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A long-lost masterpiece of Yugoslavian jazz-funk and disco finally returns! Originally released in 1979 on the iconic Jugoton label, YU Disko Expres by Igor Savin and Orkestar Stanka Selaka is a rare gem—an electrifying fusion of jazz, funk, electronic music, and traditional folk elements. Decades ahead of its time, this album remains a strikingly modern and danceable exploration of sound, seamlessly blending synthesizers with tight horn arrangements and deep, infectious grooves.
Igor Savin, one of Croatia’s most respected composers and pioneers of electronic music, was a driving force in blending contemporary jazz with emerging electronic sounds. A classically trained musician with a deep love for jazz, he left a lasting mark on the region’s music scene, working across film, TV, and avant-garde composition.
Backed by an all-star ensemble featuring some of Yugoslavia’s finest musicians—trumpeter Stanko Selak, bassist Miljenko Prohaska, drummer Silvije Glojnarić, saxophonist Stjepan Mihaljinec, and more—YU Disko Expres delivers an unparalleled groove that has remained a collector’s favorite for decades.
For the first time ever, this sought-after album gets an official reissue, fully remastered from the original tapes. DJs, hip-hop producers, and groove aficionados take note: YU Disko Expres is back, sounding fresher than ever. Don’t miss your chance to own a piece of Yugoslavian music history!

Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you'll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP 'Strung Out In Hell' takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory. From top-to-tail, 'Strung Out In Hell' is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there's no better time to jump on the Margarita Witch Cult train- and it's going straight down, fast.

Gold Nugget Vinyl, limited to 400 copies. Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you'll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP 'Strung Out In Hell' takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory. From top-to-tail, 'Strung Out In Hell' is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there's no better time to jump on the Margarita Witch Cult train- and it's going straight down, fast.

After years of sonic exploration with guitars and electronics in addition to other projects (Lost Girls, Moon Relay, Jenny Hval), Håvard Volden has returned to his main instrument with renewed curiosity and a new band. On this album, the guitar takes center stage, with alternative tunings and an exploratory approach forming the foundation for a new musical direction. The result is a beautiful album with an honest and organic sound, and the perfect blend of jazz and alternative pop/rock. The music is rooted in jazz but also draws inspiration from early tape music—think Joe Meek, and Luc Ferrari—as well as folk traditions from all over, new age, and the raw energy of experimental rock, likeVelvet Underground. The result is a collection of instrumental compositions where guitar, synthesizers, bass, and drums interweave in dynamic interplay. At times, the pieces are loose and expansive; at others, they are rhythmically precise and compressed—like instrumental pop songs with an open structure. And to add to the pop cultural pallett; the cover photo is taken on tour with Jenny Hval in front of the ”Twin Peaks” mountains. With music that thrives on dynamics and improvisation, most of the album was recorded live in the studio. This album is an exploration of the guitar’s potential, where echoes and tape machines extend the instrument’s rhythm, resonance, and tonality. A playful, dreamlike, and uncompromising record that embraces the power of collaboration.

Betty Harris (born 1939, in Orlando, Florida) is an American Soul Singer with a reputation that far exceeds her commercial success of the 1960s. Her recordings for the Sansu record label are highly sought after by fans of both Northern and Deep Soul.
In 1964, Betty Harris switched record labels from Jubilee to Sansu, a New Orleans label, where she was introduced to and produced by the legendary New Orleans producer Allen Toussaint. Her recordings with Sansu produced 20 singles. Of those, only "Nearer to You" charted (Billboard Hot 100 # 85), an atmospheric, dramatic soul ballad, now considered one of the milestones of deep soul. However, practically all of her recordings for Sansu featuring Allen Toussaint's raw yet sophisticated Southern Soul arrangements are considered prime specimens of the classic soul era. Notable recordings include "I'm Evil Tonight"; “Show It”; "I Don't Want To Hear It" and "Twelve Red Roses", favored among Northern Soul fans, plus "Can't Last Much Longer" and "What'd I Do Wrong".
In 1969 her Sansu recordings were compiled into a U.K. album—Soul Perfection—now highly prized around the world and reissued here in its original form for the first time.

Formed in Oslo in 1996 by childhood friends Jon- Arne Vilbo & Thomas Andersen
along with Jan-Henrik Ohme (later joined by Mikael Kromer, Lars Erik Asp & Kristian
Torp), Gazpacho have honed their unique sound over a string of critically acclaimed
albums & numerous tours, including several with long-time supporters Marillion.
'March Of Ghosts' was the band's follow-up to 'Missa Atropos', which was released on
Kscope in 2011 along with the live album, 'London'. 'London' was recorded on the
band's European tour & the success of this tour helped provide the genesis for 'March
Of Ghosts', as Jon-Arne explains: "the previous tour gave us lots of inspiration. So, the
week after returning we went straight into the studio to capture whatever came." This
material was then honed, dissected & refned throughout the summer & autumn of
2011 to create a coherent whole.
While 'Missa Atropos' can be viewed as a concept album, 'March Of Ghosts' is much
more as a collection of short tales; "The idea was to have the lead character spend a
night where all these ghosts (dead & alive) would march past him to tell their stories.
They are short stories. They are a March Of Ghosts. They are tales that need to be
told."

