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Boiled Records, undeterred by global chaos and cartoon idiot reality, is proud to announce the impending release of "Do You Have My Money?", the second proper full length album from Philadelphia's Flanafi. This release feels a bit different. First, it's entirely, deeply and fundamentally beautiful. It's hard to fathom how someone so young (Simon Martinez is only 6 years old, but extremely tall) can conjure such disorienting emotion with such a simple palette. Perhaps the guitar album of the impending decade? It's filtered through so many other prisms it can be difficult to discern the original photograph. To list the influences would be futile and utterly modern, but modernity is quite futile, so we will take our best shot. Think JPEGMAFIA butting heads with Gastr Del Sol in a fistfight with Nick Drake's ghost making sweet love to the corpse of D'Angelo while riding a robo-pegasus with Steve Vai's bees. What a tasty stew. Like trying wasabi on a dare and chasing it with demon hot sauce, loving every minute of it. Listen, then decide what it means to you. Certainly open to interpretation.

"Do You Have My Money" will be released on 12 inch vinyl on 12-9-20. First pressing includes a bonus cassingle containing two extra (incredible) tracks. Pre-orders will begin shipping around Thanksgiving. Get you some.

Credits
Written, recorded, and performed by Simon Martinez

Artwork by Bella Martinez

Jon Smith - bass solo on track 1
Lenny Mobley - Drums on track 2
Eva Martinez - flute on track 6
Corey Bernhard - keys on track 7 outro
Che Ramirez - keys on track 7 outro
Alex Kovar - vocals on track 8
Max Swan - clarinet on track 9

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Thank you Michelle McNicholl, Jaime Martinez, Eva Martinez, Bella Martinez, Alejandro Hernandez, Amanda Acero, Alex Kovar, Che Ramirez, Zane Shields, Alex Kulick, Corey Bernhard, Lenny Mobley, Steve McKie, Jon Smith, Rachel Greenburg, Scott Ziegler, Michael O’Bryan, Jordan Micah Merrill Mccree, Tom Spiker, Beau Gordon, Caroline Kirchner, Tara Ryan, Laura Duval, Josh Kelly, Vincent, Jonathan Shedletzky and Michael Johnson.
This music would not exist without you.

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Something different from Causa Sui.

While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this new double LP set, that other dimension of the band is being explored full-scale.
”Szabodelico” paints with a colourful palette, both compositionally and sonically - digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15 year life-span Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression - forging new paths into an existing map. ”Szabodelico” feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting.

Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection.
Sparsely dubbed and mixed with a natural, full bodied flavour by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener ”Echoes of Light”, to the closing slow-motion epic ”Merging Waters” you'll find yourself asking where did the time go? The answer of course is: Szabodelico. 

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"The duo’s reunion sounds just like you would hope: Two longtime friends grateful for the chance to reconnect and rekindle their love for music."
Bandcamp Daily

"The six tracks on III are superior bubblebath disco that's groovy enough to dance to, but probably won't motivate you to leave the house. During these pandemic times, that is a selling point."
Brooklyn Vegan

III is the renowned duo's first outing together in eleven years, since 2009’s II, and as ever, Lindstrøm and Prins Thomas have crafted their own unique sonic world.

This is expansive, luscious electronic music rich with texture and intricacy, patiently revealing every eccentricity while constantly pulling the listener in. Getting lost never sounded so good.

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« Hôtel Costes presents... » is a collection of exclusive music recorded at STUDIO HC, the hotel’s studio, and here we see the series deliver its second album from Midiminuit, the outfit made up of pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc (Masomenos).

Following on from the ‘Round The Clock’ LP back in September 2019, Midiminuit return with more of their atmospheric electronic twist on modern classical and contemporary jazz. Across the project they deliver hazy jazz jams like the bass noodle, wandering keys and metallic percussion fuelled ‘Kitchen Table’, the baroquely unfolding improvised feel of ‘Loop’ and the snaking dynamic groove of ‘Why Is The Bass So Low’.

The collective also veers into more abstract realms with contributions like ‘Welcome’, which features the ethereal stylings of vocalist Hani, the psychedelic opening piece ‘Do This Thing’ and the minimal modulating feel of ‘Barrio Acido’.

The album also presents some more new age aesthetics via the slowly blooming synthesis of ‘Deep In’ and the cinematic soundscapes of ‘Kindness’ which flutter amidst an intricately crafted rhythmic pulse.

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Could Divine is the debut album from anrimeal, the recording project of Ana Rita de Melo Alves.

A ‘computer folk’ record exploring the use of texture, limitation and repetition, Could Divine takes its cue from post-minimalism, particularly Eva Hesse and other women artists who pioneered the movement. Informed by Ana’s full control of the record-making process and the bedroom environment where it was created, the album is a deeply personal window into a protean creative mind - at times devastating, playful, mystical and earthbound, often in the space of a single track.

Originally from Porto, Ana moved to her current home of London in 2016, where she founded the ambitious DIY label Demo Records. While using this imprint to amplify other leftfield bedroom talents around the world. Ana developed the anrimeal project in semi-secret, keeping her finished debut album on the proverbial shelf.

The enforced isolation of 2020’s lockdown turned out to be the clincher for Could Divine. During her first solo gig as part of the Quarantunes livestream series, Ana quietly snuck the digital album onto Bandcamp on a pay-what-you-want basis. Inspired by the traction gained from this first outing, Ana’s own Demo Records are now teaming up with south-east London’s Crossness Records to give this beautiful record a full physical release on limited edition yellow vinyl.

Credits
Marching Parades
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

Encaustic Witches
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

I Am Not
Written by Ana Alves.
Vocals, electric guitar, violin and electronic elements performed by Ana Alves.
Electric guitar performed by Huw Roberts.
Drums performed by Miguel Crespo.
Engineered by Nico Fernandez.
Produced, mixed and mastered by Ana Alves.

Elegy for an Empty Coffin
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

Headrest
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

Could Divine
Written, performed, engineered, co-produced, mixed and mastered by Ana Alves.
Co-produced with Nico Fernandez.
Drums sampled from Miguel Crespo’s performance.

Vertical
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

Death
Written, performed, engineered, co-produced, co-mixed and mastered by Ana Alves.
Co-produced and co-mixed with Nico Fernandez.