- Ltd. LP: (Limited edition first pressing - Silver Mirror Board - Embossed on front / Debossed on back / Includes information sheet insert)

Tracklist LP:
A1. I
A2. II

B1. III
B2. IV
B3. V

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Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno. For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his
debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveal Cortini to be committed to personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In his own words, "The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space....it's such a living instrument." The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio altogether a more dynamic affair than Sonno. With Risveglio Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm's releases for the same label in the worlds of Drone and Noise by finding the emotional and, ultimately, human voice within synthesis.
1. Stambecco
2. La sveglia
3. Rispetto
4. Dormiveglia
5. Lotta
6. La meta
7. La via
8. La guardia
9. Posso
10. Ricadere
11. La sveglia (drum version)


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Declassified militarist ambience from Vatican Shadow, finding Dominik Fernow (Prurient) donning his desert fatigues for a mesmerising follow-up to his technoid outings with Ostgut Tonand Ancient Methods. It’s also the last in a series of first-time vinyl editions of previously tapeonly releases.
‘Opium Crop’ makes a return to what we’d term a vintage Vatican Shadow sound, steeped in nods to Muslimgauze and modern geopolitics and fringed with an aura of clammy, atmospheric terror, just how we like it.
The title piece pushes off across the front with a sort of stately, waltzing rhythm and druggy synth pads recalling John Foxx and DJ Screw as much as Bryn Jones. ‘Hellfire Hidden Tribes’ sinks into the B-side with lagging Dabke rhythm embedded in oily black backdrops, occasionally lit up with
vaporous synth stabs mirroring the arc and flash of distant artillery, and leading to an exquisite ambient devotional, ‘Loyal To The Deceased’.
Unmissable.

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Before another Vatican Shadow release appears on vinyl for the first time early next year, Hospital Productions reissue a killer 2011 tape release on a 2019 vinyl pressing after appearing on a long
sold-out LP edition for Type in 2012 Remastered and slightly edited from the original 4 x tape boxset, ‘Kneel Before Religious Icons’
reasserts its place in the pantheon of Vatican Shadow’s prized early releases which, with the benefit of hindsight, arguably amount to one of this past decade’s definitive projects.
Originally recorded in 2010, the album’s eight tracks revolve some of the first material recorded by Dominick Fernow in this mode, aside from his then better known work as Prurient. At the time, Fernow was still working under cover of anonymity and this release in particular only aided in heightening the intrigue and fascination surrounding this project and the way it eerily resonated with the both the redrawing of geopolitical borders and those between industrial, ambient, noise and techno styles.
The album contains one of the most valued VS outings in Worshippers At The Same Mosque’, with its pall of synth pads, needly harpsichord and stepping drums patently influenced by Muslimgauze,
while the parade ground trample of ‘Church Of All Images’ - which would form the basis for a now classic Regis remix issued by Blackest Ever Black - adds up to one of the project’s most militant
numbers along with the scudding, bombed-out terrain of ‘Gods Representative on Earth’ and ’Shooter In The Same Uniform as The Soldiers’.
As an historic document of the time and a gripping album in its own right, ‘Kneel Before Religious Icons’ holds tight among Vatican Shadow’s most crucial and convincing communiques.

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o Long awaited debut album from Mike Connelly and his wife, Tara, recording together as Clay Rendering.
o Additional production by Dominick Fernow, additional vocals by Becka Diamond
o Mastered by Paul Corley
o A delicate yet uncompromising set of songs drifting somewhere between Gothic, Ambient, Black Metal and Dream Pop.

Perhaps the most compelling of all the many projects started by one-time members of Wolf Eyes, Clay Rendering came to life in 2013 and have since released a trio of singles for Hospital Productions that have gained them the admiration of followers spanning both electronic and metal communities.

Their material occupies unique terrain, recalling The Cure's widescreen Disintegration-era instrumentals meets Cocteau Twins/Xmal Deutschland, cut through with a Black Metal palette and an appreciation of electronic music that imbues their production (notably assisted by Dominick Fernow) with an end-of-world quality that's impossible to pin down. Evoking Nine Inch Nails one moment, you find yourself in a smoke- filled, strobe-lit Road House the next; bleary-eyed, head spinning, coming down.

