MUSIC

This one’s been teased for awhile, decades even. The Hated box set was an idea before Numero was an idea. Today we’re pleased to announce the first of five planned Hated collections that we’ll be rolling out over the next several years. Up first is Best Piece Of Shit Vol. 4, which compiles the Annapolis quartet’s earliest explorations into revolution summer emo. Spread across two LPs is the band’s 1985 debut cassette, the No More We Cry EP, and 14 period bonus tracks from these hardcore hooligans. We’ve also made a limited 7”+CD+tape edition with an additional five bonus tracks. Andrew Gephardt and Ken Shipley provide lengthy essays on the band and scene, illustrated by dozens of photographs from the band’s archive. We’ve got 500 copies broken bone white wax on both, but not for long. The Hated on Numero… Never said it’d be like this, right?

Kelela, a new generation R&B singer who straddles R&B and dance music, has released her latest album "RAVEN" on Warp, her first album in five years since her acclaimed debut album "Take Me Apart". The album was co-executive produced by Kerera and LA producer Asmara, with Kerera composing and arranging all of the songs. Other producers on the album include Yo van Lenz and Florian T M Zeisig, who also work as the ambient unit OCA, and LSDXOXO, who produced the entire album, and Canadian Bambii ( Bambii) also participated in the additional production. Kerera's new chapter, "RAVEN," is an extremely beautiful and lustrous musical experience. Through the fifteen songs on this album, including the already acclaimed predecessors "Washed Away" and "Happy Ending," Kerera explores autonomy, belonging, and self-renewal.

Good music never goes out of style. This could be the sum of the whole that can be said about Party Down by Little Beaver, but that would be a huge understatement. His third long-player warrants (re)discovery for funk and soul enthusiasts around the world, regardless of age or gender! After a move to Florida from his hometown of Forrest City in Arkansas, the illustrious career of Willie George Hale’s (b. August 15, 1945) took off in the 1960’s. This is when his characteristic style of guitar playing was noticed and appreciated by songwriter and producer Willie Clarke, a resident of Cat Records, a subsidiary of TK Records. Hale was featured on many of the label’s hits, such as ‘Clean Up Woman’, written and produced by Clarke and Clarence ‘Blowfly’ Reid for R&B and soul legend Betty Wright. It soon became apparent that Hale was more than a session musician and deserved to be seen as a recording artist in his own right. A string of successful singles in the late 60’s and early 70’s culminated in the release of his 1972 debut LP Joey, using his childhood nickname Little Beaver – originating from his prominent teeth. Black Rhapsody saw the light of day in 1974. As opposed to the record preceding it, there was little or no involvement of his regular collaborator Willie Clarke. However, they reunited for Party Down, which also features contributions by Betty Wright and jazz fusion bass legend Jaco Pastorius! Its two part title track serves as an introduction to an aural night on the town or a get together in one’s own living room. ‘Money Vibrations’ details about the pro’s and cons of currency, whilst ‘Get Into the Party Life’ inspires optimism to the lonely and the heartbroken. The rest of the album also deals with happiness and love in the unique style that Little Beaver is renowned for. Though largely forgotten today, many of its tracks were covered and sampled by a variety of famous artists such as Erykah Badu, Blowfly and Jay-Z! Hale would return with two more records, When Was the Last Time (1976) and Beaver Fever (1980), the latter under the moniker of Willie ‘Beaver’ Hale. Following this, TK Records went bankrupt and Little Beaver faded into the shadows, only to re-emerge in 2008 with Love & Affection. ReGrooved is proud to present a glorious reissue for a record that continues to get your groove on, even after forty-odd years!

Magic Square, by French composer and pianist Melaine Dalibert, is a fantasy journey. Epigrammatic as it is melancholic, this piano suite is born from and designed for introspection.

Across the album’s eight tracks, the French pianist and composer takes listeners on a “fantasy journey”. Travel is at the heart of Magic Square, but not of the physical kind. Instead, his emotive and intriguing piano pieces inspire inward travel and daydreaming, reflecting the past two years of pandemic and introspection.

