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„Loyal to myself“ ist Ausdruck eines neu gefundenen Lebensgefühls, eine mitreißende Unabhängigkeitserklärung, mit der sich Lena von ihren Ängsten, Zweifeln und äußeren Erwartungen freimacht. Gelungen ist ihr dabei ein mehr als hörenswertes fulminantes sechstes Studioalbum.

Lena ist gewachsen, hat aus ihren offen geteilten Erfahrungen neue Kraft geschöpft und zeigt sich musikalisch facettenreich und bereit ihre neue Musik mit ihren Fans zu teilen. Das Ergebnis ist ein 17 Song starkes Album, „Authentischer. Mehr bei mir. Zurück zu mir. Weniger Druck. Mehr Spaß.“

Two years in the making, 25-year-old Angelica Garcia's album Cha Cha Palace is the result of an artist's need to SAY SOMETHING. The second song on the record, "Jícama" might only be a minute and 25 seconds in its entirety, but the message spans generations and is one that resonates deeply for Garcia with her Mexican and Salvadoran roots. Singing/shouting, "I see you, but you don't see me Jímaca, Jímaca, Guava Tree_I've been trying to tell ya, but you just don't see, like you I was born in this country," Garcia tells the reality for millions of Americans unapologetically and with passion.That feeling of being between places is something Garcia knows well having been raised between multigenerational, multicultural, homes with step-parents and half-siblings. Additionally, she made the journey from the West Coast to the East Coast and back again multiple times before finally settling down in Richmond, Virginia.She fondly recalls Mexican ranchera music always playing throughout her childhood. Ranchera was ingrained within the maternal side of her family with her Mother, Grandmother, Uncle & Aunt constantly singing the traditional music throughout the home of her Grandparents.Like Mitski, Lorde, Billie Eilish, and Rosalía, Garcia isn't afraid to tear pages out of her diary and express emotions that might be difficult and oftentimes daunting to share given today's social and political environment. Like her peers, she joins a new chapter of musicians who are connecting with their audiences on a level that lives outside the reaches of technology, trends, and social media, the daily experience of feeling torn between saying something and doing something, for being a voice and speaking with your voice, of being Latina while being American. And it's humanity and honesty that audiences are looking for and will find in spades throughout each note of Cha Cha Palace.

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled "Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled "Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.

Pressed at RTI, this 180g 45RPM 2LP set of E.S.P. renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.

For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' line-up. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.

As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.

Interlocking lines drive "Little One," alternating rhythms pulse through the funky "Eighty-One," melodies soar on the balladic "Iris," the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.

The Funky French League is a collective of intergenerational DJ’s / producers / musicians, composed of Young Pulse, Arthur Chaps, Woody Braun, Monsieur Willy, DJ Asko and Uncle T. Coming from diverse backgrounds, from hip hop to electronic music, the love of groove brought them together. Their goal is to promote funk and its derivatives through parties, mixes, remixes, radio broadcasts... This 7” release is a remake of the African Blood classic A.I.E from 1975. It goes without saying that Monsieur Willy touched this one with respect, dignity and style but yet still pumped it up to the max. The afro beat driven Bonus Beat on the flip, again caters for the DJ to give them maximum freedom to express their skills and mixing creativity.

