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High Roller Records, Galaxy Vinyl, 425gsm heavy cardboard cover, insert

High Roller Records, Galaxy Vinyl, 425gsm heavy cardboard cover, insert

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

Fohn brings connection, displacement and new identities into the moment, on pastoral debut album Seanteach - informed by island life, marine folklore and musical tradition.

Connection to the land, the severing of earthly ties, explorations of environment, mythos and generational memory: under the moniker of Fohn, English violinist and producer Tom Connolly (Quade, AD93) takes to the fiddle on which he learned his craft as a child. Forging new bonds with his family’s island home off the coastal west of Ireland, their story is retold in Seanteach (Irish for ‘old house’), released on Odda Recordings.

“Seanteach explores the nature of my relationship with Ireland, and Connemara in particular, where my dad’s family is from,” explains Connolly, speaking on a long-form work that blends new compositions on traditional Irish fiddle with ambient electronics and evocative field recordings.

“It explores how the island of Maighinis became an almost mythological space for me, growing up in England - we would spend every summer there, but it felt equally present for me when we were back in the UK, a sort of mental solace that I found through music especially.”

Each track on the album is a reflection of aspects of that relationship to island life - where physical features intersect with mythology. Such as, ‘Boreen’, named after a colloquial term for rural byroads sometimes shared with otherworldly neighbours. ‘Aisling at Sea’ draws on the primal, unstoppable momentum of the water, while the folklore of ‘Immram’ reflects on generationally-kept tales of marine bravery and supernatural accomplishment.

“The compositions often sit at the fraying edges of memories I’ve inherited from my own experiences, that of family lore, or from stories that I have come across. I wanted the compositions to tread the space between documentation and fantasy that feels so reflective of my relationship with this place.”

Tying these worlds together is the presence and memory of Connolly’s ‘Mamó’ (Irish for grandmother), Bríd. Despite passing during Connolly’s childhood, this “larger-than-life character” shaped his imagination with anecdotes and stories, representing both a familiar figure, and the poignancies of potential and regret.

“Even at a young age I sensed a sadness emanating from her. Through a series of unfortunate and fortunate circumstances, she found herself leaving Ireland and settling in Boston like so many others. Under the impression she was an illegal immigrant in the US she didn’t return to Ireland for decades.”

‘Between the Shoreline and the Gorse’ channels her early childhood, born to a large Catholic family in the island’s ‘Seanteach’, and cast adrift from her old life - a severance of ties that Connolly attempts to make ethereal amends for, with the album named for her family home.

“It’s something that feels so visibly prominent in Connemara with its landscapes charcoaled with deserted ruins. It’s a feeling I also experience, despite never having lived in Ireland, which prompted me to want to explore the idea of longing for something/somewhere ‘un-experienced’, and to a certain extent, fictionalised.”

Brothers Dana and Alden McWayne, along with a troupe of multi-instrumental artists, come together to create jazzy melodies with indie sounds inspired by their unconventional upbringing in Eugene, Oregon. Following the success of their debut full-length album and it's lead track "Dragonfly" (which tracked 300,000 TikTok creations, and over 10 million streams) the brothers recruited Jared Solomon (Sza, Remi Wolf, Teezo Touchdown) to produce their sophomore LP, Coyote, You're My Star. Melding vintage sounds with the aesthetic and experience of existing in Gen Z and the digital age, the new LP has already been met with rousing approval, with airtime on the Zane Lowe show on Apple as well as playlist covers like Spotify's State of Jazz. The band is also set to tour North America and Europe across festivals and headline shows.

Forgive Yourself. Learn to live with yourself. Don't hurt yourself. This is the mantra of the new album Venus Smiles Not in the House of Tears from Samora Pinderhughes. Made over 8 years with loving detail by Pinderhughes and his longtime producer Jack DeBoe, it is a deeply personal exploration & reflection of mental health in the modern age. It tells a non-linear story about a relationship that didn't last, and the lessons learned through it. How can love exist when grief is in the way? Musically it's intentionally tough to pin down. Although Pinderhughes is Juilliard-trained, Venus is an open-genre exploration of musicmaking with wide-ranging production and a cinematic landscape of feeling and spirit. From quiet, contemplative piano pieces to hard-hitting and soulful full band jams, to expansive and fullthroated choir celebrations, Venus is a fitting accompaniment to a multitude of daily human experiences. It also features artists from Pinderhughes's tight-knit NYC community, representing a wave of new artists who thread the ethics of honesty & vulnerability into their work. Says Pinderhughes of the album, "Mental health isn't solitary; it's about how our feelings, fears, traumas, and conceptions of self meet the world around us. Like so many, I've struggled with depression, anxiety, and isolation within a complicated matrix of identities. I wanted to make a project that would be brutally and lovingly honest about what it feels like to try to sift through the debris of time. A project that really engages with what it means to love, in the midst of a society that teaches us all the wrong lessons. Our modern world wants us to get over things quickly and easily. That's where shame enters the picture, because when you struggle with deep cyclical feelings, the process of engaging with these elements in your life is never linear. It is always two steps forward, one step back. Kindness and honesty are required in equal measure in this life. Hopefully through the prism of these songs, you can feel something that resonates with you in your own life and experience." Pinderhughes is known for striking intimacy and carefully crafted, radically honest lyrics alongside high-level musicianship, and for using his music to examine sociopolitical issues and fight for change. His work delves into the things our society tries to hide - its history, its structures, and the things we all experience but don't know how to talk about. It is an invitation to feel and think deeply about how we live and a commitment to making art that is useful for everyday life. The New York Times described Pinderhughes' 2022 album GRIEF as a "visionary" work from "one of the most affecting singer-songwriters today, in any genre." Pinderhughes - a collaborator across boundaries with artists including Herbie Hancock, Glenn Ligon, Sara Bareilles, Common, Robert Glasper - is the creator and director of The Healing Project, a project that examines trauma & healing from incarceration, detention, and structural violence. Pinderhughes was the first-ever Art for Justice + Soros Justice Fellow and a recipient of Chamber Music America's 2020 Visionary Award. He is also a United States Artist Fellow, Creative Capital awardee, and Sundance Composers Lab fellow.

Berlin-based duo TRAINING team up with bassist Ruth Goller for their new album ‘threads to knot’. Frenetic free-jazz is sitting next to post-rock riffs and looming microtonal atmospheres.
The record was written in a truly collaborative effort, adapting the concept of ‘cadavre exquis’, the popular drawing game: One person would start writing a few notes before passing it on to the next, revealing only the very last note, with which the composition continues.
TRAINING is comprised of drummer Max Andrzejewski and sax player Johannes Schleiermacher, whose last album ‘Three Seconds’ saw them collaborate with Deerhoof guitarist John Dieterich.
Ruth Goller, who has been hailed by the Guardian for her 'thunderous bass-guitar hooks' has made waves this year with the release of her second album 'Skyllumina'. She’s also known as a live performer with Kit Downes, Alabaster de Plume, Melt Yourself Down among others.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

"Waxwork Records is thrilled to present CARRIE Original Motion Picture Soundtrack by Pino Donaggio! Expanded and re-mastered for its 45th anniversary, this deluxe double LP album marks the very first time that the complete film music has been released on vinyl. Carrie is a 1976 Horror film adapted from author Stephen King's very first published novel of the same name. The movie stars Sissy Spacek and is directed by Brian De Palma (Scarface, Phantom Of The Paradise).

The score by legendary composer Pino Donaggio (The Howling, Tourist Trap) skillfully captures the pressure of forced innocence, the humor of teen drama, and the trauma of coming of age as a girl in 1970’s America. The album also features the tracks “Born To Have It All” and “I Never Thought Someone Like You Could Love Someone Like Me” by Katie Irving. CARRIE Original Motion Picture Soundtrack features the expanded film music re-mastered and pressed to orange smoke colored vinyl, with new artwork by Phantom City Creative, and old-style tip-on gatefold jackets with matte satin coating."

Spaceheads sind das fehlende Glied zwischen Post-Punk und Dance. Zwei Jungs aus Post-Punk-Bands der 1980er Jahre machen experimentelle, tanzbare Live-Musik, die sich an den euphorischen Bläsern und Rhythmen des Afrofunks, den motorischen Grooves von Krautrock wie Neu und Can und dem spirituellen, kosmischen Jazz der späten 1960er und 1970er Jahre orientiert, mit Elementen des Dub, des aufkeimenden elektronischen Tanzes (der zu dieser Zeit rapide auf dem
Vormarsch war) und sogar des amerikanischen R&B und Funk der 1970er Jahre.

Time and Spaceheads versammelt Material aus den frühen Veröffentlichungen des britischen Duos (1990-2003) auf wegweisenden Labels wie Dark Beloved Cloud, These, Merge & anderen,
bemerkenswerterweise zum ersten Mal auf Vinyl. Die Musik der Spaceheads ist sowohl für sich selbst als auch für unser historisches Verständnis von Innovation und Experimentierfreudigkeit in der
Post-Punk- und UK-Dance-Kultur von großer Bedeutung. Jeder, der sie jemals spielen gesehen hat, wird bei der bloßen Erwähnung ihres Namens aufleuchten. Es ist an der Zeit, dass diese Musik, die
seit 20 oder 30 Jahren durch die Sterne und digitale Umgebungen schwebt, ihren eigenen Moment in der Sonne hat, hier in all ihrer Pracht sequenziert, um die vielen Möglichkeiten dieser beiden Männer
einzufangen, die bemerkenswert sind, und verpackt, um die Ehrfurcht zu reflektieren, die wir hören, wenn wir sie anhören.

Tonic is an American rock band, formed by Jeff Russo and Emerson Hart in 1993. Sugar is their second studio album, includes the charting singles "Knock Down Walls" and "You Wanted More".

It was released in 1999. The track "You Wanted More" was also included in the coming-of-age teen comedy American Pie.

Sugar is available on vinyl for the first time and includes an insert with song lyrics.

I Want Blood is the new solo album from Alice In Chains guitarist and vocalist Jerry Cantrell. Co-produced by Joe Barresi (Tool, Queens of the Stone Age), the album has an energy that rivals any of Cantrell’s previous work – powerful, nuanced, and electric. It features Duff McKagan (GUNS N' ROSES), Robert Trujillo (METALLICA), Gil Sharone (TEAM SLEEP, STOLEN BABIES), Mike Bordin (FAITH NO MORE) and backing vocals from Lola Colette and Greg Puciato (BETTER LOVERS, ex-THE DILLINGER ESCAPE PLAN). Available on CD, LP

"For the first time since 2021, Pipe-eye, the moniker for Australian musician, singer and songwriter Cook Craig, is set to release a brand new LP. Titled Pipe-defy, the album is slated for release on October 18th, with the lead single, ""Lords Of Lithium,"" giving a first taste of what's to come.
With nods to the venerable influences of funk and 70s/80s synth dance classics, Pipe-defy is a stylistic departure from his previous albums. For this project, Craig explains wearing his influences on his sleeve; “At around the time that I was starting to write songs for the album, my mum gave me a bunch of old CDs from my early teens that I hadn’t listened to in ages. "

Kumar, former lead singer of GRAMMY-nominated roots reggae band Raging Fyah, meets Switzerland's The 18th Parallel on this album filled with classic Roots Radics-inspired riddims and positive roots lyrics and energy. Four years in the making, going back and forth from Kingston to Geneva, TALES OF REALITY is a tribute to the golden age of Jamaican roots music done in a modern way. Kumar has recently appeared on a number of releases, including as a guest on Jesse Royal's GRAMMY-nominated ROYAL and Winta James' Gratitude Riddim EP. The 18th Parallel, based in Switzerland, is the house band for Fruits Records and recently released music"with Max Romeo, Big Youth, Lee "Scratch" Perry, Derajah, Micah Shemaiah, and Joe Yorke. The album is mixed by Tippy I and JAH David of Zion I Kings. Kumar's and Fruits Records' story together goes back to the foundation of the label in 2015. " The 18th Parallel first invited Kumar to sing on 'Pass It On' (2016). At the same time, Kumar and his band Raging Fyah were exploding on the reggae scene. A couple years later, starting his solo career, Kumar was invited to sing on Najavibes' song 'This Dust' (2019), another offspring from the Fruits Records stable. In 2020, Kumar teamed up with The 18th Parallel on 'Message In The Radio.' After three singles, Fruits Records felt the need to push the collaboration further by producing a full showcase album pairing Kumar with The 18th Parallel.

