Search:act!

Singer, songwriter, humanitarian, activist, poet, philosopher, artist… ever since music lovers first became aware of Labi Siffre in the early 1970s subsequent generations have continued to discover and be beguiled by his timeless artistry. To this day, his music has endured – seemingly as relevant and contemporary as when first released. It was these qualities that led Madness to cover his 1972 UK hit ‘It Must Be Love’ in the early 1980s, and Eminem and Dr. Dre to sample a substantial chunk of ‘I Got The…’ for the former’s debut hit ‘My Name Is…’ in 1999.

His 1988 classic ’Something Inside) So Strong’ became an anthem twice over when it both soundtracked the struggles of Apartheid South Africa and became a beacon of strength and solace for gay men during the AIDS crisis. More recently, the streaming / TikTok / Insta generation have responded in their hundreds of thousands to ‘Crying Laughing Loving Lying’, as featured in the 2023 cult film ‘The Holdovers’ and to ‘Watch Me’ as included in the ever-iconic ‘Dr Who’. Also, this decade, they might have been drawn into Labi’s world via another film, ‘Companion, or the TV shows ‘Better Call Saul’, ‘Sweetpea’, and ‘The Man Who Fell To Earth’. To bring things bang up to date, they may have been among the legions who liked, shared, and saved ‘Bless The Telephone’ after its unforgettable soundtracking the season 4 finale of bitter-sweet comedy phenomenon ‘Hacks’. ‘The Best Of’ is the definitive Labi Siffre collection for the ages. Released on 2LP and 2CD formats, it was personally sanctioned by Labi himself who also provided art direction for the package.

Born from a chance encounter in a Villejuif squat over a decade ago, Ciccio & 2mo have cultivated a singular musical language through spontaneous and genre-defying collaborations — notably around cult French band Cheveu.
The duo brings together two key figures from the fringes of the European underground: Olivier Demeaux (aka 2mo), a pioneer of France’s electronic avant-garde, leading projects like Heimat and Accident du Travail (Teenage Menopause, Bruit Direct), known for his explorations across lo-fi synthwave, spectral post-punk, and drone-infused textures; and Francesco Pastacaldi (Ciccio), a jazz-punk drummer and member of the explosive trio Jean-Louis and the angular groove unit Abacaxi (Carton Records), also a longtime collaborator of the maverick performer Fantazio.
Their debut album 24 96 (The Trilogy Tapes, 2021), born from a series of abrasive studio improvisations, was followed by a sold-out show at London’s Café OTO. That performance, released as Maremoto, captured the duo’s raw, physical energy in its purest form.
Since then, Ciccio & 2mo have brought their visceral live act to stages across Europe — from Sonic Protest in France to the Meakusma Festival in Belgium, where their live set was released as Live at Meakusma Festival 2024.
Now, the duo returns with Bouc & Rouages, a bold and hallucinatory second album commissioned by Hublotone. This new opus introduces three singular voices into the mix: operatic singers Léa Trommenschlager and Bianca Iannuzzi, and genre- blurring rapper Pauline Sampler (aka Frizzy P, known for her work with M. Cole). The result is a soundscape in constant tension — pulsing drum machines, organic percussion, saturated synth layers, and hypnotic, looping riffs.
Equal parts physical and disenchanted, the music of Ciccio & 2mo traces a thrilling, unstable path through noise psychedelia, industrial memory, and experimental pop.
Imagine Cosey Fanni Tutti rubbing up against pop, with Charles Hayward (This Heat) on drums — and you’re getting close.

A truly unique voice, Giggs’ combination of slow flow, dark lyrics, a well-documented past and explosive street sales saw him hailed as one of the most exciting voices in British rap. He first burst onto the scene in 2008 with his debut ‘Talkin The Hardest’ a freestyle which has become one of British rap’s biggest anthems (over 12M views at YouTube). Giggs’ sold tens of thousands of copies of his mixtapes on his own SN1 (Spare No 1) label and won 2008’s BET Award for Best British Hip Hop Act before signing to XL Recordings for his iconic debut proper, ‘Let Em Ave It’ in 2010. 15 years on the album gets its first ever release on vinyl, featuring bonus tracks from the era that originally appeared as singles, including ‘Talking The Hardest’ and ‘Slow Songs’ featuring The Streets’ Mike Skinner.





















[s] D1: Don’t Go There (feat. B.O.B) [Bonus]
[t] D2: Talking The Hardest [Bonus]
[u] D3: Blow Em Away (feat. Shola Ama) [Bonus]
[v] D4: Slow Songs (feat. Mike Skinner) [Bonus]

Fred Armisen, long known as one of the most curious actor/comedian/musician/ producer/ author/all-round good guys in the business, likes unusual ways of entertaining people. Like this one: 100 Sound Effects is an album that can be used as a library, an industrial tool for your own entertainment projects, or simply for brain-stimulating deep listening. From basic sounds to more abstract scenarios, 100 Sound Effects is an album like no other!

Nobody 2 is the sequel to the 2021 action-packed blockbuster film starring Bob Odenkirk, Connie Nielsen, Christopher Lloyd and Colin Hanks. amongst others The soundtrack for the film was composed by Emmy-nominated filmcomposer Dominic Lewis (Bullet Train, The King's Man, Karate Kid: Legends) and features two cover songs. The first one is a cover by José James of the classic 1962 song "The Good Life". The song was originally sung in French by Sacha Distel, but became more popular when released in English by Tony Bennett. The other cover is performed by American rock musician Des Rocs of "Ring of Fire", written by June Carter and Merle Kilgore and popularized by Johnny Cash. Nobody 2 is available as a limited edition on turquoise coloured vinyl and includes an insert.