Available on “Green Tea” colored vinyl, limited to 300. Remixed by Chris Teti & remastered by Kris Crummet for 10th Anniversary. Recommend If You Like: Prince Daddy & the Hyena, Into It. Over It., Blink-182. Maybe it always had to be this way. Posture & the Grizzly formed in Connecticut, in '08, and churned out a couple of demo tapes before dropping their debut LP in early 2014. Busch Hymns was scrappy and raw, all weed smoke and pent-up fury. Songs like "Egg Nog Drunk Off Hilary Duff's Piss" (yeah) and "You Know I Know What You Did Last Summer" exemplify the band's charm perfectly crystalline, wobbly leads ready to burst under bouncy hooks equal parts snarl and singalong. Just a glance at the tracklist lets you know what Posture & the Grizzly's all about: eight goofily titled songs in and out in eighteen minutes. Just in time for the LP's tenth anniversary, it's been given a remix by The World Is…'s Chris Teti, who originally produced and engineered the album back in 2013, along with remastering from Kris Crummett (Knuckle Puck, Dance Gavin Dance). Sometimes when an album like this is remastered, it loses some of its charm; the gloss crowds out the grit, the whole thing is recolored a bit too bright. But not so on Busch Hymns—these songs are crisper, but that doesn't mean they're cleaner. J. Nasty's throaty howls are as ragged as ever, but this time around they stand out against Piss Malone and Cabbage Pile's rhythm section, no longer straining for spotlight but basking in it. Their sound would get streamlined a bit over the course of their next two albums, I Am Satan and Posture & the Grizzly, replacing some of Busch Hymns's bite with a clearer-eyed sparkle and a newfound melodicism. Busch Hymns stands now as a document of the cult punks' early days, a transitional period from their throat-shredding demo days to their all-too-brief time as a pop-punk juggernaut. It's clearer than ever with the Busch Hymns remaster that Posture & the Grizzly was meant to sound like this, was meant for more than basement shows and beer-soaked floors. In this light, Busch Hymns is more than a transitional period; it's a glimpse into the greatness to come. So if you're sick of listening to modern punk too, then quit it. Listen to Busch Hymns instead

Chrome is back again with his 5th full studio album. A new project under the guise of ChromePlus alongside Super JB, A Civilian and Tom Hanna. Chrome has amassed an incredible catalogue since 1990 as member of the mighty Def Tex and collaborating with IllInspired, Whirlwind D, DJar One, Specifik, Crease and DJ Nappa to name but a few.
This album has taken just over 3 years to complete and release but the wait is worth it. Featuring live instruments over sampled drums and turntables it has a vastly different DNA to most Hip Hop based albums, and with this the soundscape is able to stretch out in a way that would be almost impossible when staying in the realm of samples. But with the sampled drums keeping the dynamic energy of more usual Hip Hop production
Chrome’s previous single ‘Anything You Want’ achieved the prestige of ‘BBC Introducing’ single of the week which gives only a hint of the quality that can be expected here. Chrome is always trying something new and pushing his music into territory that many other artists do not attempt and with great results and with the stunning artwork it is the complete package for the decerning Hip Hop listener. There is something for each part of the Hip Hop spectrum here from Fast Rap, thoughtful and experimental guitar driven tracks, instrumentals and the almost forgotten DJ track with the tempo varying accordingly.

"Neutrals are a punk band from the San Francisco Bay Area, channeling a wide range of '70s and '80s punk, post-punk, and DIY indiepop influences. Their spare, angular songs don't skimp on melody or intimate storytelling and represent an appropriate intervention in these tense, atomized times. Their debut album ""Kebab Disco"" came out in 2019 on Emotional Response Records and garnered universal acclaim as ""an excellent collection of terse melodies, unique storytelling, and scraping pop. (AllMusic)"".

Following up their ace 2019 debut LP and a string of future-classic singles, Neutrals are now back with ""New Town Dream,"" a 13 song dispatch that takes on modern life and politics (both micro and macro) and situates their scrappy Jam-meets-Television Personalties sound firmly in 2024. Now featuring the sprightly bass and deadpan harmonies/backing vocals of bassist Lauren, Neutrals have turned in their catchiest, sharpest set of tunes yet."

(Jam El Mar Remix) DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)



DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)’. A formidable duo when it comes to churning out mind bending techno and hard-edged grooves, these guys first got together in 2001 delivering the bouncy vibes of ‘Hard One’ followed by ‘Airport’ and ‘Funk That’, all of which got included on a raft of compilations and enjoyed by many around the world. Individually they are accomplished in their own right. Ghost is an iconic figure in Belgium and a stalwart within the Bonzai family. Robert Armani needs no introduction, ‘Circus Bells’, ‘Ambulance’, ‘Hit Hard’ anyone? Since the mid-eighties he’s been right up there with DJ greats, and in 1992 he started releasing his own brand of house, acid house and techno. Legend is an understatement when it comes to both these guys and we’re delighted to see them back at it in the studio once again.



