Yosh
The Warning EP

In celebration of Bold Monday’s 10th anniversary we invited two of our favourite artists, Le Cliche (Gerard Ryan residing in Barcelona) and Colophon (Bas van Vuurde hailing from Haarlem) to compose six exclusive tracks. We are releasing those tracks as a special limited edition EP on vinyl.Design of the outer and inner sleeve is by London based MuirMcNeil. We are longtime admirers of their work and were thrilled when Paul and Hamish agreed to design the artwork for this project. Final mastering was handled by Marco Spaventi in Amsterdam. The resulting digital audio files have been pressed on 140gr vinyl by Record Industry in Haarlem.The tracks on this EP can be categorised as contemporary electronic music with a clear nod to its roots, while both artists opted for a different emphasis as well. Le Cliche composed the tracks Francophilia, Ergophobia and Chorophilia inspired by experimental postpunk and early synth pop. Colophon on the other side created Monospace and Methods of Synchronism referencing the more dance-oriented styles from 1980’s New York and Detroit, with the track 574 Mondays serving as an ambient interlude.

Comet Records presents from Afrobeat pioneer Tony Allen, N.E.P.A Reissue LP Vinyl remastered and coming in an heavy Deluxe Tip-On Jacket.In 1979, Tony Allen decided to leave Fela Kuti & Africa 70 and moved to London in 1982. Originally Released in 1984 on Earthworks Records, this reissue holds an extra track previously unreleased on vinyl called “Olokun”. N.E.P.A (Never Expect Power Always) is a searing critique of the Nigerian Electric Power Authority, an organisation that governed the use of electricity in Nigeria.It starts out with the title track, with a definite Afro-beat punch. Electro-claps stand as part of the percussion line, adding to a more modern look at what Afro-beat was becoming.This is followed by an even further modernized piece of Afro-beat, as the title track is given a dub mix. “When One Road Close” has a similar pace, and is similarly followed by a dub remix, complete with the necessary space-effects reverb.And to make this reissue extra special the track “Olokun” was never released on vinyl before.Blending the nascent rise of electronica into Afrobeat production, it’s tighter than any Fela album and became a definitive project in shaping Allen’s future sound. Whether it’s the electro beats or the punchier, multilayered arrangement, it instantly stands out in Allen’s vast and expansive discography.

After a banner year that witnessed Lafawndah release her first album Ancestor Boy, the debut of her soundsystem Fara Fara, and further incursions into film, contemporary art and fashion, the ceaseless artist returns with another plot twist: The Fifth Season.Inspired by her encounter with author NK Jemisin’s Broken Earth trilogy, Lafawndah both pays homage to and extends further the elemental, emotionally charged myths of Jemisin’s books. These are stories where a broken heart can tear apart a continent. In contrast to the precision- tuned industrial productions of Ancestor Boy, The Fifth Season breathes a different kind of volatility. Inviting a new degree of spontaneity and freedom into her process, Lafawndah’s collaborators - Theon Cross (tuba), Nathaniel Cross (trombone), Valentina Magaletti (percussion), and Nick Weiss (keyboards) - encircle her confrontational character studies with iridescent, cinematic chamber-bass moves.These are torch songs for when it rains ash, creation ballads for when the earth turns inside out. Ghosts of Art Ensemble of Chicago and Rahsaan Roland Kirk color the air, yet Lafawndah’s mastery of pop songcraft, vocal production and razor-honed clarity of purpose cut through. In addition to the Lafawndah originals, The Fifth Season features interpretations of hybrid-folk godfather Beverly Glenn Copeland’s “Don’t Despair” and acid-impressionist prodigy Lili Boulanger’s “Old Buddhist Prayer.” Album highlight “You, at the End” deploys a poem by poet-performer Kate Tempest to aching, rift-tearing ends, and french dream-trap wraith Lala &ce features on “Le Malentendu”.The Fifth Season anchors Lafawndah as a descendent of forebearers Brigitte Fontaine and Scott Walker - a born theatric whose acid humor warps the sub-continental undertow of her emotive storytelling. Lafawndah’s elementalism on The Fifth Season finds her imagination more agile than ever, and recent live shows have evinced a drive to push these compositions further out, deeper, and more aflame.