High Roller Records, Galaxy Vinyl, 425gsm heavy cardboard cover, insert

15 years onwards from the original release in October 2009, "This Is …" by Gizelle Smith & The Mighty Mocambos remains a classic in its genre. Upfront, raw and melodic, this super sister funk album has not aged at all. Now, in 2024, it is time for a proper re-release with unreleased bonus tracks, rare remixes and a limited edition double vinyl album. Welcome to the deluxe version of "This Is …" by Gizelle Smith & The Mighty Mocambos.

Read here what the original release sheet said about the album:

"Strong album – packs a serious punch" Craig Charles Funk and Soul Show, BBC 6 Music

"A breath of fresh air" Keb Darge

"Really amazing stuff, full of killers" Nick / Record Kicks

"Definitely recommended" Peter Wermelinger, Funky & Groovy Music Records Lexicon

"What a fantastic album – this is proper funk" Tobias Kirmayer, Tramp Records

Ever since their first collaboration on the "Mocambo Funk Forty Fives" compilation, things have gained momentum for Gizelle Smith, the "Golden Girl of Funk", and the much respected Hamburg-based label and live band The Mighty Mocambos. Their first single "Working Woman" became an overnight smash and a prime-time club favourite of funk & soul DJs from all over the world. Initially released on the Finnish private press label Old Capital, producer legend and Grammy nominee Kenny Dope (Masters at Work, Bucketheads) picked up and remixed the song for his own label Kay Dee Records. Gizelle Smith & Mocambo now step up with a full-length album of bonafide sister funk. In the days of digital recording and Pro Tools editing, they show true exception to modern techniques and create their highly regarded, unique and raw soul sound, by making use of simple dynamic microphones and reel-to-reel tape machines. In a genre which is often littered with overused clichés of the past, the charismatic Gizelle Smith adds a lot of her own flavour rather than slavishly copying icons of bygone decades. The result is a refreshing alternative to post-millenium plastic pop without being a mere retro rip-off. From the heavy and determined "Gonna Get You" to vulnerable, gospel-tinged laments such as "Coffee High", "This Is Gizelle Smith & The Mighty Mocambos" is just as deeply rooted in the music from the golden era of soul as it is a modern masterpiece in its own right. Blazing horns, soulful guitars, driving drums and basslines combined with Gizelle's gripping and powerful voice all weave together to create a long player that is varied and coherent at the same time.

The French producer, Manudigital, behind the now iconic "Digital Sessions," announces a new season which this time highlights the UK scene! After exploring the streets of Kingston, New York, Mexico, and even Trinidad & Tobago in search of ambassadors from the golden age of digital reggae and dancehall, Manudigital has now turned his attention to the vibrant metropolis of London.

Armed with the legendary Casio MT40 keyboard, or "Sleng Teng Keyboard," Manudigital has connected with singers and MCs who have written the history of the UK scene rooted in Jamaican culture: ragamuffin, jungle, grime, drum & bass, stepper, and more. All the developments in Jamaican music born in England over the last thirty years are represented here by a "who's who" of those who have shaped and continue to shape this exciting scene.

History must take its course.
Demon Records presents, for the first time on double 140g green and
yellow translucent vinyl, the complete narrated TV soundtrack of ‘Doctor
Who: The Crusade’, with linking narration by William Russell.
The TARDIS travellers materialise in 12th Century Palestine, where
English Crusaders are engaged in a holy war with Saladin, ruler of the
Saracens. When Barbara (Jacqueline Hill) is abducted in a Saracen
ambush, the Doctor (William Hartnell), Vicki (Maureen O’Brien) and Ian
(William Russell) find themselves guests at the palace of King Richard
the Lionheart (Julian Glover).
First broadcast in March and April 1965, the story has become a noted
classic among Doctor Who historical adventures, with a guest cast
including Julian Glover and Jean Marsh.
Only two of its four episodes survive in the BBC TV archive, but this vinyl
release features the complete audio soundtrack. Includes beautifully
illustrated individual sleeves featuring Radio Times-style billings for each
episode.
This release is dedicated to the memory of narrator William Russell, who
died in June aged 99.
Doctor Who is available now on BBC iPlayer in the UK and on Disney+ in the rest of the world,

Both tracks were written and produced by Lee Perry. This is the first time these two complementary tracks have been released together.

The A side is the first ever reissue of the gorgeous SINNER MAN by ANNETTE CLARKE. This rare track was initially released as the B side of JUST ONE LOOK, also performed by ANNETTE CLARKE on the Technics label in the UK in 1973. It seems it was never released in Jamaica.
The B side SINNER MAN DUB is a very rare Lee Perry Dub version of the A side. It was released only as a single for a Lee Perry box of 8 very rare singles by Trojan in 2005. This box is now also rare.

ABOUT LEE SCRATCH PERRY:
Lee "Scratch" Perry was born Rainford Hugh Perry on the 20 March 1936 in Kendal Jamaica. An eccentric Reggae artist and a genius producer, Lee has written, sung and/or produced unique tracks for himself and everybody else worldwide from Bob Marley and Junior Murvin to the Clash and many more… Under his own name, he recorded over 80 albums, countless singles and covered every musical style from Ska, Rocksteady and early Reggae to Dub, Roots Reggae and their electronic variations... His influence on Jamaican music and Reggae is just immense.
Perry died on 29 August 2021 in Lucea, Jamaica, during the Covid outbreak, aged 85.

ABOUT ANNETTE CLARKE:
Unfortunately, very little is known about Annette Clarke besides the fact there was a Jamaican singer that recorded Rhythm’ n Blues and Ska duets with Shenley Dufus in 1961 and with Charley Organaire in 1964. She also recorded this gorgeous duet with Roy Pantone “My Baby” in 1963.
Then nothing until this session with Lee Perry in 1973 where she aparently recorded just two songs, the lovely cover of the 1963 Doris Troy’s “Just One Look” and “Sinner Man”, a gorgeous song penned by Lee Perry and unrelated to the Nina Simone’s hit. Then there is no trace of further recordings after these. A real shame considering the outstanding talent she showcased with these two superb songs…

Mental Core Acid Tribe, with some hardcore digging hightimes, like with this Agent Orange tune. Or the Dark Spell from Jo IND:) Great to hear him on Hangar ! Big one !

2024 Repress

Dark Entries is honored to finally present the first ever official vinyl reissue of Space Museum by Solid Space. Solid Space was the British duo of Dan Goldstein (keyboards, vocals) and Matthew 'Maf' Vosburgh (guitar, bass, keyboards, vocals) formed in 1980. Dan and Matthew met at the age of 11 while attending school in north London. In late 1978 at at the age of 14, they formed Exhibit 'A' with Paul Platypus' and Andrew Lunchbox' Bynghall. They recorded two EPs in 1979 and 1980, self-released on Irrelevant Wombat Records and appeared on 'The Thing From The Crypt' compilation. After the dissolution of the group, Mathew started taking his guitar over to Dan's house where he'd play his Casio MT-30 and they would record songs. Eventually a second hand drum machine and Wasp synthesizer were acquired from classified ads in Melody Maker and the Solid Space sound was born. By this time they were just turning 18 and finally found the freedom to make the music they'd had in their heads. Over the course of the next two years the band assembled eleven bedroom recordings that would become one of the most cherished DIY obscurities of its kind. Their debut album 'Space Museum' was released in 1982 on cassette by In Phaze Records. All of the songs were mixed by label boss Pat Bermingham on 8-track tape at The Shed, in Ilford, which was literally a garden shed. The band's music and lyrics were heavily indebted to science fiction, in particular the 1960s television series Doctor Who. 'Space Museum' is an unveiling of atmospheric, minimalist post punk supported by bright melodies. The music combines drum machines and synths with acoustic guitar and toy drums whilst also experimenting with samples between tracks. Lyrics deal with space travel and a general sense of dejection. Representing a bubbling spirit within the underground, they foreshadowed an entire world of independent music which would emerge across the 80's and well into the 90's. For this reissue we've included two bonus tracks from the band's archive, Platform 6' originally released on the B-side of the second single by Exhibit 'A', this song features only Dan and Matthew and is the first Solid Space track ever recorded. Tutti Lo Sanno' is a cover of In Phaze label mates Marine Girls, though the lyrics have been changed to suit the gender of the new singer.Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the cassette artwork featuring the Cybermen and Jamie from the Doctor Who episode "The Wheel in Space". Every copy includes a double sided 11x11 insert with lyrics, notes and never before seen photographs of the band taken by Maf as well as a postcard featuring an original advert for the cassette.

Bevor sie eine richtige Band wurden, begannen Greenleaf als loses Kollektiv von Freunden, die von den 70er Jahren inspirierten Hard Rock und Proto-Metal spielten. Unter der Leitung des Gitarristen Tommi Holappa, Mitbegründer der europäischen Desert-Rock-Band Dozer, spielten in den verschiedenen Konfigurationen von Greenleaf Mitglieder von Lowrider, Truckfighters, Demon Cleaner, Dozer und anderen mit. Und trotz der wechselnden Besetzung schafften sie es, über 14 Jahre hinweg mehrere Alben mit hochkarätigem Riff-Rock in ihrer ursprünglichen, unstrukturierten Form zu veröffentlichen.

At 15 years of age Danny aka DJH worked at Dance Force Records, his Dad’s record shop, at the weekends in Kings Lynn. He also built himself a basic studio in the back of the shop where he linked up with a local customer and started to make music. These tracks would form an EP called The Bass Project which went on to be one of the most sought after hardcore records, being offered for up to £750 a copy. Not bad for a 15 year old kid who made his one and only release back in 1993.

This is the 3rd and final release for the DJH series whilst he takes a sabbatical from music, leaving us with 4 heavy hardcore tracks, with that authentic early 90’s feel with ‘Bad Boy Sound’ being a firm favourite of Jay Cunning over recent months on his Kool FM show. Sourcing original samples and memories from his time embedded in the scene as a teenager, this whole EP pays respects to the analogue dance scene that paved the way for all forms of UK bass music that followed.

Brian Jackson dives into the world of Alfonso Lovo

Legendary musician Brian Jackson, known for his pioneering work in neo-soul and modern hip hop, has lent his extraordinary talents to retouch two tracks from Alfonso Lovo's remarkable album "Terremoto Richter 6:25 Managua.”

As one-half of the influential duo Gil Scott-Heron and Brian Jackson, Brian began his career at an early age, having recorded nine albums by his 27th birthday. He is widely celebrated as a musical innovator, with New Yorker Magazine recently hailing him as “a musical pioneer” in a 2022 article.

Alfonso Noel Lovo, moved by the devastating earthquake that struck Managua on December 23, 1972, recorded his first album in New Orleans the following year. "Terremoto Richter 6:25 Managua" stands as a testament to resilience and artistic fusion, featuring a stunning blend of psychedelic rock, mazurka, jazz, Louisiana blues, and African folk.

Recorded at British Grove and Abbey Road studios, Daphne Guinness’s fourth
album, Sleep, is unlike anything Guinness has produced before. Contemplative, self-
reflective, and personal, it represents her most beguiling body of work to-date; a
sleek sophisticated experience enhanced by an array of esoteric creative touches,
complementing its dancefloor rush.

Mixed by Ricky Damian, known for his work with Lady Gaga, Adele, Georgia Smith,
Dua Lipa, her creative connections include long standing collaborator Malcolm
Doherty and Tony Visconti (who scored the album’s strings).

The album’s scale is further amplified by collaborators, including Guy Pratt (Madonna, Michael Jackson) and Rob Shirakbari (Burt Bacharach, Dionne Warwick), plus a 34-piece string section.

The scope of her associations extends far beyond the core album. Daphne collaborated with Nick Knight of SHOWStudio for the video to early single ‘Hip Neck Spine’, and with the iconic filmmaker and photographer, David LaChapelle for the current single ‘Volcano’.