Having received his training in Rennes and the conservatories of Paris, Dalibert has a musical background that is naturally entrenched in the technical aesthetic of classical music. However, experimenting with algorithmic ways of writing and other mathematical concepts such as fractals, Dalibert’s music combines emotion and logic for captivating results. His music has been played on BBC Radio, Radio France and NTS Radio, among others.

The bastard love child of Elvis and Lux Interior, Israeli guitarist Charlie Megira brewed a heady amalgam of ’50s trash rock, surf-y tremolo, and reverb-drenched goth during his all-too-brief 44 trips around the sun. He recorded seven albums worth of material in 15 years, primarily issued on CD-R, most of which is now unreadable or in a landfill. Armed with only an Eko guitar, a black tuxedo, and his signature wrap-around shades, Charlie Megira was a mold-breaking artist who disintegrated while we were all staring at our phones. In 2006, Israeli garage-nik Charlie Megira took a sonic turn while partnered with Israeli multi-instrumentalist Michal Kahan. The duo wasted no time forging a new path, swapping Megira’s trademark reverb for echo, and guitar-noir for new wave. Their third album together, Charlie Megira And the Hefker Girl is an unabashed continuation of gothy ’80s archetypes employed by Joy Division, The Jesus and Mary Chain, and The Cure. With little impedance, the album fits into Megira’s ageless world of cross-pollinated genres and styles.

Music is wonderful because it can inspire people. You can't do that with flimsy music. Put your heart and soul into it, and you'll be able to make something that comes right out of the speakers. And if you feel exhilarated then you've accomplished something - Adrian Sherwood
A legendary singer who became loved by reggae fans all over the world with numerous masterpieces such as "Skylarking" and "Money Money" produced in the 70's and 80's on labels such as "Studio One" and "Wackies". , Horace Andy. Since the 90s, he has shocked the non-reggae scene by participating in Massive Attack's work, participating in all of their studio albums, and has been active as a main member who always supports their tours. It continues to captivate music fans. "Midnight Rocker" released from by Adrian Sherwood as a producer was accepted by the media and fans as a new Horace Andy masterpiece. It has been revealed that the edition "Midnight Scorchers" will be released on September 16th.

A revelatory discovery in the Tinariwen archives, Kel Tinariwen is an early cassette tape recorded in the early 90s that never received a wider release, and sheds new light on the band's already rich history. Not having yet developed the fuller band sound that they became internationally established with, Kel Tinariwen features their trademark hypnotic guitar lines and call-and-response vocals weaving in between raw drum machine rhythms and keyboard melodies that almost evoke an Arabic take on 80s synth-pop. There's distinct parallels with the sounds found on this tape and the work uncovered in recent years by cratedigger labels such as Awesome Tapes From Africa, Sahel Sounds and Sublime Frequencies.

In the summer of 1991, four members of Tinariwen travelled to Abidjan in Ivory Coast to record the band’s first official release, Kel Tinariwen. They were Abdallah Ag Alhousseyni, Hassan Ag Touhami aka ‘Abin Abin’, Kedou Ag Ossad and Liya Ag Ablil aka ‘Diarra’. The project was the brainchild of Keltoum Sennhauser, a painter, poet and songwriter of mixed parentage (her father was a Sonhrai, her mother a Touareg), who grew up partly in Bamako, partly in the Kidal region of north-eastern Mali, the homeland of all the members of Tinariwen. Like so many Touareg from that region, Keltoum and her family had been forced to emigrate by the droughts that tore the Touareg world apart in the mid 1970s and 1980s, as well as all the oppression and suffering that had followed independence in 1960. Keltoum became deeply involved in the Touareg struggle for freedom and self-determination and saw music in general and music of Tinariwen in particular as an essential part of that struggle.

