born, UK artist Michael Diamond, co-founder of Vasuki Sound label and club night, announces new EP Placid Wakefulness, featuring single ‘Reverse Entropy’. available on all platforms 5th December via Vasuki Sound.

A uniquely multifaceted talent, Michael Diamond’s unforgettable ‘jazzed electronic’ sound is informed by a spectrum of influences, not least by intersection of the scientific and practical worlds of electronic music. From the music scholarship he won to read Medicine at Oxford where he quickly discovered new ways in which the two worlds can co-exist, his days were spent immersed in academic studies of music perception and cognition, while his nights were spent alongside the likes of Ben UFO, Batu & Ross From Friends, playing at one of UK’s most long-established nights ‘Simple’. A chance encounter there also led him to connect with musical collaborator Alex Wilson – the BBC Young Jazz Musician of the Year semi-finalist and then musical director of Oxford’s Jazz Orchestra – who appears frequently across Diamond’s compositions and on Placid Wakefulness.

No stranger to a concept piece, Diamond’s previous project, the highly personal and critically acclaimed exploration of culture and identity, Third Culture (album of the month/year acknowledgments from Stamp The Wax, Juno and Phonica Records, also earning him a DJ Mag ‘One To Watch’, a Youth Music Awards ‘Rising Star’ nomination and a Gilles Peterson’s ‘Future Bubbler’ accolade) explored the experience of being a ‘third culture kid’ born in Kerala, India and growing up in the UK with a sense of fractured identity.

On Placid Wakefulness, Diamond honours his academic research working alongside world-renowned musicologist Professor Eric Clarke. Specifically how music may affect our sleepfulness and wakefulness, how instinctively we are soothed by some sounds and energised by others - ‘what it is about dance music that makes people go hard all night long?’ and ‘what is it about ambient music that makes people feel the opposite way - to lull them into this sense of calmness or rest?’, mindful of the unconscious ways his findings were already manifesting in his work as an artist. And while his research provides a framework for some of the ideas within the piece, Placid Wakefulness can be viewed as more of an unintentional byproduct, or case-in-point of his findings, rather than a piece consciously constructed in their image.

Across Placid Wakefulness’s four tracks we find the artist unpacking a range of sonic ideas on this theme, from ambient calm to club-adjacent rhythms. The EP opens with hypnotic lullaby of ‘A Way of Listening’ complete with transcendent flutes provided by Alex Wilson, cello by George Lloyd-Own and a mellow groove. On the more energised ‘Reverse Entropy’, rhythmic ambiguity moves to rhythmic disambiguation with a four-to-the-floor beat as the track progresses, releasing tension and inviting an urge to dance as a jazz sax moment transmutes into glorious techno percussiveness.

On ‘Turning and Turning’ the bpm shifts down a gear, a sonic dreamstate where tough textural rhythms create a kind of liminal state tension. Closing out the EP we return to a sense of restfulness with the EP’s title track, where a gorgeous picked guitar loop interplays with vibrating ambient pads and a slow and steady beat. The Placid Wakefulness EP is a captivating testament to Diamond’s singular artistic talent and the fascinating interplay of neuroscience and how we experience and enjoy music.

"This is the time that we, who have benefitted from the Last Poets shouldbe able to say, 'it's the Last Poets. It's them we should be honouring, because we did not honour them for so many years_"

KRS One wasn't just addressing the hip hop fraternity when he uttered
those words by way of introducing the video for Invocation - a poem
written thirty years ago, around the time of the Last Poets' last significant comeback. He was speaking to everyone who's been affected by the word, sound and power issuing from the most revolutionary poetry ever witnessed, and that the Last Poets had introduced to the world outside of Harlem at the dawn of the seventies.

In 2018 the two remaining Last Poets, Abiodun Oyewole and Umar Bin
Hassan, embarked on another memorable return with an album -
Understand What Black Is - that earned favourable comparison with theirseminal works of the past, whilst showcasing their undimmed passion andlyrical brilliance in an entirely new setting - that of reggae music. Trackslike Rain Of Terror ("America is a terrorist") and How Many Bullets demonstrated that they'd lost none of their fire or anger, and their essential raison d'etre remained the same.

"The Last Poets' mission was to pull the people out of the rubble o f their lives," wrote their biographer Kim Green. "They knew, deep down that poetry could save the people - that if black people could see and hear themselves and their struggles through the spoken word, they would be moved to change."