“Anchored by seamless jam sessions and syncopated grooves, which Neville would call ‘tight, sparse and funky as the fuckin’ devil,’ The Meters evolved from unfussy, mostly instrumental tracks to full-throated, expansive funk that reached an apex on their fifth album, Rejuvenation, in 1974. With deep-fried grooves, astounding musicianship and a reverence for their history both in New Orleans and in Africa, this album has only felt more vital with age. While it didn’t sell as many copies as the record deserved at the time, it’s a product of these band members’ years of hard work gigging in sweaty night clubs, backing up other artists as session players and persevering through a thankless industry. Above all, it’s a testament to New Orleans.”

erste Vinylveröffentlichung eines Metalklassikers der 2000er
Jahre
-remasterte Doppel LP im Gatefold mit 4-Seiten-Booklet
-enthält eine Manilla Road Coverversion und weitere rare
Bonustracks
-einige Mitglieder spielten später bei u.a. Manilla Road,
Savage Grace und Trance
Aus den Überresten des True Metal-Projektes SEDUCTION,
welches von einem Management initiiert wurde, entstand
2004 eine richtige Band: VIRON. Im Gegensatz zu SEDUCTION
klangen VIRON direkt erwachsener und bodenständiger.
Einflüsse des US-Metal und der NWOBHM mischten sich mit
Europäischem Metal, was 2004 durchaus etwas Besonderes
für eine deutsche Gruppe war. Der traditionelle Heavy Metal
kam nach Grunge, Crossover und Gothic langsam wieder auf
die Füße und VIRON waren bei dieser Entwicklung früh dabei.
Die erste, von der Band veröffentlichte EP, die auch schon
den Namen NWOGHM (New Wave Of German Heavy Metal)
trug, schlug im Underground ein wie eine Bombe und man
spielte noch ohne Plattenvertrag einige Shows, u.a. beim
Headbangers Open Air in der Nähe von Hamburg. Das rief
die Labels auf den Plan und man entschied sich 2006 für die
griechische Firma Sonic Age (aka. Cult Metal Classics). Die EP
wurde um weitere Songs, die im gleichen Studio (Kohlekeller
Studio) aufgenommen wurden, aufgestockt und zum Album.
Nach durchweg traumhaften Albumreviews folgten Auftritte
beim Sworbrothers Festival, United Metalheads und mit Bands
wie Sabaton, Custard oder Solemnity.
VIRON wechselten 2007 zu Metal Heaven Records und
veröffentlichten 2008 den erfolgreichen Nachfolger „Ferrum
Gravis“. Der damalige Slogan „Underground Metal für die
Massen“ passt wie die Faust aufs Auge, denn das druckvoll
aber natürlich produzierte Album schlägt den Spagat zwischen
der Undergroundszene und, nennen wir es „gängigem Heavy
Metal“. Insider würden vielleicht sagen „zwischen LaudaKönigshofen und Wacken“. Das zeigt auch die gekonnte
Coverversion des Manilla Road Klassikers „Dreams Of
Eschaton“. Leider zerfielen Viron einige Monate nach dem
Release von Ferrum Gravis, aber die Band wurde zu einem
Sprungbrett für drei Mitglieder von Viron, die später u.a. bei
Manilla Road, Trance, Savage Grace, Roxxcalibur, Bonfire und
Jameson Raid auftauchten.

Das US-Soundtrack-Label Mutant veröffentlicht in Zusammenarbeit mit Milan Records den Original Soundtrack von LONGLEGS mit Musik von ZILGI.



Das Album enthält die Originalmusik, die Zilgi (aka Singer-Songwriter und Folk-Rocker Elvis Perkins) für den erschreckenden neuen Thriller von Regisseur Osgood Perkins geschrieben hat, in dem ein FBI-Agent auf der Suche nach einem geistesgestörten Serienmörder (Nicolas Cage)ist. So verstörend und alles verzehrend wie ein Alptraum, benötigte LONGLEGS eine Soundkulisse, die genauso fesselnd ist wie die Geschichte auf dem Bildschirm, was Zilgi dazu veranlasste, eine Palette aus dunkler, bedrohlicher Synthesizerarbeit, verzerrter Instrumentierung und unterschwelligen Sounddesign-Elementen zu schaffen. Zigli hat einen wahrhaft erschreckenden Hörgenuss geschaffen, der Soundscapes, Elektronik und disharmonischen Rock zu einem Portal zur Hölle vermischt, das noch lange nach dem Auflegen der Platte in Erinnerung bleiben wird.

"The BBC Collection’ is an all-encompassing collection of the many recorded performances of Rory Gallagher at the BBC. Featuring eighteen CDs worth of radio concerts and sessions from 1971 to 1986, roughly 75% of this material has not been officially released before. Also included is two Blu Ray discs of BBC TV concerts and studio performances from 1973 to 1984, all of which has not been officially released previously.
Amassed from the BBC archives and Rory Gallagher’s own transcription discs and off-air cassette recordings, the boxset spans 16 years of his career (1971-1986), taking in highlights such as the 1977 dual television and radio broadcast Sight & Sound concert, Rory’s headlining set at the Reading Festival in 1980 to the emotional ‘At Midnight’ concert live from the Ulster Hall in Belfast, 1984.
A ‘best of’ from this collection will be available on 2CD and 3LP, titled “The Best of Rory Gallagher at the BBC”
These releases celebrate the importance of the artist Rory Gallagher, who was possibly the most recorded musician of the 1970s by the BBC.
“(‘Tore Down’) That was the first song I ever heard played…It’s a BBC recording of Rory Gallagher playing at the Paris Theatre in London in July 1972. And I was in the audience, aged 15, and those opening bars were enough to make me realise that this was something I wanted to do again and again… ‘Tore Down’ was my introduction to live, loud, amplified blues and when Gallagher had finished, my 15-year-old self could not contain his excitement. He ran down to the front to shake Rory’s hand…When the BBC did eventually broadcast the concert, I taped it by leaning the microphone from my clunky cassette recorder against the speaker of our old transistor radio and I listened to that tape over and over again” Nick Hornby, Author"

Xylitol is the alias of Catherine Backhouse, producer and DJ under the name DJ Bunnyhausen. She was a resident DJ at Kosmische, the now dormant Krautrock club and is a fan of jungle and hardcore. She currently co-hosts the radio show Slav To The Rhythm, which focuses on vintage central and eastern European pop and electronica and she's also co-writing a book on Yugoslavian pop culture. 'Anemones' is a total project from the cover to the music. Backhouse is fascinated by early botanical illustrations of anemones and other aquatic fauna, and how the act of taxonomy reveals as much about human psychology, desire and sublimation as it does about the organic specimen as a thing in itself. Each track is a microcosm of this 'other life', an allegory for the extraordinary potential latent within bodies that the dancefloor has the power to activate. Using early jungle and garage as starting points to connect dots and open up contrasts between dance music and vintage electronics, Backhouse finds a sweet spot which, in her words "feels like something that's simultaneously still and ancient yet propulsive and ecstatic." Not afraid of letting the the hiss and flutter of the music show, 'Anemones' holds attention with ancient bubbling synths and gracefully drifting arpeggiations, occasionally brought to heel by charming melodies, all accompanied by breakbeats that explode like fireworks. 'Anemones' has a lively and unpolished aesthetic that's a kindred spirit to Nondi_'s 2023 album of smeary, water-damaged footwork, 'Flood City Trax'. 'Moebius' pits the spaced out neon chords of the track's namesake against absolutely tearing breaks, allowing time for this almost overwhelming combination to become near enough transcendental, while the bleeping melody and sad slavic chorus motif in 'Okko' feels like an artifact from an alternative future. The Drexciya meets 2-step garage of 'Dobro Jutro' creates a welcome respite at the album's midpoint before the flow builds up again to 'Daša' with its glassy sounds from a lost radiophonic workshop miniature meeting bruising kicks and snares. Meanwhile 'Iskria' has purring synth chords and 8-bit melodies evoking the cosmonaut age. The subliminal influence of the Yugo era is felt in DIY synthesis and Mitteleuropean melody and seen in song titles such as 'Jelena', 'Miha', 'Daša' (named after novelist Daša Drndič) and 'Iskria' (taken from the fictitious Balkan region in Ottessa Moshfegh's bleak fable 'Lapvona'). 'Anemones' very effectively folds experimental genres from different times and places into a very enjoyable new sound.

London-based rising star Sans Soucis (they/them) shares their debut album ‘Circumnavigating Georgia’. Circumnavigating Georgia sees the writer and producer Sans Soucis take us through their coming of age and the reclamation of their identity, tearing apart systemic patriarchy and anti-blackness that's impacted their life. Each track on the album is set to introduce the audience to a new sonic palette, influenced by both the music and personal experiences from Sans Soucis' teenage and early adulthood. Born out of a desire to reconnect with the uninhibited joyfulness and authenticity of childhood, Sans Soucis’ music is a radical act of reclamation. Free from the constraints of genre and with a wide gamut of sonic touchstones – from the effervescent electronics of Little Dragon, Solange Knowles’s alt-R&B, the emotional edge of Joni Mitchell and the robust pop melodies of Rihanna – Sans Soucis’s world is one overflowing with vibrant musical textures pertinent lyrics and refreshing dose of hopefulness.

‘Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the Iliads series has been to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label

This third instalment in the series focuses particularly on the darker style of the Hokusai releases; where dystopian landscapes of avant-garde Breakbeat Jazz-infused D&B reigned supreme.

Zenwerk is an eclectic tech trancethusiast from Belarus, though based in Warsaw, Poland, where he has already established himself as a leading artist and party promoter.

Ne Quid Nimis:
Ne Quid Nimis is Latin for "nothing in excess" – the track is a perfectly balanced subaquatic blend of peaceful yet progressive trance and muffled bloopy sonics. Inspired by the mountains hikes, this tribal trip into the rainforest creates a drifting atmosphere of a celestial and dynamic ride meant to pass a healing power of nature alongside joyful turbulence and inspiration. Ethereal vibrations & deep sound textures create a dreamy universe of wonder and bright hopes for the future.

A2 ‘Dew Kissed Silk’ is a 4x4 walk in trance delirium across predator footprints which becomes satisfactory – silk is being kissed by dew, though not soaked with. This contemporary vanguard trance/breakbeat hybrid creates a perfect mental equilibrium.

Rising Bristol star JOELY brings 2 hot B side tracks which show how hot a talent he is at such a young age. Hive Mind creates a playful grit which will get a dance floor moving in the early hours of a set, providing a steady rhythm which never wavers. Jungle Walk takes us down a darker, ethereal path which will make any soundsystem wobble with the thick wonky textures that JOELY expertly weaves in. Mind this gap.

2024 Repress

'Solar Nights' is the long awaited second album from German nu-disco star Tim Bernhardt, aka Satin Jackets. Released on Eskimo Recordings this April, 'Solar Nights' follows on from Bernhardt's critically acclaimed, and Gold certified, debut LP 'Panorama Pacifico' and features 14 tracks of smooth disco and leftfield pop sounds with guest appearances from the likes of Future Classic's Panama, David Harks, Niya Wells, Emma Brammer and Anduze.

The global success of 'Panorama Pacifico' has seen Bernhardt coaxed out from his remote studio in one of Germany's ancient forests to play to fans across the world, from South Korea to Mexico and beyond, experiences that inspired both the album itself and its title, 'Solar Nights'.

"In recent years the world's become smaller, a more inter-connected place. It can be dark and cold here, with snow all around, and the next day I can be playing to people on a beach. Somewhere on the planet it's always daytime or summer, but beyond that day and night just blend into each other these days," Tim explains. "We have daytime discos so you can go and party while the sun is still high in the sky, and you can go and hit the gym at night. Beit day or night, Satin Jackets is your soundtrack."

And what a soundtrack it is, from the first chords of opening 'Welcome Back' it's clear we're in safe hands here, the warm pads, delicate guitars and pianos providing the perfect introduction to the album. Whether it's the slow burning seductive pop of tracks like 'Just Like You', piano led house tracks like 'String It Again', the Balearic haze of 'All For You' or bonafide hits like the Nordic inspired 'Northern Lights' and 'Mirage' that between them have already scored well over 10 million streams across streaming platforms, 'Solar Nights' takes everything we loved from 'Panorama Pacifico' and polishes it to an ultra high sheen.

And in an age when rough and raw production is seen as an easy shorthand for authenticity, Tim's love of über-smooth production has made him an unlikely iconoclast, "I had always been fascinated by how glossy people like Nile Rodgers made their music," he reveals. "It always sounded like the musical equivalent of a fashion magazine's cover. I'd been making more underground music for a while but really wanted to go in totally the other direction and instead create a really smooth, polished sound."

That obsession with sonic fidelity shines through across every track on 'Solar Nights', and the years since his debut was released have been well spent perfecting his craft. "Even in just the last couple of years I've made some big changes in how I produce music. Compared to my debut, everything under the hood has changed here," he explains. "Every day, with every production, I'm learning new things and when I listen to these new tracks, the depth in the mixes, the clarity, I like to think of 'Solar Nights' as Satin Jackets but in 3D."

From wanting to recreate the sound of magazine covers to appearing on them, the past few years has been quite some journey for the still enigmatic producer. The man behind the golden mask may prefer to stay out of sight but 'Solar Nights' reveals him to be fully in control, producing music that reflects the glamour and glitz of 70s Manhattan, artfully updated for the 21st century.