Kel Tinariwen was never heard outside of the local community that traded cassettes back in 1992 - an activity that was important to the movement, as Keltoum explains: “I think the cassette played crucial role as a tool of communication, a tool that was very dear to us. It served to raise awareness and awaken the consciences of those who felt that everything was already lost, or that we didn’t have the wherewithal to win our struggle. It allowed the Touareg world to develop its own conscience and move forward. In our milieu, the only thing that can make us question ourselves is music. Because we listen to a lot of music, we love music, we love poetry. We don’t read. We’re not a people who read. So, the only reading we have, about ourselves and about the outside world, is music.” Thirty years later, the album is finally seeing an official release, on vinyl, CD, and cassette to pay homage to its original format. 

mono no aware (もののあわれ) is the first compilation to be released on PAN, collating unreleased ambient tracks from both new and existing PAN artists. Featuring Jeff Witscher, Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, HVAD, Kareem Lotfy, ADR, Mya Gomez, Sky H1, James K, Oli XL, Bill Kouligas, Flora Yin-Wong, Malibu, and AYYA, the compilation moves through more traditional notions of what is called ’ambient’, to incorporating wider variations that fall under the term. “Mono no aware”, ‘the pathos of things’, also translates as “an empathy toward things", or "a sensitivity to ephemera”. A term for the awareness of impermanence, or the transience of things. A meditation on mortality and life's transience, ephemerality heightens the appreciation of beauty and sensitivity to their passing. In investigating the passing of time, the boundaries between memory and hallucination become blurred; between fiction and reality. The movement of time transforms into an eternal present. The album is mastered and cut by Rashad Becker at D&M, featuring photography by Molly Matalon and design by Bill Kouligas. A limited version of 100 copies will be released as a special art edition in collaboration with Mount Analog for the LA Art Book Fair 2017, going on general release via PAN both physically/digitally on 17th March.

A deeply confounding trip into the sublime from master of contextual dream-weaving Nozomu Matsumoto on perhaps his most heart-piercingly beautiful work to date, including a 13 minute choral section that might just be the most stunning piece of pseudo-classical/liturgical alchemy we’ve heard all year. Huge recommendation for followers/lovers of Kara-Lis Coverdale, Ryan Trecartin or Mica Levi’s ‘Zola’ score Leading on from his ’Remain Calm’ album to accompany visual components by regular collaborator Nile Koetting, ‘Immunotherapy’ offers therapeutic solace through a personalised form of Japanese environmental music. A conceptual continuation of themes explored on 2018’s ‘Climatotherapy’ and 2020’s ‘Sustainable Hours’; Nozomu’s 3rd solo vinyl release reprises his uncanny ability to evoke a reflective headspace with a blend of classical ambient tropes, text-to-speech synthesis, and a contemporary cinematic vernacular that’s both nuanced and moving. In 2022, against the backdrop of global warfare, a pandemic, and ecological collapse, Nozomu’s work grasps the nettle with a sober lucidity to make time and space for his, and your, wellbeing. ‘Immunotherapy’ carefully evokes its own temporality and atmospheric conditions via a grandiose but intimate palette of strings, keys, blissed chorales, and electronic webbing which provide the bed for narration by Amazon’s vocaloid, Polly. The results create an unusual duality - a human/inhuman intimacy rooted in some uncertain semi-robotic near-future that references the original ‘80s era of classic Japanese ambient music, which itself emerged as a soothing response to the headlong rush of a technologically enhanced/enchanted society. Across six parts in 22 minutes, ‘Immunotherapy’ resolves from the initial inset of a panic attack in public, via passages reflecting on “diseases of affluence” thru to spine freezing synth pads and an extraordinary denouement of emotive Koto and shearing synthesis on ‘Vertigo’ before entering a final state of blissed stasis on that closing 13 minute ‘Filippo Pacini’ section - a haunting ode to the c.19th Italian anatomist that uncannily reminds us of Kara-Lis Coverdale’s collaboration with Yasuaki Shimizu - a sound that feels all-too-human despite it’s synthetic contours. A whirlwind of emotion, right on the cusp of bliss and melancholia.