Several years later and the follow-up is now with us. The project started when Tony Allen, the Nigerian master drummer whose unique polyrhythms had driven much of Fela Kuti's best work, dropped by Prince Fatty's Brighton studio and laid down a selection of drum patterns to die for. That was back in 2019, but then the pandemic struck. Once it had passed, the label booked a studio in Brooklyn, where the two Poets voiced four tracks apiece and breathed fresh energy, fire and outrage into some of the most enduring landmarks of their career. Abiodun, who was one of the original Last Poets who'd gathered in East Harlem's Mount Morris Park to celebrate Malcolm X's birthday in May 1968, chose four poems that first appeared on the group's 1970 debut album, called simply The Last Poets. He'd written When The Revolution Comes aged twenty, whilst living in Jamaica, Queens. "We were getting ready for a revolution," he told Green. "There wasn't any question about whether there was going to be one or not. The truth was many of us still saw ourselves as "niggers" and slaves. This was a mindset that had to change if there was ever to be Black Power." He and writer Amiri Baraka were deep in conversation one day when Baraka became distracted by a pretty girl walking by. "You're a gash man," Abiodun told him. The poem inspired by that incident, Gash Man, is revisited on the new album, and exposes the heartless nature of sexual acts shorn of intimacy or affection. "Instead of the vagina being the entrance to heaven," he says, "it too often becomes a gash, an injury, a wound_" Two Little Boys meanwhile, was inspired after seeing two young boys aged around 11 or 12 "stuffing chicken and cornbread down their tasteless mouths, trying to revive shrinking lungs and a wasted mind." They'd walked into Sylvia's soul food restaurant in Harlem, ordered big meals, then bolted them down and run out the door. No one chased after them, knowing that they probably hadn't eaten in days. Fifty years later and children are still going hungry in major cities across America and elsewhere. Abiodun's poem hasn't lost any relevance at all, and neither has New York, New York, The Big Apple. "Although this was written in 1968, New York hasn't changed a bit," he admits, except "today, people just mistake her sickness for fashion." Umar is originally from Akron, Ohio, but had arrived in Harlem in early 1969 after seeing Abiodun and the other Last Poets at a Black Arts Festival in Cleveland. That's where he first witnessed what Amiri Baraka once called "the rhythmic animation of word, poem, image as word- music" - a creative force that redefined the concept of performance poetry and stripped it bare until it became a howl of rage, hurt and anger, saved from destruction by mockery and love for humanity. When Umar's father, who was a musician, was jailed for armed robbery he took to the streets from an early age where he shined shoes and raised whatever money he could to help feed his eight brothers and sisters. By the time he saw the Last Poets he'd joined the Black United Front and was ready to join the struggle. Once in Harlem, Abiodun asked him what he'd learnt in the few weeks since he'd got there. "Niggers are scared of revolution," Umar replied. "Write it down" urged Abiodun. That poem still gives off searing heat more than fifty years later. In Umar's own words, "it became a prayer, a call to arms, a spiritual pond to bathe and cleanse in because niggers are not just vile and disgusting and shiftless. Niggers are human beings lost in someone else's system of values and morals." And there you have it. It's not just race or religion that hold us back, but an economic system that keeps millions in poverty and living in fear - a system born from political choice and that's now become so entrenched, so bloated on its own success that it's put mankind in mortal danger. It was many black people's acceptance of the status quo that inspired Just Because, which like Niggers Are Scared Of Revolution, was included on that seminal first album. Along with their revolutionary rhetoric, it was the Last Poets' use of the "n word" that proved so shocking, but it would be wrong to suggest that they reclaimed it, since it never belonged to black people in the first place. There's never any hiding place when it comes to the Last Poets. They use words like weapons, and that force all who listen to decide who they are and where they stand. Umar's two remaining tracks find him revisiting poems first unleashed on the Poets' second album This Is Madness! Abiodun had left for North Carolina by then where he became more deeply enmeshed in revolutionary activities and spent almost four years in jail for armed robbery after attempting to seize funds related to the Klu Klux Klan. Meanwhile, the 21 year old Umar was squatting in Brooklyn and had developed close ties with the Dar-ul Islam Movement. A longing for purity and time-honoured spiritual values underpins Related to What, whilst This Is Madness is a call for freedom "by any means necessary," and that paints a feverish landscape peopled by prominent black leaders but that quickly descends into chaos. "All my dreams have been turned into psychedelic nightmares," he wails, over a groove now powered by Tony Allen's ferocious drumming. Those sessions lasted just two days, and we can only imagine the atmosphere in that room as the hip hop godfathers exchanged the conga drums of Harlem for the explosive sounds of authentic Afrobeat. Once they'd finished, the recordings and momentum returned to Prince Fatty's studio, since relocated from Brighton to SE London. This was stage three of the project, and who better to fill out the rhythm tracks than two key musicians from Seun Anikulapo Kuti's band Egypt 80? Enter guitarist Akinola Adio Oyebola and bassist Kunle Justice, who upon hearing Allen's trademark grooves exclaimed, "oh, the Father_ we are home!" Such joy and enthusiasm resulted in the perfect fusion of Nigerian Afrobeat and revolutionary poetry, but the vision for the album wasn't yet complete. He wanted to create a new kind of soundscape - one that reunited the Poets with the progressive jazz movement they'd once shared with musicians like Sun Ra and Pharoah Sanders. It was at that point they recruited exciting jazz talents based in the UK like Joe Armon Jones from Mercury Prize winners Ezra Collective, also widely acclaimed producer/remixer and keyboard player Kaidi Tatham, who's been likened to Herbie Hancock, and British jazz legend Courtney Pine, whose genius on the saxophone and influence on the UK's now vibrant jazz scene is beyond question. The instrumental tracks on Africanism are in many ways as revelatory and exciting as the Last Poets' own. It's important to remember that the kaleidoscope of styles and influences we're presented with here aren't the result of sampling but were played "live" by musicians responding to sounds made by other musicians. That's where the magic comes from, aided by Prince Fatty's peerless mixing which allows us to hear everything with such clarity. Music fans today have grown accustomed to listening to all kinds of different genres. Their tastes have never been so broad or all- encompassing, and so the music on this new Last Poets' album is as groundbreaking as their lyrics, and perfectly suited to the era that we're now living in. John Masouri

With over 30 years of studio experience under his belt, pivotal British techno producer Kirk Degiorgio once again lands on De:tuned with the mesmerizing eight-track album Requiem. The trademark As One sonic signature shines through and beautifully expands with a more melodic touch as Catherine Siofra Prendergast joins the As One line-up. Nourishing your body and soul, the progressed As One soundscapes result in a coherent production of the highest order. Stay tuned!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

With over 30 years of studio experience under his belt, pivotal British techno producer Kirk Degiorgio once again lands on De:tuned with the mesmerizing eight-track album Requiem. The trademark As One sonic signature shines through and beautifully expands with a more melodic touch as Catherine Siofra Prendergast joins the As One line-up. Nourishing your body and soul, the progressed As One soundscapes result in a coherent production of the highest order. Stay tuned!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

DJ Support: Kevin Reynolds, James Baron, Hot Toddy, Pablo Valentino, Colin Dale

Suite For Chick is a heartfelt Homage to the late Jazz Maestro Chick Corea.

This collection features reinterpretations of City Gate, Rumble, Time Track, and Hymn of the Heart from the Chick Corea Elektric Band, as well as Return to Forever’s classic Romantic Warrior. These vibrant renditions celebrate Corea's enduring legacy in the jazz world.

Chick Corea played a crucial role in shaping Miles Davis's electric fusion era and was a key member of his Lost Quintet. He was also a founding force behind Return to Forever and many other influential groups.

Bangkok-based Maarten Goetheer collaborates with top Thai drummer Pong Nakornchai, blending Wurlitzer chords, Moog basslines, ARP leads, and signature Rhodes phasings. Nakornchai, a Master’s graduate in Jazz Studies from Mahidol University, leads his own quartet and embodies the progressive spirit of modern jazz in Thailand.

Maarten's inspiration stems from his musical upbringing; his father, Gerard Goetheer, was a jazz pianist. This environment fostered his deep appreciation for music. A pivotal moment came when he heard Masters at Work remixing Tania Maria, igniting his vision to merge genres and create something new.

With Suite for Chick Maarten wanted to incorporate a wider range of Modern influences that he became infatuated with throughout his Musical career such as Techno, Italo, Cosmic Disco, Dub, Acid, Boogie, Proto-House & Ambient Music.

To Maarten bringing these genres together is his current and unique interpretation of the JAZZ FUSION moniker.

Radio Support: Kev Beadle Radio support, Colin Curtis Radio support, RINSE FM mini album mix & interview on Tim Garcia show, BBC6 RADIO New Music Fix 16th Oct 2024

DJ Feedback:

DJ Harvey - Very cool collection of reworks

Terry Farley - so fucking good - house heads will be lovin’ this

Laurent Garnier / FG Radio France: Whaouuuu. That’s brilliant. Great album!

Lars Behrenroth / Deeper Shades Of House: This is so cool. Love the dub of City Gate, too. Great music

Jimpster / Freerange: Great idea to work up some contemporary interpretations of Chick classics! Was always a fan of Time Track so nice to hear this one included. These tracks strike a really nice balance of electronic/sequenced elements and live recording. I’m into it!