Die aus den eisigen Landschaften Norwegens stammenden 1349 haben dem Black Metal ihren Stempel aufgedrückt, indem sie ihre Instrumente wie Kriegsäxte in der Vorhut des unerbittlichen Angriffs des Genres schwangen. Mit einem Vermächtnis, das mit dem Blut der akustischen Extreme getränkt ist, sind sie zu den Vorreitern der unerbittlichen akustischen Kriegsführung geworden, unermüdlich in ihrem Streben nach den dunklen Künsten.

"The Wolf and The King" - der neueste Kataklysmus, den 1349 entfesseln. Eine stürmische Odyssee durch acht Tracks reinen, unverfälschten Black Metals, der die Fähigkeiten der Band in Sachen Chaos und Gemetzel makellos unter Beweis stellt. Vom unersättlichen Ansturm von The God Devourer bis zu den düsteren Tiefen von Fatalist ist jeder Track ein Portal in ein Reich, in dem Schatten regieren und die Luft dick ist vom Gestank des Verfalls. Ash of Ages vermischt Thrash-Einflüsse mit extremen Black-Metal-Elementen zu einer Reise durch das Herz der Finsternis, während Shadow Point und Inferior Pathways ein eisernes Rückgrat aus klassischen Headbanger-Riffs und unerbittlichem Groove formen. Mit The Wolf and The King erweitern 1349 die Grenzen des Genres, indem sie ihre unerbittlichen Blastbeats und sengenden Gitarren mit einer Atmosphäre apokalyptischer Eleganz versehen.

FFO: Marduk, Gorgoroth, Mayhem, Immortal

Die aus den eisigen Landschaften Norwegens stammenden 1349 haben dem Black Metal ihren Stempel aufgedrückt, indem sie ihre Instrumente wie Kriegsäxte in der Vorhut des unerbittlichen Angriffs des Genres schwangen. Mit einem Vermächtnis, das mit dem Blut der akustischen Extreme getränkt ist, sind sie zu den Vorreitern der unerbittlichen akustischen Kriegsführung geworden, unermüdlich in ihrem Streben nach den dunklen Künsten.

"The Wolf and The King" - der neueste Kataklysmus, den 1349 entfesseln. Eine stürmische Odyssee durch acht Tracks reinen, unverfälschten Black Metals, der die Fähigkeiten der Band in Sachen Chaos und Gemetzel makellos unter Beweis stellt. Vom unersättlichen Ansturm von The God Devourer bis zu den düsteren Tiefen von Fatalist ist jeder Track ein Portal in ein Reich, in dem Schatten regieren und die Luft dick ist vom Gestank des Verfalls. Ash of Ages vermischt Thrash-Einflüsse mit extremen Black-Metal-Elementen zu einer Reise durch das Herz der Finsternis, während Shadow Point und Inferior Pathways ein eisernes Rückgrat aus klassischen Headbanger-Riffs und unerbittlichem Groove formen. Mit The Wolf and The King erweitern 1349 die Grenzen des Genres, indem sie ihre unerbittlichen Blastbeats und sengenden Gitarren mit einer Atmosphäre apokalyptischer Eleganz versehen.

FFO: Marduk, Gorgoroth, Mayhem, Immortal

Der Afrobeat-Virtuose Seun Kuti bereitet sich darauf vor, sein neuestes musikalisches Meisterwerk, das von Lenny Kravitz produziert wurde und auf dem Damian Marley und Sampa The Great zu hören sind, auf die Welt loszulassen. Sein Album “Heavier Yet (Lays The Crownless Head)“ erscheint sechs Jahre nach dem Grammy-nominierten Album "Black Times" und einen entscheidenden Moment in Seun Kutis glanzvoller Karriere und zeigt seine Entwicklung als Künstler und Aktivist. Produziert von dem legendären Musiker Lenny Kravitz und Fela Kutis ursprünglichem Tontechniker Sodi Marciszewer (künstlerischer Produzent), verspricht „Heavier Yet (Lays The Crownless Head)“ ein Klangerlebnis wie kein anderes. Mit der Expertise von Kravitz und Sodi und dem unvergleichlichen Talent von Seun Kuti bleibt das Album den Wurzeln des Afrobeat treu und definiert gleichzeitig die Grenzen der zeitgenössischen Musik neu. Die sechs elektrisierenden Songs auf „Heavier Yet (Lays The Crownless Head)“ verkörpern den Geist des Widerstands, der Resilienz und der Revolution. Jeder Song handelt davon, sich Herausforderungen zu stellen und für Veränderungen zu kämpfen. So wie die Einzelsingles „Dey“ feat. Reggae-Ikone Damian Marley, beschrieben als "ein Song über das Umarmen und Verfechten dessen, was wir sind, ungeachtet dessen" und „Emi Aluta“ "ein Song über den Kampf (Aluta bedeutet Kampf), der eine Hommage an alle großen Revolutionäre ist", mit dem sambischen Sänger, Rapper und Songwriter Sampa The Great, einem der besten und innovativsten Lyriker unserer Zeit. Der Song „T.O.P.“ handelt davon, "wie die Gesellschaft Geld und Erfolg mehr schätzt als Menschen". Seun Kuti möchte dies ändern, indem er Empathie fördert und die Verbindung zur Natur wiederherstellt. In einem anderen Song, „Love & Revolution'“, drückt er seine Liebe zu seiner Frau aus und glaubt, dass wahre Liebe die Menschen dazu inspirieren kann, die Welt zu einem besseren Ort zu machen. "Dieses Projekt war für mich etwas ganz Besonderes, von dem Moment an, als ich es konzipierte und mit Lenny Kravitz sprach, der mir so viel brüderliche Liebe und Respekt entgegenbrachte", sagt Seun. "Er hat mich in sein Haus eingeladen. Ich habe seine Tochter Zoe kennengelernt und er hat uns mit Feuereifer geführt. Seit wir vor drei Jahren über das Album gesprochen haben, war er als ausführender Produzent dieses Projekts immer an unserer Seite und hat uns sehr unterstützt". "Ich möchte mich bei Craig Ross und Sodi, dem Produzenten dieses Projekts, bedanken. Wir hatten eine großartige Zeit. Es war das erste Mal für mich, dass ich mit Sodi im Studio war und ich war wirklich beeindruckt von seiner Arbeit und seinen väterlichen Ratschlägen und seiner Hingabe". Jeder Song auf dem Album ist ein Beweis für Seun Kutis unerschütterliches Engagement, Musik als Werkzeug für sozialen Wandel und Empowerment einzusetzen. Mit seinen kraftvollen Texten und ansteckenden Grooves führt er das Erbe seines Vaters, des legendären Fela Kuti, fort und bahnt sich gleichzeitig seinen eigenen Weg in der Welt der Musik.



Seun Kuti ist ein nigerianischer Musiker, Sänger und Songwriter, der für seine fesselnden Auftritte und seine gesellschaftskritische Musik bekannt ist. Er ist der jüngste Sohn des Afro-Beat-Pioniers Fela Kuti. Seun hat die meiste Zeit seines Lebens damit verbracht, das politische und musikalische Erbe seines Vaters zu bewahren und zu erweitern, und zwar als Leiter der ehemaligen Band seines Vaters, Egypt 80. Als aufstrebender Saxophonist und Schlagzeuger trat er in die formellen Reihen der Band ein, bevor er 12 Jahre alt war. Als Fela 1997 starb, übernahm Seun Kuti auf Wunsch seines Vaters die Leitung von Egypt 80, die er seither innehat. Im Laufe seiner Karriere hat Seun Kuti 4 Alben mit Egypt 80 veröffentlicht: `Many Things' (2008), `From Africa with Fury: Rise for Knitting Factory Records" (2011), koproduziert von Brian Eno und John Reynolds, "A Long Way Beginning" (2014) und das für einen Grammy nominierte "Black Times" (2018), das ein Feature von Carlos Santana enthält. Außerdem haben sie zahlreiche EPs veröffentlicht. Seun hat vor einem begeisterten Publikum auf der ganzen Welt gespielt und mit vielen großen Künstlern zusammengearbeitet. Im Jahr 2022 schloss er sich für die EP "African Dreams" mit dem Roots-Frontmann und MC-Extraordinarius Black Thought zusammen. Im Jahr 2023 arbeitete Seun an Janelle Monaes "The Age of Pleasure" (Grammy-Nominierung für das Album des Jahres) mit den beiden Singles "Float" und "Knows Better" mit, tat sich mit Talib Kweli und MadLib für deren Album "Liberation 2" bei dem Song "Nat Turner" mit Cassper Nyovest zusammen und veröffentlichte eine neue Version der Single "Bad Man Lighter" mit Black Thought und Vic Mensa.

Der Afrobeat-Virtuose Seun Kuti bereitet sich darauf vor, sein neuestes musikalisches Meisterwerk, das von Lenny Kravitz produziert wurde und auf dem Damian Marley und Sampa The Great zu hören sind, auf die Welt loszulassen. Sein Album “Heavier Yet (Lays The Crownless Head)“ erscheint sechs Jahre nach dem Grammy-nominierten Album "Black Times" und einen entscheidenden Moment in Seun Kutis glanzvoller Karriere und zeigt seine Entwicklung als Künstler und Aktivist. Produziert von dem legendären Musiker Lenny Kravitz und Fela Kutis ursprünglichem Tontechniker Sodi Marciszewer (künstlerischer Produzent), verspricht „Heavier Yet (Lays The Crownless Head)“ ein Klangerlebnis wie kein anderes. Mit der Expertise von Kravitz und Sodi und dem unvergleichlichen Talent von Seun Kuti bleibt das Album den Wurzeln des Afrobeat treu und definiert gleichzeitig die Grenzen der zeitgenössischen Musik neu. Die sechs elektrisierenden Songs auf „Heavier Yet (Lays The Crownless Head)“ verkörpern den Geist des Widerstands, der Resilienz und der Revolution. Jeder Song handelt davon, sich Herausforderungen zu stellen und für Veränderungen zu kämpfen. So wie die Einzelsingles „Dey“ feat. Reggae-Ikone Damian Marley, beschrieben als "ein Song über das Umarmen und Verfechten dessen, was wir sind, ungeachtet dessen" und „Emi Aluta“ "ein Song über den Kampf (Aluta bedeutet Kampf), der eine Hommage an alle großen Revolutionäre ist", mit dem sambischen Sänger, Rapper und Songwriter Sampa The Great, einem der besten und innovativsten Lyriker unserer Zeit. Der Song „T.O.P.“ handelt davon, "wie die Gesellschaft Geld und Erfolg mehr schätzt als Menschen". Seun Kuti möchte dies ändern, indem er Empathie fördert und die Verbindung zur Natur wiederherstellt. In einem anderen Song, „Love & Revolution'“, drückt er seine Liebe zu seiner Frau aus und glaubt, dass wahre Liebe die Menschen dazu inspirieren kann, die Welt zu einem besseren Ort zu machen. "Dieses Projekt war für mich etwas ganz Besonderes, von dem Moment an, als ich es konzipierte und mit Lenny Kravitz sprach, der mir so viel brüderliche Liebe und Respekt entgegenbrachte", sagt Seun. "Er hat mich in sein Haus eingeladen. Ich habe seine Tochter Zoe kennengelernt und er hat uns mit Feuereifer geführt. Seit wir vor drei Jahren über das Album gesprochen haben, war er als ausführender Produzent dieses Projekts immer an unserer Seite und hat uns sehr unterstützt". "Ich möchte mich bei Craig Ross und Sodi, dem Produzenten dieses Projekts, bedanken. Wir hatten eine großartige Zeit. Es war das erste Mal für mich, dass ich mit Sodi im Studio war und ich war wirklich beeindruckt von seiner Arbeit und seinen väterlichen Ratschlägen und seiner Hingabe". Jeder Song auf dem Album ist ein Beweis für Seun Kutis unerschütterliches Engagement, Musik als Werkzeug für sozialen Wandel und Empowerment einzusetzen. Mit seinen kraftvollen Texten und ansteckenden Grooves führt er das Erbe seines Vaters, des legendären Fela Kuti, fort und bahnt sich gleichzeitig seinen eigenen Weg in der Welt der Musik.