Based in the Brazilian capital of São Paulo, the TORMENTA collective has long offered an alternative vision of the city's rich and colorful musical heritage. Operating as an ongoing series of DIY parties, creative agency and record label, TORMENTA has welcomed challenging sounds into São Paulo and released music from a cross section of Brazilian artists, including Fkoff1963, 177th & Digestivo. Their musical output is unrestrained: pop edits and unhinged hard dance rubs against errated heavy metal and lifted ambient drone. Anything's possible, as long as there's a social conscience and a middle finger to expectation. In 2019, TORMENTA put together a short film for the online edition of Nyege Nyege Festival. Since the crew is made up of obsessive horror movie fans, the direction was clear. "O Som do Labirinto" (The Labyrinth's Sound), is a terrifying and psychedelic audiovisual experience that's centered around a journalist attempting to examine a series of mysterious gatherings. Casting a side-eye to VICE's notorious series of fish out of water documentaries, the film drags its protagonist to hell through a series of grueling mental trials, all accompanied by TORMENTA's bloody toolbox of tortuous sounds. This full-length soundtrack finds the collective exposing their deep horror movie knowledge and finally flexing their film score muscle. The crew's ragged club DNA is still present, but mainlined into a Frankenstein's monster of John Carpenter synths, haunted piano loops and gruesome Lustmord-esque dark ambient drones. Alada's 'Running' straps a familiar hoover bass to bloodcurdling low-end rumbles and sparse, propulsive kicks; MTMA's 'O Pesadelo' sounds like broken clocks and music boxes at the "Evil Dead" cabin; 177th's 'Together' is a nightmarish beatless rave anthem that's like Lorenzo Senni on a bad trip; and Bruxax's 'Scream' is a full-on sludge metal freak-out that could sit alongside a Rob Zombie movie. The "O Som Do Labirinto OST" is Brazilian experimental club music in corpse paint holding a jack-o-lantern and weilding a bloody knife. Be afraid.

Both versions were recorded around 2014: “Fourth of July (April Base Version)” was recorded in Eau Claire, WI at Justin Vernon’s April Base studio, and “Fourth of July (DUMBO Version)” was recorded in Sufjan’s old studio in Brooklyn, NY. The original version of “Fourth of July” appeared on Sufjan’s 2015 album, Carrie & Lowell. As is (and was) his custom, Sufjan would often rework different versions of his songs while recording an album, and “Fourth of July” was no exception. (Other versions & remixes of the song were released on “The Greatest Gift” mixtape and on the “Exploding Whale” 7” single.) These two latest versions were recently found on old harddrives. The refrain of the song, “We’re all gonna die,” invokes a meditation on human mortality and fragility, even as it acts as an anchor of stoic hope. Its solemnity invites listeners to feel comfort, connection — even joy — wrought from great pain and loss. The song has recently had a resurgence with listeners — which may speak to a deep national grief and sense of loss. A limited run physical 7" in red will be released in December 2022, which marks the 10-year anniversary of Carrie’s death.

Modern Love debut from Delia Beatriz aka Debit; a study of Mayan wind instruments from the late post classical period, rebuilt as synth instruments and deployed with ultimate heft and wooooze. Delia Beatriz’s musical output straddles two distinct artistic poles; her debut solo album, 2017’s acclaimed “Animus”, oozed from sensual, beatless soundscapes to high-octane club music, while her 2019-released 'System' harnessed tribal guarachero elements while simultaneously scraping ideas from industrial techno. On 'The Long Count', the Mexican-American producer has inked her most rigorous statement to date, sublimating opaque ancestral knowledge into vaporous AI-stirred fog banks, activating an ancient rite that reaches into tomorrow. It’s audacious electro-acoustic archaeology that sounds disorientating, anachronistic and arcane. 'The Long Count' is rooted in research Beatriz made into Mayan wind instruments - whistles, ocarinas, flutes and trumpets - using the archive of the Mayan Studies Institute at the Universidad Nacional Autonoma de Mexico, the oldest and largest collection of its kind. Developing a set of digital instruments that could be played using different types of temperaments and scales, Delia processed these sounds using machine learning techniques to shuttle the distant past into our extant artistic universe, peering into Mexico’s pre-colonial history and weaving those ideas into complex tonalities gleaned from musique concrète and contemporary electro-acoustic music. Beatriz describes the Mayan instrumentation as ancestral technology, part of a world that’s not so much been forgotten, but purposefully erased. And although it’s impossible to know exactly how Mayan music may have sounded, it’s feasible to converse with history using modern technology to conduct a ceremony of remembrance. Featuring soundscapes that are haunted by indistinct, shared memories and centuries of pent-up emotion, the material here is as intentional, direct and meticulously crafted as the work of Deathprod or Thomas Köner; Debit's microtonal compositions are psychedelic to their core, shapeshifting through dimensions and painting complex mental images while retaining a stylistic focus and lucidity that’s all too rare. Although 'The Long Count' was nurtured by machines, human experience is coded into its DNA - an ancient-future heirloom that whispers through countless generations. File under: magick concrète.