Protector Edition: Amethyst Swirl Vinyl. Mit "Sharon Van Etten & The Attachment Theory" präsentiert Sharon Van Etten eine aufregende neue Dimension ihres Sounds und Songwritings. Zum ersten Mal wurde das Album in völliger Zusammenarbeit mit ihrer Band - Jorge Balbi (Schlagzeug, Maschinen), Devra Hoff (Bass, Gesang) und Teeny Lieberson (Synthesizer, Klavier, Gitarre, Gesang) - geschrieben und aufgenommen, was Van Etten genau die Freiheit gab, die sich aus dem Loslassen ergeben hat. Die Themen sind zeitlos, klassisch Sharon, aber die Klänge sind neu, vollständig realisiert und scharf wie Glas. Diese neue Herangehensweise begann während der Proben in der Wüste für eine bevorstehende Tournee, als Van Etten ihre Band in den kreativen Prozess einbezog: "Zum ersten Mal in meinem Leben habe ich die Band gefragt, ob wir einfach jammen können. Worte, die nie aus meinem Mund kamen - niemals! Aber ich liebte alle Sounds, die wir bekamen. Ich war neugierig - was würde passieren?" Offenbar Magie. "In einer Stunde schrieben wir zwei Songs, aus denen schließlich "I Can't Imagine" und "Southern Life" wurden." Das Album wurde im ehemaligen Studio der Eurythmics, The Church, aufgenommen, das perfekt zu der mystischen Mischung aus Elektronik und analogen Texturen der Band passt. Die Produzentin Marta Salogni (Björk, Bon Iver, Animal Collective, Mica Levi) war sowohl als Bindeglied als auch als Produzentin unverzichtbar, da sie "die Synthesizer liebte und einen Sinn für Abenteuer hatte" und es verstand, "die Dunkelheit und die einzigartigen Klänge zu umarmen, die wir während des Schreibprozesses entwickelt hatten", so Van Etten. Über diese neue künstlerische Geisteshaltung und die Kunst des gemeinsamen Schreibens sinniert Van Etten: "Manchmal ist es aufregend, manchmal ist es beängstigend, manchmal fühlt man sich festgefahren. Jeder Tag fühlt sich ein wenig anders an - einfach in Frieden zu sein mit dem, was man fühlt und wer man ist und wie man in diesem Moment zu den Menschen steht. Wenn ich einfach offenbleiben kann und gleichzeitig weiß, dass sich meine Gefühle jeden Tag ändern, ist das alles, was ich im Moment tun kann. Das und versuchen, die beste Person zu sein, die ich sein kann, während ich andere Menschen so sein lasse, wie sie sind, und es nicht persönlich nehme und einfach nur bin. Ich bin noch nicht so weit, aber ich versuche, jeden Tag so weit zu sein." Mit "Sharon Van Etten & The Attachment Theory" vertieft Van Etten den Diskurs, der einen Großteil ihres Katalogs belebt, und erforscht, was es bedeutet, einfach nur ein Mensch zu sein. Das ist ihr Genie - schräg, aber auch relevant und persönlich.

Trumpeter Eddie Henderson came to prominence as a member of Herbie Hancock’s Mwandishi in the early-70s after which he recorded a pair of seminal jazz-funk fusion classics for Blue Note—Sunburst (1975, and Heritage (1976)—the latter featuring a forward-looking crew with Julian Priester, Patrice Rushen, Paul Jackson, Mike Clark, Billy Hart, Mtume, and others. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Jugoton Funk is back with a second instalment gone funkier and crazier than before - now capturing even the early 80s disco and folk decadence occurring after Tito’s death. Jugoton, the Yugoslavian discography leader by all standards, still incites our inspiration and keeps our fingers dusty for more beats, soul and jazz presented here in equal proportion. From unreleased Jugoton associated numbers by Spektar and breakbeat bombshell classics like Zlatokosa to early Yugoslavian Soul Finger renditions and groovy jazz infusions from Josipa Lisac - this compilation rounds it all up. Enjoy it while we take another 5 years to get to Vol.3.

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Highly respected Brooklyn-based record store Archivio Records launches its flagship label, with the help of legendary UK Tech House pioneer Affie Yusuf.

This remarkable four track EP made up of previously unheard and unreleased gems, captured from DATs long thought lost during the mid-90s golden era of Swag Records, Wiggle, Surreal and co. delivers four distinct tracks, perfectly curated to suit the mood of the most discerning dance floors, at any time of the night!

Uba Cuba sees Affie transport you to pre-Revolution Havana, where the rum flowed and the good times rolled. A playful Latin-infused tech house roller, this track is guaranteed to put a smile on the face of everyone on the dance floor!

For the first track under his Parkwalker alias, Pashtwo is a decidedly deeper and darker excursion with a driving bassline, trippy vocals and a constant forward motion, perfect for those moments when you have the crowd really locked in.

Urgez Untold, the second Parkwalker contribution to the EP is an airy, groovy journey designed for those after hours moments when the sunlight is creeping in and the crowd is ready to let it all go in the pursuit of euphoria. Hypnotic bass, ethereal synths and bouncy, tropical drums give this one a universal appeal and a timeless feel.

Finally, Ode Reticular is Affie Yusuf at his brilliant, inventive best, crafting an epic track with three distinct phases. Starting as a dubby minimal chugger before morphing in to a quirky, playful tech house roller, then final chapter sprinkles mystical progressive elements to take you to another dimension, without ever needing to lose your spot on the dance floor.

An essential release for lovers of the early UK Tech house sound, seeking out undiscovered gems from the glory days of mid-90s London.

With future releases featuring Mark Ambrose, Pure Science, Carl Finlow and more, this is a label to watch closely and collect religiously.

After more than a decade of music-making, Durand Jones & The Indications have blossomed as a unit and are basking in their successes. On their aptly titled new album, Flowers, The Indications unfurl their true colors _ embracing all their roots and influences, maturation and confidence, and share them with the world. Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, selling out shows across Europe, Japan, Australia, and New Zealand to the West Coast_ where DJI has a strong following among the lowrider and vintage soul enthusiasts. For as far as Durand Jones & The Indications have come, Flowers grew from the desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Pulling sonically and spiritually from each of the group's previous releases and solo work, Flowers is the next stage of DJI's inspired soulful discography. DJI are not only accepting their flowers, but indulging in their sweet and sexy fragrance.