Seun Kuti ist ein nigerianischer Musiker, Sänger und Songwriter, der für seine fesselnden Auftritte und seine gesellschaftskritische Musik bekannt ist. Er ist der jüngste Sohn des Afro-Beat-Pioniers Fela Kuti. Seun hat die meiste Zeit seines Lebens damit verbracht, das politische und musikalische Erbe seines Vaters zu bewahren und zu erweitern, und zwar als Leiter der ehemaligen Band seines Vaters, Egypt 80. Als aufstrebender Saxophonist und Schlagzeuger trat er in die formellen Reihen der Band ein, bevor er 12 Jahre alt war. Als Fela 1997 starb, übernahm Seun Kuti auf Wunsch seines Vaters die Leitung von Egypt 80, die er seither innehat. Im Laufe seiner Karriere hat Seun Kuti 4 Alben mit Egypt 80 veröffentlicht: `Many Things' (2008), `From Africa with Fury: Rise for Knitting Factory Records" (2011), koproduziert von Brian Eno und John Reynolds, "A Long Way Beginning" (2014) und das für einen Grammy nominierte "Black Times" (2018), das ein Feature von Carlos Santana enthält. Außerdem haben sie zahlreiche EPs veröffentlicht. Seun hat vor einem begeisterten Publikum auf der ganzen Welt gespielt und mit vielen großen Künstlern zusammengearbeitet. Im Jahr 2022 schloss er sich für die EP "African Dreams" mit dem Roots-Frontmann und MC-Extraordinarius Black Thought zusammen. Im Jahr 2023 arbeitete Seun an Janelle Monaes "The Age of Pleasure" (Grammy-Nominierung für das Album des Jahres) mit den beiden Singles "Float" und "Knows Better" mit, tat sich mit Talib Kweli und MadLib für deren Album "Liberation 2" bei dem Song "Nat Turner" mit Cassper Nyovest zusammen und veröffentlichte eine neue Version der Single "Bad Man Lighter" mit Black Thought und Vic Mensa.

Still just 19-years-old, Toby Lee is already a three-time winner of Young Blues Artist of the Year at the UK Blues Awards - yet the virtuoso guitarist is only getting started. Praised as a remarkable talent by the likes of Jools Holland and Joe Bonamassa, 2024 represents a big breakthrough year as Toby releases his first album of all-original material ‘House On Fire’ on October 4th via 100% Records. As you’d expect from someone that The Times hailed as, “One of the best guitarists in Britain,” his six-string talents dazzle throughout with a rich tapestry of scorching leads, evocative melodies and swaggering grooves. Yet his vocals have come on leaps-and-bounds, his maturity and emotional expression providing a voice strong enough to front a band regardless of his guitar skills. His songs and stylistic scope have expanded too, with a set that moves seemingly effortlessly between classic blues jams, punchy hard rock, intimate acoustic moments and a modernist approach to classic soul and Stax-style R&B. It’s all played with a winning combination of youthful abandon and undeniable accomplishment. Toby Lee’s talents have been recognised by an array of legends. When he was 10, a get well soon video that he made for BB King went viral, leading to an invitation from the blues legend’s family to play at his club in Memphis, while the late Bernie Marsden was an early mentor and champion. He subsequently shared the stage with the likes of Buddy Guy, Joe Bonamassa, Slash, Billy Gibbons and Peter Frampton, while enjoying other high profile moments, such as starring in a West End production of ‘School of Rock’, performing with McFly on ‘Tonight at the London Palladium’ and featuring in ‘The Ellen DeGeneres Show’. Toby has now exceeded 500 million views on social media. His ability has been recognised with numerous endorsements. He has been a Gibson artist since the age of 10, and a recent highlight came when he helped launch Gibson’s custom Jeff Beck ‘YardBurst’ 1959 Les Paul Standard alongside fellow guests including Jimmy Page, Johnny Depp and Graham Coxon. Blackstar Amplification issued his own signature amp, the St James Toby Lee 50 6L6 head and cab, and he is also endorsed by D’Addario Strings.

Still just 19-years-old, Toby Lee is already a three-time winner of Young Blues Artist of the Year at the UK Blues Awards - yet the virtuoso guitarist is only getting started. Praised as a remarkable talent by the likes of Jools Holland and Joe Bonamassa, 2024 represents a big breakthrough year as Toby releases his first album of all-original material ‘House On Fire’ on October 4th via 100% Records. As you’d expect from someone that The Times hailed as, “One of the best guitarists in Britain,” his six-string talents dazzle throughout with a rich tapestry of scorching leads, evocative melodies and swaggering grooves. Yet his vocals have come on leaps-and-bounds, his maturity and emotional expression providing a voice strong enough to front a band regardless of his guitar skills. His songs and stylistic scope have expanded too, with a set that moves seemingly effortlessly between classic blues jams, punchy hard rock, intimate acoustic moments and a modernist approach to classic soul and Stax-style R&B. It’s all played with a winning combination of youthful abandon and undeniable accomplishment. Toby Lee’s talents have been recognised by an array of legends. When he was 10, a get well soon video that he made for BB King went viral, leading to an invitation from the blues legend’s family to play at his club in Memphis, while the late Bernie Marsden was an early mentor and champion. He subsequently shared the stage with the likes of Buddy Guy, Joe Bonamassa, Slash, Billy Gibbons and Peter Frampton, while enjoying other high profile moments, such as starring in a West End production of ‘School of Rock’, performing with McFly on ‘Tonight at the London Palladium’ and featuring in ‘The Ellen DeGeneres Show’. Toby has now exceeded 500 million views on social media. His ability has been recognised with numerous endorsements. He has been a Gibson artist since the age of 10, and a recent highlight came when he helped launch Gibson’s custom Jeff Beck ‘YardBurst’ 1959 Les Paul Standard alongside fellow guests including Jimmy Page, Johnny Depp and Graham Coxon. Blackstar Amplification issued his own signature amp, the St James Toby Lee 50 6L6 head and cab, and he is also endorsed by D’Addario Strings.

In an age where the unyielding flow of time often overshadows the deeper resonances of our existence, Daniel Majer’s latest album, »Time for No Memory«, serves as an evocative meditation on the ephemeral nature of experience. Produced throughout 2023 and released in the latter half of 2024, this collection of tracks swerve through what seems like a cacophony of FM radio frequencies while oscillating between the familiar and the uncanny, leaving us with a sonic landscape that feels both timeless and retroactive yet palpably present.

In 2019, Daniel Majer released a collaborative album with Jonathan Scherk on Jan Jelinek's Faitiche label.

"OneDa's story is so clearly mirrored in her music: a sprightly flow preaching a message of empowerment, enveloped in a dark, raucous soundscape…interlacing vibrant, punchy lyrics with that classic drum & bass sound has given OneDa a new lease of life." – DJ MAG

“OneDa is solidifying her position as one of the UK’s most thrilling hip-hop artists. With poignant lyrics and charisma that is off the charts, she dives deep into the complexities of life, love, and liberation.” – DIVA

Manchester rapper and poet OneDa is set to soar with the release of her debut album, 'Formula OneDa', on October 4th via Heavenly Recordings. Featuring the singles 'Major Pay' and 'Set It Off.'

On the ethos behind the album, OneDa says:

“In early 2023, while listening to my mixtape demos, the line ‘had to step away, get the levels up fast, Formula OneDa never come last' from my song ‘Off My Light’ stood out. We decided to name my album 'Formula Oneda'. Coincidentally, I discovered that the F1 Academy had just started, aligning perfectly with my album’s vision. For the first time in over 30 years, Formula 1 has created a platform to inspire and support young girls and women. Previously indifferent to Formula 1, I am now excited by the progress these women are making in the male-dominated racing circuit. While becoming a racing driver was never my goal, the F1 Academy metaphor fits my journey from a backmarker to a leader. This year, I plan to support these inspiring women as they drive with Pussy Power to take pole position in motorsports.”

Having supported Kneecap and Baxter Dury, and with standout performances at The Great Escape, OneDa is establishing herself as one of the UK’s most dynamic hip-hop artists. Her music transcends genres, blending hip-hop, drum and bass, afro-trap, and afrobeats, reflecting her Nigerian heritage and Manchester roots. Known for her dexterous wordplay and poetic verses, OneDa's voice is a unique force in the evolving drum and bass scene. Her boundless linguistic talent and poetic verses set her apart. Named by The Face as a key MC in the drum ‘n’ bass renaissance, OneDa is dedicated to empowering others.
Her live performance credits include headlining with Angélique Kidjo at Aviva Studios' launch in Manchester and leading performances at Manchester Pride 2023. She continues to gain acclaim from BBC Radio 6, DJ Mag, The Face, NTS, Wonderland, UKF, and The Line of Best Fit.

Beyond her music, OneDa is dedicated to community initiatives, leading hip-hop therapy for Manchester youth and championing projects like Herchester, which amplifies marginalized voices in music. Her vision extends beyond chart success; she aims to establish a hip-hop therapy school for all ages, showcasing music's potential for positive change. Her drive and authenticity inspire others to embrace their true selves.

Citing 'empowerment' as her greatest inspiration, OneDa channels her struggle with acceptance of her queerness into her music, promoting a message of self-love and freedom: “When you truly love yourself, that overpowers anyone else’s opinion.” Although she only began producing music two years ago, OneDa’s debut LP showcases her mastery across multiple genres. Collaborations with artists like Sam Binga, Songer, Devilman, and Mr. Scruff highlight her versatility. Her standout verse on Vibe Chemistry’s 'Ballin’', with over 35 million streams, further cemented her reputation. Her first fully produced track, 'Rude Girl Flex', earned her a spot on the BBC 6 Music playlist and an appearance at the BBC 6 Music Festival.

Limitiert auf 500 Exemplare ww. Spearmint kehren 2023 mit This Candle Is For You zurück, um nach dem hochgelobten ,Holland Park" von 2021 mit großartigen neuen Album nachzulegen. Spearmint machen nun schon seit ein paar Jahrzehnten großartige Platten: dies wird ihr zehntes Album sein. Das Line-up ist immer noch dasselbe: Shirley Lee (Gesang, Gitarre), Simon Calnan (Gesang, Keyboards), James Parsons (Gitarre, Bass) und Ronan Larvor (Schlagzeug). Dieses Album wird die 60. Veröffentlichung auf ihrem eigenen hitBACK-Label sein. Bislang verpasst? Das neue Album ist der perfekte Startpunkt! Das schwindelerregende Multiversum des Albums deckt eine breite Palette von Themen ab, darunter die Suche nach einer vermissten Schwester, die Art und Weise, wie wir uns an verlorene geliebte Menschen erinnern, die Begegnungen von Prince mit Joni Mitchell, die Geschichte von John Gavin, dem James-Bond-Star, der nie einen Film drehen durfte, nächtliches Trinken in Soho, die Freuden von B-Movies & Video Nasties, die sich ändernde Einstellung zu psychischer Gesundheit, die Not und das Wunder älterer Katzen, die Reaktion auf den Tod von Sarah Everard und das Leben nach dem Tod. Die Band hat sich wieder mit dem Produzenten Rhodri Marsden (Scritti Politti) zusammengetan und ist der Meinung, dass dieses Album ihr bisher bestes ist. Sänger Shirley erklärt: ,Am Anfang wollten wir einfach nur ein Album machen, das neben unserem letzten Album ,Holland Park` bestehen würde, aber am Ende hat es uns überrascht - wir lieben es!"