The release opens with ‘Hit Hard Baby (WTF)’, introing with dark kick drums and raspy hi hats. Classic techno percussions weave intricate patterns as tension mounts, taking us to the break where hypnotic notes build alongside a snare roll to the drop and back to full-on dark mode for the duration. ‘The Underground’ is up next, combining sick techno grooves with massive rave stabs and murky acid lines. Powered by a solid drum arrangement that packs a punch, this one is destined for peak time greatness. The first of two versions of ‘H.O.H’ begins with the Original Mix. Keeping with darker tones of the release, this one goes straight for the jugular as chunky kicks and pulsating, mesmeric basses combine along with clangy percussions and a classic vocal hook that will destroy the dancefloor. Another legend joins us to round out the release with Jam El Mar stepping up for remix duties on ‘H.O.H’. Hailed as a pioneer of trance alongside the late great Mark Spoon, Jam El Mar remains a much-revered name on the scene and we know amazing things happen when he’s let loose in the studio. Ramping up the energy on this one Jame El Mar whips up a frenzy to get the crowd moving. Heavy hitting kicks with layers of rhythmic percussions get the toes tapping while gnarly techno basses and electrifying synths combine alongside that instantly recognisable vocal. A monster tune that is not to be missed.

Repress!

Wah Wah 45s are proud to present the full debut album from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

"The Eparapo project was conceived during a time of lockdowns & government scandals. The music that makes up this album was written and recorded against a backdrop of societal upheaval, culture wars and rising wealth inequality. With little scrutiny or resistance from the mainstream media, our human and democratic rights were being eroded and our institutions debased. Even our right to protest is now under threat. This is a call to action, an expression of frustration & anger at what our nation has become. It's saying that enough is enough, it's time to join forces and make our voices heard. It's time to take to the streets."Suman Joshi

The title track is an epic eleven minute musical representation of this frustration and anger, where the musicians really let loose and allow their voices to be heard. As the only instrumental track on the album it acts as a call to action that is central to this body of work. Featured vocalists on the album are Fela Kuti disciple and Wah Wah 45s artistDele Sosimi, who appears on the singlesBlack Lives Matter,From London To LagosandWho Invented Back & White?as well as a more recent recording,Follow The Money; and London based, Ghanaian born master percussionist and vocalistAfla Sackey, who takes lead vocals on the mournful yet somehow hopefulBeautiful City.

The rest of the group comprises of highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Osborn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

The album will be available digitally and limited edition vinyl LP, with striking artwork by our award winning designer Animisiewasz.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Leading the charge with the next Toolroom Trax vinyl series is Mark Knight’s remix on a euphoric dance anthem from Dave Spoon (aka Shadowchild) & Nick Reach Up who update Elaine Mai & MuRli's track 'Ready'. An underground House work-out that's been tried & tested on the dancefloor throughout 2023 and inspired by the euphoric House sound of the 90's, Mark’s mix makes use of the original's hypnotic vocal, combined with driving bass and big euphoric synths. House heavy-weight CASSIMM lands back on our Trax vinyl series with another essential club cut 'Wanna Feel Something'. The Italian, London based hit machine rose to new heights in 2023 with a Beatport House #1 'LOVE DESIRE' on Claptone's Golden Recordings, and chart-topping releases on Toolroom, Spinnin', Myth Of NYX and more. Full of fun, funk and house goodness, CASSIMM yet again delivers another irresistible party starter! Label favourite, Crusy steps up on remix duties for this next offering and a milestone 300th release for the label with an updated mix of Superchumbo & Victoria Wilson James’ ‘The Revolution’. An influential anthem from 2001 'The Revolution' spent over two decades in clubland since icon Danny Tenaglia originally broke the record at the infamous WMC Miami, later going on to recieve support from global superstars such as Pete Tong, X-Press 2, Roger Sanchez and more. Crusy’s signature drums, percussion and grooves drive through

that Latin influenced energy throughout. Last but definitely not least, James Hurr and Electro pioneer Arthur Baker team up with their unique blend of underground house and 80's hip-hop in new club controller, 'Powder In The Nose'. This collaboration marks a triumphant return for James Hurr on Trax who has previously released successful club cuts on the label, and an exciting debut for Arthur Baker, an artist who needs no introduction. The Boston-born producer is widely recognized as one of the pioneers of the Electro genre, with a career spanning over four decades. Baker's unique sound, which fuses elements of hip-hop, funk, and electronic music, has made him a household name and a highly sought-after collaborator. Together, Hurr and Baker are a powerhouse duo, with their combined expertise and passion for dance music 'Powder In The Nose' is nothing short of spectacular.