Transitioning from the successful 2 Years EP (O Sótão Records, 2023), Tiago Fonseca became an up and coming Producer and DJ based between Lisbon and Porto. On the back of gigs at some of the best clubs in the country, he also transitions from Tiago A.F. to TGZ (sounding Tigz) as his moniker for what’s to come ahead. Long Shape, his latest project, is O Sótão’s first vinyl release, and the first to be delivered with higher standards of professionalism. Learning the trade, the processes, the timeframes, the costs, and having just completed 10 years of existence. A good time to go a bit deeper.

In the summer, Tiago sent me a golden playlist of unfinished projects for a second opinion. The idea for a new record started there, and from the bunch we handpicked a selection that ended up making really a lot of sense for us. We were looking for wet deepness and eternal warm ups, pulling up the fader slowly. An invitation to leave our mental capsules and divert attention towards a seductive bassline cliff-hanging a dream. Progressiveness and jazz. Long shapes and melodies in the last frontier between nostalgia and hope.

To help, we invited Miguel Tenreiro (a.k.a. Gazpa) to master the tracks, with him adding a smooth-extra-delicious pump on the beautiful original elements. Miguel also picked up the title-track for a remix treatment, breaking up the tempo with a hip-hop-electronica finale, sprinkled by a guitar solo from Zé Nuno - another great musician stemming from Mr. Bean’s bar, where we held a residency for the past year.

Long Shape will drop on March 21st. Vinyls might be only available a bit later. It will be a landmark moment for us, being Tiago’s most complete work to date, and a better representation of his rich musical influences, expanding it, as we speak, to another level. It’s also been 10 years for O Sótão, so there’s that too. To sum up, I’m just very glad that Long Shape sounds exactly where we would like to be after all this time, with a quick image of a nite-lit skyscraper cutting into a couple of rocks being dropped in the coolest whiskey glass, and the people warming up to a dream.

Edition of 100 Vinyl 12’’, Cover 3mm spine

“I cross the void beyond the mind. The empty space that circles time... Eternal wisdom is my guide. I am the Doctor!” Demon Records celebrates Jon Pertwee’s flamboyant portrayal of the famous Time Lord, 55 years after he made his screen debut on 3 January 1970. Available on Blue and 4 x Blue and Green Vinyl, with a beautifully illustrated cover, this set presents Jon Pertwee narrating two classic Doctor Who Target Books, an array of bonus Jon Pertwee audio appearances, and his own 1972 pop single, Who Is The Doctor? Doctor Who and the Curse of Peladon is Brian Hayles’ abridged TV novelisation set on a medieval-style world, and Doctor Who and the Planet of the Daleks is Terrance Dicks’s abridged adaptation of the Terry Nation adventure set on the jungle-like Spiridon. Bonus features are also included on each disc spanning the 1970s to the 1990s, including BBC radio interviews, a Goodwood Races sketch with Elisabeth Sladen, comedy featuring Mel Giedroyc, and tributes paid by family members and Doctor Who producers. This also includes a frameable photographic print of the Third Doctor. Accompanied by the BBC Radiophonic Workshop’s familiar Doctor Who theme, the Jon Pertwee Collection celebrates one of the most stylish, iconic and beloved Doctors of all

Emotional Rescue completes the series of non-defined reissues where the label licenses an all-time favourite, remasters and then reappraised with new interpretations by contemporary producers for today’s collectors.

After the series started back in 2019 with Hawkwind’s sprawling psychedelic electronics, featuring deep drone mixes by the esteemed digger Cherrystones (ERC074), the bouncing cosmic-Balearics of Thomas Leer with wonderful reworkings by friend and producer Bullion (ERC075) and then the post punk dubs of The Embrace and Timothy J Faiplay’s brooding italo-dub excursions (ERC076), there was always one artist and producer left out. Finally, then the percussive excursion of the early 80s band The Impossible Dreamers and their cult B side jam, Spin, coming with 9 minutes percussion-dub extravaganza of an extended reversion, plus a dub heavy reprise, by label go-to Dan Tyler (Idjut Boys /Noid), under his NAD moniker.

Started by a group of friends while at Exeter University that centered around Caroline Radcliffe, James Hood, Justin Adams and Nick Waterhouse, their debut 12” record is one of just three on the 100 Things To Do label. The other two releases have already been covered with the Hamburger All Stars ‘Swinging London’ 12” (ERC114) of 2022.

Recorded before the move to West London, ‘Life On Earth’ was a raw post punk vocal pop cut, with influences of dub, funk, hip-hop and African music shining through, there were in their own words, “young music fans starting out, with no agenda”.

However, it was on the B side that things got interesting. Enamored by the growing trend of extended 12” singles, they decided, with the A side wrapped up, to have some studio experimentation by recording a drumming jam, with all the members playing percussion, followed by some overdubbing. Memories are hazy, but at the time the band was an 8-piece, so the results a chaotic explosion, capturing the essence of that time. Featuring Nick and James on 4 hand piano, plus Caroline on Oboe, with some additional hollering and wooping vocals, Spin was a 5-minute burst of energy.

In effect, self-released in 1982, the band didn’t expect much to come of it, but the 12” acted as a calling card leading them to London and later signing for RCA. At the same time, Spin was being discovered in the early eighties alternative club world. On a trip to New York, the track was heard being played Downtown, and on enquiring it was discovered the DJ was playing a 7” that was never an official release but cut in the US solely for the club DJs there.

Its resonance extended further, to Italy and the Cosmic club of the resident, an ever-searching Danielle Baldelli, before being picked up a few years later by a young Andrew Weatherall during his pursuit of an alternative “Balearic” beat during the late eighties Summers of Love and has even recently received the Joe Clausell edit treatment back again in NYC.