Tim Garcia / Rinse FM: I think this whole release is excellent and inspired, nice to see a tribute to one of my favourites work so well.

a A1: City Gate Rumble Original
[b] A2: City Gate Rumble [Reprise Dub]
[c] A3: Romantic Warrior [Original]
[d] B1: Time Track [Original]
[e] B2: Time Track [Reprise]
[Original]

An extremely prolific artist, whose work encompasses composition, opera, theatre, radio plays, film or performance, Ergo Phizmiz returns in due time to the Discrepant fold long after his 'Two Quartets' and 'Disco Carousel' - under his given DW Robertson name - albums. A purveyor of the Creative Commons rights, Phizmiz has been deploying much of his work on the ever expanding Free Music Archive directed by WFMU since the early 2000's, creating a sprawling and defiant body of work that defies given and stale notions of sound hierarchies, history and copyright through a process that comprises collage, sampling, reappropriation, songwriting, covers and pretty much any available media with a playful and thoughtful approach.
For this new Discrepant entry, Phizmiz goes back in time to push into the future a number of pieces recorded more than two decades ago creating this perpetual motion outside a linear chronologic progression. Anticipating by almost 20 years the memefication of ASMR videos, 'Selected Ambient & ASMR Works 2001-2003' - itself a pun on the AFX classics - embraces the ambient tag not at its functional face value, but instead as a means to the "evocation of imaginary spaces, and correspondingly the invention of their sonic environments". Collecting recordings from a myriad of instruments - violin, xylophone, banjo, kora, found percussion and so on...-, shortwave radio and field recordings to create loops with different lengths that play with and/or against themselves continuously in a process "(dis)conjunction" not far removed from Feldman's 'Why Patterns?' or hip-hop's sampledelia. A free-floating temporal space that collapses the flashing images of Angelfire pages unto Web 2.0 sense of displacement.

Who is Isabelle Lewis, anyway?

What kind of music does she make? Is she an opera singer? Does she write pop songs? Does she compose ethereal ambient soundscapes? Does she play chamber music on the violin? Is she producing dark, electronic beats?

Well… yes. But Isabelle Lewis is not so much a person as a project. Isabelle’s debut album, Greetings, credits a trio of composer–performers at its heart: producer Valgeir Sigurðsson, vocalist Benjamin Abel Meirhaeghe, and violinist Elisabeth Klinck. The sound of the elusive Isabelle Lewis is heard most clearly in the push and pull between them, the three-way tension that gives the album its musical and emotional drive.

Each of the three brings more to the collaboration than those epithets might imply. Elisabeth’s solo performance practice incorporates composition, improvisation, live electronics, and a close command of bowing and fingering techniques that make her fiddle sing, whisper or whistle as required. Benjamin is a self-taught countertenor - keening, crooning, and swelling to a voluptuous sensuality—but also an interdisciplinary stage director and performer. Well known for his work as a producer and studio collaborator, and as a composer of scores for film and stage, Valgeir’s solo discography interweaves meticulously crafted electronics, drones, noise, and other digital elements with acoustic instruments and vocals recorded with naked, unflinching clarity.

But the extravagant theatricality Benjamin brings to the aptly titled “Drama”—also featuring a heroic violin solo from Elisabeth—grapples against the thudding bass of the implacable digital backdrop. On “Mother, Shelter Me” Valgeir’s austere and detailed production throws the hushed violin and vocals into stark relief. The result is an exquisitely uncanny juxtaposition of past and present, human and mechanical, like a Rococo treasure viewed under cold fluorescent lights, or an 18th-century automaton slowly opening its clockwork eyes.

Even the lyrics seem somehow out of time. On “O Solitude,” Benjamin goes so far as to quote an entire song by the first great English opera composer, Henry Purcell, verbatim. No stranger to Purcell’s music, which has made its way into Benjamin’s theatrical productions as well, here Isabelle Lewis removes Purcell’s melodies and harmonies and sets the text, Katherine Phillips’s 17th century translation of a poem by Antoine Girard de Saint-Amant, to new music whose heightened, archaic character nevertheless seems haunted by Baroque ghosts.

Throughout the album, the outsized emotions and timeless archetypes of Benjamin’s lyrics feel like relics from some half-forgotten past—from the neatly rhymed couplets of “Fisherman,” a seemingly straightforward (but still somewhat askew) character study, to the abstraction of “Moonshell,” whose words seem like the fragments of some ancient, lost lament. It is just another of many ways in which Isabelle Lewis carefully distorts the listener’s notions of time. On a more micro level, time can stop for a moment of weightless, drifting ambience, and then plunge forward as the cloud of harmonies suddenly lock into tempo with the drop of the bass or the change of a chord. Or else that weightless moment is allowed to be, as in the aptly named prologue and epilogue to these Greetings (“Voicemail”/“…and farewell”), or in the interstitial tracks that bind the album together, connecting its dramatic peaks with expanses of meditative stasis.

The album as a whole is elegantly shaped, swelling from an intimate, interpersonal statement into something deeper and more spacious. The first half of the album leans slightly towards self-contained pop songcraft and ticking beats, while side B jumps off from “O Solitude” into the almost symphonic grandeur of songs like “Moonshell” or the instrumental “Not the water, air, or the dirt.”

But as it progresses, the contrasts only grow more sublime: antique and postmodern, human and machinelike. The ominous weight of the droning sub-bass and trombone (guest player Helgi Hrafn Jónsson) only makes the interplay between vocals and violins (guest player Daniel Pioro joining Elisabeth) seem more delicate and vulnerable. The ethereal string tremolos of “Moonshell” seem to pull against the heavy, shuddering electronics and layers of crooning vocals.

And that, in short, is where you will find Isabelle Lewis. Like an ancient stone archway, or a delicate house of cards, the architecture of Greetings is held together by the tension between opposing forces. Not just in Elisabeth’s playing, Benjamin’s singing, or Valgeir’s arrangements and production but in the conflict and contrast that generates the synergy between them.

Oh—Isabelle says hi, by the way. She’s looking forward to meeting you.

“Suspiria” is a 100% Goblin album, the result of a choral work in which every single musician was inspired at the highest levels.

The band were here able to experiment more with daring and unpredictable combinations of musical instruments such as bouzouki and celesta,tribal percussion, all kinds of sound effects on the voice and on musical instruments, all perfectly combined with the typicalmid-70s progressive and jazz-rock Goblin trademark.

Special edition on blue iris vinyl, including insert with liner notes written by Fabio Capuzzo

The short but intense initial phase of Jumbo’s career, marked by the release of three albums in 1972/1973, revealed their distinctive approach to Italian progressive rock and rapid artistic growth.