Kings Elliot war schon immer fasziniert davon, was einen Song wirklich ausmacht und das bereits im Alter
von etwa sieben Jahren. Aufgewachsen in einer kleinen Schweizer Stadt mit ihrer britischen Mutter, wusste
sie immer, dass sie anders war: Sie kämpfte mit denselben Dämonen, die heute ihre Musik inspirieren. Ihre
Fans, liebevoll als „sick puppies” benannt, haben durch ihre Songs, ihre Tourneen, ihr Social Media und
ihre Twitch-Livestreams, in denen Gespräche über psychische Gesundheit, Geschichten hinter ihren Songs
und Heilung im Mittelpunkt stehen, eine enge Bindung zu ihr aufgebaut.
Jetzt beginnt für Kings Elliot ein aufregendes neues Kapitel:
Ihr lang erwartetes Debütalbum „Born Blue” ist ab dem 26. September digital, auf CD (mit blauer Unterseite) sowie in 2 verschiedenen Vinylvarianten erhältlich:
- schwarze LP
- coloured LP (deep ocean mit pearl Effekt) inkl. Poster
Diese Veröffentlichung folgt auf Kings Elliots jüngsten Erfolg bei den Swiss Music Awards, wo sie mit dem
Preis als „Best Breaking Act“ ausgezeichnet wurde. Mit neuer Musik und ihrer ersten Headliner-Tournee
durch Europa im Oktober ist sie bereit, ihre Welt mehr Fans als je zuvor näherzubringen.

Kings Elliot war schon immer fasziniert davon, was einen Song wirklich ausmacht und das bereits im Alter
von etwa sieben Jahren. Aufgewachsen in einer kleinen Schweizer Stadt mit ihrer britischen Mutter, wusste
sie immer, dass sie anders war: Sie kämpfte mit denselben Dämonen, die heute ihre Musik inspirieren. Ihre
Fans, liebevoll als „sick puppies” benannt, haben durch ihre Songs, ihre Tourneen, ihr Social Media und
ihre Twitch-Livestreams, in denen Gespräche über psychische Gesundheit, Geschichten hinter ihren Songs
und Heilung im Mittelpunkt stehen, eine enge Bindung zu ihr aufgebaut.
Jetzt beginnt für Kings Elliot ein aufregendes neues Kapitel:
Ihr lang erwartetes Debütalbum „Born Blue” ist ab dem 26. September digital, auf CD (mit blauer Unterseite) sowie in 2 verschiedenen Vinylvarianten erhältlich:
- schwarze LP
- coloured LP (deep ocean mit pearl Effekt) inkl. Poster
Diese Veröffentlichung folgt auf Kings Elliots jüngsten Erfolg bei den Swiss Music Awards, wo sie mit dem
Preis als „Best Breaking Act“ ausgezeichnet wurde. Mit neuer Musik und ihrer ersten Headliner-Tournee
durch Europa im Oktober ist sie bereit, ihre Welt mehr Fans als je zuvor näherzubringen.

Universo Vives proudly presents the 30th Anniversary Special Edition of La Tierra del Olvido (1995), the groundbreaking album by global icon and multiple GRAMMYr winner Carlos Vives. This collector's edition is pressed on 180-gram translucent clear vinyl and available in limited quantities - a must have for fans and vinyl lovers alike. Carlos Vives, the legendary Colombian singer, producer, and actor, revolutionized the sound of Latin music by bringing vallenato to the world stage. With 2 GRAMMYr Awards, 18 Latin GRAMMYsr, and the title of Latin GRAMMY Person of the Year 2024, Vives is one of the most celebrated artists of our time. His legacy has also been recognized by Billboard, the Latin Songwriters Hall of Fame, and major institutions across Spain and Latin America. Celebrate the 30th anniversary of "La Tierra del Olvido" with this special remastered vinyl edition - a timeless tribute to the album that redefined Latin music on the global stage. Originally released in 1995, Carlos Vives created a new sound by reimagining Colombian vallenato with pop and rock influences, inventing a groundbreaking sound that reshaped Latin Music and inspired a new generation of artists worldwide. Now, beautifully remastered for vinyl, this collector's edition invites music lovers around the world to rediscover a landmark recording that brought the heart of Colombia to the ears of the world.

“Magic Happens” is the very first release by Fabrizio Fattore on his new label Life Cycle.
Life Cycle embodies the sacred union between Life and Music, both flowing within an eternal cycle of experiences, adventures, and dimensions — a boundless musical journey beyond time and space.
This debut release, Magic Happens, marks the moment when, within the act of creation, the unseen unveils itself — when magic arises and everything reconnects with the Universe through the language of music.
A true journey to be listened to and danced to, with three unique tracks, each one carrying its own vibration, inviting you to lose yourself in the infinite shades of sound.

Italian cinematic funk legends Calibro 35 continue their journey into the world of cinematic jazz-funk. "Exploration" marks their return to independent label Record Kicks after their last studio album "Nouvelle Aventures" released on Universal Music in 2023. The band picks up from their latest EP, "Jazzploitation," released on Record Kicks last October. "Exploration" is a deep dive into the universe of cinematic jazz-funk, showcasing both the band's reinterpretations of timeless classics such as Roy Ayers' "Coffy" or Bob James "Nautilus" and original compositions by the band such us the lead single "Reptile Strut", the jazz-funk stormer "The Twang" and the soulful cinematic number "Pied De Poule". An exploration and a new journey for the Milanese combo that a long its way pays homage to artists such as Lalo Schifrin (Mission Impossible), Italian Maestro Piero Umiliani (Discomania and Gassman Blues) and Herbie Hancock (Chamelon). Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years," Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. Active since 2007, during their long career, they have been sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay-Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day"), and Demigodz ("The Summer Of Sam"). They have played major venues and festivals all over Europe, and as unique musicians, they have collaborated with, among others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland, and Rokia Traoré. FOR FANS OF... Piero Umiliani, El Michels Affair, Idris Muhammad, Surprise Chef, Nu Genea, Khruangbin, Snarky Puppy, The Cinematic Orchestra, Comet is Coming, Kamasi Washington

Own a piece of OceanLab history. Celebrating the legacy of one of dance music’s most timeless acts, Above & Beyond and Justine Suissa present ‘OceanLab: The Anthology’, a limited edition vinyl box set available for pre-order now exclusively on Anjunabeats. Fifteen years after the release of their critically acclaimed 2008 LP, ‘Sirens of the Sea,’ the Anthology box set spans the full spectrum of the OceanLab sound, from early 2000s vocal trance classics to brand new remixes and never-before-heard acoustic reworks. Housed in a premium-quality fabric-wrapped double slipcase with foil detailing, the box features four 12” single discs on crystal clear vinyl, a 10” ‘Another Chance’ single disc, and a special Anthology-edition repress of the original ‘Sirens of the Sea’ album. There is also an accompanying poster print, slipmat, and 28-page perfect-bound book containing notes from the band, never-before-seen photos, and exclusive sheet music arrangements with piano, guitar, and voice parts.