For the remake to fit the label series, it was only right to ask label friend Dan Tyler to do what he does so well, putting the original through his array of dub machines and pedals, extending and cutting with aplomb to create an incendiary ‘Reversion’ that will send dancefloors literally in a spin. Teasing the percussion incandescent, looping and teasing, the piano held back before finally releasing in a haze of dub effects.

This is followed by the ‘Riddim Reprise’. Working with London based drummer Matt Bruce (Claptrap), this is the perfect DJ tool, taking the original idea of the band, to just jam see what happens, twisting it full of space echo and reverb, to offer a perfect 12” Extended Mix.

Official reissue of this sought-after Canadian psychedelic hard-rock album from 1970.
Formed in Toronto in the late 60s, It’s All Meat (the name was taken from a dog food commercial!) soon caught the attention of influential character Jack London (frontman of pre-Steppenwolf band Jack London and the Sparrows) who managed the band and secured a deal with major label Columbia Records.
After recording their first 45, the proto-punk MC5/Stones sounding “Feel It”, the band started working on their first album with the tandem of Jed MacKay and Rick McKim as main songwriters.
“It’s All Meat” was released in 1970 and offered a powerful mix of garage-rock, psychedelia and early hard- rock, drawing influences from bands like the Stones, Country Joe & The Fish, Doors, Velvet Underground... tracks like “Roll My Own” or the lysergic “Crying Into The Deep Lake” are now considered classics of the genre.
Sadly, the band would split soon after the LP was released.
*Original artwork in gatefold sleeve *Remastered sound in 24-bit domain *Insert with liner notes by Plastic Crimewave and rare photos / memorabilia
*Download card with non-LP singles and rare tracks
RIYL: STONES, MC5, DOORS, JEFFERSON AIRPLANE, NEW YORK DOLLS,
“One of the classic Canadian rarities. It’s All Meat deliver ballsy Stones influenced hardrock with some psychedelic west-coast moves” - Patrick Lundborg (Acid Archives)

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with Flickering Resonance. While longtime Pelican fans will recognize the album as an update to the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it at first," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, we're more willing to acknowledge all the suits we're wearing."On Flickering Resonance, Pelican doesn't attempt to reinvent itself as much as emphasize the elements that were so often overlooked. Though Pelican's thick sonic backbone remains intact, the songs on Flickering Resonance show a more humanistic side of the band. Tracks like "Evergreen" and "Indelible" tease Pelican's doom-metal roots, but these songs feel equally, ebullient and truthful, playing like Texas Is The Reason songs transmuted into a post-rock landscape. Recorded with longtime musical compatriot Sanford Parker, who recorded their first EP, Pelican begins this new chapter of their career with an album that's neither full reinvention nor back-to-roots revivalism. After so much time apart, and with so much life having been lived between the original Pelican lineup's last recording sessions together, the band approached it with renewed vigor and a more communal spirit."There was more room for openness and critique with the understanding that we're all trying to craft the best song possible and that every suggestion is valid until it's proven invalid," says Shelley de Brauw. That process allowed everyone to embrace the material with a shared vision. "We didn't move forward unless we all wanted to move forward, and that felt like real community building," says Schroeder-Lebec of this unified approach. "I went from seeing it as my art and my craft to our craft that we were shaping together."In doing so, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes. Songs like "Cascading Crescent" and "Indelible" don't languish in what's been lost, these tracks see the band embracing what remains in their hands instead of lamenting what's slipped through their fingers. It's a concept that's mirrored in the artwork of Christian Degn that graces the cover of Flickering Resonance. It's a piece built off the concept of flame meditation, and how the smallest flames can often bring about the biggest transformations. A song like "Flickering Stillness" exemplifies this feeling through its sonic expanse, putting the band's sonic density and hyper-focused clarity on display, but with an emphasis on the profound human connections that have kept Pelican going all these years. "When Laurent left and we were able to carry it through, there became a real sense of gratitude for the fact we still have this artistic outlet and a community of people who want to be a part of it" That feeling of deep, grounded appreciation isn't just one that's within the band members, it's expressed in every track on Flickering Resonance. Because at the very core of Pelican, are four individuals who have grown both separately and together, and always will.Like a distant light faintly glowing in the darkest night, Flickering Resonance is a reminder of all that has passed us by, but also all that is still to come.

Legendary artist, Raincoats co-founder, songwriter, filmmaker, and feminist icon Gina Birch has announced her eagerly awaited second solo album, Trouble, arriving via Third Man Records on Friday, July 11. Pre-orders are available now.

Trouble is heralded by today’s premiere of the album’s blistering centerpiece, “Causing Trouble Again,” available for streaming now. An official music video – directed by famed photographer/filmmaker Dean Chalkley and featuring an all-star collective of fellow female artists including Birch’s longtime friend and co-founder of The Raincoats, Ana da Silva, Neo Naturists co-founder Christine Binnie, singer-songwriter Amy Rigby, X-Ray Spex and Essential Logic co-founder Lora Logic, painter Daisy Parris, artist Georgina Starr, writer Jill Westwood, multi-disciplinary artist and activist Bobby Baker, award-winning costume designer Annie Symons, veteran photographer and Raincoats collaborator Shirley O’Loughlin, and many more – is streaming now on YouTube.

“For the ‘Causing Trouble Again’ video, after hearing Bob Dylan sing about a white ladder all covered with water, I became obsessed with white ladders,” Gina Birch says. “ I decided to use five white ladders, three with seven rungs…I realized later that this references Jacob’s Ladder and a connection from Earth to heaven, but I think I was thinking of ladders as a symbol of getting on, getting up. I wanted to have a choreographed movement with four of us with these ladders. How do we move with ladders? Do we move together, do we fight, do we dance? “I also wanted to reference the wind scene from the film, The Colour of Pomegranates, and to include as many artist women from the Women in Revolt exhibition as I could.