ountless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Boulderhead debuts on Rhythm Section International with his most expansive EP to date:
“ I Need Space to Dance”

The Bristol based producer, known for his intricately crafted, up tempo club records has long been a favourite at RS HQ and has, over the years, garnered much respect from a plethora of influential DJs. His most recent hit “ Bread, Butter, Noodles, Spice”, was a festival earworm and one of the most played underground tracks of 2023.

Existing in the sweet spot between tech-house, prog, broken beat and minimal techno - this EP sees Boulderhead widen his sonic palette with a collection of songs that showcase his versatility.
Equally appealing to the Ricardo Villalobos contingent as it will be to those delving into the history of progressive house and the golden days of minimal techno - we think there’s a bit of something for everyone here.

Despite the many different bases the EP touches on - the sound pallette and production are unified and coherent. Henry is at the top of his game, and much like contemporary artists like Adam Pits, Priori and Russell EL Butler - his style screams ALBUM!

Metropolis; a powerful song addressing city inequalities and their impact on youth. It's a call for freedom, criticizing large corporations. The lyrics remind us of our basic human needs, while the smooth music eases the despair about environmental issues. Despite being recorded over forty years ago, the message feels relevant today, as we continue to struggle with harmful capitalism.

Originally part of a 1975 charity compilation LP raising money for environmental charities in California, which later became a collectors artifact changing has for silly money (which didn’t fit well with the Déjà vu kid team), so this Balearic nugget, the crown jewel of this album, was released on 7”…There is no better way to share it again than on it’s own 45 inch release at a fair price.

Moonboots, Danny Psychemagik, Spruzzi Monorecords, Micky Browne, Paul Hillery are just a selection of names who have championed this track from this great album and now we can reshare it with you in this first time format.

Artwork redesigned by GNB Studios.

BLOODORN, eine neue Power-Metal-Band des Lead-Gitarristen von SIRENIA, Nils Courbaron. Die Band wurde im Jahr 2020 während der Pandemie gegründet. SILENT WINTER-Sänger Mike Livas, FREEDOM CALL-Bassist Francesco Saverio Ferraro und SIRENIA-Schlagzeuger Michael Brush traten der Band bei, nachdem sie die ersten Demos des Albums gehört hatten. Beeinflusst von Bands wie GAMMA RAY, ANGRA und BEAST IN BLACK, greift die Band auch auf einige Elemente aus der extremen Metalszene zurück. Die Musik von BLOODORN ist sehr schnell und technisch, manchmal sogar brutal, aber auch sehr melodisch und eingängig: Extreme Power Metal! Der Name BLOODORN ist ein Wortspiel aus der Wikinger-Foltermethode "Blôdörn" (besser bekannt als "Blutadler") und "Blut". Im Universum der Band ist der BLOODORN wie ein REAPER - ein Monster, das bereit ist, alles zu töten und zu zerstören, was sich ihm in den Weg stellt. BLOODORN handelt vom Kampf gegen Unterdrückung, Autorität und Tyrannei, aber auch von düsterer Gothic-Fantasy, Schattenkulten, Krieg, innerer Stärke, Ehre, nordischer Mythologie und sogar einigen Videospiel-Referenzen. All diese Konzepte werden durch das Erscheinungsbild und die Kleidung von BLOODORN noch verstärkt.

Aided by her producer, the Osaka- born saxophonist Hisatsugu Suzuki, and his band, Wong has created a stylish jazz album brimming with her trademark soulful vocals drizzled over syncopated grooves. Taking well- known songs from the repertoires of pop music acts as diverse as Phil Collins ("Against All Odds"), Pet Shop Boys ("It's A Sin"), Dead Or Alive ("You Spin Me Round") and Toploader ("Dancing In The Moonlight"), Wong refashions her source material to reflect the cool jazz-flavored sophistication that is at the heart of her unique artistry. From emotive ballads to buoyant uptempo material, Susan Wong reveals her outstanding interpretative skills, revealing that she is a song stylist supreme.

