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Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

Ultramarine is the London & Essex-based electronic duo Ian Cooper and Paul Hammond.

Following the reissue earlier this year of Ultramarine's 1998 album 'A User's Guide' by Swiss label WRWTFWW, Blackford Hill present 'Routine', a collection of thirteen previously unheard tracks recorded between 1996-97.

These tracks are drawn from the daily working practice adopted by the duo at their studio of the time on Coronet Street, behind London's Hoxton Square.

Often the result of a single day's work, these pieces find Ultramarine developing their palette, experimenting with sounds, treatments and techniques. Recorded as live mixes straight to tape, the results have the immediacy of new ideas freshly captured.

It’s very difficult to describe someone as prolific as Misha Panfilov. So, I feel the best way to define him is to think of a “Trivial Pursuit Playing Piece,” where each pie piece represents one of the bands he heads up, and each band has its own distinct style and genre. Yet, when looked at all together, create the whole musical persona of Misha. This is the lens I would like to view his latest endeavor, Days As Echoes.

The vibe on this sophomore release channels Krautrock philosophy and Library music, peppered with elements of jazz, Ethiopian, cinema, ambient and bits of everything between. This atmosphere is created from all the instruments Misha uses and the resulting compositions are heard as repetitive patterns that are forged from the multiple layering of melodies. Thus, creating six unique songs with emotional granularity, yet collectively encompass a genuinely positive “feel good” vibe…with a hint of nostalgia.

Moods of the day, moods like echoes say, A future of hope is yours, by following the Sun’s ray.

The opening track, “Days As Echoes,” is a dedication to a much simpler time when the sky was bluer and the snow was whiter…just like how you remember it when you were a child. A time when people honestly cared more about everything as a given, and not as a selfish accolade. A time when optimism seemed within reach. In other words, nostalgia marred by awareness.

…Leading to a path where the skies are not gray. Where dreams of castles in the air are the mainstay.

“In A Dream” has a style that pays homage to both spiritual jazz and ambient music. A simple theme is introduced and leads to the climax of this stormy dream, putting it all in perspective. That pivotal point when one realizes the truth by re-tracing the events, which led to the epiphany of how to find the answer while traveling within this airy soundscape.

…Diurnal or nocturnal, day or night, Traveling the path of truth must be done without fright.

One can’t help but feel a definite traveling vibe that comes from “Moonscape Waltz” To me, it has a dual-characteristic that can be visualized as a train trip, either at sunrise or sunset. Regardless, the time is not of major relevance, but the actual pursuit is. Lao Tzu said, “The journey of a thousand miles begins with that first step.” This track takes you beyond that initial step into this vast world toward your destination as you search for the truth.

…The unknown is real, but you know the deal. People need people to show which direction you point the wheel.

“Together” is the most peaceful and solo oriented compositions of this album. It shows how one cannot achieve happiness alone, but the importance of having someone special or a group of others to help along the way. Not only to help seek your goal, but also the ability to enjoy the scenery while on your journey

…The end of this tunnel has a light that’s so bright. Illuminating the trodden way, your destination, now in sight.

One is free from the chains of the unknown as you listen to a “Few Layers For Smith”, a dedication to a friend. A song that draws energy from the ECM works of Steve Reich, thats married with a primitive lo-fi basement setting. Its positive force breaks those encumbrances and gives you a glimpse of your prize. But you ruminate on this and come to the conclusion that the path that led you there is equally important as the goal itself. Question is, how do you share your realizations and experiences?

…The route was cast, the trials have passed. The glittering treasure you sought is yours now, at last.

“Ocean Song” meanders from the ritual rhythms of its shoreline to the crashing riptides of unbridled guitar feedback, creating this raging ocean atmosphere. However, its message is quite clear and states that people’s goals and experiences are not just meant for personal growth, but to be shared with
others, so that they too can live vicariously thru your story and somehow utilize it for their own.

…The prize has been won, but the journey is never done. You now have the responsibility to share everything under the Sun.

These six songs, each with its own sound, collectively comprise the vibe of this album. One cannot help but feel a sense of joy and fulfillment when listening to it. Each song has its own unique mood, yet together create an atmosphere of hope and happiness that has no choice but to spill out of the listener. I feel this was the ultimate goal of Misha’s on this record. Quite a challenge for the man who never sleeps, but is always searching for the perfect beat. One may not fully grasp his musical mind, but this album does give you a gateway into the moods and magic of Misha!