Linval Thompson is one of the great roots vocalists that ruled the dancehalls of Jamaica in the mid 1970’s. His distinctive vocal style and roots lyrics, that spoke of the struggles that faced the Rastas, hit a chord with the people of Jamaica, and provided a string of hits for him in the dancehalls. This in turn, would set a tone that he carried on through his musical career and future production work. Linval Thompson (b.1959, Kingston, Jamaica) was actually raised in Queens, New York. He cut his first record there at the age of 16 ‘No Other Woman’ with future Third World singer Bunny Ruggs. He also cut a couple of tracks for a US producer E Martin ‘’Jah Jah Deh’and ‘Weeping and Wailing’. In 1974 he returned to Jamaica and cut ‘Mama Say’ and a version of D Brown’s ‘Westbound Train’ for producer K Hobson which got Thompson noticed by producer Phil Pratt. Pratt took him to Lee Perry’s Black Ark studio’s where he cut ‘Kung Fu Man’. Thompson’s friendship with fellow singer Johnny Clarke led to a meeting with producer Bunny Lee. His first track cut for Lee was ‘Don’t Cut Off Your Dreadlocks’ and it became a big hit in Jamaica. Bunny Lee was the producer of the moment and Linval added to his long list of hit singles with ‘A Big Big Girl’, ‘Cool Down Your Temper’, ‘Ride On Dreadlocks’ and the title of this compilation ‘Jah Jah Is The Conqueror’. He seemed to hit a musical height working for Bunny Lee (who as he has done with many of his singers) encouraged Linval into production work himself. Which has led to another chapter in Linval’s story. Working with an array of artists including, Freddie McGregor, Johnny Osbourne, Barry Brown, Rod Taylor and many more. But it is his singing career that we focus on here and that great period in reggaes history the mid 1970’s where Linval delivered a string of classic hits that we have compiled for you here. Hope you enjoy the set.

Three tracks from the more upbeat side of Coyote's sound surface on IIB side project Mega Beat Ibiza Sound. Title track 'Escape Pattern' glides on serenely, a mixture of 80s synth sheen and 90s ambient bliss, all underpinned with a shuffling, off kilter beat with plenty of open hi-hat action. 'Karma Comedian' on the flip heads on a jauntier, open-grooved path with a gorgeously rounded and thoroughly addictive bassline, while the closing tune 'Raddish Eyes' (feat Max Essa) sets phasers to stun for an epic teaser of an intro, before a nimble beat finally takes us to the run out groove. Quality gear from the Nottingham duo, as ever.

Limited Edition of 200 copies incl. Dolphins Remix (DALO, Benedikt Frey and Menqui).

Hot seducers. Two of them. On one 7inch. A/B Side business, hard to choose a fav, as both so fab. The A-Side is called "Happen". It comes from prolific Tokyo based DJ and producer Hoshina Anniversary. A simple drum machine groove, a manic melody, witching siren sounds, psychedelic voices, some soft chords, and soulful high-pitched singing, somewhere between Dam-Funk coolness and Ian Svenonius-The-Make-Up sixties pop longing. One for warm sexy nights under neon lights. Out there in psychic realms. The flip brings a Dolphins interpretation. Yes, that feverish trio behind R.i.O., consisting of Nadia D'Alò, Benedikt Frey and Menqui. Their freshly recorded version comes with haunting nonchalant singing, displaying the tunes core melody as a more prominent actor of the play. Michael-Mann-Pop-Nostalgia with a baroque touch, that waves dark-ish. Even some Jon Hassle feeling is in there. Hoshina Anniversary disclosed, that the original song is inspired by jazz musicians like Chet Baker, Miles Davis, Sonny Rollins, Chick Corea, Herbie Hancock, Jaco Pastorius and Keith Jarrett. None of them is directly stylistically audible. But their kind of blue is all over. On the A as well as on the B. Twice soul music for the free.

If you're a serious music fan but not a native Kiwi, your first awareness of New Zealand's fab music scene may have come from the debut of The Chills' mesmerising Kaleidoscope World collection of early singles. Within a few years, a great number of NZ acts saw music released by various UK and US labels . . . generally to great praise and enthusiasm. That this occurred without any of these acts having to move abroad to further their chances was nearly as delightful a feat as the music itself. The exception to this was Dead Famous People, radical in a snap decision after a five-song 12" for Flying Nun, Lost Persons Area, to change hemispheres and make a go for it in London. It started well. Three London recordings were added to three from their Flying Nun EP and put out by Billy Bragg's Utility label - about as perfect a mini-album as there's ever been. Response was positive, more songs recorded, the group did a John Peel session and played out often, but the vaguely impoverished group began to fall apart. Singer and primary writer Dons Savage - determined to make it - had a near-miss at becoming Saint Etienne's singer on an early take of their 'Kiss And Make Up' cover, and there was a fine performance from her on The Chills' 'Heavenly Pop Hit' . . . but dismay had set in. Upon learning of her mum's passing back home, Dons returned to NZ and was quiet for decades. Most of their London recordings were later released later in minuscule quantities by very small labels, but these saw scant press or attention and enjoyed next-to-no sales. Their moment had passed, and the band has suffered the strange fate of being the least-known of the truly brilliant acts associated with Flying Nun. Listening to these `lost' songs, it seems unfathomable that they could have fallen by the wayside. No NZ songwriter comes as close to equalling Martin Phillipps' pop brilliance as Dons. Her superbly sweet vocals, delicious harmonies and sophisticated arrangements aside, the songs dealt perceptively with universal follies of youth and yearning in tandem with a then-unusual twist of lyrics dealing matter-of-factly with her sexuality at a time when `women's music' was seen as exclusionary (segregated into its own bin in shops, if it existed there at all), and the riot grrrl movement was years away, later breaking through due to its radical stance. Dons is a pioneer in myriad ways, the irony of her transcendent brilliance failing to propel a greater career may rest in the fact that she leapt to the head of the class too quickly for people to grasp it; a fate that's befallen so many musical geniuses acknowledged today but less in their time - something rather tragically acknowledged in old pal Martin Phillipps' song with The Chills, 'A Song For Randy Newman, Etc.' None of these thirteen songs fails to deliver something both immediate and unique. And we're proud to debut 'Vampirella"', a magical fantasy song of longing and intrigue - surely one of the most perfect tunes to ever sit around unreleased for decades! Dons is again busy conjuring new songs; in the meantime we're delighted to unveil these obscure gems from the past.