Although both Ella Fitzgerald and Louis Armstrong had met and performed together previously, they wouldn't be heard on record together until January 18, 1946, when they waxed a single 78-rpm disc ("You Won't Be Satisfied) for Decca. They went on to record a few more singles together until in 1956 when producer Norman Granz paired the two together between 1956 and 1957 on three albums that were both critically acclaimed and commercial successes - appealing to audiences in and beyond the confines of jazz per se: Ella & Louis, its sequel Ella & Louis Again, and the selection of songs from George Gershwin's opera Porgy & Bess. While Porgy & Bess was recorded with a big band, the first two albums (featured in this release) were made in small group formats with the great Oscar Peterson Trio plus drummers Buddy Rich or Louie Bellson, resulting in some of the most fascinating jazz and popular music ever produced

Born from a will to connect with people and get out in to the world again, 'Out of the Rain' will be Blair's first studio album since his 2018 release. Produced by Jim Moray (Jackie Oates, Wheeler Street, James Raynard) the record is more positive than his previous work. A celebration of spring, newness, and freedom. Songs of metamorphosis and widescreen road trips prevail. "It's been 5 years since my last record, comfortably my longest gap between releases, so it feels really good to be able to put this out in the world.

“Depas strikes a fine balance between raw energy and subtle melodic hooks.” (DMY) “Throughout the pounding track Midnight Ride, the Italian beat smith expertly blends lush synths with intricate rhythmic components and gritty bass.” (EDM com)

“Depas' approach to techno is a veritable melting pot of influences, blending sounds from the 80s and 90s with contemporary symphonic and cinematic elements.” (Magnetic Mag)

Following his recent ‘Rave The Planet’ EP at the end of February, Milanese hard techno producer Maike Depas is back with a brand-new release on well-renowned label The Innovation Studio. His newest EP is named ‘The Age Of Chaos’ and features a five-track banger arsenal – including a special remix by Italo-American producer Matasism, which was also included in his recent BPtich Control mixtape.

“This EP is the result my own experience throughout an inner dystopic reality, where energy-ridden sounds and epics all collide into a very personal version of the hard techno legacy I’m devoted to.”

‘No Redemption’ is a proper big-room belter, with explosive drop divided by a big break and a statuesque vocal that feels like a claim: “Techno is my only drug”. Same goes for ‘Tesseract’ and it’s rave-like atmosphere and hypnotic hook. ‘Dystopia’ is pure groove and makes the listener dive into a distorted and futuristic metaverse, while ‘Cyber Attack’ and its remix include synthetic vocals tha aim to symbolize an artificial imposition: man against machine, fiction against reality.

‘The Age Of Chaos’ will be available from April 19th via The Innovation Studio.

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising name in the world of cinematic soul & funk, Hamburg’s finest cinematic soul artist ‘The Offline’ announces his debut album 'La couleur de la mer'.

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.

Deluxe 180g vinyl. Art Edition LP includes set of six 12”x12” art cards.



The follow-up to Kee Avil's acclaimed 2022 debut Crease: "A stunning debut" (The Quietus); "A whiplash style of uninhibited exploration" (The Wire); "Kee Avil's debut is a force" (Foxy Digitalis); "A work of Frankensteinian wonder" (Electronic Sound); "A tightly coiled, finely wrought vision of avant-pop" (Exclaim); "A debut of fiendish creativity" (Bandcamp Album Of The Day / Albums Of The Year) Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk… and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements - guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months - a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. - jj skolnik

„The urgency of global climate change" and humanity"s ignorance towards this topic is the fuel behind the formation of "maybe not tomorrow", santpoort"s newest full-length album, out now with indie label Friends of Friends. Lush and dense in electronic production, santpoort not only provides vocals throughout the project, but also enlists some friends for the occasion.