- Brent Sawicki

Recorded in Los Angeles, California in 1965, The Wonderful World of Antonio Carlos Jobim was Jobim's second album to be recorded outside of Brazil,

following The Composer of Desafinado, Plays, which had been taped in 1963. While for his first American venture Jobim counted with arrangements

by Claus Ogerman, for this second effort he relied on the multiple talents of the great Nelson Riddle, who had a longstanding career working with Frank Sinatra,

Nat King Cole, and Ella Fitzgerald, to name a few. All of the compositions here are by Jobim, who plays piano, guitar, and also sings.

Along with well-known compositions such as "A Felicidade," "Agua de Beber" or "Dindi", this album introduced two new songs: "Bonita" and "Surfboard."

veins syncopating under your skin
not knowing how or from where
it washes over us, just that it stretches
light bulbs crashing in a storm slender
waxy petals of a wild plant splitting

gazing at a nocturnal ocean, ill-met by moonlight
this is where you spend your time
the taste of tangy citrus on your tongue
the pounding of familiar tools
sculpting deeper
the echoing of distant futures
in your ears

—
Ramble is the debut LP on vinyl from experimental electronic musician Sebastiano Carghini. An ambient-no-ambient journey, his sound art unfolds like a fractured memory loop—where degraded tape hiss, layered textures, drifting echoes, and minimalist pulses dissolve into a liminal, ever-shifting landscape of sonic perception. It is released by adventurous electronic music label topo2 on July 11, 2025. The record is pressed on 180 grams of ICCS-certified minty-ice colored bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release. Mastering is done by Ike Zwanikken, artwork by courtesy of Tjobo Kho, and poetry written by Eelco Couvreur.

One of the treasures of listening to this album is hearing their signature sound moving through the culture of the 60s while holding onto what made them…well…them. Even as the album art veered towards a counter-culture sensibility, the music inside was not letting the listener mistake them for anyone else but themselves… always Booker T. & The MGs. 1967’s Hip Hug-Her is one of their most beloved records, with its toe tapping into the pop world. Spawning two significant hits, their cover of the Young Rascals “Groovin” and the title track, which many recognize as the iconic opening and closing credit sequence music for the movie ‘Barfly.’

Greta Kline's musical output as Frankie Cosmos exemplifies the generation of musicians born out of online self-releasing. Kline initially built a reputation with her prolific catalogue of bedroom recordings and as a performer and advocate of New York's All Ages DIY scene. The beauty in Kline's writing does not lie within immense statements and large gestures, but instead can be found in her ability to examine situations and relationships with heartbreaking sincerity. In 2014 Kline released her first studio album, Zentropy. Within months of its release, Zentropy became one of the most critically acclaimed independent albums of the year and was named New York Magazine's #1 Pop album of 2014. In 2015 Kline signed to Bayonet Records, immediately releasing an EP where she experimented with writing in an electronic setting. The EP Fit Me In was well received and garnered a Best New Track from Pitchfork. Kline then began recording her next album appropriately titled, Next Thing. Like Zentropy, Kline approached Next Thing by fleshing out several old home recordings, and by writing half of the album from scratch. Next Thing explores new emotional and instrumental territory for Kline.

Formed in Portland, OR in 1980, Poison Idea debut record features 13 songs in 13 minutes. Poison Idea were one of the first hardcore bands to inspire artists across multiple genre lines. Poison Idea’s 1983 Debut Release!!! Iconic Original Artwork! New Liner Notes by Jerry A. Features Sticker, Lyric Sheet, Credit Sheet, and Liner Notes.

Suzzallo (pronounced Süe-zahh-Lōw) is a new Seattle based rock band fronted by Rocky Votolato. After the devastating loss of his child in a tragic car accident, Votolato created an entire new world inside of aggressive anthemic rock songs to transmute extreme grief and loss into something healing and beautiful. This is a return to form for Votolato, who for the past 2 decades has had a successful career as an Indie-rock solo artist, but who started out playing in heavier bands - most well known for his work in Waxwing.

With Rudy Gajadhar on drums (ex-Waxwing), Steve Bonnell on bass (ex-Schoolyard Heroes) and teaming up with legendary producer John Goodmanson, Suzzallo recently finished recording their debut album “The Quiet Year” at Robert Lang Studios in Seattle, WA. Ben Gibbard (Death Cab For Cutie / The Postal Service) is featured on several tracks on the album, adding some levity to the songs with beautifully placed backing vocals, electric guitar, bass 6, and piano.
Funded via a crowdsourcing campaign that raised over 100K dollars, Suzzallo’s highly anticipated debut is due to be released on Thirty Something Records in the spring of 2025.