Jessica Winters Debüt ist ein vollendetes, mutiges und hinterfragendes Album voller Persönlichkeit, das irgendwo zwischen Therapie und Tanzfläche angesiedelt ist. Musikalisch finden sich Anklänge an Kylie Minogue und dem Glanz der 80er-Jahre-Madonna, der Extravaganz von Prince und Queen, der Energie und des gelegentlichen Knurren des Punk und der verträumt hochgezogenen Augenbraue der Psychedelia. In einer Welt, in der maximalistischer Pop zurück ist und Therapie-Memes das Mass aller Dinge sind, ist "My First Album" der perfekte Soundtrack.

Jessica Winter ist eine britische Sängerin, Songwriterin und Produzentin, bekannt für ihre experimentelle Popmusik, die Elemente verschiedener Genres wie Pop, Industrial und Indie vereint. Bisher hat Jessica eine Reihe von EPs veröffentlicht, die ihre Fähigkeit, unkonventionelle Themen und introspektive Texte in Popsongstrukturen einfließen zu lassen, unter Beweis stellen. Zusätzlich zu ihrem Soloprojekt verfügt Winter über eine umfangreiche Liste an Referenzen als Co-Autorin und Produzentin, die mit Künstlern wie The Horrors, The Big Moon, Jazmin Bean, Phoebe Green, Lauren Auder, Pre Goblin, Sundara Karma, Walt Disco und Brodka zusammenarbeitete.

Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded 10 regular studio albums between 1971 and 2009. Their debut album ("Cluster 71") was in Wire Magazine"s "One Hundred Records That Set The World On Fire" list. "Cluster II" is influenced by Berlin and Hamburg; situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture.

Der mehrfach mit Platin und siebenmal mit Diamant ausgezeichnete R&B- und Popstar The Weeknd
kommt mit seinem Album „Hurry Up Tomorrow“ zurück.
Nach seinem 2020 erschienenen Erfolgsalbum „After Hours“, welches auch das am häufigsten gestreamte
R&B-Album aller Zeiten ist, und dem 2022 veröffentlichten Album „Dawn FM“ bringt The Weeknd die
Trilogie mit „Hurry Up Tomorrow“ zu ihrem Höhepunkt. Dieses Album hebt seine künstlerischen Erzählungen auf ein neues Level und fängt existenzielle und selbstreferenzielle Themen des Sängers ein. Titel
wie „Dancing In The Flames“, „Timeless“ mit Playboi Carti und “Sao Paulo” mit Anitta werden bereits
seit dem Sao Paulo Konzert von den Fans gefeiert. Im Jahr 2023 wurde The Weeknd vom Guinness-Buch
der Rekorde zum „Beliebtesten Künstler der Welt“ ernannt.
nun erscheint Ltd. Score CD und Score LP

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.
Tomorrow Comes Crashing, Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.
Catharsis bursts through the seams throughout Tomorrow Comes Crashing. “Syd Sweeney, ”inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.
To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. Tomorrow Comes Crashing is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

Support from: Dino Lenny, Sabo, 1979, Alex Neri, Cioz, Just Her, Lonya, Hyenah, Nhar, Don Diablo, Luke Garcia, Underspreche, Francesco Chiocci, Adriatique

Undiscovered Recordings is a London- and Naples-based independent record label founded in 1994. Showcasing new and exciting production talent, Undiscovered was founded by a crack team of music industry experts, the two Angelos, Doug and Mario, in the midst of the dance music movement of the 1990s.

The Angelos met while working at UMM and Flying Records. Founding Undiscovered allowed them to move
away from the traditional dance music of the time and to highlight lesser-known artists and styles. Angelo
Tardio, in-house A&R, capitalised on his trail-blazing career as a DJ, as the founder of iconic label U.M.M., and his production career as Kwanzaa Posse, where he collaborated with huge talents such as Mano Negra, Manu Chao, King Chango, MC Solaar and Les Negresses Vertes, to name just a few. Doug Osborne, British DJ & Producer and co-founder. Angelo Bernardo brought his years of experience in the music industry to take over the business side of the company, and Mario Nicoletti came on board as a true living musical encyclopaedia and expert. Alberto Faggiana joined in 1998 to contribute his industry know-how to curate the legal and administrative aspects. And so the Undiscovered team was complete.

Undiscovered has since moved with the times, from classic dance genres into Balearic chill-out, all the while
maintaining its goals to showcase emerging producers and artists. After a long hiatus, and following a number of forced changes in the company, Undiscovered are back in full force. Kwanzaa Posse achieved success back in the 90's with such hits as "Wicked Funk", "African Vibrations" and "Musika!", all of which attracted collaborations with remixes by Massive Attack, Jam & Spoon, and Ralph Falcon & Oscar Gaetan - aka Murk Boys. Now the production unit responsible for such seminal tracks is back with a magical new track called 'Mali Chant'.

LTD Repress !

LIZZ is back on PlayedBy with Chapter II, a compilation of new and unreleased artifacts and other treasures from his dense catalog. Diverse and expansive, it captures his versatile musicianship and ever-evolving production style.

Broadly speaking, there are two types of tracks produced by LIZZ: on one hand rallying for the right to party, and on the other, nostalgic odysseys, sometimes lustful and sometimes wistful. Chapter II has a bit of everything. Thirteen tracks of club heat varied narrative that is worth listening to carefully.

Opener "Seamless" and its steady snare keep spirits high while the spacey keys provide a trippy, out-there vibe. On the flipside, "Clasic Dewan" uses elements we've heard before - warm pads, a percussive organ, and a looped vocal sample - but still makes for a great dancefloor track. Both tracks are a throwback to LIZZ's tried and true Terrafirma.