Produced by Lenny Kravitz (Executive) and Fela Kuti’s original engineer Sodi Marciszewer (Artistic). Worldwide tour in 2024 / 2025 (North America, Europe, Australia). New album from 2018 Grammy nominated album “Black Times”. Seun Kuti set to release highly anticipated album ‘Heavier Yet (Lays The Crownless Head)’ featuring guests Damian Marley and Sampa The Great on October 4th. Afrobeat virtuoso Seun Kuti is gearing up to unleash his latest musical masterpiece upon the world with the upcoming release of his album that will be set to make waves globally via Milan independent label Record Kicks. Coming 6 years after the Grammy nominated album ‘Black times’, this album marks a pivotal moment in Seun Kuti's illustrious career, showcasing his evolution as an artist and activist. Executive produced by legendary musician Lenny Kravitz and Fela Kuti’s original engineer Sodi Marciszewer (artistic producer), ‘Heavier Yet (Lays The Crownless Head)’ promises to deliver a sonic experience like no other. With both Kravitz's and Sodi’s expertise together with Seun Kuti's unmatched talent, the album is poised to redefine the boundaries of contemporary music while staying true to the roots of afrobeat. Featuring a tracklist of six electrifying songs, each track on ‘Heavier Yet (Lays The Crownless Head)’ embodies the spirit of resistance, resilience, and revolution. Each song talks about standing up against challenges and fighting for change. Like the standalone singles ‘Dey’ feat reggae icon Damian Marley, described as “a song about embracing and championing who we are, regardless” and ‘Emi Aluta’, “a song about struggle (Aluta means struggle) that pays homage to all the great revolutionaries”, that features Zambian singer, rapper and songwriter, Sampa The Great, one of best and most innovative lyricists of our time. The song ‘T.O.P.’ is about “how society values money and success more than people”. Seun Kuti wants to change this by promoting empathy and reconnecting with nature. In another song, ‘Love & Revolution,’ he expresses his love for his wife and believes that true love can inspire people to make the world a better place. “This project has been very special to me from the moment I conceived it, speaking to Lenny Kravitz, who has shown me such a brotherly love and respect” Seun says. “He has brought me to his home. I met his daughter Zoe and he has guided us with fierceness. Since we spoke about the album, three years ago, as the executive producer of this project, he has always been by our side and very supportive”. “I want to thank Craig Ross and Sodi, the producer of this project. We had a great time. It was the first time for me in the studio with Sodi and I was really impressed by his work and his fatherly advice and dedication”. Each song on the album is a testament to Seun Kuti's unwavering commitment to using music as a tool for social change and empowerment. Through his powerful lyrics and infectious grooves, he continues to carry on the legacy of his father, the legendary Fela Kuti, while carving out his own path in the world of music. As a musician and pan-African activist, Seun has been involved in a number of campaigns in recent years, including #EndSARS – a social movement against police brutality in Nigeria. Significantly, he’s revived the Movement of the People (M.O.P.), the political party his father set up in 1979, which was quashed by the military government not long after Fela’s failed presidential bid. Fans can expect an album that not only entertains but also inspires and ignites a spirit of activism and liberation. Seun Kuti is a Nigerian musician, singer, and songwriter renowned for his captivating performances and socially conscious music. He is the youngest son of Afro beat pioneer Fela Kuti. Seun has spent most of his life preserving and extending his father's political and musical legacy as the leader of his father's former band Egypt 80. As a developing saxophonist and percussionist, he entered the formal ranks of the band before he was 12. In 1997 when Fela passed, in fulfilment of his father's wishes, Seun assumed the mantle as head of Egypt 80 and he has run it ever since. During his career, Seun Kuti released 4 albums with Egypt 80: ‘Many Things’ (2008), ‘From Africa with Fury: Rise for Knitting Factory Records’ (2011), coproduced by Brian Eno and John Reynolds, ‘A Long Way Beginning’ (2014) and the Grammy nominated ‘Black Times’ (2018) that included a feature from Carlos Santana. They also released numerous EPs. Seun has played for enthusiastically receptive audiences globally and collaborated with many great artists. In 2022, he joined forces with Roots frontman and MC extraordinaire Black Thought in the EP ‘African Dreams’. In 2023, Seun collaborated on Janelle Monae's ‘The Age of Pleasure’ (Grammy nominee for Album Of The Year) with the two singles 'Float' and 'Knows Better', teamed up with Talib Kweli and MadLib for their album ‘Liberation 2’ on the song ‘Nat Turner’ featuring Cassper Nyovest and released a new version of the single ‘Bad Man Lighter’ with Black Thought, featuring Vic Mensa

CECILIA is a nomadic soul. Like in an existentialist epic that traverses different ages on a phantom thread of love, spirituality, desire and rage. She inhabits different bodies, inserts herself in a whole array of different characters. Some are fictional, some are as real as the artists that inspired her, and whose influence appears in CHOEUR under the guise of tiny fragments, direct quotes, dedications and spectral presences. Cecilia channels the poetry of different lives that might have been her own or might have only existed in dreams, and does so within a collection of songs that twist the path of traditional French and Italian songwriting into the inmost recesses of electronic mysticism. The composition of CHOEUR took place mostly around January 2023, a pretty precarious time in the artist life, and happened in a spontaneous and ritualistic manner that could appear as somewhat odd in the realm of electronic music production. Birthing out of ego-free solo jams in hyphened states of consciousness and audience-less performances, these moments of do-or-die energy intake served to funnel the wilderness of her emotions into extremely tight arrangements, ultimately allowing a dramaturgy of fierce and beautiful songs into existence. Striving for the sublime, CECILIA trained her whole body for a paradoxical procedure of disconnection and reconnection. A crucial pin in Melissa Gagné’s system of 7-year creative cycles, CHOEUR marks her debut on Haunter Record as much as the first step towards the possibility of a new artistic identity. A labour of love if there ever was one. CHOEUR is made of Awe, Chants and Ravishment, of Pain until Vision. CHOEUR prays Earth, Water, Stars, Sea. CHOEUR feels Spirits, Lightning, Thunder, Dawn, Dusk, Blood, Flowers. CHOEUR invokes a Return, to Grace. CHOEUR loves Mud and longs to Play. CHOEUR lives in a Dream created by a Dream. CHOEUR lives in a Body created by Love. CHOEUR is about a broken heart, open and ecstatic, about the beauty and the sadness that all is not what could be, about wandering and wondering why were the stars made so beautiful?

Puddu (Al Dente/Schema Records) with a solo release discography of 16 albums, among which stand out the three original volumes of the red-light soundtracks of Danish films ” The Golden Age Of Danish pornography", and also known for his collaborations with Edda Dell'Orso (Maestro Ennio Morricone's legendary vocalist,) Joe Bataan, Lonnie Jordan of L.A funk band War, and Gene Robinson Jr of Breakwater.

Alex Puddu will follow the previews singles Texas Blonde and Pullover Grigio releasing after the summer, for the first time a brand new album in Italian language, called ”Deliria” proposing a new sound that drags us into the Italian funk music of the late seventies and early 80s, and the new music from the italian indie pop and new disco scene, within names like, Nu Genea, Pellegrino. Viscardi & Il Duo Magnetico, Frah Quintale, Marco Castello and up to the electronic sounds, between adult oriented soul and disco that are part of the unmistakable style of Alex Puddu's writing and production.

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Jesse Koolhaas is back with his new album Click Me. More electronic than his last album Organized, Jesse explores the use of analog synthesizers, samples and foley to create a downtempo cinematic sound. Melancholic at times and getting inspiration from various places like 70’s Italian cinema soundtracks, jazz fusion and the golden age of electronic music, Click Me is taking the listener on a journey through his inner world.

EP on 12" vinyl with insert. Pianist Orson Claeys is a refreshing new presence on the Belgian jazz scene.The music takes cues from the rich sounds of the Middle East, influenced by artists like Dhafer Youssef and Anouar Brahem, and also from the fresh, creative styles of contemporary jazz musicians.



Pianist Orson Claeys is a refreshing new presence on the Belgian jazz scene. After being featured on the third instalment of the 'Lefto presents Jazz Cats' compilations with his track 'Conversations', Orson Claeys is set to release his 5-track debut EP 'Odyssey to Self' on Sdban Ultra.



Spellbound by the allure of the piano at a young age, Claeys joined art school, where his more profound exploration really began. However, it wasn't until a later age, when he discovered the melodies of Herbie Hancock, that he was drawn to jazz and changed his musical course. Under the guidance of renowned artists, Claeys had the opportunity to immerse himself in this new sound atthe Royal Conservatory of Music in Brussels. He developed his own style, learning to weave different cultural influences and musical genres. These days, Claeys is constantly searching for his own unique sound in today's modern jazz, fusing different musical traditions into one harmonious expression.

"Odyssey to Self" isn't just an EP; it's a story about life-the ups, downs, and the personal journey we all experience. "From the start, I wanted this project to go beyond my own artistry and connect with more people. That's why I decided to create a visual counterpart to the music, a way to see the journey that you hear in the record."

This is Orson Claeys' first EP, released under Ghent's well-known Sdban Records. It's a deep dive into Claeys' own life, honestly sharing his path through major changes. "Odyssey to Self" captures his personal journey, giving listeners a look at the universal human experience of dealing with life's challenges and embracing change.

The music takes cues from the rich sounds of the Middle East, influenced by artists like Dhafer Youssef and Anouar Brahem, and also from the fresh, creative styles of contemporary jazz musicians such as Aaron Parks, Brad Mehldau, and Ambrose Akinmusire. Claeys aimed to blend these diverse musical influences into one cohesive sound. "Odyssey to Self" invites listeners to experience Claeys' emotions, experiences, and artistic vision, weaving stories that touch on themes we all understand.

Dean Spunt"s all-new Basic Editions is an excursion in electronic sound that instrumentally unpacks his fascination with language - in this case, the syntax of systems and processes. By turns meditative, compulsive and consumptive, Basic Editions distills a 64 voice module through a head full of ideas - somewhat like pouring a cornucopia of possible ambient moods and EZ listening impulses backwards through a funnel, inspiring a deceptively absurd rainbow of soul to spray out the other end. With this new release, Dean IDs his process as "using sounds, rather than making sounds". This approach to music-making is a train of thought that"s been rolling out from the far horizon of the past for ages now - but for Dean, whose previous works within and without No Age depended on their making of sounds, it"s a fresh work stance. Given, however, No Age"s traditional sonic manipulations (via loops and treatments), Basic Editions delivers further unexpected hard-rights and lefts in the non-aesthetic aesthetic that has defined Dean"s path over the past two decades. Steering toward wacked digital soundscapes that bounce colorfully across the stereo azimuth, Dean creates a kind of post-ambient neo-exotica that hinges upon a giddy conflation of cosmic and comic.

Most of the writing of Naima Bock's second album, Below A Massive Dark Land, was a solitary affair. It may not sound like it - it's made up of strong, purposeful arrangements with a huge host of musicians, filled with cradling space and warm light. This will also come as a surprise to anyone who has seen Naima perform in the time since the release of her 2022 debut Giant Palm, which was undoubtedly a communal experience. But there's power in the solitary, too. Giant Palm was arranged with collaborator Joel Burton, but going this one alone in search of something that was truly hers, Naima found she was capable of more. "After me and Joel stopped working together", she remembers, "it was an impossibility to even fathom doing arrangements myself but then I started learning violin and it was possible". Finding that she could go it alone was incredibly powerful for Naima: "I think I needed it, to be able to feel proud of something". Beyond the writing process, however, the record is not a stark, stripped back affair. Below_ still has the majesty that made Giant Palm so remarkable. Having tugged the first record down from the skies and spreading it across the earth, Naima finds a newfound vocal power and confidence born from hundreds of hours on stage, and the music sounds fuller, more tangible, and no less enveloping. This can be heard on the album's lead singles: "Kaley" feels fresh and surprising in its rug-pull choppiness but is distinctly Naima in its swinging, jubilant choruses. The accompanying "Further Away" takes a different tack, drawing you in with its simplicity. Finally, the hazy, luxurious beauty of "Feed My Release" draws on the sepia-toned traditions of The Roches, John Prine and Loudon Wainwright III and imbues them with the kind of stark confessional songwriting of Mount Eerie. These are ambitious, rich arrangements that reach deeper and darker lyrically than Giant Palm. Below a Massive Dark Land was predominantly produced by Jack Osborne (Bingo Fury) and Joe Jones, and recorded at The Crypt in north London, with additional production and arrangement by Oliver Hamilton (caroline, Shovel Dance Collective) and Naima herself. Six of the tracks on Below_ were mixed by Jason Agel, with the remainder done by Osborne and Jones. The album was mastered by Kevin Tuffy.

“The debut album from Bahraini-born, British-based musical duo Dar Disku is a celebration of their Arabic heritage and multicultural influences that melds golden age West Asian and North African sounds with a contemporary dance floor focus.

Recorded between the UK, Algeria, Turkey and Tunisia, the album seamlessly crosses from disco to Raï, piano house to Turkish psychedelia, ambient to bollywood and features guest artists from Algeria, Turkey and Bahrain as well as legendary Indian singer Asha Puthli.”

From the perspective of people who categorize music by genres and types, Evan Shornstein, better-known under his production moniker Photay, has created lots of different kinds of sounds over the past decade. There’s the Hudson Valley-raised, Los Angeles-based multi-instrumentalist composer’s quasi-IDM and electronic almost-pop tracks with the occasional vocal; the improvised organic and and experimental music sessions he participates in alongside new age giants, Laraaji and Carlos Niño; the diaspora electronic folk-jazz he makes with veteran musicians from all over the globe; and the disco and house adjacent records he tag-team DJs with Brooklyn producer Cesar Toribio and engineer Phil Moffa (who also masters all of Photay’s records — and those of dance-music dons around the world). But if you’ve listened closely to Shornstein’s prodigious output, you know that separating and classifying the work is actually contrary to the energy of Photay music. That what on-the-surface may lazily appear as differences, is actually brought together by a shared sonic warmth, a hardware pastoralism at play. Whatever category he engages, Photay makes outdoor music under the spell of the elements, for the purpose of different human movements — some physical, some spiritual, some emotional, some philosophica.