American glam metal band Warrant released their second studio album Cherry Pie in 1990, which became their best-known and highest-selling release. It peaked at #7 on the Billboard 200 and featured two hit singles, “Cherry Pie” and “I Saw Red”. The title track contains a guitar solo performed by Poison’s guitarist C.C. DeVille. The album features more guest performers, including Dio’s Scott Warren, Bruno Ravel and Steve West from Danger Danger. Besides well-known guest performers, the album was produced by Beau Hill (Alice Cooper, Europe) and mastered by Grammy Award winner Ted Jensen, who also mastered the Eagles’ Hotel California and Norah Jones’ Come Away With Me.

Cherry Pie is available as a limited edition of 3000 Individually numbered copies on cherry coloured vinyl and includes an insert.

Schon bevor Richard Pinhas Anfang der 70er begann, Musik zu machen, war er Fan von King Crimson. Bis heute hat ihn die Musik der britischen Band nicht losgelassen, aber am größten war deren Einfluss sicherlich ganz am Anfang. Auf dem zweiten Heldon-Album "Allez-Teia" wird das besonders deutlich. Es erschien 1975 auf Pinhas" eigenem Label Disjuncta. Der Eröffnungssong, eine schwebende Mischung aus Mellotronklängen und einer verwischten Gitarre, trägt den Titel "In The Wake Of King Fripp". Diese doppelte Anspielung bezieht sich einerseits auf den Bandgitarristen Robert Fripp und andererseits auf "In The Wake Of Poseidon", das zweite King-Crimson-Album. Das meditative "Omar Diop Blondin" mit seinen frei schwebenden Tönen über einer repetitiven Gitarrenfigur ist ausdrücklich Brian Eno und Fripp gewidmet. Ebenfalls großen Einfluss auf Pinhas übte Robert Wyatt von Soft Machine aus. Trotzdem ist "Allez-Teia" kein Tribut-Album. Die Stücke, die Pinhas zusammen mit seinem Partner Georges Grunblatt erarbeitete, erscheinen auf den ersten Blick freudig-schön, tragen jedoch alle eine angespannte Unterströmung in sich. Sie bilden ein Wechselspiel aus federleichter Akustikgitarre, Mellotron-Teppichen, Fuzz-Sounds und schweren, sphärischen Synthesizer-Klängen.

Resolution Alley is the musical vision of Jason Wilson, a musician and composer hailing from Maryland. The music combines 80's pop and rock melodies with progressive rock concepts, creating a unique but strangely nostalgic sound. Jason performs extensively throughout the Baltimore / Washington, DC area. From the smallest clubs to the Kennedy Center, Jason has shared the stage with some of the biggest names of stage, screen and music. Resolution Alley combines the influence of a career in rock and theater into a distinctive creation. Resolution Alley is getting ready to release their brand-new album Pieces of Never which contains the catchy first single "The B-Side" and follow up "You Are". Jason Wilson has crafted a wonderful release with just the right amount of balance between Rock and Prog which is sure to capture the ears of folks who like something familiar yet new. So if you like your music with big hooks and interesting arrangements and instrumentation then Resolution Alley has cooked up just what you ordered with Pieces of Never.

LTD BRIGHT GREEN VINYL W/ 4 PAGE INSERT** **JEWEL CASE CD W/ 12 PAGE BOOKLET** A gloriously off-kilter yet deeply personal record that mixes absurdist punk theatre with an unexpectedly tender dive into mental health, Catholic guilt, and the surreal poetry of everyday life. “It’s more personal than the previous ones,” frontman Pete explains, “but not in a heavy way – more like Mortimer & Whitehouse than The Bell Jar”, succinctly summing up the Dinner Ladies’ approach: taking the kitchen sink, giving it a saxophone solo, and letting it spill over with charm, wit, and a fair helping of existential unease. Parody and poignancy runs through every song. Tracks like ‘Is There Life in Rhyl?’ and ‘Holy Pictures’ explore personal trauma and social conditioning through an unmistakably British filter; Catholicism, childhood fear, seaside holidays, and haunted toilet trips included. For fans of: The Fall, The Kinks, John Cooper Clarke, X-Ray Spex, Madness, cabaret, collage, chaos, and joyfully honest punk.