Montreal duo Flabbergast—aka Guillaume Coutu Dumont and Vincent Lemieux—return to Circus Company, the label where it all began with their debut EP in 2015. Now seasoned veterans of leftfield club experimentation, they deliver Weirdo Active, a two-track vinyl release that distills their signature
blend of groove, absurdity, and refined weirdness.
On the A-side, “Timecrowave” is a swung, syncopated burner built around fragmented drum programming, warbled synth textures, and subtly detuned atmospheres. It's a tool that thrives in the inbetween moments of a set—unpredictable yet fluid.
On the B-side “Serpentoute,” a slinky groove laced with dubwise processing and modular squelch, maintaining tension through micro-edits and playful FX. Perfect for after-hours transitions or more openminded floors.
Following standout releases on Yoyaku, Copier/Coller, and Chapelle XVI, Flabbergast continue to offer up dance music that’s deeply heady, subtly unhinged, and always full of intent. A finely sculpted dose of dancefloor surrealism—just the way Flabbergast likes it.

A1 - Course Of Action
Opening the EP with a thoroughly entertaining, unique breakbeat workout of the ilk we've come to appreciate from Eusebeia, we are treated to sharp snares ripping into the mix backed by a lethal apache break dripping with old school appeal. An ever-evolving atmosphere is guided by intense vocal samples and shimmering synth backdrops, interspersed with intense melodies and darkly effects to complete a mesmerising collage of sound.

A2 - Embracing Imperfection
Next up we see Embracing Imperfection, a sci-fi inspired track littered with a detailed myriad of synthwave-esque melodies, transporting you to an ethereal episode of the X Files as Eusebeia flexes atmosphere and breaks intertwined with synths and whooshing FX. The breaks are superbly effective as ever with distinctive cymbal hits and echoed samples adding flecks of detail to an impressive composition.

AA1 - Point Of Isolation
A tense introduction punctuated by a reverberating melody evoking enigmatic mystery slowly unfolds, as Point of Isolation displays Eusebeia's diverse repertoire of breakbeat editing techniques. Darting metallic snares and deep kicks & basslines ebb and flow, a tangled maze of rippling energy lifted straight from the soul. This track is equally suited to the headphones and the dancefloor, causing ructions to both.

AA2 - Soul Searching
Closing the EP, Soul Searching sees Eusebeia release a gradually enveloping system of seductive breakbeats, twisting and intertwining with a whole host of vivid soundscapes delivered through pulsing synthwork and jostling micro-melodies. Throughout the track, the distinctively thick breaks are the true star of the show, encompassing the sensibilities of Spatial perfectly. Until the next time.

Words by Chris Hayes (Spatial / Red Mist)

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Halima's debut album SWEET TOOTH is a bold declaration of power from an undeniable talent. Seductive, restless, and deeply assured, the record unspools like a night in motion. In the afterglow of her 2024 EP on drink sum wtr, praised by Clash Magazine, The Fader, BBC Radio, and others, the Brooklyn-based, UK/Nigerian musician solidifies her sound and expands it tenfold. If EXU was a spark, SWEET TOOTH is the full burn. Not so much genre-less as "genre-full"; the album spans a bright, lush world where club bangers meet deep ballads in a striking, fully-formed hybrid of honeyed Afro-pop and scorched R&B. Across its eleven tracks, Halima maps the push-pull of desire, transformation, and emotional reckoning. "Sweetness on my terms," she offers a mantra for reclaiming softness without surrendering strength. "The album is about the journey to reclaim one's self amidst the chaos of life and ultimately acts as a love letter to the pleasures and pain of these human pursuits." While SWEET TOOTH declares Halima's artistic arrival, she calls it an epilogue, a reflection on past behaviors and lessons learned. "Am I the person that I wanted to grow into becoming? I think so. I've given myself permission to be free of those things. To be bold. To take up space."

Infoline proudly presents a compilation of tracks by Deo Cadaver on double 12' inch vinyl LP! Active from 1987 to 1993, Geneva-based trio Deo Cadaver stood at the vanguard of Switzerland’s electronic body music scene. Formed at just 17 years old, the group drew early influence from the visceral intensity of acts like The Young Gods, Front 242, Laibach, and Skinny Puppy—but quickly forged a sound and performative presence entirely their own. Their live shows became infamous: loud, theatrical, and uncompromising. Covered in grey-green clay and fake blood, suspended from chains, or locked in cages wired with sensors, projections, and video monitors, Deo Cadaver unleashed chaotic storms of samples, distorted drum machines, live percussion, and seismic basslines. At the center stood a vocalist whose voice and energy pushed the limits of physical endurance. Despite their undeniable force, Deo Cadaver remained largely unknown beyond their immediate circles. “There was no support structure—barely any venues, press, or labels for what we were doing,” they reflect. “Apart from our parents and a few community associations, we were completely on our own.” The internet, still confined, offered no relief. Connections were built face-to-face, and tapes were copied by hand. Still, the band found kinship in the Swiss experimental collective MXP, alongside other likeminded outliers pushing electronics beyond the dancefloor. Their spirit was one of invention, defiance, and independence.
While Belgium reveled in its New Beat wave and the UK fell into euphoric ecstasy, Deo Cadaver raged in the shadows—loud, isolated, and ahead of their time. This compilation finally brings their work into the light: a long- overdue snapshot of an uncompromising force from the margins of EBM history

"Impressed are thrilled to be presenting The Bamboos Best, a compilation in celebration of twenty five year anniversary of the formation of The Bamboos.