Guitar, Accordion, Piano and electronics underpin these songs, opening with the whirling death march of 'Maps on The Floor' and the funereal trudge of "Swallow The Century" before the grinding fuzz of "Sight From Up There" changes pace with the addition of a forlorn piano melody and Becka Diamond's distant vocal zooming in on half-remembered songs, rendered here with hazy definition.

"Fall Of The Bed" and "Memory Loses Momentum" find Clay Rendering at their most visceral and catchy; a reminder that they are first and foremost a band that write incredible songs, often submerged in fuzz and atmosphere, but here left exposed, bare, on display.

And yet the title track "Snowthorn", "River Without" and the incredible album closer "Night To Perish" edge the album from the bleak and into the sublime, turning away from the snowy landscapes their music so often evokes, instead pulling you deep into night...

Tracks: 1.Maps On The Floor 2.Swallow The Century 3. Sight From Up Here 4. Snowthorn 5. River Without 6. Fall Off The Bed 7.Patient Days 8. Memory Loses Momentum 9. Night To Perish


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Shifted’s debut for Hospital Productions following an album for sublabel Bed Of Nails in 2013. Integrating his more searching work as Alexander Lewis and his increasingly introspective work as Shifted while eloquently addressing his past, ‘Appropriation Stories’ is a comprehensive statement of intent and
Brewer’s finest, most mature work to-date.

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Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno. For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his
debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveal Cortini to be committed to personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In his own words, "The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space....it's such a living instrument." The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio altogether a more dynamic affair than Sonno. With Risveglio Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm's releases for the same label in the worlds of Drone and Noise by finding the emotional and, ultimately, human voice within synthesis.
1. Stambecco
2. La sveglia
3. Rispetto
4. Dormiveglia
5. Lotta
6. La meta
7. La via
8. La guardia
9. Posso
10. Ricadere
11. La sveglia (drum version)


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o Long awaited debut album from Mike Connelly and his wife, Tara, recording together as Clay Rendering.
o Additional production by Dominick Fernow, additional vocals by Becka Diamond
o Mastered by Paul Corley
o A delicate yet uncompromising set of songs drifting somewhere between Gothic, Ambient, Black Metal and Dream Pop.

Perhaps the most compelling of all the many projects started by one-time members of Wolf Eyes, Clay Rendering came to life in 2013 and have since released a trio of singles for Hospital Productions that have gained them the admiration of followers spanning both electronic and metal communities.

Their material occupies unique terrain, recalling The Cure's widescreen Disintegration-era instrumentals meets Cocteau Twins/Xmal Deutschland, cut through with a Black Metal palette and an appreciation of electronic music that imbues their production (notably assisted by Dominick Fernow) with an end-of-world quality that's impossible to pin down. Evoking Nine Inch Nails one moment, you find yourself in a smoke- filled, strobe-lit Road House the next; bleary-eyed, head spinning, coming down.

Guitar, Accordion, Piano and electronics underpin these songs, opening with the whirling death march of 'Maps on The Floor' and the funereal trudge of "Swallow The Century" before the grinding fuzz of "Sight From Up There" changes pace with the addition of a forlorn piano melody and Becka Diamond's distant vocal zooming in on half-remembered songs, rendered here with hazy definition.

"Fall Of The Bed" and "Memory Loses Momentum" find Clay Rendering at their most visceral and catchy; a reminder that they are first and foremost a band that write incredible songs, often submerged in fuzz and atmosphere, but here left exposed, bare, on display.

And yet the title track "Snowthorn", "River Without" and the incredible album closer "Night To Perish" edge the album from the bleak and into the sublime, turning away from the snowy landscapes their music so often evokes, instead pulling you deep into night...

Tracks: 1.Maps On The Floor 2.Swallow The Century 3. Sight From Up Here 4. Snowthorn 5. River Without 6. Fall Off The Bed 7.Patient Days 8. Memory Loses Momentum 9. Night To Perish


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CD EAN: 5060165481521

Tracklist: 1. Things Known 2. Things Unknown 3. The Nemesis Flower 4. A Year Has Passed 5. A Year Has Gone By 6. Red Opium 7. Bejeweled Body

Function and Vatican Shadow have combined forces on 'Games Have Rules' for Hospital Productions, simultaneously stripping back each producer's more prevalent production elements - the dancefloor-focused techno structures of Function; the experimental cassette-roots of Vatican Shadow - to create an album of dynamic electronic ambient music, equal parts rhythmic and atmospheric.