“Vietato ai minori di 18 anni?”, released in 1973, represents the peak of this era, showing the band’s evolution from an English beat-related beginning to a more mature and meaningful work for Italian prog fans.

On the occasion of the 50th anniversary of this masterpiece’s release, Jumbo were invited to the prestigious Prog and Frogs festival, where they performed the entire album live, enriching the experience with interesting explanatory introductions for each track. During the show, Jumbo amazed the audience, displaying the same drive and passion as they used to fifty years ago.

Simply put, a must-have for lovers of Italian progressive rock music! Clear orange vinyl edition with gatefold cover.

Ltd. to 500 colored copies worldwide. The band's first album from 1993, lovingly remastered by Johannes Scheibenreif. A classic of German progressive rock. The band's only English-language album. In 1973 the band signed a contract with Brain Records and Jochen Petersen (later keyboarder with Randy Pie) produced their debut album "Banished Bridge" at the Chameleon Studios in Hamburg. The album was recorded completely without electric guitars, the centerpiece being the 17-minute title track "Banished Bridge". The music is slightly fragile, flowing, almost lyrical. The floating synthesizer and keyboard passages are reminiscent of the early works of Pink Floyd and Genesis. A debut album that already showed where the band would later go. "Banished Bridge" remained Novalis' only English-language record, but for many it is still considered a classic of German progressive rock.

In 1972 Garybaldi released the legendary “Nuda”, an album in which the typical sounds of progressive rock was mixed with Fossati’s typical ‘guitarism’, giving birth to a unique and very important work in the Italian prog scene.

1973 sees the release of “Astrolabio”, a very particular record made up of two long pieces, one for each side, with a lot of space left for improvisation. Another unique work that closes the first phase of the band’s history, who would continue their music activities in alternate phases up to the present day.

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

Highly regarded as a former resident at Salon Des Amateurs at his native Düsseldorf, Tolouse Low Trax/Detlef Weinrich has carved one of the most distinctive sounds in contemporary leftfield club music thanks to his deeply unusual grooves and hypnotic arrangements over the past 15 years as a solo artist.
Fung Day is his first album with entirely new material since Leave me alone which was released through Bureau B in 2022. Fung Day was written and recorded over the course of two years, slowly mutating and progressing from one state to another. Mixed, produced and finally mastered in Paris, his new domicile by choice.

A few words by Yvan Smagghe about Fung Day:
„He pretended he was in exile from Germany but he was a French lover like all of us; his MPC Sampler was smoking hot, an Enigma machine, an ashtray full of ghosts. I had left Paris for the same reasons he came. I could strangely relate. We’d met before he left Düsseldorf, and I knew of him through his oeuvre, his art over words (they were few) and piercing blue eyes.

He was now texting me on a night train from Warsaw going East, as in a Greene novel, asking me to go over his file. He sent me a spontaneous, fun, brave and bold record which is his new album - one that curiously smelled of mechanical grease - machinery of the soul, broken transport rhythms, samples like memories, noise at peace. Referenced yet uncoded. I don’t believe in ulterior motives and complex explanations. Not here at least. On the other hand, I do believe that works can be exposure - especially with the silent type or mistaken identities - and I knew about these too.“ - London, 2024

Brilliant Corners is an exceptional example of Monk's distinctive approach to jazz, which was characterized by angular melodies, unusual chord progressions, complex rhythms, and an idiosyncratic sense of timing

The title track, "Brilliant Corners," for example, was so intricate that it took multiple takes to complete, and the musicians found it challenging to follow its unconventional structure. This difficulty speaks to Monk's originality and his pushing the boundaries of what jazz could be at the time. The LP is one of Thelonious Monk's most acclaimed and influential albums, recorded in 1956 and released in 1957. It stands as a cornerstone in Monk's discography, showcasing his innovative approach to jazz composition and performance, and is often regarded as one of his finest works. Upon its release, Brilliant Corners was met with widespread critical acclaim and remains a significant album in jazz history and helped solidify Monk's status as one of the great innovators of modern jazz. It was a breakthrough album for Monk commercially as well, attracting attention from jazz critics and listeners who were beginning to appreciate his genius more widely. Today, Brilliant Corners is considered an essential jazz record, often cited as one of the greatest jazz albums of all time: musicians like Ornette Coleman, Cecil Taylor, and Eric Dolphy were influenced by Monk's ability to push the boundaries of jazz without losing its essence. The album is not just a masterwork in Thelonious Monk's discography but a pivotal moment in the evolution of modern jazz.

AFTER OVER 50 YEARS SINCE THE RELEASE OF THE FIRST LP “DEDICATO A FRAZZ” THE SECOND AND HIGHLY SEMIRAMIS’ ALBUM “LA FINE NON ESISTE” IS FINALLY RELEASED!

Thanks to the determination of founder Paolo Faenza, intent on continuing the reunion experience already shared since 2014 with his lifelong companions, in particular Maurizio Zarrillo and Giampiero Artegiani, the new work was recorded by a renewed lineup, made up of talented musicians coming from Rome’s progressive rock scene.

“La fine non esiste” (The End Does Not Exist) consists of 6 unreleased tracks, sung in Italian, characterized by a modern sound but still in continuity with the debut album. In fact, all the instruments that characterize Semiramis’ background are present, such as keyboards, moog, flute, acoustic and electric guitars, vibraphone, leading to wide-ranging compositions, supported by rich and lively arrangements, definitely “prog rock”.

THE CLASSIC 1990 ALBUM REISSUED & REMASTERED BY ED WYNNE ON COLOURED VINYL FOR FIRST TIME ON KSCOPE

One of the most influential bands to emerge from the UK’s festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It’s an open exploration of music and the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock and roll life. The band has flourished through a number of line-up changes, spawned several side projects, created their own record label, scored a hit record and sold over a million albums world-wide. And yet, the basic motivation behind the band’s existence has never wavered.

Their signature blend of hippy aesthetics and raver electronics with spiraling guitars, textured waves of keyboard and midi samplers, and super-groovy bass and drum rhythms continues to delight fans across the world to this day.

Erpland, the band’s 1990 eighth release, is considered one of their finest works. This 2LP set presented in wide spine packaging, will be released on turquoise heavyweight vinyl as the third title in t

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

Repress!

You know it's going to be a heavy record when DJ / collector Mr Thing asks you to keep a look out for a copy on your next digging trip to Brazil. Add on top of that, being sampled by Madlib on the track 'Curls’ on his Madvillain album!

Taken from Waldir Calmon's 'Waldir Calmon E Seus Multisons' album on Copacabana (1970), from looking at this unassuming record cover featuring a middle-aged man sporting an impressive pair of glasses you wouldn't expect it to become the fabric to one of the songs from the iconic 'Madvillain’ album. But… like many things in life, you shouldn’t judge a book by its cover. 'Airport Love Theme’, like its name suggests, falls into full-on lounge territory. It’s feel-good music made to be the soundtrack for a utopian world that never really was. Yet behind the silky-smooth groove is an addictive earworm waiting to be heard.