The definitive collection of one of Australia’s most celebrated, influential and enduring Soul & Funk acts - tracing the history of the band that laid the foundation for the now internationally recognised Australian Soul scene.

Twenty songs taken from across their extensive catalogue, including many that have been unavailable on vinyl since their original release, and one track appearing in the format for the very first time.

From their raw Deep Funk origins through their own genre defying musical path, The Bamboos have reinvigorated a classic sound whilst seamlessly incorporating contemporary influences to create something altogether brand new.

Managing to appeal to both Soul/Funk purists as well as casual music fans along the way, the band have always focused on what’s important: songwriting, groove and powerful vocals.

Impressed is proud to present Cousin Tony's Brand New Firebird's fourth album - Rosewater Crocodile, in partnership with our friends at Double Drummer. Cousin Tony's Brand New Firebird is one of Melbourne's most loved bands of the past decade. Lachy Rose's inspiring and moving songs, and the band's joyous live performances make for lifelong memories. Known for their soaring live sets, euphoric horns, and Lachy Rose’s soul-stirring vocals, Cousin Tony’s Brand New Firebird have carved out a reputation as one of Australia’s most emotionally resonant and joy-filled live acts. Their last hometown show saw over 1300 fans pack out The Northcote Theatre. To celebrate the release of their highly anticipated fourth album, Rosewater Crocodile, the beloved Melbourne five-piece will hit the road in 2025 for a national run of shows that promises to be nothing short of unforgettable. Expect brand new tracks, fan favourites, and all the heart, energy and connection you’ve come to love. As Upside Adelaide put it: “These songs soar live — harmonies, synth and sax in perfect unison.”

On his new album All Cylinders, Yves Jarvis expresses a brazen songcraft and pure musicianship. 11 tracks he played himself, without a single additional contributor, transforming his now four-time-Polaris-nominated vision into the stuff of verses and choruses, hooks and hits, vibrating like a cosmic anthropology. Whereas once he had fetishized analog tape, now Jarvis appreciated the value of working without any such preciousness: much of All Cylinders was recorded on bare-bones Audacity, sans plugins, channeling the spirit of Paul McCartney’s II.

Jarvis is an omnivore, and All Cylinders smashes together a stunning array of influences: Serge Gainsbourg, Judee Sill, Sheryl Crow, Captain Beefheart, Jackson Browne, Throbbing Gristle, Ray Charles, Brian Eno, Fleetwood Mac… All distilled into tunes that feel like taking sips from a cup, or drags from a cigarette. Vivid and self-contained songs that are just two or three minutes long. “I feel like this is the least contrived thing I’ve ever done,” Jarvis declares. Lyrics that matter. Vocals up front, where people will actually hear them. “If something’s true to you,” he explains, “it’s probably true to a million other people.”

The first run of All Cylinders on limited edition vinyl sold out, leading to this highly anticipated second pressing. This edition includes 4 bonus tracks from the forthcoming deluxe release, making it an essential piece for fans and collectors alike. Originally released via In Real Life to critical acclaim from Pitchfork, Financial Times, NPR, Aquarium Drunkard, Far Out Magazine, New Noise, Out Front, KCRW, RANGE, Atwood Magazine, The Luna Collective, Billboard Canada, The Fader, Blamo! Podcast, Stereogum, and Guitar World.

A1 - The Moon On The Moors
ASC opens the EP with a distinctive, purposeful and dancefloor-friendly piece, driven by an intensely memorable drum pattern that will have your head nodding instantly - that's before the deep, earthy room-filling bassline quakes below. Filtered metallic breakbeats join the mix periodically along with string melodies and a plethora of sci-fi effects and classic micro samples. Absolutely essential stuff from the atmospheric wizard that is ASC.

A2 - Persuasion
A measured approach introduces Persuasion, with light hats and a subtle bleepy melody gradually pulling us toward a stunningly crisp slice of breakbeat heaven. Impossibly detailed rapidfire snares dominate the mix with incredible clarity that just has to be heard to be believed. Light bongos and airy synthwork nestle beautifully alongside trademark old school high pitched female vocal hits to cap off another stunner.

AA1 - Time and Again
Setting the tone immediately with thunderous, deep Hot Pants breaks - finely crafted as ever - Time and Again sees ASC explore an other-worldly setting with an uneasy intrigue to the echoing keys, while rousing strings provide a suitably nervy backdrop to the mix. A mellow yet tense breakdown is quickly nudged aside with the crunching breaks and darkly bassline, while echoed vocal hits add further texture.

AA2 - Severance
A wonderfully old school slice of breakbeat action quickly unfolds as Severance sees ASC playfully experiment with varied break patterns riddled with delicious little details you will pick out with each repeated listen. Sublime intent is present throughout with a heavy undertone bassline, not to mention the excellent sampled quote from the show of the same name - eventually we all have to accept reality. If this is our reality, bring it on.