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2LP LTD GATEFOLD - NON RETURNABLE EAN: 5060165481514

Tracklist: 1. Things Known 2. Things Unknown 3. The Nemesis Flower 4. A Year Has Passed 5. A Year Has Gone By 6. Red Opium 7. Bejeweled Body

Function and Vatican Shadow have combined forces on 'Games Have Rules' for Hospital Productions, simultaneously stripping back each producer's more prevalent production elements - the dancefloor-focused techno structures of Function; the experimental cassette-roots of Vatican Shadow - to create an album of dynamic electronic ambient music, equal parts rhythmic and atmospheric.


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Comprised of eight tracks, Periscope Blues is the culmination of a mission gone wrong. Music for the stranded, the lost, those backed into a corner with nowhere to go, or maybe a reflection of sad individuals panicking on a tropical vacation gone awry. Somber yet very tense drifting off radar machine electronics that feel like a blistering sun beating down on decaying beach remains as time crawls on. That or the equivalent to working the grill
summers at Jones Beach and stealing from the register just to get a little more...


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Ron Morelli returns to stare down the 'floor with four pieces written during the stress-busting sessions for 'Spit'. The muggy, droning welt of 'Public Consumption' kicks off with the sound of New York techno shot from the hip, while 'Another Hit' vents a vintage era-Regis style built on skull-chipping snares and effluent acid modulation. The album's writhing batacuda banger, 'Crack Microbes' reappears here as an extra-ferric extended Version, sustaining the hypnotic intensity for nine minutes of panic attack acid and febrile cowbells, while ''Rushing Again' escorts us to a close with triplet techno shook down by railgun
snares and a grotty synthline.


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You might not have a fixed image of who or what Sault are, given their skill in maintaining a degree of anonymity, but as they notch up their sixth album it's hard to ignore the imposing presence they cut on the experimental fringe of modern UK soul. They started out in 2019 with raw funk and Afrobeat inspired excursions, reflecting on varying perspectives of the Black experience. On Air, the group shake off their previous groove orientation to offer something more orchestrally-inclined, and to their credit they pull it off in remarkable fashion. Lyrically they're focusing on self care and individuality within the Black community, injecting a sense of uplift into their message where they previously reflected on inherited pain and tribulations. Their rapid output doesn't come at the expense of the quality and depth of their expression, making this another essential step forward for one of the most intriguing crews out there right now.

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Dean Josiah Cover AKA Info's Sault collective has been one of the success stories of the last few years - a hard-to-pigeonhole outfit that manages to knock out inspired albums at a rate of knots. Their latest full-length, '11', is another brilliant and must-check excursion. Largely lo-fi, languid and laidback, it delivers a particularly loose and lo-fi take on soul - blessed with their usual nods to Afrobeat and soundsystem culture - whose instrumentation is deliberately sparse and laidback (think bass guitar, drums and guitar). The results are rarely less than impeccable, with the collective's vocals (both female and male singers feature) rising above vintage-sounding grooves and arrangements that variously doff a cap to Sly Stone, Cymande and - on the drowsy, warming and synth-sporting 'Higher' - the more tactile end of British 80s soul.

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The mysterious Sault troupe is back with a call to action and revolutionary soul soundtrack that really bangs the box. "Ain't nothing gunna keep us silent" the lead singer yelps on 'Stop Der', which is an immediate banger after the soothing ambience and closely mic-ed whispers of the opener, which muse on what it means to be black. The rest of the record is a hard hitting mix of crisp drums and empowering vocals, with elements of classic soul as well as contemporary jazz colouring the grooves. This is powerful music with an even more powerful message.

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The Sault re-issuses keep on coming and among them comes 'Untitled (God)', intended as the dourest part of this quintuplet offering to God. This 11-track arm draws on gospel and film music more than anything else. In our view, this is the most suspenseful LP of the lot, with synthetic string sections standing in for parts that, were it not the 21st Century, we'd expect to be performed by full orchestras. No affect is lost, though: spiritual spoken-word prayers like 'Guide My Steps' recall the post-ironic vision of Dean Blunt, while everything from acapella meanderings to funk detours to improvisatory 6/4 choruses continue to pepper this long-form wonder of an album.