Es ist fast ein wenig gespenstisch, was sich auf "It"s Always Rock"n"Roll" abspielt. Zwar hat Richard Pinhas nichts von seiner charakteristischen Angriffslust eingebüßt, und auch die aus den ersten beiden Heldon-Alben bekannte sägende Gitarre ist neben den vertrauten Sphärenklängen seiner Synthesizer nach wie vor vorhanden. Doch dazu pulsiert durch dieses Doppelalbum eine düstere Energie, eine fröstelige Aura, die selbst den ruhigsten Stücken eine Art bebende Anspannung verleiht. "Zu diesem Zeitpunkt wollte ich aus Heldon eine düstere Band machen", gesteht Pinhas. "Wobei düster für mich nichts Negatives bedeutet." Es geht ihm auch gar nicht um die Düsternis an sich, sondern darum, das Verborgene zu erforschen und Althergebrachtes zu hinterfragen, unter die glitzernde Oberfläche zu tauchen, um dort Geheimnisvolleres zu entdecken. Was "It"s Always Rock"n"Roll" vielleicht aus dem Repertoire von Heldon heraushebt, ist seine Ausdehnung, sowohl was die Größe der Ideen als auch die Länge der Stücke angeht. Die meisten Tracks sind jedenfalls über sieben Minuten lang, zwei Werke nehmen sogar eine ganze Plattenseite in Beschlag.

Over the course of The Slackers' nearly 35-year career, the NYC legends have paid respect to numerous interconnected genres of Jamaican music, including ska, reggae, and rocksteady. Dub mixing - a process of creating new "versions" of songs that emphasize the rhythm section and heavy utilization of atmospheric effects such as delay and reverb - looms so large as a driving force in that world, it is no wonder that the band would approach it with the same mix of reverence and creativity. "Dub is the other side of The Slackers," says the band's guitarist, Agent Jay. "A contrast to the uptempo danceable wit of our ska." The Dub Classics LP - originally released (and sold out) in 2021 and now available from Pirates Press Records - represents a collection of some of the greatest fruits of that labour. More than just a "re-mix" album, it is an essential part of the band's catalog that reinvents their sound and reveals all new perspectives on their many talents.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and following the first ever vinyl release to attend to James Tenney's legendary Postal Pieces, the label now presents the first LP published by the visionary Swiss composer Jürg Frey. Drawing from the transformative power of breath and resonance, this release represents one of the most profound explorations of musical metamorphosis to emerge from the contemporary experimental landscape.

The completed work represents a "conjunction of these two artists" that has "activated a transformative form of experimentalism." These renderings "dance with an airy lightness, humour, and play, imbuing them with a beauty and emotiveness that can be rare within experimental music." They exist as "breaths, carrying the curiosities of life, belonging to no time and all time, to no one and everyone: a human music to be inhaled and pondered, for which the outcome remains unknown." In this liminal space between composition and interpretation, between breath and resonance, Zurria and Frey have created something that transcends the boundaries of experimental music itself, offering what might be called a metaphysical cartography of sound in its most essential form. As Bradford Bailey observes in his penetrating liner notes, "music is rarely a fixed entity," existing instead in a state of perpetual flux, "taking on the influences of its interpreters and performers." This fundamental truth finds its most eloquent expression in the transformative collaboration between Italian flutist Manuel Zurria and Frey, longtime member of the Wandelweiser Group. Where conventional recordings might preserve a definitive version, this release activates what Bailey calls "states of unknowing and continued experimentation," allowing Frey's compositions to evolve into entirely new dimensional territories. The original string quartet and piano works dissolve into breath-carried architectures of sound, where "the original remains in a constant dialogue with its transformation." This is not mere arrangement but ontological metamorphosis - an alchemical process through which crystalline harmonies are reborn as atmospheric phenomena.

The metaphysical dimensions of this transformation become clear through detailed analysis of the musical result. Where Frey's original compositions operate through what he calls "basic confidence in the clear and restricted material," Zurria's interpretation activates entirely new perceptual territories. Space holds almost atomic sense of weight against the airy punctuations of timbres, textures, and tones, creating "suspensions of time within which questions and identities posed by instrumentation fade." The Extended Circular Music pieces - each comprising "a small number of bars to be repeated an undetermined number of times" - become organizations of sound that defy being definitive or fixed. Originally scored for different combinations of violin, viola, cello, and piano, these works now exist as pure phenomena of breath and resonance, where "hanging, breath-length utterances dance and intertwine amongst complex harmonic clusters and conjunctions."