"Cynelmoon" unravels a labyrinthine universe twisting in and out of misty existence, with its snake-like rattles winding through a maze of synth bleeps.

Refreshing and zippy, "Dip Si M" stands out as a gritty reinterpretation of a great space and sounds like the most fun he's ever had on record. On the other hand, "Chemical Chords" is ethereal, meditative, with a hushed musicality that is almost stoic.

LIZZ takes the listener on a journey of vertiginous peaks and deep valleys as he leads "Round Around" into spiraling locked down looped club music.

Listening to "Nothing with Nothing" feels like a video-game on its own. It’s a bundle of joy and energy, peaking with a crescendo of color.

On "69" the energy builds with such careful, gradual restraint that even the most active listener might wonder how they ever got to this point. Chopped up shards of melody and vocals combine to create a kaleidoscopic funhouse with a strong Perlon-esque flavour.
"Roaki" is the dreamy track with an irresistible groove, where LIZZ combines smooth synth pads with dubby and distorted electronic drums that add a sense of cyberpunk feel, reconfirming's Playedby's fanaticism for this project.

A bubbling, percussive roller marks the beginning of "Jazzohub" and skyrockets from there. The track hits with an inviting vocal that dissolves into a fluid swirl of layered hand drums.
"No More High" is a a real banger. This one bounces hard with a bass-heavy beat and a military snare, leaving you no choice but to tip-toe with its groove all night long.

Chasing an ever-vivid muse,"Electronic World" hits with its drumming rhythms, labyrinth of synth bleeps and bold vocals reminiscent of tunneling club nights.

Closing track "I Am Cross" brings an unusual kind of dark atmosphere to the fore: it's cavernous and enveloping, almost as if the rhythm was an afterthought.

Chapter II is every bit as ambitious as its predecessor. Across thirteen tracks, LIZZ approaches the dancefloor forms of his earlier work with a fresh and voluptuous groovy attitude. Somehow, individually, we must reclaim our own experience.\5

"World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.
I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer Brandan Kearney from the moment I met the guy. Not only was he exceptionally friendly and welcoming to a carpetbagging interloper quickly trying to horn in on his scene (me), he was at once one of the most quick-witted, self-deprecating, highly intelligent & musically conversant people I’d ever met. Everything he and his band were doing, along with the mind-boggling DIY gunk he was pushing through his record label, Nuf Sed, and via his multiple other bands (among them: Caroliner & Archipelago Brewing Company, with several more to follow), made me extremely curious and not a tiny bit jealous about these wiser, weirder and musically more daring freaks who were making art, love & war in the relatively grittier & non-gentrified San Francisco of the day.
What I’ve learned in the 35 years since the band broke up is just how highly regarded they were (and remain) by not only those who saw them, but by a now-considerably larger group of humans who’ve subsequently heard & loved their records. I know that their place in the late 1980s was a small but special one, and I’ve seen plenty of online clamoring for more, more, more about this ephemeral and poorly-documented band. And rightly, here it is, lovingly assembled: their two hard-to-come-by 45s, a handful of comp tracks, and a quartet of phenomenal songs just coming to light for the first time, including that Half Japanese cover that dimly existed in my memory as a live song they naturally pulled off with sangfroid, from a time and space when we were all a little younger. - Jay Hinman"

You're strolling down an alley in New Orleans or Brooklyn late at night and this sound jumps out at you -- rock & roll, classic rhythm & blues, sung and played with verve, personality, and joy. The dance floor is full. You stroll in and hear sounds that wouldn't have sounded out of place on the legendary Specialty Records of the 1950s and '60s.

Indeed one of the eight cuts onWrite It Down, the new album fromJackson& The Janks, comes from the repertoire of rhythm & blues singer Mamie Perry, first recorded in 1959. The rest areJacksonLynch originals, inspired by his time living and playing music in the Crescent City. Theuniquearrangementsof the band itself have deep roots in NOLA, too, with Matt Bell (Esther Rose) on lap steel, Craig Flory (Tuba Skinny) on bass saxophone and Sam Doores (The Deslondes) sharing backing vocals while trading-off on drums and keys.

Jacksonand the Janks have performed at the Brooklyn Folk Fest, Blackpot Festival (Louisiana), and Oldtone Festival (New York) and did a video session for tastemaker series GemsOnVHS and Jackson a solo session for Paste. Its residency on Fridays in Brooklyn (when they're not on tour) packs the house week after week with fans and folks drawn in by the word-of-mouth buzz and the sound.

After a three-year hiatus from releasing new music, Błoto knew they had to make up for the long wait with a flood of fresh material. Their fruitful recording sessions at Studio Pasterka produced a wave of new tracks—like mushrooms springing up after the rain. These sessions have already brought us two 7" singles, the Grzybnia LP, and now, rounding off this chapter, comes the final piece: the album Grzyby (eng. Mushrooms).

Anticipation for new Błoto releases reached a fever pitch. Vinyl collectors quickly snapped up all copies of the singles Szlam / Ścieki and Bakteria, the latter featuring a guest appearance by DāM-FunK. In less than six months, nearly all copies of Grzybnia were sold out—setting a record pace for Astigmatic Records. In the meantime, the album was nominated for a Fryderyk Award in the Alternative Music category. Though Grzybnia didn’t take home the prize, Błoto did win a Fryderyk for their track “Godzina W”, featured on the WAWA album dedicated to the Warsaw Uprising. It’s been an electrifying time for the band, filled with shows across Poland and abroad.

Art Academy was a short-lived but impactful project masterminded by Stephan Kessler (of Aircrash Bureau), releasing just one single in 1990 on the iconic Suck Me Plasma imprint, a sub-label of Music Research. "The Banker”, co-produced by Holger Wick (Konzept), delivers a sharp fusion of techno and EBM, capturing the gritty, forward-pushing energy of early '90s German electronic music.