'Afro Son' taken from the same album, pushes things in a different direction towards a sound that is more firmly rooted in the Brazilian tradition. This quirky 60's-breakbeat-funk groove is reminiscent of French artist Jean Jacques Perrey's 'E.V.A.', also from 1970, in its melody and backbeat, where the Moog synthesizer of Perrey is replaced with a more orchestrated sound by Calmon. This track is magical, cinematic and breakbeat-laden with a hidden unknown exoticism.

Waldir Calmon had an active career in music working from the '50s right up until his passing in 1982. His career started early, forming his first ensemble at the age of fourteen, originally working in bands in nightclubs and writing jingles. He progressed in the early '50s to a long-running career working in television. In addition to his television work, he had success with his recording vocation, mixing in the same musical circles as greats such as Tom Jobi, João Gilberto and Doris Monteiro.

• Next installment in BRAZIL 45 Series.
• Sampled by Madlib on the track ‘Curls’ from his ‘Madvillain’ album.
• Quirky, cinematic, breakbeat-laden exoticism.

Gotho is an experimental instrumental duo formed in 2020.

Their debut track, "Gatta De Blanc," was a 25-minute composition, showcasing their signature mix of synthesizers, electric piano, and drums, with no backing tracks or overdubs. Blending elements of progressive rock, metal, jazz, disco, psychedelia, post-rock, and classical, their sound defies categorization.

After gaining acclaim for their live performances, they released their first album, *MindBowling*, in October 2022 through Controcanti Produzioni and Black Widow Records, receiving strong reviews.

In November 2024, Gotho will release *Gothron Versus Fartark* with Supernatural Cat. Set in a sci-fi world, the album tells the story of two robotic enemies battling for their world's survival, using synthesizers, electric piano, vocoder, trumpet, and drums to narrate Gothron’s victory over Fartark. Like their previous work, the album spans multiple genres, resisting any single classification.

Gotho are: Fabio Cuomo (Elder, Eremite, Liquido Di Morte) on synth and electric piano. Andrea Peracchia (Tons, Dogs For Breakfast, Slaiver) on drums.

Souls Of Mischief, the Oakland, CA quartet and members of the mighty Hieroglyphics Crew, are proud to announce the first-ever vinyl release of their fifth album "Montezuma's Revenge." Notably, the album’s striking cover featured a fifth member of the group: the legendarily innovative producer Prince Paul, who executive produced the LP, handling most of the beats and overseeing the musical direction of the album from start to finish.

Emcees A-Plus, Opio, Phesto, and Tajai take turns showing off the multisyllabic flows, witty similes, and smooth lyrics that have made the crew a household name in rap for over 30 years. Souls' trademark juxtaposition of complex, multi-syllabic lyricism against laid-back Cali flow remained as strong as it was in 1993 on “Montezuma’s Revenge,” and Paul’s magic touch on production took the Souls’ sound to a new level.

While the aforementioned and unmistakable SOM sound remains very much intact, Paul's vision and risk-taking come through on the finished product. Tajai was comfortable from the start in working with the visionary producer: ”Paul is a perfectionist and so are we so we took time with the beats and subject matter. This album to me is a great insight into who we are as people and how important it is to progress stylistically, yet it retains a classic, timeless feel."

*Includes download code

The two works which comprise this retrospective release project - "Plan for Sleep” (1984) and "Every Dog Has His Day” (1985) - are collaborations between Yamanaka and Furuhashi which were foundational to the music development of Dumb Type's aural legacy and intermedia innovations at large. Their early stage music possessed a unique charm and innovation, serving as an essential element at the core of their art. Through this project, the legacy of these works is to be re-evaluated, and the essence of the music contributing to the evolution of Dumb Type's sound through this day will be introduced to a new generation.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

*Includes download code

In the performance of this work, "Plan for Sleep" (1986), created simultaneously with “Every Dog Has His Day” (1985), Yamanaka took on the role of sound operation. The performance begins with a minimal piece where the tones of the electronic organ and striking phrases from the piano and saxophone race forward in syncopation. Following this, various sound fragments drift over a deafening industrial beat reminiscent of machine noises. There are also pieces that transform the typing sounds of a typewriter into rhythm, showcasing a range of experiments inspired by the then-novel sampling technology, beautifully intertwining with the physicality of the performance.

Additionally, influenced significantly by film music, Yamanaka incorporates a rich tapestry of colors through melancholic melodies that evoke various scenes, from secular jazz to other influences. This work constructs a uniquely original and sophisticated worldview that stands out even when surveying the canon of avant-garde performance art from around the globe in the postmodern era.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

Red Laser continue their prolific purple patch, unpacking four more slabs of red lit Manctolo from a host of box jammers, old and new.

Frank Butters wastes no time at all, 'The Call Of The Wild' engaging photon tubes with a highly kinetic array of crystalline synth shards, thunderous bass and hyperactive sfx. Without geeking out too much, special mention has to go out to the synthesis on display here - Butters advancing up the levels of sonic shamanism as he conjures up never-before-heard patches of interstellar cosmic NRG...

Bob Swans' 'Bodyform4U' unites the robots with a universal message of togetherness. Its multiple layers of shuddering arpeggios and star-aligned synths working in unison to quell any fears and send us off into a space age utopia. One that'll work as well soundtracking the end of the session as it will as the dancefloor's filling up; its subtle anthemic qualities sure to rouse the spirits of even the most dehumanized cyborgs.

New signing Lone Saxon drops 'Hypersleep' which utilises rich piano chords and a hefty breakbeat, switching up the vibe but keeping things super uplifting. This one reminds us of that innocent period when you could get on the megabus for 50p and score three for a tenner on the dancefloor. An evocative vocal refrain adds a moment of thoughtful introspection in between the e-rushes and arm-raising for another moment of interactive harmony.

Finally, 'Webo' sees Franz Scala (with a little help from Il Bosco) return to source, delivering a bona fide slice of maximum balls out MANCTALO chug. With tension-wrought chord progressions, delicious layers of lead melodies and a soaring vocal, there's few that can resist the charms of this late night electro-disco hyper anthem.

All aboard the starship !

RL x

Leng’s San Francisco connection has long been strong, with the 40 Thieves collective – and their friend Cole Odin – providing some of the label’s most memorable releases of the last decade. That Bay Area connection comes to the fore once more on the imprint’s latest release, which sees Odin join forces with fellow San Francisco resident Marshall Watson, a long-serving producer, engineer and live performer known globally for his Balearic-minded productions.
‘Voyager’, the pair’s first collaborative single, is a genuine meeting of minds. It combines Odin’s love of low-slung dub disco, dancefloor psychedelia and low-tempo cosmic house with Watson’s
picturesque Balearic synths, sparkling piano riffs and immersive sound design. It’s this blend that dominates on the EP-opening Original Mix, an infectious workout that gets progressively more blissed-out and saucer-eyed as it progresses. Listen carefully and you’ll hear some suitably psychedelic guitar solos nestling amongst the heady washes of sound, sun-bright piano riffs and weighty bass.