Words by Chris Hayes (Spatial / Red Mist)

Human Leather have always been a ferocious live act, unbelievably loud for a 2 piece. Their gigs are often an overwhelming wall of sludge, howls and amphetamine-addled drums, with spectators flying joyously around the pit. Previous recordings did full justice to the impact of the live show; however, the second helping is something else. On Here Comes the Mind, There Goes the Body the sludge is still present, rising, and lapping at your ankles, but there's a new clarity showing off exactly how f*cking good those riffs are. There are ear worm riffs for days, shout along vocals that roar, shriek and reform into a Greek chorus, drums that thump you repeatedly in the chest and then the whole thing vanishes in just under 30 minutes, leaving you bruised, deafened and with Some Questions about your life. Squint your ears a bit and you'll hear the influences of bands like Karp, Torche and Big Business but they're thrown into a much crustier stew. The lyrics span a variety of political issues, not limited to the landed gentry, global warming and consumerist harbingers of doom. Importantly the songs are also not afraid to discuss class issues (unlike many political bands who you suspect have a much sturdier security net). While this could easily feel preachy, every line is delivered with the knowing wink of the underdog and good humour (I am going to smile every time I think of "clod damn" or "QVC Hands" staring up at me from the lyric sheet), and the vibes are as they've always been in difficult times - "we know we're fucked, tonight we mosh, tomorrow we march". And what is the point of a revolution you can't dance to? Speaking of dancing, the final track features an honest-to-god dance beat, acid squelches and disembodied vocal samples, pointing to an alternative universe in which Human Leather are a heavy electroclash band. Here comes the record of the year, bring what is left of your eardrums. You didn't need that body anyway

From Long Beach, California, “A Lil Lovin Sometimes” became a significant northern soul release, and in 2004 came to the UK to perform the song live. The UK Capitol released original has sold for close to £500. The record was produced by Jimmy Mack also worked with Otis Redding before becoming an actor. “True Love” was not issued at the tape and was only part of a limited and now much sought after reissue.

Leila Gamal’s ‘Abaleeh Abalingi’

At the height of Pan-Arabism, when the United Arab Republic fused Egypt and Syria in a fleeting but bold experiment, a new wave of popular music was emerging—vibrant, infectious, and universally danceable. Among its lesser-known stars was actress Leila Gamal, whose voice—delicate yet rich with longing—embodied the golden era of Egyptian cinema. Born in Alexandria to Syrian roots, Gamal’s vocals were a magnetic blend of sweetness and passion, with a timeless allure that echoed the silver-screen sweethearts of her time.

Abaleeh Abalingi pulses with the hypnotic drive of funky organ riffs, reminiscent of the blind visionary Ammar El Sheriyi, creating a sound both cinematic and undeniably catchy. The delicate lyrics by Khairi Fouad place the track firmly in the lineage of the Middle East’s most iconic pop divas, from Angham to Nawal El-Zoughbi who he subsequently wrote for. This reissue, lovingly remastered, brings this long-lost gem back to life, where it belongs—spinning on turntables, teasing dance floors, and transporting listeners to Egypt in the late sixties.


Adel Osman’s “Oriental Eyes”

Oriental Eyes captures the essence of the 60s Egyptian Franco-Arab movement, blending Western (often jazz) influences with Arabic melodies to mesh mystique with sensuality. Osman’s commanding yet delicate vocals deliver the bilingual lyrics with captivating sincerity, his voice effortlessly gliding over the swells of the arrangement. The trumpet, possibly connecting him to Zaki Osman of Salah Ragab’s legendary Cairo Jazz Band, adds a layer of flair, enriching the track’s Tarantino-esque eclecticism. Now remastered, ‘Oriental Eyes’ is not only a nostalgic gem but a timeless reminder of the boundary-defying spirit that defined the 1960s musical landscape.

Given the ongoing war efforts against Israel, this record wasn’t pressed by Sono Cairo till much later in 1975 once Egypt had recaptured the Sinai and restored national pride. Sono Cairo (Sawt el-Qahira) was the first Arab-owned and by far the largest record label in the Middle East, amassing an unmatched catalogue of music. With exclusive rights over much of Umm Kulthum’s works, Sono Cairo played a crucial role in disseminating the sounds of Arab Nationalism and projecting Egypt’s soft power across the region.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Sono Cairo

Georgette Sayegh & Melhem Barakat – Belghi Kull Mawaidi & Instrumental:

Finally, hopping across from Egypt to Lebanon for this infectious number, Georgette Sayegh delivers what some consider her magnum opus in a captivating duet together with Melhem Barakat, and on the flipside a stripped-down instrumental version that’s equally catchy.

Georgette Sayegh is a legendary Lebanese singer and actress known for her tender and dulcet voice that echoed the grace and beauty of the inimitable Fairuz yet carried its own unique warmth. Her passion for collecting vinyl at an early age formed her eclectic musical palette, and she eventually caught the eyes of the Rahbani brothers and played the lead role in a monthly play written by Fairuz’s son, Ziad. Georgette’s household classic "Yay Yay Ya Nassini” shot her to stardom across the Arab world in the 1970’s, and till this day carries the exact same nostalgia of a Lebanese summertime anthem – flirtatious, jolly, and unfettered. In Belghi Kull Mawaidi (I cancel all my appointments), Sayegh’s voice entwines with compatriot and fellow household staple, Melhem Barakat in an emotional display of longing and depth - her voice delicate yet powerful, effortlessly blending with Barakat's commanding baritone.

The instrumental version on the flipside (surprisingly a stereo mix) reveals a highly catchy arrangement that is lush and emotive, driven by strings that glide smoothly through the melody, while brass instruments add a touch of drama. The rhythm section, punctuated by a steady percussion, anchors the track, allowing the interplay of instruments to build a sense of urgency and longing, accurately reflecting the struggles and emotional resilience that defined Sayegh’s own life.

This reissue, remastered with painstaking care, brings both versions of Belghi Kull Mawaidi back to life, making it an essential addition to any avid listener, DJ or collector’s shelf. It captures the timeless beauty of two of Lebanon's most cherished musical icons, their voices and instruments merging to create a track that resonates through the ages.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Voix de L'Orient

Finally, I was able to devote some time to actually getting some collaborations completed for a new release of the Meeting Of The Minds series, with some brand new names arriving to Future Retro London!

Nebula is one of my favourite artists making new jungle atm, his versatility in music on the darker & lighter sides of the spectrum, the richness of his atmospherics and melodies & the way his drum edits flow throughout his tracks, I consider him a big inspiration in what I make. It was an absolute pleasure to be able to work with him on "Without Fear".

I've been enjoying some of what Stekker's been doing in his music, representing the ruffer lo-fi side of production and he's been putting out some great stuff on his own label Ruff 'n' Tuff as well as on a release he did for Coco Bryce's label Myor. I reached out to him about a collaboration and he had started something, which I was really into and that led to "The Quest".