Jonas Wiese’s TIBSLC (standing for The International Billionaire’s Secret Love Child) presents its second album on the sferic label. ‘Hypertranslucent’ derives from the same recording sessions as 2021’s sprawling ‘Decisive Tongue Shifts - Situation Based Compositions’ double LP, with late Nineties ambient music being used as a particular source of inspiration to create evocations of massive cityscapes at night. and , after the post-industrial / deconstructed club. A work that integrates the Ethereal sound design of Mastering is also great with Stephan Mathieu! Limited to 500 copies.

Also known as the leader of the jazz trio Inga, Sam Gendel is an L.A. saxophonist who has developed a free and unique sound that has been described as psychedelic, outsider, and meditative, and Shin Sasakubo is a Chichibu-based guitarist. A new album by the duo of Sam Gendel, an up-and-coming saxophonist from LA, and Shin Sasakubo, an uncanny guitarist based in Chichibu, who is also active as a photographer and contemporary artist. The two showed great chemistry in Shin Sasakubo's previous work "CHICHIBU", which has become a hot topic in many places. On this album, Sam Gendel plays on the A-side and Shin Sasakubo plays solo on the B-side, and they feature each other on the final track of each side. The music was recorded in LA and Chichibu during the Corona disaster, and the result is a quiet work with an intimate atmosphere. The release is from Cafe Carne, a cafe in Chichibu where Shin Sasakubo also frequents. The impressive artwork is by Eri Masuko, a popular illustrator who also worked on the Cafe Carne logo.

(LP / 180g / Tip-on jacket / limited to 200 copies)

■ TRACK LIST

SIDE A (SAM GENDEL)
01 IN THE DUNES
02 REEDS
03 PENSIVE FROG
04 PIPE
05 COPYEXERCISE

SIDE B (SHIN SASAKUBO)
01 CARNET
02 OPUS
03 FONTAINEBLEAU
04 HUMAN LOOPER
05 NADJA

Following the release of his album trilogy (Kwaidan, Komachi and Kofū), Meitei has established himself as a defining voice in contemporary Japanese music. By sharing intricate sonic stories and impressions of his nation's rich culture, he has built an aural world around his notion of the ‘lost Japanese mood’. His latest project, under the new moniker Tenka, aims to work without the boundaries of theme, storytelling or audience expectations. Spending many hours in the mountain forests that he lives close to, his latest project Hydration explores the rich sensory pleasures of his natural surroundings, focusing on colour, sound, smell, humidity, touch, atmosphere and taste. “For me, making music is not a concept of enjoyment or pleasure, but something that becomes a part of my life, a record of my daily activities, like seeing something with my eyes or breathing in something with my lungs.” A lot of the music on Hydration was created back in 2019, but Tenka felt that there was something missing in the final delivery of the work. Eventually this led to a conversation with the Berlin based, Japanese born scent designer, Ryoko, in which the pair discussed collaborating on a scent to pair with the audio. Designed as a way to give the listener a deeper connection to their own senses and the experience of the music’s author, the combination of ollifactory and aural components connect a shared love of Japanese ecosystems and traditions. ‘I began to feel that in addition to music, there needed to be another essential element - and that it must be a "fragrance”.’ Hydration is available from September 14 on LP, CD and digital formats. The fragrance can be purchased directly from the Métron Records Bandcamp page and comes in a 10ml bottle of diffuser oil, great for home diffusers, as well as an empty 10ml spray bottle in order to create a body or room mist by mixing the oil with water (instructions included for best results). All customers who purchase the fragrance will receive a copy of the album on CD with a companion booklet with words from Tenka and Ryoko about the project.