Those languid, stretched-out guitar parts naturally take a more prominent role on the Extended
Guitar Mix. On this alternative take, the pair deliver a lightly tweaked take on the original groove, stretching it out while overlaying eyes-closed guitar solos, pots-and-pans percussion and a more DJ-friendly outro. It’s effectively an extended club mix – the club in question being a Bay Area basement at 5am. To round off the EP, Odin and Watson dust off their dancing shoes and pay tribute to San Francisco great Patrick Cowley. On the appropriately titled Cosmic Rave Mix, the pair swap their bass guitar for a pulsating sequenced bassline, trance-inducing synth sounds, and locked-in electronic loops designed to take you to a higher state of consciousness. By the time the track’s familiar piano refrain drops midway through, you’ll be reaching for the lasers in no time at all.

Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro's parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England's Southern coast. "We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the 60s and 70s music I could find from there."

In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020-23, Wax Machine birthed three cult-favourite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau's Brazilian sound was already beginning to blossom across Wax Machine's releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana.

Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro's delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife.

Like the musical equivalent of semantic drift, Lau Ro's displacement led to the creation of another Brazil. A mythic place in Lau's soul, as they put it, "where the sunshine and joy of my childhood remained untapped." Lau continues: "It's music that might sound as if it came out of a parallel universe Brazil, rather than its modern day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself."

Camelot, the legendary seat of King Arthur's court in Early Middle Ages Britain, was probably not a real place. A corruption of the name of a real Romano-Briton city, the word "Camelot" accumulated symbolic, mythic resonances over centuries, until achieving its present usage as a near-synonym of "utopia." In the mid-20th century alone, Camelot inspired an explosion of representations and appropriations, among them the violent, affectless Arthurian court of Robert Bresson's 1974 film Lancelot du Lac and the absurdist iteration of Monty Python's 1975 Holy Grail, both of which feature armored knights erupting into fountains of blood; the mystical Welsh world of novelist John Cowper Powys's profoundly weird 1951 novel Porius, with its Roman cults, wizards and witches, and wanton giants; and the nationalist nostalgia of President John F. Kennedy's White House. Unsurprisingly there are fewer Camelots in more recent memory. Camelot, Canadian songwriter Jennifer Castle's extraordinary, moving 2024 chronicle of the artist in early middle age, charts a realer, more rooted, and more metaphorical place than the fabled Camelot of the Early Middle Ages (or its myriad depictions), but it too is a space more psychic than physical. In Castle's Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one's own nature. Co-produced by Jennifer and longtime collaborator Jeff McMurrich, her seventh record is at once her most monumental and unguarded to date, demonstrating a mastery of rendering her verse and melodies alike with crisply poignant economy. For all their pointedly plainspoken lyrical detail and exhilarating full-band musical flourishes, these songs sound inevitable, eternal as morning devotions. "Back in Camelot," she sings on the lilting, vulnerable title track, "I really learned a lot / circles in the crops and / sky-high geometry." The album opens with a candid admission of sleeping "in the unfinished basement," an embarrassing joke that comes true. But the dreamer is redeemed by dreaming, setting sail in her airborne bed above "sirens and desert deities." If she questions her own agency_whether she is "wishing stones were standing" or just "pissing in the wind"_it does not diminish the ineffable existential jolt of such signs and wonders. This abiding tension between belief and doubt, magic and pragmatism, self and other, sacred and profane, and even, arguably, paganism and monotheism, suffuses these ten songs, which limn an interior landscape shot through with sunstriped shadows of "multi-felt dimensions" both mystical and quotidian. The epic scale and transport of "Camelot," with its swooning strings, gives way dramatically to "Some Friends," an acoustic-guitar-and-vocals meditation in miniature on Janus-faced friends and the lunar and solar temperatures of their promises_"bright and beaming verses" versus hot curses_which recalls her minimalist last album, 2020's achingly intimate Monarch Season. (In a symmetrical sequencing gesture, the penultimate track, the incantatory "Earthsong," bookends the central six with a similarly spare solo performance and coiled chord progression, this time an ambiguous appeal to _ a wounded lover? a wounded saint? our wounded planet?) Those whom "Trust" accuses of treacherous oaths spit through "gilded and golden tooth"_cynics, critics, hypocrites, gurus, scientists, doctors, lovers, government, the so-called entertainment industry_sow uncertainty that can infect the artist, as in "Louis": "What's that dance / and can it be done? What's that song / and can it be sung?" Answering affirmatively are "Lucky #8," an irrepressible ode to dancing as a bulwark against the "tidal pools of pain" and the "theory of collapse," and "Full Moon in Leo," which finds the narrator dancing around the house with a broom, wearing nothing but her underwear and "big hair." But the central question remains: who can we trust, and at what cost faith, in art or angels or otherwise? Castle's confidence in her collaborators is the cornerstone of Camelot. Carl Didur (piano and keys), Evan Cartwright (drums and percussion), and steadfast sideman Mike Smith (bass) comprise a rhythm section of exquisite delicacy and depth. This fundamental trio anchors the airiness of regular backing vocalists Victoria Cheong and Isla Craig and frames the guitars of Castle, McMurrich, and Paul Mortimer (and on "Lucky #8," special guest Cass McCombs). Reprising his decennial role on Castle's beloved 2014 Pink City, Owen Pallett arranged the strings for Estonia's FAMES Skopje Studio Orchestra. On the ravishing country-soul ballad "Blowing Kisses"_Pallett's crowning achievement here, which can be heard in its entirety in the penultimate episode of the third season of FX's The Bear_Jennifer contemplates time and presence, love and prayer_and how songwriting and poetry both manifest and limit all four dimensions: "No words to fumble with / I'm not a beggar to language any longer." Such rare moments of speechlessness_"I'm so fucking honoured," she bluntly proclaims_suggest a state "only a god could come up with." (If Camelot affirms Castle as one of the great song-poets of her generation, she is not immune to the despairing linguistic beggary that plagues all writers.) Camelot evinces a thoroughgoing faith not only in the natural world_including human bodies, which can, miraculously, dance and swim and bleed and embrace and birth_but also in our interpretations of and interventions in it: the "charts and diagrams" of "Lucky #8," a daydreamt billboard on Fairfax Ave. in LA in "Full Moon in Leo," the bloody invocations of the organ-stained "Mary Miracle," and all manner of water worship, rivers in particular. (Notably, Jennifer has worked as a farmer and a doula.) The album ends with "Fractal Canyon"'s repeated, exalted insistence that she's "not alone here." But where is here? The word "utopia" itself constitutes a pun, indicating in its ambiguous first syllable both the Greek "eutopia," or "good-place"_the facet most remembered today_and "outopia," or "no-place," a negative, impossible geography of the mind. Utopia, like its metonym Camelot, is imaginary. Or as fellow Canadian songwriter Neil Young once sang, "Everyone knows this is nowhere." "Can you see how I'd be tempted," Castle asks out of nowhere, held in the mystery, "to pretend I'm not alone and let the memory bend?"