Limited edition of 300 copies on black vinyl and 200 copies on clear red vinyl, offering all original tracks along with the highly sought-after HWSK Mix of “The Banker”, previously only available on CD.

Art Academy was a short-lived but impactful project masterminded by Stephan Kessler (of Aircrash Bureau), releasing just one single in 1990 on the iconic Suck Me Plasma imprint, a sub-label of Music Research. "The Banker”, co-produced by Holger Wick (Konzept), delivers a sharp fusion of techno and EBM, capturing the gritty, forward-pushing energy of early '90s German electronic music.

Limited edition of 300 copies on black vinyl and 200 copies on clear red vinyl, offering all original tracks along with the highly sought-after HWSK Mix of “The Banker”, previously only available on CD.

6 months after the release of Ed Rain’s (one of Andrei Rusu, half of duo Khidja, solo projects) debut solo album ‘Met him on a Wednesday’, Malka Tuti records is presenting two Huge remixes for the title track’s collaboration with Fantastic Twins.On the A Side we have Pilooski on the banger duties. Heavy sub bass frequencies and edgy rhythms reminiscing of late 90s UK energies (but with a somewhat modern twist) push forward a dance track with a unique structure and unexpected sonic surprises. Big room IDM. Big Big Tip. On the flip side we finally managed to collaborate with one of our favourites Superpitcher. The Kompakt x Pachanga Boys x Hippie Dance xxx alumni is one of our all time favourite people and producers, and we are oh-so-happy that he joined us on this special ride.His interpretation of the track takes it into more “poppy” realms. The entire track is laid over a beautiful sub bass droney kind of bassline and the result is one of those “this has been on repeat the entire day” kind of songs. A melancholic hue paints the song with a ‘Happy-Sad’ kind of energy and gives it more emotional depth yet always keeps it playful.

After what seems like an aeon of anticipation, Yugen Blakrok returns bolder than ever with The Illusion of Being, a raw, fearless exploration of emotion and resilience. This album is a call to triumph. Through poetic lyricism and experimental soundscapes, this project offers the listener a journey into the heart of uncertainty and the power of perseverance. Created and recorded in a world in flux, The Illusion of Being reflects the artist's evolution as a storyteller and resonates directly with the era that shaped her. Driven by incisive lyrics andsoundscapes blending grunge, trip-hop, and 90s spirit, this project tests the boundaries of alternative hip-hop. Here, rhythm speaks louder than reason, and the acceptance of "Being" becomes the thread that ties each track together. This album captures a bold new chapter in Yugen Blakrok's discography. While rooted in the lyrical mastery and poetic precision that fans cherish, it marks a departure from the familiar, embracing a more unfiltered and experimental approach. The collaborations seem purposeful, and match this intensity: Sa-Roc delivers combative and sisterly energy,Cambatta brings his visceral urgency, while Hannah Allen offers a touch both delicate and impactful. Instrumentally, the arrangements dare to break new ground: wailing electric guitars,enchanting flutes, and hypnotic beats create a striking sonic alchemy. As described by Yugen in three words: Free. Involved. Anti.Free from convention. Involved in the fight. Anti-establishment. In many ways this album is a sonic manifesto. Each track resonates as a call to rebellion, an anthem for those who refuse to bow down. The Illusion of Being is not just a work of art; it’s a statement: for freedom, for community, against oppression. A mirror of our collectivestruggles and a light for those who keep moving forward. It promises its listeners a deeply personal connection, offering a glimmer of hope amidst despair and a soundtrack for their fight.

Black Truffle is pleased to announce a new edition of Kassel Jaeger’s Fernweh, returning François J. Bonnet’s electroacoustic project to the label five years after the acclaimed Meith (BT069). Originally released on Giuseppe Ielasi and Jennifer Veillerobe’s impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet’s approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O’Malley and Jim O’Rourke.

A major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concrète materials into a drifting assemblage. Its title’s meaning is close to the concept of ‘Wanderlust’, fitting for this music that moves freely and unexpectedly between what Bonnet calls ‘climates’. Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Textures call up wind, water, insects, the crunch of feet on sand or the clinking of glasses, yet they can never be identified with any certainty. At times these concrete elements possess a vivid ‘closeness’; at others, the sounds shade into a formless distance. Though the listener forms no clear picture from the concrete sounds, these elements aerate the music, lending it their space.

Drawing from the rigorous formal language and conceptual apparatus of the French musique concrète tradition—with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar—the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. Subtle features of dynamics and rhythm act as connective tissue between the numerous ‘scenes’, with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. Like his friend and collaborator Jim O’Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.

Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.

Dimple Discs is pleased to announce its first release from the legend that is Jah Wobble. It is a completely solo work with Wobble writing playing and arranging. Lee Perry and King Tubby are deep influences with astounding top layer sonics. Jah Wobble, is an English bass guitarist and singer. He became known to a wider audience as the original bass player in Public Image Ltd (PiL) in the late 1970s and early 1980s; he left the band after two albums. Following his departure from PiL, he developed a solo career. In 2012, he reunited with fellow PiL guitarist Keith Levene for Metal Box in Dub and the album Yin & Yang. He continues to tour with a two hour show often presenting "Metal Box In Dub" with former Siouxsie and the Banshees guitar player Jon Klein who Wobble calls the greatest post punk guitarist.