I owe a lot to DJ Trace, as he was one of the first big names in jungle/d&b to really show me support for what I was doing. He gave me my debut vinyl release when he asked me to remix an old classic of his called "Final Chapta", which he released in 2011 on his label DSCI4. I also had music released on a label he started a few years after that called 117 (which I also helped design artwork for), so we go way back. He's been making more music than ever before recently and I was lucky enough to be able to get a collaboration in with him and "Patterns Of Thought" is the end result of that.

I've known Ark X & Duburban for a number of years, I would see them at a lot of events up north, as well as at events in London that they'd travel down for. They also were good friends with Kid Lib and would drive down with him whenever he was visiting/DJing in London & I was becoming familiar with their music through him, through Ark X's labels Supercharger & Hypercharger (where some of Ark X's music was being released under his previous alias of Black Orchid) & through Duburban's collaborations with Jahganaut. Big up to both of them for collaborating with me on "Come A Dance"

Percussive P (who has previously released on the label with FR037 & our remix on THCFR001) is a top quality producer who I wish had more music/releases out there. I used to play a tune of his called "Gunsmith" a lot in sets, as well as a lot of his collabs with Kid Lib which I was a big fan of. I'd previously collaborated with him on a tune for Dublinquents a few years ago and I was quite keen on doing a new collaboration with him for Meeting Of The Minds, so he sent me some tracks he had started, I picked my favourite to work on and that led to "Impatience".

Fluid Haunts is a solid producer who I was familiar with, but it wasn't until his music was drilled into my head by Dwarde who was playing a few select tunes from him in every single b2b set we had together, that I started to really appreciate his skills. Dwarde would play "Not Your Ordinary Love Song" without fail, in any given moment and time, and it would always get a great reaction from the crowd, so I had to get in touch to see if he'd be up for working with me & thankfully he was! We ended up making "Pineapple Soup" together & I can't remember why it's called that, I think he named the tune ????

Hobzee is one half of Silent Dust (him & Zyon Base) & I used to chat regularly with him and trade music with him on AOL Instant Messenger (showing my age here!) a long while back. He got back in touch with me about wanting to work on music together and he had an early version of "Sunspots" done. It was very promising sounding so I was quite keen to get involved with him on it and I'm grateful that I was able to get him on Future Retro London after many many years of IM chats!

Usually, I limit my collaborations on Meeting Of The Minds to producers that are fairly established and already somewhat known to other people, but for those who don't know who Eff is, she is a potentially familiar face to anyone who has attended a Future Retro London event, as she has been on the door for every single one. One day after a Distant Planet event in Bristol, she mentioned to me that she had an idea for a track inspired by a PFM tune and she already had the title in mind for it, which is "Wavebreak". I was curious about how this would sound in reality, so we met up to work on the tune & she said it was pretty much like how she had envisioned it & I liked how it sounded, so I thought it would be worth putting out on a future Meeting Of The Minds release, which ended up being this one.

Big up to all the artists involved on this edition of Meeting Of The Minds, it's quite a long and arduous task putting together each one, which is why there was such a gap between Vol. 9 & 10 and Vol. 11 & 12. I plan on getting the series back into something more regularly occurring, so hopefully I can actually stick to that plan!

After the conceptual depth of "Parallel Traces of the Jewel Voice" (2021), dj sniff returns to Discrepant with a more direct and visceral document: Turntable Solos.

Composed from live recordings made during the latter half of 2024, Turntable Solos captures dj sniff’s improvised performances in their rawest form. At the core of his setup is Cut ’n’ Play, a software sampler he originally built in Max / MSP in 2007. Since then, he has continued developing custom tools and instruments that extend what Derek Bailey called the “instrumental impulse” — the tactile, responsive relationship between musician and machine that defines improvisation.

Following a summer 2024 tour of Japan with Gonçalo Cardoso, sniff was encouraged to document and release a selection of his live sets. Not long after, a performance at 20α (Alpha) in Hong Kong would become the emotional and conceptual anchor for the project.

In the liner notes, sniff reflects on the eerie parallels between recent footage of protestors in Los Angeles — assaulted by police using so-called “less-lethal” weapons, and civilians being abducted into detention centers — and the 2019 Hong Kong protests. A place once filled with personal nostalgia began to feel like a grim foreshadowing of what might unfold in Western societies.

In this turbulent context, 20α stands out as a space of resistance and renewal — a beacon for a new generation of experimental musicians, growing in defiance of increasing censorship and surveillance. "Turntable Solos" is both a personal statement and a public act of sonic resilience.

Angel Bat Dawid's International Anthem debut The Oracle introduced her multifaceted voice to the world. The response to its modest, initial cassette/digital release in January of 2019 was immediate, and immense. Within a month of its announcement, Dawid was being featured on magazine covers and receiving offers from international festivals; and her subsequent activity marked the beginning of an epic run of creative output (including 2020's LIVE double LP, the same year's EP Transition East, 2021's Hush Harbor Mixtape Vol. 1 Doxology, and the sprawling opus Requiem for Jazz, released in 2023) that continues through the present.

The collection of compositions on The Oracle present a deep blend of powerful and emotive songs alongside heavy and free improvisation. In true DIY fashion, Dawid recorded and mixed the album using only her cell phone.

"Angel's fieldnote approach affirms that the everyday remains a legitimate site of creative production," says South Africa based percussionist, collaborator, and IARC labelmate Asher Gamedze in his liner notes for the album's IA11 Edition. Gamedze - the only other musician to appear on The Oracle besides Dawid, who constructed most of the album's tracks by layering, overdubbing, and arranging lo-fi symphonies of her own voice, wind instruments, percussions, and keyboards - waxes extensively about Dawid's significance in his notes, calling her "a living exemplar and extension of the spacious sonic horizons opened by the likes of the AACM and their refusal of any limitations on their creative vision and the destruction of the demarcation between composer and improviser."
"...a masterpiece, rich with dense improvisation and Afrocentric themes." - Suraya Mohamed, NPR

Der legendäre Gruff Rhys kehrt mit "Dim Probs" zurück, seinem neunten Soloalbum, dem vierten walisischen Longplayer und der ersten Veröffentlichung über Mogwais Rock Action Records.