The philosophical implications of this transformation illuminate a lineage of composers who have moved "away from abstraction and responding to the need to create" something beyond mere technique. Drawing parallels to Morton Feldman's understanding of non-functional harmony, Zurria's approach represents "a transformative form of experimentalism" that activates what Frey calls the "thaumaturgic power" of music - its capacity to heal and transform consciousness itself. The result is "a radical reimagining of ambience: sprawling sonorities and resonances adrift in space, carrying the liberated traces of the work's former incarnations and their truths." In Zurria's interpretation, Frey's String Quartet n.3 becomes something approaching "an organ played in slow motion, its seals leaking," while the Extended Circular Music pieces transform into "glacial chords from a diverse palette of voicings, harmonies, timbres, and tones."

Performed by Manuel Zurria. Recorded and mixed by Zurria at BigCardo, Catania between 2022-2024, with mastering by Bruno Germano at Vacuumstudio, Bologna, this Blume release represents a profound exploration of musical transformation.

A truly essential piece of early Detroit Techno history here, Octave One's original white label "Octivation" EP from 1990 has long been a sought after and coveted slab of wax. This 5 track journey charts the Burden brothers mood from sinister, spacey, acidic Techno jams ("Sonic Fusion") to deeper, more melancholic mid-tempo cuts ("Nicolette") and along the way manages to usher in a new wave of Detroit Techno sounds.

Steeped in soul and depth "Octivation" was hinting towards the epic style Octave One would shape with their various projects in the following decades and releases. The earliest glimpse (Their 1st release) into a long and fruitful career that is still continuing today. This EP was a game changer and it's influence can still be felt in contemporary House and Techno right now.

Now, finally made available again to be re-discovered and experienced.
Re-mastered, re-pressed and re-issued with all the original 430 West white label and sticker artwork intact, in conjunction with the Burden brothers / 430 West Records.

Brady Corbets "The Brutalist" wurde für 10 Oscars nominiert, darunter "Best Original Score". Dass der Film, der im Vintage VistaVision-Format gedreht wurde, von der Musik lebt, wird direkt am Anfang klar: er beginnt mit einer fesselnden 10-minütigen Ouvertüre, komponiert von Daniel Blumberg. Die Erzählung folgt dem ungarischen Architekten László Toth (Adrien Brody), der sein Leben im Nachkriegsamerika neu aufbaut.Die Filmmusik umfasst eine Mischung aus groß angelegten Blechbläser-Orchestrierungen, lyrischen Klaviermelodien und improvisiertem Jazz und verkörpert die Brutalismus-Designästhetik mit ihrem reichen und resonanten Klang. Dafür arbeitete Blumberg mit Musikern in Großbritannien und Europa zusammen, darunter Axel Dörner (Trompete), Evan Parker (Saxophon), Sophie Agnel (Klavier) und John Tilbury (Klavier).Für die Jazzclub-Szene des Films stellte Blumberg ein Quartett zusammen, das live am Set auftrat und eine der dynamischsten Nummern des Films schuf. Im Epilog des Films, das in den 1980er Jahren spielt, ist zudem Synth-Pop-Pionier Vince Clarke (Depeche Mode, Erasure) zu hören, der das Hauptthema des Films in einen Synth- und Drum-Machine-getriebenen Track verwandelte.

Repress!

Tony Price is back again with Street Theatre, an electrifying new LP on his Maximum Exposure label that serves up eight tracks of rude, crude, real-deal house music with absolute attitude.

Following the recent release of the psychedelic jazz reveries of Requiem for the Ontario Science Centre, this is his second release of 2025 and marks a return to the dancefloor.

Street Theatre is total midnight music—eight tracks of ferocious Chicago house worship, replete with slamming drum machine beatdowns, laser-guided synthesizers, and radioactive funk refractions that evoke Z-Factor’s primal neon pulse, trench coat-era Prince, WBMX cut-ups, and Ron Hardy’s splice-happy Muzic Box mania.

Produced in the span of a week at his studio in Greektown, Toronto, these recordings exemplify what can now undoubtedly be called Tony Price’s signature style—an unvarnished, elemental, no-nonsense approach to record production and sound design that reduces dance music down to its crudest textures and core principles, an approach and ethos that have guided his entire body of work.

Tony’s recorded output showcases fearless exploration across genres—classic house, funk, electro, and the outer limits of electronic jazz and musique concrète. Street Theatre stands tall alongside his Hit Piece LP, the Bail Bonds EP, and his NTS show, The Maximum Exposure Power Hour, as a bold, ecstatic, and direct expression of the eternal essence of house music.