For 15 years, female-fronted quintet LEONOV have been honing their captivating brand of celestial doom metal. Named after Aleksej Leonov, the first human to take a walk in space, the Norwegians combine the melancholic slow burn of King Woman with the ethereal heaviness of Subrosa and an incredible voice that undeniably reminds of Julie Christmas. Shape of Ash showcases the refined sound of a band that has been around for quite a while_ a band whose career has been a similar slow burn as their music, yet a band that has managed to stay together and create music throughout all these years, despite the odds of families and the real world. Like staring into a purgatory bonfire, listening to `Shape of Ash' is a powerfully entrancing experience. Dealing with themes of helplessness, uncertainty, conflict and resolution, these four songs touch upon the many adversities of life. On Shape of Ash, LEONOV create moments of primordial heaviness on which Tåran's unique voice floats atop, blends in effortlessly in some moments and takes reserved distance in others. With the 4 songs that make up this stunning EP, the band sets the bar incredibly high for their upcoming full length album. We can't wait for it! FOR FANS OF GGGOLDDD, King Woman, Marriages, Subrosa, Cult of Luna, Julie Christmas, Chelsea Wolfe, True Widow, Spurv

“(Cheer-Accident have) earned a reputation for extreme left turns - following collections of complex, metallic art rock with albums stuffed with piano-driven balladry cementing a practice of defying expectations that’s endured for more than three or four decades, depending on when you recognize as the group's actual genesis” - THE WIRE

From Cheer-Accident's liner notes: It’s weird to have so few words to say about our best album to date, but… well…

Our Best Album? Out of 26?

That’s not nothing.

What makes it “our best?” Is it the songs? Is it the production? Is it the convergence of those two elements? What if we added “accessibility?” It is, after all, a pop album. You know, very much in the same way that “The Why Album” and “What Sequel?” are. In fact, we very nearly named it “Now What”, viewing it as the final installment in this pop trilogy.

But that started to feel wrong, because: Why get locked into a “series” every time we happen to lean on the more melodic and concise aspect of what we do?

You know, and the thing is, this isn’t any kind of “return.” This is something new. Though it certainly shares DNA with the aforementioned What/Why releases, it also very much incorporates the rock and dissonance and experimentation present in many of our other forays. Maybe this is simply where we landed. Maybe this is what we are now. Maybe we’ve finally found the combination of ingredients that so perfectly synthesize as our aesthetic that there’s no need to go on from here. Maybe we’ve stopped. Maybe we’re done. Maybe we’ve finally found that sweet spot between the “adventurous” and the “palatable,” and we now intend to rest on our laurels.

What an Admission that would be.

“Extremely highhgrade psych” (MOJO, 2024) “Immaculate sounding new psychedelia“ (Maggot Brain, 2024) “Alexander succeeds in capturing the post-psych grandeur that he’s aiming for while also creating one of his headiest offerings yet” (Raven Sings The Blues) “Psych lifer in a bloozy Americana mode. The whole thing hangs loose like a frayed rope tied to a river tube… essentially, a choogler’s dream.” (Viking’s Choice / NPR Music) “Plug in and space your face” (Aquarium Drunkard) Originally on Tape via Arrowhawk (please go check more releases on this wonderful label) - Now on Vinyl Presented in a high gloss laminated outer sleeve with artwork by Jake Blanchard - Both sets of art joining together to complete the picture. 36 minutes of sonic bliss for your ears and brain. Side 1 - Dark Star Side 2 - Dark Star (continued) "Jeffrey Alexander is a lifer. He has been flirting around the underground for the past thirty years - starting in Baltimore in the mid-90s and later percolating in Providence, Pittsburgh, San Francisco and, now, Philadelphia. Throughout this span, he has run various record labels, worked in a bunch of record shops, organized music festivals, managed live venues, FM deejayed, jammed econo, booked endless tours and performed in a gaggle of groups from Black Forest / Black Sea to Dire Wolves to Jackie-O Motherfucker to The Iditarod and points in-between. And now we have The Heavy Lidders. Jeffrey Alexander + The Heavy Lidders takes the freaked improvisation of Alexander’s instrumental band - DWLVS / Dire Wolves Just Exactly Perfect Sisters Band - into the world of song. Heady songwriting, ethereal jazz and Trad Gras-y blues stomps all feature. Backed by members of Elkhorn and Kohoutek. This vinyl (in 2 volumes) you hold in your hands is a collection of live Lidders that will surely wax your stem, and how! When Record Crates United invited JA+THL to perform at their inaugural garden party, not only did the Lidders show up with a one-off Live/Dead cover as a surprise gift for Keith and Sarah, but they rolled in with the Jesse Sheppard mobile multi-track truck, as well. Fucking pros, mate. Most of the material here was captured that sunny afternoon in suburban New Jersey - and thank the Godz that we have this plastic burner. I missed the set, but Kenneth Higney was there and gave it two thumbs up! I know them Lidders have a deluxe studio LP lined up for September, but til then, this little box will comfortably help you break on through. But don’t be fooled into thinking this is a mere EP. It’s SEVENTY SIX minutes of pure medicated goo. Now dose your capstan and pinch your roller. Shit is about to get Lidded." - Glen Burnout (on Sun Ra’s arrival day 2023)

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream nearly three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

The singer’s distinctive mezzo-soprano deliveries — the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels — resonate with full-range ardor and depth. As crucial as anything on the record, Morissette’s confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on “You Oughta Know” to Tom Petty & the Heartbreakers' co-founder Benmont Tench’s organ playing on six tracks.

The deluxe packaging of Mobile Fidelity’s Jagged Little Pill UD1S set underscores the work’s distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.

That script — which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction — hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute “You Learn,” the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.

Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant “Forgiven,” seeks recompense on the vengeful “You Oughta Know,” and spills her guts on the soul-purging “All I Really Want.” For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There’s the clever yearning of “Hand in My Pocket”; wry contrarianism of “Ironic”; kind-heartedness of “Hand over Feet”; the live-and-let-live spirit of “You Learn” – all positive and amiable.

Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her — and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.