Mit den walisischen Künstlerkollegen Cate Le Bon und H. Hawkline an den Backing Vocals und produziert mit seinem langjährigen Kollaborateur Ali Chant (Yard Act/PJ Harvey) in dessen Studio in Bristol, UK, erinnert "Dim Probs" an die Wärme und Nähe von Gruffs karrierebestimmendem ersten Soloalbum ("Yr Atal Genhedlaeth" von 2005) und die sternensuchende Melancholie von "Seeking New Gods" von 2021.

Auf „Dim Probs“, das komplett in Walisisch/Cymraeg geschrieben und eingesungen ist, sitzt der Hörer Seite an Seite mit einem der größten und nachdenklichsten Songwriter des Landes in einer Ecke des Studios, während die Songs sich aufbauen. Das Ergebnis ist eine intime und hypnotische Platte, die akustischen Folk mit dem Sound verkratzter, primitiver elektronischer Maschinen mischt.

"Dim Probs" ist Gruff Rhys' erstes komplett walisischsprachiges Album seit "Pang!" von 2019 und der Nachfolger seines gefeierten Albums "Sadness Sets You Free" von 2024, das bei Rough Trade Records erschienen ist und vom Mojo Magazine (UK) als eines der 20 besten Alben des Jahres bezeichnet wurde.

Der legendäre Gruff Rhys kehrt mit "Dim Probs" zurück, seinem neunten Soloalbum, dem vierten walisischen Longplayer und der ersten Veröffentlichung über Mogwais Rock Action Records.

Mit den walisischen Künstlerkollegen Cate Le Bon und H. Hawkline an den Backing Vocals und produziert mit seinem langjährigen Kollaborateur Ali Chant (Yard Act/PJ Harvey) in dessen Studio in Bristol, UK, erinnert "Dim Probs" an die Wärme und Nähe von Gruffs karrierebestimmendem ersten Soloalbum ("Yr Atal Genhedlaeth" von 2005) und die sternensuchende Melancholie von "Seeking New Gods" von 2021.

Der legendäre Gruff Rhys kehrt mit "Dim Probs" zurück, seinem neunten Soloalbum, dem vierten walisischen Longplayer und der ersten Veröffentlichung über Mogwais Rock Action Records.

Mit den walisischen Künstlerkollegen Cate Le Bon und H. Hawkline an den Backing Vocals und produziert mit seinem langjährigen Kollaborateur Ali Chant (Yard Act/PJ Harvey) in dessen Studio in Bristol, UK, erinnert "Dim Probs" an die Wärme und Nähe von Gruffs karrierebestimmendem ersten Soloalbum ("Yr Atal Genhedlaeth" von 2005) und die sternensuchende Melancholie von "Seeking New Gods" von 2021.

Auf „Dim Probs“, das komplett in Walisisch/Cymraeg geschrieben und eingesungen ist, sitzt der Hörer Seite an Seite mit einem der größten und nachdenklichsten Songwriter des Landes in einer Ecke des Studios, während die Songs sich aufbauen. Das Ergebnis ist eine intime und hypnotische Platte, die akustischen Folk mit dem Sound verkratzter, primitiver elektronischer Maschinen mischt.

"Dim Probs" ist Gruff Rhys' erstes komplett walisischsprachiges Album seit "Pang!" von 2019 und der Nachfolger seines gefeierten Albums "Sadness Sets You Free" von 2024, das bei Rough Trade Records erschienen ist und vom Mojo Magazine (UK) als eines der 20 besten Alben des Jahres bezeichnet wurde.

When NYC-based experimental dance punks Guerilla Toss, active since 2011, were in Vermont recording their new full-length album You're Weird Now, frontwoman Kassie Carlson would prepare what she called 'punk lunch': a communal meal made by raiding the studio fridge for whatever was left and assembling a sandwich from the most random ingredients imaginable. Regularly joining punk lunch were two legends from their own corners of the weird music world: Stephen Malkmus (Pavement, The Jicks) and Trey Anastasio, Phish guitarist and owner of The Barn; the recording studio where Guerilla Toss were making You're Weird Now, with Malkmus in the producer's seat. Engineer Bryce Goggin, who has worked with Malkmus since Crooked Rain, Crooked Rain, and Ben Collette, Phish's longtime engineer at The Barn, were also part of the crew. While the idea of the guy from Phish and the guy from Pavement sitting around with Guerilla Toss, congenially assembling sandwiches from random foodstuffs dug up from the depths of a studio fridge, might seem absurd, it also makes total sense. Because really, if there's any band that serves as the natural bridge between slacker punks who saw Pavement way before you did, wild-eyed wooks who've seen Phish more times than you ever will, and even the eccentrics in '90s drip following former GT tourmates Primus-it's Guerilla Toss. A band so imaginative and unapologetically themselves, they're basically the real-life manifestation of a utopian, post-snob world where all musical ideas are worthy of expression and everyone is welcome. You're Weird Now powers this message. Guerilla Toss' fifth album and second for Sub Pop is a hugely creative and joyful statement about the joy of creativity. With You're Weird Now Guerilla Toss reclaim the word "weird" for everyone brave enough to let their freak flag fly and stay true to their artistic vision no matter what-a way riskier act than it's ever given credit for, and one that requires a certain amount of serene self-confidence that it takes time and effort to cultivate and sustain. And they do so with the enthusiastic support of their musical predecessors: a standout moment arrives with "Red Flag to Angry Bull," which builds to a campfire sing-along-worthy outro featuring Malkmus and Carlson duetting over a chatty, classically Phish-y (there's really no better word for it) solo from Anastasio. The band hopes the message of You're Weird Now will resonate not only with music heads but anyone who struggles with feeling weird in a world where it will always be hard to be different. At the end of the day, it's all about the spirit of punk lunch: there's room for everyone because music is for everyone. "Everyone loves and appreciates music," says Carlson. "If you don't like music, you're kind of an asshole." That's not weird-that's just true.