. For Fans Of: The Weather Station, Weyes Blood, Adrianne Lenker, Phoebe Bridgers, Joan Shelley, Lana Del Rey, Cass McCombs, Angel Olsen & Neil Young. Camelot, the legendary seat of King Arthur’s court in Early Middle Ages Britain, was probably not a real place. A corruption of the name of a real Romano-Briton city, the word “Camelot” accumulated symbolic, mythic resonances over centuries, until achieving its present usage as a near-synonym of “utopia.” In the mid-20th century alone, Camelot inspired an explosion of representations and appropriations, among them the violent, affectless Arthurian court of Robert Bresson’s 1974 film Lancelot du Lac and the absurdist iteration of Monty Python’s 1975 Holy Grail, both of which feature armoured knights erupting into fountains of blood; the mystical Welsh world of novelist John Cowper Powys’s profoundly weird 1951 novel Porius, with its Roman cults, wizards and witches, and wanton giants; and the nationalist nostalgia of President John F. Kennedy’s White House. Unsurprisingly there are fewer Camelots in more recent memory. Camelot, Canadian songwriter Jennifer Castle’s extraordinary, moving 2024 chronicle of the artist in early middle age, charts a realer, more rooted, and more metaphorical place than the fabled Camelot of the Early Middle Ages (or its myriad depictions), but it too is a space more psychic than physical. In Castle’s Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one’s own nature. Co-produced by Jennifer and longtime collaborator Jeff McMurrich, her seventh record is at once her most monumental and unguarded to date, demonstrating a mastery of rendering her verse and melodies alike with crisply poignant economy. For all their pointedly plainspoken lyrical detail and exhilarating full-band musical flourishes, these songs sound inevitable, eternal as morning devotions. “Back in Camelot,” she sings on the lilting, vulnerable title track, “I really learned a lot / circles in the crops and / sky-high geometry.” The album opens with a candid admission of sleeping “in the unfinished basement,” an embarrassing joke that comes true. But the dreamer is redeemed by dreaming, setting sail in her airborne bed above “sirens and desert deities.” If she questions her own agency whether she is “wishing stones were standing” or just “pissing in the wind” it does not diminish the ineffable existential jolt of such signs and wonders. This abiding tension between belief and doubt, magic and pragmatism, self and other, sacred and profane, and even, arguably, paganism and monotheism, suffuses these ten songs, which limn an interior landscape shot through with sunstriped shadows of “multi-felt dimensions” both mystical and quotidian. The epic scale and transport of “Camelot,” with its swooning strings, gives way dramatically to “Some Friends,” an acoustic-guitar-and-vocals meditation in miniature on Janus-faced friends and the lunar and solar temperatures of their promises—“bright and beaming verses” versus hot curses which recalls her minimalist last album, 2020’s achingly intimate Monarch Season. (In a symmetrical sequencing gesture, the penultimate track, the incantatory “Earthsong,” bookends the central six with a similarly spare solo performance and coiled chord progression, this time an ambiguous appeal to … a wounded lover? a wounded saint? our wounded planet?). Those whom “Trust” accuses of treacherous oaths spit through “gilded and golden tooth” cynics, critics, hypocrites, gurus, scientists, doctors, lovers, government, the so-called entertainment industry sow uncertainty that can infect the artist, as in “Louis”: “What’s that dance / and can it be done? What’s that song / and can it be sung?” Answering affirmatively are “Lucky #8,” an irrepressible ode to dancing as a bulwark against the “tidal pools of pain” and the “theory of collapse,” and “Full Moon in Leo,” which finds the narrator dancing around the house with a broom, wearing nothing but her underwear and “big hair.” But the central question remains: who can we trust, and at what cost faith, in art or angels or otherwise? Castle’s confidence in her collaborators is the cornerstone of Camelot. Carl Didur (piano and keys), Evan Cartwright (drums and percussion), and steadfast sideman Mike Smith (bass) comprise a rhythm section of exquisite delicacy and depth. This fundamental trio anchors the airiness of regular backing vocalists Victoria Cheong and Isla Craig and frames the guitars of Castle, McMurrich, and Paul Mortimer (and on “Lucky #8,” special guest Cass McCombs). Reprising his decennial role on Castle’s beloved 2014 Pink City, Owen Pallett arranged the strings for Estonia’s FAMES Skopje Studio Orchestra. On the ravishing country-soul ballad “Blowing Kisses” Pallett’s crowning achievement here, which can be heard in its entirety in the penultimate episode of the third season of FX’s The Bear Jennifer contemplates time and presence, love and prayer and how songwriting and poetry both manifest and limit all four dimensions: “No words to fumble with / I’m not a beggar to language any longer.” Such rare moments of speechlessness “I’m so fucking honoured,” she bluntly proclaims suggest a state “only a god could come up with.” (If Camelot affirms Castle as one of the great song-poets of her generation, she is not immune to the despairing linguistic beggary that plagues all writers.) Camelot evinces a thoroughgoing faith not only in the natural world including human bodies, which can, miraculously, dance and swim and bleed and embrace and birth but also in our interpretations of and interventions in it: the “charts and diagrams” of “Lucky #8,” a daydreamt billboard on Fairfax Ave. in LA in “Full Moon in Leo,” the bloody invocations of the organ-stained “Mary Miracle,” and all manner of water worship, rivers in particular. (Notably, Jennifer has worked as a farmer and a doula.) The album ends with “Fractal Canyon”s repeated, exalted insistence that she’s “not alone here.” But where is here? The word “utopia” itself constitutes a pun, indicating in its ambiguous first syllable both the Greek “eutopia,” or “good-place” the facet most remembered today and “outopia,” or “no-place,” a negative, impossible geography of the mind. Utopia, like its metonym Camelot, is imaginary

2024 Repress

Errol and Alex Rita’s Touching Bass are proud to present Soon Come; a landmark compilation celebrating the talents of their now intercontinental musical community and an introduction to the wide-spanning sound and feeling of their growing label. 22 original tracks spread across double 12” vinyl and split between 'day' and 'night' moods, creating exciting connections between music for both the home and the eclectic sounds of their much-loved dancefloor.