The current lineup of New Haven's long running Mountain Movers (guitarist/vocalist Dan Greene, bassist Rick Omonte, guitarist Kr yssi Battalene, & drummer Ross Menze) have been playing together for over a decade now, making their recorded debut on a slew of singles released from 2011-2013, but it wasn't until 2015's "Death Magic" (released on New Haven label Safety Meeting) that the potential of that iteration of the group became clear; Mountain Movers are a force of nature. The camaraderie & sensitivity to each others playing has only grown over time, cr ystallizing on the group's trio of albums for Trouble In Mind; 2017's eponymous "Mountain Movers" served as a reintroduction of the group to a larger audience, while 2018's "Pink Skies" raged like a group confident in its strengths, and 2020's prescient "World What World" - written & recorded before the world shut down - slightly shifted focus away from the jams & back toward the weight of guitarist/songwriter Dan Greene's poetic tales of magical realism. The band's ninth album "Walking After Dark" finds a happy medium between both aspects of the band's strengths; Greene's lyrical compositions and the group's long-form improvised jams. To those that are tuned in, that feeling of communion is evident in the Movers' playing. The members swap & cycle effortlessly through instruments without missing a beat, utilizing the downtime of lockdown to write & record every jam in their practice space. Those piles of tapes would eventually get edited & sequenced into "Walking After Dark", a tour-de-force double-album that balances fried, stony brilliance with outré excursions of experimental serenity. Consider the opening track "Bodega On My Mind" that ambles in like a road-worn traveller, its lysergic folk strums peppered with acidic lead lines from Battalene's Telecaster, eventually giving way to "The Sun Shines On The Moon, where the group's sizzling guitars are buoyed by Omonte's pillowy bass & Menze's percussion. From there on out, tracks like "Factory Dream" give the listener a taste of The Movers' modus operandi here; a mixture of (more) traditional song craft interspersed between long-form, improvised pieces of modern psychedelia. The group shuffles through instruments; synths, drum machines, auto-harp, various forms of percussion (and whatever else was laying around) as well as the trad guitar/bass/drums configuration to craft a suite of songs that - while not necessarily similar in composition - feel unified in their overall sonic scope. Tracks like the 14-minute "Reclamation Yard", whose deep-space electronic pulse is juxtaposed against side C opener "See The City "s persistent acoustic strum that showcase similar ideas of the `spirituality ' of losing ones self in repetition, but executed differently. In many ways "Walking After Dark"s duality feels like a merger of "On The Beach"-era Neil Young & the collective freak-outs of Amon Düül, taking inspiration in the `incorporeality ' of free music and lacing it with Greene's hazy, haunting lyricism and is an exciting step forward for a band that's already a few steps ahead. "Walking After Dark" is released on black double-vinyl in a full color gatefold jacket & includes an insert with artwork & lyrics by member Dan Greene.

Drunk Uncle isolated themselves into a cabin on an East Texas farm to write and record the follow up to their debut Look Up in 2022. The result "O, brittle weather!" is a thoughtful, probing album that explores a cacophony of sounds in a playful and whimsical way. The album feels like a telling of a great story- songs like pages colored with splashes of acoustic and electric guitars, floating bass, keys, horns, and percussion that ranges from a whole kit to a single tambourine that succinctly cues up the next chapter. Narrated by melodic vocals belting out emotional poetry, "O, brittle weather!" seems to plead with you to keep listening until the last word. Then, it begs you to listen again. Most bands are content to just collect a handful of songs and group them together as an album. Drunk Uncle strived to make something bigger than themselves. And wouldn't you know it, they succeeded.

Common Blah is the debut full-length by Portland, Maine's Weakened Friends. Founded by songwriter Sonia Sturino, drummer Cam Jones, and bassist Annie Hoffman in 2013, the trio is a low pressure outlet for volatile music. Recorded by Hoffman and perfected over the last year, the songs broadcast heavy feelings amid screech and feedback with little more than a distortion pedal the clog up the signal chain. The album also features guest shredding by peer and kindred spirit J Mascis (on the song Hate Mail). Common Blah will be out via Don Giovanni Records on October 19th.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

: League of Legends Worlds is an esports championship like no other — not only prestigious, but gargantuan in scale and chock full of production grandeur. A culmination of each LoL season, Worlds is the place for the very best League of Legends players to come together and compete at the highest level, battling for the Summoner’s Cup, a multi-million dollar prize, and, of course,
eternal glory.