For Dutch artist Stefan Vincent, the feeling of melancholy also offers the opportunity for beauty to be found. “Decay and loneliness can serve a purpose. Depression can teach you things. To feel deep sadness also means the ability to feel profound
emotions.” he says. With this in mind, his debut album on MUSAR Recordings, “Post- Melancholy”, unpacks the twists and turns of grappling with this emotion, drawing from breaks, electro and IDM to make his most intricate work to date, after previous releases on Token, Dynamic Reflection, Symbolism, and Non-Series. Throughout “Post-Melancholy” Vincent traces the wave of melancholy and how it moves through the body, which allows for lighter moments alongside darker moods. Perhaps the lightest track on the album is its acidic-breaks opener, “Eyes Unclouded”, with its soaring acid lines and dazzling synths, which acts as a false pretense for the rest of the album. Tracks like “Poise”, “Arpeggino” and the meditative “Yonghegong Lama Temple Exit F” also break up the intensity. However, nestled between the more pacey, bass-weighted tracks on the album, these lighter openings still feel like tear-jerkers.

The more common associations of melancholy show up on tracks like “Another Skin To Wear” and “You Know This Isn’t Going To End Well”, which all create a more ominous feel via IDM and the polyrhythmic structures of drum’n’bass. Particularly on “Another Skin To Wear”, which borrows its name from a Radiohead lyric, the track's swooping motion feels realistic to melancholy’s chaotic and often unpredictable path. But, like all great storytellers, Vincent leaves the most poignant moment of the album for last with the rolling “8AM on the Train… (For Maarten)” devoted to his dear friend, Maarten, who sadly passed away at the young age of 36. This LP is dedicated to Maarten de Vries (1986-2022)

Mutant, in partnership with Hollywood Records and Marvel Studios are proud to present The Newton Brothers' score to the hit animated series X-Men '97



The highly anticipated revival of the long-dormant and seminal animated series is as fun, thoughtful and emotionally charged as the original run, while being matured slightly for an audience that has aged since its last episode nearly thirty years ago. But matching the energy, tone of the original was dependent on nailing the sound, and that clearly was top of mind for the series composers The Newton Brothers.



The Newton Brothers have produced an incredibly dynamic collection of music - from tackling the implications of serious political allegories, deep emotional truths, all while still embracing the fantastical surprises present in this universe (such as being sucked into a video game). X-Men '97 proves you can tackle legacy work in creative and original ways.



2 x 140g translucent blue and red vinyl housed in a gatefold jacket Artwork by Phantom City Creative.

Klara Lewis' latest offering is undoubtedly a heartfelt tribute to her friend, mentor and former label boss, Peter Rehberg.

The opening track Thankful resides as a direct tribute to the track recorded under his PITA moniker, the timeless 'Track 3'. A track of which the impact has been vast and deep, still rattling the walls of the now enormous worldwide experimental electronic scene. Countless new youth carve and project wildly distorted melodic digital matter which all falls back with a knowing or unknowing wink back to this original ground zero monster. Klara's take on this is one that resides as a tribute to Rehberg with a cascading emotional melody gradually succumbing to a euphoric digital abyss. Thankful also comes across as a farewell gesture to her deceased friend with its beautiful, almost funerale tone. The abrupt ending is not only a method Rehberg would have relished but also a signifier of a life suddenly cut short.

Lewis was 21 when her first album Ett was released by Editions Mego in 2014. Now at 31 years of age Editions Mego is very proud to present Thankful, a profoundly mat

"Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.

Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water,"" other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in ""Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda.""

Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist."

"Mountain Music is Nina Nesbitt as fans have never heard her before. Having risen to fame at a young age with her disarming, candid pop – the Scottish musician is now found in an entirely new realm. It is inspired in part by the two years she spent touring the States in support of her second studio album: the critically acclaimed Top 40, The Sun Will Come Up, The Seasons Will Change, which has now accrued over a billion streams. These songs are permeated with gorgeous nods to US folk and Americana. It’s made all the more extraordinary by the face that, not long ago, Nesbitt was considering quitting music altogether. Produced by Peter Miles and Nesbitt, mixed and mastered by Miles at his stunning studio MiddleFarm in south Devon, and released via her own label, Apple Tree Records. A playful nod to her 2012 debut EP, TheApple Tree, this marks the start of an exciting new era for Nina Nesbitt. While it might sound strange that Nesbitt was drawn to the music of Appalachia, heard echoing through the vast, verdant mountain ranges of the eastern United States, it makes more sense when you consider how traditional Scottish ballads and hymns are threads in that rich tapestry.

Empathy is one of Nesbitt’s greatest strengths. We hear it on “Painkiller”, a Joni Mitchell-indebted ballad on which her heart breaks for the men who believe they have to suppress their own feelings. One of the album’s standout qualities is, perhaps, the dynamic that Nesbitt creates from one song to the next. Where many folk artists might lean into quiet introspection, she craves the full spectrum of emotion – so ensconced around “Painkiller” you have the tender “On the Run’, with its distant shivers of percussion and crystalline piano, but also “Anger”. She’s in a nostalgic mood on the rousing “Coming Home”, a Springsteen-inspired, driving-with-the-top-down journey back to the places and people she loves. We all lose ourselves sometimes. The trick is learning how to find our way back, pushing those clouds away to see the blue skies beyond. For artist Nina Nesbitt, hard-hitting truths and revelations take precedent on her remarkable, career-best album, Mountain Music. Nesbitt knows exactly who she is, and now, she’s ready to tell the world."

While Chicha Libre's second album, Canibalismo was inspired by the Peruvian Chicha explosion of the 70's, it also looked back to the cultural Cannibalism dear to Os Mutantes and other Brazilian tropicalists, as well as the production values of late 1960’s rock bands.

The group still pays homage to amazonian legends Los Wembler's de Iquitos, Los Mirlos and Manzanita, but mixes it up even more by combining mellotron and vintage synths with West African guitars, treated percussion, fuzztone and some R.D Burman-inspired arrangements. Originally released in 2012, this the first european re-release on vinyl.

Veteran electronic music composer Jill Fraser"s new work takes stock of generations and lifetimes of memory, speculating on how the spirit of our songs might be interpreted after we"re gone. With her 1978 Serge Modular, Prism Modular and Ableton Push 3 in the circuit path, she recomposes a stack of American revival hymns, making new creations for the future. A fluent meditation upon mortality and rebirth amid numinous infinities of dimensional sound. The sound world of Earthly Pleasures accesses a seeming infinity of dimensional sound in which the human hand is always keenly felt, no matter how deep the space. It"s a breathtakingly transcendent album that suggests inclusion within a diversity of genres: Ambient, Electronic, New Age, Modern Classical, Gospel, Healing, Sacred... . It is the work of a veteran composer and synth master at the peak of her powers, meditating upon the detritus of memory, the passage of all consciousness, and the rebirth of meaning in a new era.

6OOA"s 2020 opus is reunmanaged by sound composer Twig Harper, whose unlimited brief takes this REMIX places no other remix record could dare to go. In the process, it affords the wizard of Six Organs, Ben Chasny, the chance to re-present the record in a form as insane as the world into which the record was - and is - headed. A soundtrack to California chaos, done two ways, sometimes at the same time! RIYL: Electronic, New Age, Modern Classical

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

Picture a time when you could have a good time all the time. It was an era when fast cars rolled under neon lights, yachts were a sensible housing decision and fighting for your right to party was a full time occupation. This mythical age had an equally flamboyant soundtrack to match, and it blared from boomboxes and dashboards in every time zone. It was the 1980s, and bands like Van Halen, Toto and Def Leppard personified a summertime sound built on big beats, bigger melodies and choruses so epic that singing along was the law, and places like Vegas, Hollywood, and Miami Beach became hedonistic epicenters of a global, sonic heatwave.

UK DJ & Radio support:Craig Charles, Gideon Coe, Lauren Laverne, Deb Grant, Huey Morgan, Huw Stephens, Amy Lame, Chris Hawkins(BBC Radio 6 Music), Ex Friendly(Radio Alhara),Rita Ray & Max Reinhart, DJ Kobayashi (Soho Radio),Steve Barker(On the Wire),Debbie Golt(Resonance FM),EHFM, Celtic Music Radio, Poppyland Radio

BBC Jools Holland confirmed TV appearance (film 13th May, TX Sat 15th June)
BBC Radio 6 Music Playlist (2 x weeks B list, 1 x C list )
BBC Radio 6 Music Craig Charles interview (Broadcast 1st April)
BBC Radio 6 Musiclive session with Craig Charles (15th May)here
BBC Radio 3live session for Music Planethere
BBC World Service Session and ITW - here
BBC Africa(Africa Daily) Session and ITW -here

The Telegraph feature confirmed here
MOJO Rising feature published
MOJO album review confirmed
MOJO Playlist - Sharaf included here
Far Out Mag album review here
Songlines feature confirmed
Songlines Top of the World here
Songlines album review May 2024 (#197), on sale April 5.


Sahra Halgan, Somaliland's iconic singer, freedom fighter, and cultural activist, returns with third album Hiddo Dhawr, a culmination of enduring friendship and global exploration

Seamlessly blending age-old Somali traditions with abrasive guitar riffs, sun-drenched percussion, and vintage keys, the album offers a fresh take on the music of Somaliland, the independent but not internationally recognizedd state in the Horn of Africa

Inside a large, tent-like structure in downtown Hargeisa, Somaliland's tranquil capital city, the atmHiddo Dhawr, Somaliland's first music venue. Halganoured head scarfs, revealing elaborate hairdos and impeccable eyebrows, as they rise to their feet and start to dance. On the stage at the far end of the room a drummer and oud player up the tempo, while the singers pass the microphone to one another. The atmosphere is electric, and as the evening progresses, the joy in the room is palpable.

This is Hiddo Dhawr, Somaliland's first music venue. "I started it because I wanted to bring back our culture, so that people can be proud of it," says Sahra Halgan, cultural activist, musician, and founder of this lively Hargeisa cultural hub, which opened in 2013.

Hiddo Dhawr, which translates to "promote culture", is also the name of Halgan's new album, an electrifying blend of Somali melodies, distorted guitar riffs, thumping West African percussion, and Halgan's unique, warbling vocals. Halgan chose this name for the album to honour the women of Somaliland.

ER gladly welcomes Juan Barraco aka Bunda to our catalog. Bunda is an Uruguayan producer/live performer who’s been linked to music since a young age through a classical approach with a later interest into electronic music production.

Origen EP is his debut vinyl release delivering a solid four-tracks record: dancefloor-oriented pieces on each side’s first half and two downtempo tracks as second choices.
A1 ‘No hay salida’ is a proper dancefloor piece featuring a stomper and sticky kick drum along with a non-stop bassline hypnotic pulse. A2 ‘9º Mandamiento’ features a different sound landscape with a hint of Arabic melodies in synths and basslines programming.

On the flip side B1 ‘Stardust’ crafts a more sci-fi-bleepy grooving Techno sound while keeping an hypnotical atmosphere all along. Bunda shows a different facet in B2 with ‘Xep Nuit’, where he shows his skills and creativity in musical composition and sound picking.

Created by the dynamic duo of DAVE MAZE and Grammy-nominated SPIKE REBEL, this album is a one-of-a-kind fusion of funk, disco, afro, and soul, all wrapped in the mesmerizing art of spoken word. “WORDS OF KNOWLEDGE” is a spoken word tribute album to the talented JERWAYNE BALENTINE, also known as J-EPIC. JERWAYNE, who authored the book "WORDS OF KNOWLEDGE," was a remarkable poet, author, producer, and illustrator. Tragically, he passed away in 2020 at the age of 23 due to Muscular dystrophy. All proceeds from the sales of this album will be directed towards funding music programming for young adults with developmental impairments and supporting Muscular dystrophy research.