‘’之 / OF is a word that can be used as a preposition to express the relationship between a part and a whole. It is an unfinished tone, a broken sentence, a start and a whole. It is sustainable, full of potentials and longings.’’ London based performance and sound artist Li Yilei shared an experience familiar to many migrants during the past year of COVID-19 chaos. With their UK visa set to expire, and family back in China, Li made a last-minute dash to return to their nation of birth. Able to board one of the last few flights to China during the initial turmoil of the coronavirus outbreak, Li made it back to Shanghai for a two-week stint in a quarantine hotel. Though Li had already begun creating OF, the reality of the pandemic began to seep into the recordings. Each of the 12 tracks is a study in horology, using metaphorical sound transcriptions and atmospheric extractions to focus on the temporal relationship between experience and surroundings. Li’s awareness of their own understanding of time became increasingly heightened during quarantine and the emotional involvement found within these new realities informed many of the sounds created. ‘’I tried to portray each song as a short, scattered poem - a moment that I captured to represent each hour.’’ Composed using analogue synthesisers, vocal samples, field recordings and string instruments such as the violin and guqin, Li indulges in moments of grief, panic, healing, cessation, melancholy, vastness, hope, joy and emptiness as they explore the acoustic relations between humans and the many forces of nature. The art of the Song Dynasty, with its ancient traditions of poetry and timekeeping, were also great sources of inspiration for the album - whilst paintings from the period, specifically those of flowers and birds, are common themes throughout the tracks. Indeed, it is within the vastness of time that the album artwork comes to relevance. The eighth emperor of the Song Dynasty, Huizong, was a revered artist and a scene from his work ‘Finches and Bamboo’ adorns the album cover. 之 / OF is available from August 16 2021 in a limited pressing of 500 140gm vinyl in a natural translucent colourway. In support of the release Li has made a limited number of handmade xun (a traditional Chinese vessel flute used as far back as 7000 years ago) - these can be purchased from Metron Records bandcamp page. credits

A new avatar on 3XL, someone you may or may not have encountered before on the experiences / west mineral axis, tending to the inner life with a lush fantasy of sound-bathing beatdown and mossy atmospherics somewhere between Ulla x Malibu x Headz-era Mo Wax. ‘Earth FF’ yields a delicate bouquet of synaesthetic ambience designed to sooth yr frayed nerves. The album transposes a flickering vibe to inner sanctums, painting an organically detailed vista that hinges around late ‘90s/early ‘00s illbient/trip hop atmospherics referencing classic Mo Wax / Headz, and melting out into a sanguine bbblisss enhanced by a patina of field recordings. Distinguished by a tender grasp of tongue-tip thizz and lysergic nuance, the 10 tracks fan out in pruned designs between pads and whispered vox reminding us of Kenji Kawai or Nozomu Matsumoto on ‘Evil Day’, via the silvery contrails of ‘Beacon’, the eyrie illbient of ‘Root Loop’, to purest writhing-in-the-floatation tank kiss-off on ’Sunn’ replete with ASMR gynoid vocals on a Perila x Ulla x Malibu tip. With no sharp edges to snag your tumescent skin, it’s all low-lit neon, palm trees gently swaying in the breeze, eyes-rolling in the early-hours, blissed sorta gear.

Ten Numero-minted, dance floor ready dive bombers from disco’s all-too-brief heyday, previously swept under rug by the whitewashed glitz and glam of the era. Chugging grooves, bubbling synths, soaring strings, and sonorous voices are guaranteed to light up your night, on living room rugs and dance floors alike.

ケニアのグラインドコア・バンドDumaを世界へと紹介し、今年も大きな話題を呼んだ東アフリカ・ウガンダ拠点の先鋭的音楽フェスティバル／レーベル〈Nyege Nyege Tapes〉からは、ポルトガル北部の港湾都市ポルトの実験的なエレクトロニック・ミュージック界隈を代表する要注目なブラス・ユニット、HHY & The Macumbasを率いるJonathan Uliel Saldanhaが結成した”HHY & THE KAMPALA UNIT”による最新作が登場！アフロ・アフリカンな感性のもとで、原始的な躍動感を湛えたパーカッションやダブ、トランス、先鋭的なダンス／エレクトロニック・ミュージックまで溶け合わせたミュータントなアルバム！限定400枚。

The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the melting debut of the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned...