An eminent event like Worlds demands a legendary theme song to match. Each year, Riot Games taps talented superstar musicians to craft a new Worlds Anthem, performed live at the competition and released later with a music video to match. These themes, from incredible artists like Zedd, Lil Nas X, and now, for 2023, NewJeans, have never been collected together on a single vinyl release — until now.

iam8bit and Riot are proud to present League of Legends Worlds Anthems (Vol 1: 2014-2023). It’s a full decade of Worlds Anthems, collected together on two sides of a 1xLP for the very first time. We knew this illustrious release deserved a very special vinyl treatment. That’s why we pressed the record on a Worlds Blue Vinyl. Plus, it wouldn’t be an iam8bit release without fantastic cover

art to adorn your record shelf, so we tapped our pals at Envar Entertainment to craft amazing illustrations celebrating the past, present, and future of the League of Legends Worlds Championship.

Legends never die. Celebrate a decade of Worlds in style with this one-of-a-kind release.

Nice Swan Records is ecstatic to unveil the highly anticipated 2nd volume of "Nice Swan Introduces." This compilation, following in the footsteps of its predecessor, showcases the best releases from the past two years on the Nice Swan Records Label. Just like Volume I, this release comes alongside an exclusive limited run of only 250 vinyl records, ensuring you'll own a piece of Nice Swan history.

Prepare to be captivated once again by a diverse array of musical talents, reminiscent of the Volume I lineup. Featuring exceptional artists like Prima Queen, Deadletter, Chalk, Cowboyy, Human Interest, and a host of others who have graced the Nice Swan roster over the last few years.

Your collection won't be complete without this addition. Nice Swan Introduces Volume II continues the tradition of introducing new and exciting talent to the world, reinforcing Nice Swan's status as one of the UK's most reputable indie labels. Stay tuned for further signings and releases in the coming weeks, as we continue to fulfill our mission of discovering and nurturing emerging artists.

Just as Volume I marked a significant milestone in our journey, Volume II is another step forward for the cult indie label. With acts from our roster gaining prominence on BBC Radio 1 and 6 Music airwaves, and receiving extensive tastemaker approval, this compilation couldn't be arriving at a better time.

In memory of the late Mark Edwards, a true nice swan.

The Emmy-winning Comeback Kid himself comes back yet again with a blunt, brilliantly quotable stand-up special. "Baby J" takes the form of a wide-ranging conversation between John Mulaney, a kid in the balcony named Henry, and the rest of the sold-out crowd at Boston"s Symphony Hall. And now, you! John dominates the chat, of course - and while his cautionary tales are a bit too convulsive to be functionally preventative, you probably aren"t here to be cautioned. So have at it!

Die besten Songs aus den kultigsten Woddy Allen Filmen.

Loyle Carner has Mercury and Brits nominations, NME Awards, global brand campaigns, and 2 top #3 albums! After performing at a SOLD-OUT Royal Albert Hall on his 29th birthday, the multi-talented artist is looking to make history once again with this release.

Loyle Carner has been announced as a headliner for 2024’s All Points East. His only London live date for 2024 and his biggest yet, he’ll be playing on Saturday 17 August, joined by special guests including Nas, André 3000, Lianne La Havas, Ezra Collective and Flying Lotus across the East, West and North stages that Carner himself has curated.

Iconic British rock ‘n’ roll artist Billy Fury’s timeless hit “Wondrous Place” is set to captivate audiences once again with the upcoming release of a limited edition 7” single on vibrant colour vinyl. Remastered to perfection, this classic track embodies Fury’s unmistakable charm and musical prowess, promising listeners a nostalgic journey through the golden era of rock ‘n’ roll. Fans and collectors alike will rejoice in the opportunity to own a piece of music history, as this exclusive release pays homage to Fury’s enduring legacy and influence on the genre

Rapper Rudeboy and DJ DNA play the work of the legendary crossover band Urban Dance Squad. The group quickly broke through with their unique mix of funk, soul, jazz, punk, rock and hip hop. Their influence extended to bands like Rage Against the Machine, while
they were like-minded peers of The Beastie Boys and Red Hot Chili Peppers.