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Very little is known about the collective of musicians behind the SAULT project, but their music in many ways speaks for itself. Earlier in the year they delivered Untitled (Black Is), a heartfelt, angry and righteous set of soul, funk, drill and spoken word tracks that provided a brilliant commentary on what it means to be black in 2020. It's a contender for album of the year, for sure, and the good news is that this speedy follow-up is every bit as essential. It's undoubtedly more celebratory than its predecessor, but every bit as musically detailed, combining cutting-edge electronics and all manner of infectious rhythms with enlightening vocals and all manner of live jazz, soul, punk-funk and jazz-funk instrumentation (as well as some seriously evocative orchestration).

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Cybernetic disco maestro Patrick Cowley returns to Dark Entries with From Behind, a collection of grooving and ecstatic covers of 60s garage and soul cuts. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for films on compilation albums School Daze, Muscle Up, and Afternooners. From Behind reveals yet another facet of Cowley’s myriad influences; garage and soul. As a tripped-out teenage music freak who arrived in 60’s San Francisco, it should come as no surprise that these psychedelic sounds, both heady and visceral, infuse Cowley’s oeuvre. Recorded during Cowley’s most productive period, ‘80-’82, these tracks show the master flexing his virtuosity while paying loving tribute to the songs that shaped him. A rough draft of Loverde’s “Iko Iko” contorts the jaunty Dixie Cups classic into a slithering, monstrous bathhouse groover, the song’s signature claps draped in cavernous reverb. An unexpected hi-NRG cover of The Doors’ “20th Century Fox” has Paul Parker on vocals, ironically twisting the original’s overt heterosexuality. Via Cowley’s vocoder, The Who’s “Shakin’ All Over” is transformed into a haunting meditation on the loss of bodily autonomy that AIDS inflicts, while the Moody Blues’ “Ride My See Saw” appears in instrumental, amped up and synthesized for dancefloor impact. We’re also graced with instrumental demo versions of The Seeds’ “Pushin’ Too Hard” and The Electric Prunes’ “Too Much To Dream (Last Night),” which later appeared on Paul Parker releases. Things close out with a swinging version of the Four Tops’ Motown classic “Baby I Need Your Loving”, Cowley later reimagined for R&B artist Carl Carlton. The record comes housed in a sleeve designed by Gwenaël Rattke and includes an insert with photos and liner notes written by Louis Niebur. Arriving on October 19th in celebration of what would have been Cowley’s 74th birthday, From Behind gives us yet another glimpse into Cowley’s world: iconic, erotic, and more than a little cheeky.

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Today & Tomorrow is yet another superb album from the Sault collective headed up by Dean Josiah Cover AKA Info. Not much else is known about them but there sure is a hell of a lot of music to get stuck into. This album was dropped as one of five last year - alongside 11, AIIR, Earth and Untitled (God)) - all for free and all on the same day. That is a mad thing to do and you might think they can't all be good albums, but they are. This is another lo-fi soul masterpiece from one of the best bands of our time.

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- Ltd. LP: (Limited edition first pressing - Silver Mirror Board - Embossed on front / Debossed on back / Includes information sheet insert)

Tracklist LP:
A1. I
A2. II

B1. III
B2. IV
B3. V

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Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv’s number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting.

Tracklist
1.1Tension
1.2Major
1.3Hatula
1.4Yashan
1.5Delilah
1.6Dung Gate

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Since emerging in 2019, Inflo's socially conscious, politically charged Sault collective has delivered a string of inspired, impossible-to-pigeonhole albums that thoughtfully reflect on what it is to be black and British in the 21st century. Nine, the crew's latest set (and first of 2021) is every bit as incendiary, versatile and impactful as its predecessors, with the 10 collected tracks touching on everything from drowsy R&B, spoken word, classic soul and post-punk rock, to UK bass mutations, gospel, jazz-funk, Charles Stepney style excursions and hazy downtempo beats. Mixing live instrumentation and electronics with a wealth of spoken, sung and rapped vocals, Nine is a genuinely stunning, thought-provoking album full of razor-sharp lyrics and brilliantly executed musical movements.

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