Svitlana Nianio and Oleksandr Yurchenko are musicians with a long history in the still-mysterious
Kiev Underground. Nianio’s first group Cukor Bela Smert [Sugar, The White Death] were active
from the late 80’s through to the early 90’s, and following an intense period of touring, collaboration,
experimentation and a string of mixtapes and self-published recordings, Nianio’s first official solo
album ‘Kytytsi’ was released in 1999 by Poland’s Koka Records. Oleksandr Yurchenko, a longtime
collaborator and a pivotal figure in the Kiev music scene, was instrumental in creating the Novaya
Scena, a loose conglomerate of artists who encouraged each other to excavate both the sounds of
the West and Ukrainian tradition. ‘Znayesh Yak? Rozkazhy’ (‘Know How? Tell Me’) is the duo’s most
fully realised collaboration, an enchanting, complete world in which Yurchenko’s instrumentation
and playfulness with form frames Nianio’s otherworldly soprano, recalling Liz Fraser steeped
in contrapuntal melody and hymnal improvisation. Originally made available on a self-released
cassette in 1996 (re-issued in 2017 by Ukraine’s Delta Shock label) where the album was twinned
with ‘Lisova Kolekciya’ (re-issued on LP in 2017 by Skire) this is the debut release of ‘Znayesh Yak?
Rozkazhy’ outside of Ukraine.
Recorded in an abandoned park in Kiev during a fertile period for artists and musicians following
the collapse of the Soviet Union, ‘Znayesh Yak? Rozkazhy’ sees Nianio and Yurchenko combine Casio
keyboard, hammered dulcimer, percussion, and Nianio’s unmistakeable soprano vocalisations to create
music sympathetic to the specific locations in which they chose to record. Yurchenko’s contribution
is perhaps more present on this recording than anything else we have heard from the duo. His
percussive dulcimer playing provides the basis on which Nianio can weave delicate keyboard lines
while playfully contorting her voice, shifting from a low register reminiscent of Nico to what could
be perceived as the call of a bird or an animal in distress. Whatever the intent, the effect is haunting
and beautiful in equal measure.
There’s a prevailing earthiness on the recordings, found in the warm hiss of the lo-fi means of
recording or the grinding, unspecified sounds that occasionally accompany the melody, like drones
created on the fly by hands trying to keep warm in the ice. A prevailing mood of fragility and beauty
seeps from these melodies, delicate moments of clarity spun by the two musicians. ‘Znayesh Yak?
Rozkazhy’ is a dream spun in twilight, a crystalline, private world where the listener feels both alien
and welcome. 

After "Bristol Pirates" in '19, it's pirate radio all over again! From "Death Is Not The End", a great place to dig up antique music from all over the world, from pre-war blues to immigrant music and South American folklore, comes a super-impressive compilation of pirate radio commercials from the heyday of London stations between 1984 and 1993. Attack! This is a collection of about 10 years of pirate radio advertisements from the station, which is well known as a regular program on NTS Radio, and includes material provided by Simon Reynolds and the Pirate Radio Archive. "I find a recording of a pirate radio DJ set somewhere and listen to it whenever there's a commercial break. Most of the time, however, the people who recorded them stopped the tapes when the ads came on. It is truly a feat of hard digging, and the fact that most of the clubs, pubs, businesses, DJs, and promoters mentioned here no longer exist is a stiff antique... It is a historical documentary of the past, far from the present, and "the nostalgia associated with them has a certain It is a historical documentary about a past far removed from the present, and "the nostalgia surrounding them has a certain socio-historical significance" (Luke Owen, Death Is Not The End). This is a very valuable film that contains 40 air check scenes.

Reissue, originally released in 1962. Bossa Nova Soul Samba came as Ike Quebec's best contribution to the fruitful marriage between jazz and Brazilian music. Recorded in 1962 and released on Blue Note in the same year, this was Quebec's final recording before his death in January 1963. A beautiful studio session dominated by Quebec's tenor sax warm tone and the light and gentle groove provided by Kenny Burrell (guitar), Wendell Marshall (bass), Willie Bobo (drums) and Garvin Masseaux (chekere). Clear vinyl.

Epic Garden Music is the debut studio album by English post-punk band Sad Lovers & Giants. It was released in 1982 on the band's own record label, Midnight Music.