Worldwide tours, an impressive live reputation, and recognition in the United States, including invitations from David Bowie and U2 as support, have characterized their career.

Belgian industrial, post-rock collective THOT have announced their forthcoming fourth full-length album, `Delta', set for release in May 2024. A band existing in constant flux, THOT seem to thrive in the tumult of modern life and `Delta', their first long form release since 2017's breathtaking `FLEUVE', is an even more ambitious musical melting pot of the people, places, spaces and times that have helped define the band to date. Written, arranged, recorded and documented between late 2019 and 2023 by Fray alongside THOT collaborators Lukas Melville, Gil Chevingné, Stéphane Fedele, Anaïs Elba, Michael Thiel and Juliette Mauduit; `Delta' is as much a product of the band's past as it is their present, also featuring a true collaboration with the women of `Le Mystère des Voix Bulgares', an iconic Bulgarian traditional polyphonic choir previously sampled by THOT as well as the voice of award-winning Czech singer-songwriter Lenka Dusilová, who Fray met by chance through friends on the road. The album is a shifting collage of people, places, past and present, all stirred by THOT's renowned grasp of cinematic, post-rock dynamics and cold-wave electronic orchestration. Boundary-breaking by nature, THOT delivered a powerful, post-rock document of hope and perseverance against all odds.

Members of The Chats, second LP in anticipation of their debut Euro Tour, FFO Cosmic Psychos, The Saints, Stiff Richards. Australia never misses. European release of The Unknowns second LP, released on Bargain Bin Records in Australia. "There have already been some monster LPs released in 2023, and the sophomore album from The Unknowns just might be the best of the lot. The Brisbane-based then-trio released one of the greatest punk albums of the roaring twenties (so far) with Nothing Will Ever Stop back in late 2020. Now a foursome following the addition of The Chats' Eamon Sandwich on guitar, The Unknowns have returned with an even better follow-up. East Coast Low manages to take most of the musical genres I hold dear and mash them together in the most delightful way. Basically the sound is classic punk rock with a ton of energy and catchy tunes (what else would you expect from Australia?). Yet at the same time, this album aligns beautifully with modern-day garage punk, power pop, and straight-up rock n' roll. East Coast Low packs ten tracks of punchy sing-along punk rock into 23 and a half minutes of pure fun. Songs like "Dianne," "Rid of You," "Thinking About You," and "I Don't Know" prove once again that there's a certain kind of itch that only old school punk rock n' roll can scratch. These guys are doing nothing new. But man, they do it so freaking well! If we're talking about the cream of the contemporary Aussie punk crop, The Unknowns have earned a place in the conversation." Josh/ Faster and Loude.

Belgian industrial, post-rock collective THOT have announced their forthcoming fourth full-length album, `Delta', set for release in May 2024. A band existing in constant flux, THOT seem to thrive in the tumult of modern life and `Delta', their first long form release since 2017's breathtaking `FLEUVE', is an even more ambitious musical melting pot of the people, places, spaces and times that have helped define the band to date. Written, arranged, recorded and documented between late 2019 and 2023 by Fray alongside THOT collaborators Lukas Melville, Gil Chevingné, Stéphane Fedele, Anaïs Elba, Michael Thiel and Juliette Mauduit; `Delta' is as much a product of the band's past as it is their present, also featuring a true collaboration with the women of `Le Mystère des Voix Bulgares', an iconic Bulgarian traditional polyphonic choir previously sampled by THOT as well as the voice of award-winning Czech singer-songwriter Lenka Dusilová, who Fray met by chance through friends on the road. The album is a shifting collage of people, places, past and present, all stirred by THOT's renowned grasp of cinematic, post-rock dynamics and cold-wave electronic orchestration. Boundary-breaking by nature, THOT delivered a powerful, post-rock document of hope and perseverance against all odds.