Over the past six years, Touching Bass have steadily established themselves as one of London’s most important musical incubators. More than just a club night, concert series, NTS Radio mainstay and a label, Touching Bass has become something of a movement: a community meeting grounds for music lovers and some of the most exciting contemporary music-makers both in the capital and beyond.

The tracklist is a reflection of that, curated by TB’s Errol, Alex Rita and Sammseed over the course of two years. Among the list of contributors are Chicago/New York’s keiyaA, Stones Throw’s DJ Harrison, Ben Hauke, Ego Ella May, recent WARP signee Nala Sinephro, Melo-Zed, Hiatus Kaiyote’s Clever Austin and many more (see below for tracklist). Artwork for the project comes from Alex Rita, combining moments caught at Touching Bass’ own gatherings over the years.

Since launching properly in 2019, Touching Bass has quickly established itself as one of the UK’s most exciting new labels. The young imprint has championed critically respected and refreshingly innovative works with little genre restriction, receiving recognition from both musical and cultural bil. From the electrifying grooves of Danish trio, Athletic Progression, to the modern classical of South London’s CKTRL (featuring Duval Timothy).

Along the way, Errol and Alex have also been tapped up for collaborations/ commissions with some of the world’s most forward-thinking creatives and institutions; from the world-renowned White Cube gallery for Frieze Week 2021 and fashion designers Nicholas Daley and Azura Lovisa to film music supervision for Ronan McKenzie and Joy Yamasungie’s WATA and multi-award winning director, Jenn Nkiru’s (Beyonce, Kamasi Washington, Neneh Cherry) Black To Techno, the experimental documentary which premiered at Frieze Los Angeles and was nominated for ‘Best Short’ at the IDA Awards.

For newcomers, Soon Come acts as a vital introduction to the label’s wide-spanning DNA. For those already acquainted, it’s a glimpse at its exciting future.

First time vinyl reissue of Univers Zero's legendary Crawling Wind, originally released in 1981 on the Japanese 'Chaos International Series' label, with the original cover artwork has been beautifully redesigned by Thierry Moreau.

Toujours Plus à l'Est, as the title suggests, is heavily influenced by the traditional music of Eastern Europe, particularly Bulgaria., and paying tribute to the iconic catchphrase of Professor Calculus (Tournesol), the character from the Belgian comic series Tintin. Before The Heat, played live a few times, is an ambient composition by Andy Kirk, who is part of the EP's lineup alongside Daniel Denis, Guy Segers, Alan Ward, and Dirk Descheemaeker. Central Belgium in the Dark is a live improvisation from a period when Univers Zéro dedicated part of their concerts to complete improvisation. What makes this recording unique is that one of Andy Kirk's effects pedals picked up and emitted the sound of a mysterious radio signal, seemingly coming from "nowhere," especially noticeable at the end of the piece. The title of this improv is a nod to contemporary composer Charles Ives' work Central Park in the Dark. Central Belgium refers to the concert venue where the piece was recorded (Haine-St-Pierre).

Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music - most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.

San Francisco native Eric Luttrell announces his highly anticipated studio album ‘Life at Full Speed’, released on October 11 on Anjunadeep. First breaking into electronic music as part of the OWSLA-affiliated trio The M Machine, Eric embarked on his solo journey in 2016 with the acclaimed 'Need You' EP. This was followed by Anjunadeep favourites such as the 'Generate' EP and 'Intergalactic Plastic', championed by Annie Mac as the Hottest Record In The World. His musical progression continued with the launch of two studio albums, 'Intro Clouds' and 'Lucky Ones', as well as the captivating trilogy EP series 'Music For My Memories'. Luttrell's body of work has amassed over 100 million streams to date. Written over the past two years, ‘Life at Full Speed’ represents a new chapter for Eric. Becoming a father last year profoundly shifted his perspective on life and its purpose; and the album represents the ethos of embracing life to its fullest and seizing every moment. Featuring thirteen meticulously crafted tracks, "Life at Full Speed" embodies Luttrell's signature blend of indie-laced house music, characterised by uplifting melodies, intricately woven synths, and infectious grooves. A standout feature of the album is Eric’s integration of his own vocals on some of the tracks such as “When I First Met You” and “Go”. Additionally, Canadian artist Molly Moonwater joins forces with Eric on the single 'Something Right', enhancing its euphoric tone. Lead single ‘Make U Happy’ comprises a playful piano, signature Luttrell synths and a catchy top line culminating in an irresistible, feel-good summer anthem. This track sets the tone for the album, offering a glimpse into its uplifting vibe. Among the album's tracks are previously released singles ‘Sunshine’, ‘Space’, and ‘Sunrise Song’, which have collectively amassed over 3.5 million streams and received acclaim from BBC Radio 1 and SiriusXM Chill.

Bologna born Italo Disco legend Celso Valli’s ‘Tantra’ project had one aim; to push the boundaries of disco! Released in 1979 in the vein of Cerrone and Giorgio Moroder, ‘Hills of Katmandu’ is a unique, progressive slice of classic Italo Disco. The pulsating ‘Moroder-on-steroids bassline’, menacing female vocal and warbling synths take you on a trippy disco journey. The track became a huge dancefloor anthem at legendary clubs such as The Loft and The Saint in New York and Baia Degli Angeli in Rimini.

Originally available on vinyl in 1982 on San Francisco’s “Hot Classics” DJ Service”, Patrick Cowley’s “Original Underground Mix” is a work of pure genius that unleashes his skills on the synths and somehow manages to surpass the original.

High Fashion Music have enrolled Ben Liebrand to restore all the original remix-tapes, managing to re-edit and adjust each and every nuance to perfection, taking away any and all flaws which appeared in the original and it’s acetates, so that it is now steady preserving the original Hi NRG sound. This is the first time this restored and upgraded version has been released.

On the flip-side, there is the original 16’20 minutes version of the Jurgen Koppers mix, an extended re-edit of the original Celso Valli version, which appeared first on Disconet in 1979, and in the following year on the US (Importe/12) release of the “Tantra – the Double Album” longplayer.

…Into a Real Thing is the first record David Porter produced by himself, and it sounds like an important checkpoint in the invention of progressive R&B as a genre, an album that bent the space-time continuum around R&B and willed it into something new altogether. It’s in conversation with Isaac Hayes’ own output of the era — Hot Buttered Soul especially — but where Hayes blew up the R&B form by throwing a bomb into it, helping create funk in the process, Porter worked more firmly in R&B’s space to build something new from within. …Into a Real Thing is a six-song powerhouse that manages to cram an 11-minute cover of a garage rock hit by the guy who’d later write Hulk Hogan’s entrance song alongside gut-bucket ballads with intricate string arrangements, and metaphorical tracks that compare grocery delivery to lovemaking. Its 33 minutes feel more like a fever dream than most other collections of 33 minutes.