Prepare to experience a true soul gem reimagined for the modern age with this special 7-inch reissue of Matt Covington’s classic, I'm So In Love With You. Originally released in 1983, this rare groove masterpiece captures the essence of early '80s R&B with its smooth, heartfelt vocals and lush instrumentation. Covington’s romantic delivery and the track's elegant arrangement have made it a coveted piece for collectors and soul aficionados alike, with the original pressing becoming increasingly hard to find over the years. For the first time ever, I’m So In Love With You is being reissued, allowing a new generation of listeners to discover its timeless charm. On the flip side, we’ve included Muhammad Ali, a standout cut from Covington’s self-titled album that resonates with soul, funk, and infectious energy. A favorite of acclaimed DJ Floating Points, Muhammad Ali pays tribute to the legendary boxer with a groove that’s as fierce as its namesake. Whether this has been sat in your wantlist for years or new to Matt Covington’s music, this 7-inch offers an essential addition to your collection. With its impeccable blend of silky soul and rhythmic punch, this reissue promises to become as cherished as the original release.

Dan Ghenacia's influence on the European underground over the last 25-plus years cannot be overstated. He has run vital labels, hosted essential parties, laid down definitive DJ sets, and produced seminal sounds both solo and as part of the tastemaking Apollonia trio with friends Shonky and Dyed Soundorom. His understanding of house music across the ages and continents is second to none, and he brings all that experience to this fantastic new solo EP.

The bumpy and infectious 'Rouge Ou Noir' opens with looped and funky guitar riffs and neon synths winding their way through dusty, dynamic drums. Cooing vocal stabs ramp up the steaminess of this most tasteful party starter. The superb 'Chilly' has a bustling blend of louche rhythms and rugged synth arps that dart about the mix. They hurry along beneath swirling vocal sounds up top with hints of Metro Area magic and tripped-out colours, all making it a characterful groove. Last but not least, 'Chilly' gets dubbed out and becomes a more low-slung sound with a fleshy bassline popping up the choppy, playful and synth-infused rhythm.

The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

Ever-evolving the mythologies and magic of Dialect's sonic sphere, Andrew PM Hunt returns with Atlas of Green, elegantly molding unexacting details of memory and mistranslation into the framework of the British musician and composer's creative pursuit. The album imagines a young musician named Green working in a future dawning era where lost signals and enduring impulses are unearthed from the sediments of technology and time. Across twelve compositions, Green becomes the compass in an epoch of transition; one shaded with pastoral patinas and studded with the fragments of allegorical ruin. As tattered as it is tender, Atlas of Green is a patchwork of scavenged relics and bygone hues, cast through the iridescent shimmers of a mid-future in flux. Growing up on the Wirral Peninsula in North West England, Hunt was surrounded by stone age landmarks and rock carvings that infused the landscape with legend. It was beside those carvings on a residency at Bidston Artistic Research Center where he began the journey of Atlas of Green, experimenting with tape loops and exploring the center's library of sci-fi. Here Hunt also encountered the work of Italian philosopher Federico Campagna, a writer who believes we're at the end of our current world. This encouraged Hunt's exploration of how the fabric and fantasies of our current era might endure into the future of Green, as they try to make sense of the riddles of the past, utilizing broken electronics and simple acoustic instruments to create new mythic forms. This question of endurance led Hunt to inscribe Atlas of Green with its own lucid markings - sometimes almost anthemic adornments - which unfurl through the album's melancholic air as possible new metaphors for how the human spirit might persist through dark days and regain lost wisdom. As Hunt reflects, "We're not just on an endless procession through constantly better worlds. Our lack of action (on climate and inequality) feels hopeless at times. I find some comfort in the idea that maybe the world needs a new song in order to tell a new story about itself". The image of Green as a journeying adolescent in-between eras developed out of a burgeoning interest in the fantasy writing of Ursula K. Le Guin and Gene Wolfe and occurred at a point in Hunt's life where the question of starting a family was looming. Green became a device for thinking about the future, or futures, putting someone in another world and granting access to a slightly longer timeframe than one's own life. What would this person, in this as-yet-unsung world do with something as powerful as music? As Hunt notes, "I imagined them doing what we've always done with music - using it to build a map of feeling, providing boundaries and tracing the edges of our emotions, defining a space of possibility and giving voice to our intuition. This is an alternative future to the one of endless growth but one which still holds space for hopes and dreams." Mapping new folds in the passage of time, Atlas of Green is traced with an aura of sonic urgency which arises through its process-led construction. Following a series of live shows in early 2023, the record was created with an assemblage of analogue electronics and acoustic instruments, including scratched records and a broken four track, collaging studio work with recorded live recordings featuring work in progress. Where the indeterminate energies of Under~Between (2021) appeared through digital processing, Atlas of Green embraces chance encounters within the malfunctions of physical media and glitching gear. Within these interwoven clusters of organic and blemished sound, Dialect reclaims the joyfulness of the inner amateur and creates a soft landing for new seeds of magical possibility - rooted in the bounds and abundance of realism. "As a planet of people we have to deal one way or another with our finite existence. We have to deal with that loss with hope still in our hearts - our capacity to love cannot be contingent on things lasting forever, and so this image of Green is not a vision of dystopia, nor utopia but an expression of trust and an acceptance of limits."

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

In this electrifying 2024, we're buzzing with excitement as we celebrate 40 years of Flexi, the record emporium that's weathered countless storms amidst the ever-shifting tides of the music industry, catering to vinyl aficionados across the ages. Alongside the raves and swag, no doubt, there's a killer compilation dropping on the indie label "Flexi Cuts," dubbed evocatively as "Musica Solida" spread across 3 or perhaps 4 12-inch samplers, boasting a carefully curated selection of singles from cherished Flexi-affiliated artists and producers. The vision? To cultivate a virtuous movement of sublime tunes, echoing the fervor and zeal to persist within the realm of quality that Flexi embodies within the Italian scene, alongside kindred spirits... despite the daunting challenges of the market in recent years.



Musica Solida # 1 showcases

DJ Rocca: One of the most solid producers on the panorama, a respected maestro of the clubbing scene in Italy and worldwide.

Club Soda: Live electronic ensemble, still dreamin' from their latest EP 'Basso e Batteria', which packs an unreleased track recorded directly from their house-flavoured jam sessions.

Lex (Athens) & Locke : A Greek producer who is well established in today's dance house scene, with quality-vibey releases and a very nice and classy and groovy sound. We will definitely hear from him in the future!

Hiroyuki Kato: Emerging Osaka-based multi-instrumentalist makes his debut with a very punchy and catchy track!

The Mechanical Man (feat. Bob Vito) : Neapolitan super producer. Raw-sounding, gritty, powerful and never dull, a pleasure to have him with us.



The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful silver cover.



Compiled by Simone Guerra aka Relative

Mastered by Francesco Brini (except track B1, Mastered by Marco Spaventi)

Distributed by Rubadub, Glasgow

Pressed by Desslab

Design by GLZ

Die US Death Metal-Ikonen NILE kehren mit ihrem mit lang ersehnten, zehnten Studioalbum The Underworld Awaits Us All zurück, das via Napalm Records erscheint.

Wieder einmal verbinden sie technische Präzision mit unbarmherziger Brutalität zu einer markerschütternden Death Metal-Attacke. Dabei beweisen ausnahmslos alle Bandmitglieder – von Gründungsmitglied und Gitarrist Karl Sanders, Schlagzeuger George Kollias, bis hin zu Sänger und Gitarristen Brian Kingsland Zach Jeter, sowie Bassist Dan Vadim Von – enormes musikalisches Können an ihren Instrumenten.
Das neue Album wurde erneut in Sanders' eigenem Serpent Headed Studios in Greenville, South Carolina produziert und aufgenommen. Für das Mixing und Mastering arbeitete die Band mit dem Produzenten Mark Lewis (Dying Fetus, Whitechapel, The Black Dahlia Murder) zusammen, der auch schon am Vorgängeralbum Vile Nilotic Rites beteiligt war und die gewaltige Bildwelt des Covers wurde von Micha "Xaay" Loranc gestaltet, der sich vom Jüngsten Gericht inspirieren ließ.

We can't hide the fact that we're a Manchester label with some very strong feelings for the Red side of the city. Regardless of your tribal affiliation - whether you have one or not - Edric Connor's "Manchester United Calypso" is an undisputedly joyous, soulful classic. Like the bunch of bouncing Busby Babes the song sought to raise up, it's remarkable, stylish and profoundly memorable; and its magical legacy has only grown in the 70 years since it first surfaced.




A testament to its enduring brilliance, "Manchester United Calypso" is heard to this day on the terraces of Old Trafford and beyond. However, it's impossible to find a copy of the original 78rpm shellac release or, indeed, the 45rpm vinyl. So, we're delighted to reissue this unforgettable anthem - with Lord Kitchener's equally dazzling "Manchester Football Double" on the B-Side - and make it available on 7" vinyl to United fans of any vintage; as well as fans of vintage calypso fire! Featuring typically striking, specially commissioned artwork from the legendary Stan Chow, this record is a collectors item for the ages.


"Manchester,
Manchester United
A bunch of bouncing "Busby Babes",

They deserve to be knighted

If ever they're playing in your town,

You must get to that football ground

Take a lesson come to see,

Football taught by Matt Busby

Manchester,

Manchester United"



Whether you have United in your heart or not, "Manchester United Calypso" is a record that, like the best football teams in Old Trafford's history, swaggers with an addictive beauty that's impossible to ignore.
It's impossible to discuss the significance of the calypso without remembering what ultimately ripped through the heart of this most beloved youthful side.
Eight of the Babes who were celebrated in the Calypso tragically lost their lives on 6th February 1958 in the Munich air disaster.
Like the players and the club itself, the United calypso radiates a special type of magic and speaks to the spirit of United:
the demand to be fearless, unrelenting, creative and obliged to entertain the viewing public.



The Calypso was written by Eric Watterson and Ken Jones and sung by Edric Connor, who moved to England from Trinidad in 1944.
Connor is considered a pioneer, popularising calypso music, becoming the first black actor to perform with the Royal Shakespeare Company, setting up the Afro-Asian Caribbean Agency to represent Black and minority artists with his wife, Pearl and establishing a theatre workshop.
“I would think coming to this country right after the war, as Edric did, and getting into BBC radio, and moving among the people, he did a great deal of good for our own community,” Pearl once revealed.
He saw himself as a self-appointed ambassador for his country, Trinidad. We were very nationalistic back then. We believed we had a country worthy of recognition”.



The B-Side is another doozy.
Swoon along to Lord Kitchener's fantastically woozy "Manchester Football Double" - a fitting ode to the city where you'll "find football's headquarters".


Then and, after the 2024 FA Cup Final, now.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 7" well and truly soars.

The immaculate Record Industry pressing will ensure this sought-after gem finds a home in many more collections, from Manchester to Malta, Mumbai to Malaysia.

Sunset Rubdown are set to release their fourth studio album_the first in fifteen years!_Always Happy To Explode.Twenty years ago Spencer Krug began using the name Sunset Rubdown for his solo bedroom recordings, experiments too low-fi and odd for what was then a blossoming Wolf Parade, but by 2005 Sunset Rubdown had evolved into a full band, with Michael Doerksen, Jordan Robson-Cramer, and Camilla Wynne joining Krug on stage and in the studio. The band recorded their third critically-acclaimed album, Dragon Slayer, in Chicago in 2008, then went on to play their last show in Tokyo in 2009, with the implicit knowledge it was their last. They broke up quietly, their certitude that they'd never reunite growing as the years rolled on. Then one night more than a dozen years after their final show Krug had a dream (he really did) that the band reunited, and the first thing he did upon awakening was email the band to see if the dream might be made real. The answer was a resounding yes, and soon enough Sunset Rubdown was onstage again. The first show in fourteen years was in Montreal, where they had formed so long ago. The tour was a success, most crucially in terms of having fun, the main condition of their continued pursuits. This fun was thanks in no small part to their blithesome new member, bassist Nicholas Merz. And thus they decided to make a new album together. The record is composed of nine songs cherry-picked from demos that Krug has been posting to his Patreon page over recent years, with the songs in many cases being pared down from their previous incarnations, yet no less lush. Being a band is no easy feat, perhaps especially as members age and spread across the continent, but it certainly is a privilege. With Always Happy to Explode, Sunset Rubdown have made something that captures their gratitude and the energy of their joyous (and sometimes difficult) reunion.

The concept for and palette of Crystal Dorval aka White Poppy’s ‘Paradise Gardens’ trilogy first germinated in 2016 as a notion of “paradise music” combining new age, bedroom shoegaze, and bossa nova into “transcendental Tropicalia.” As she filled tapes of recordings exploring the idea, many of the songs gradually gravitated towards the hermetic dream pop her project is best known for, becoming the albums Paradise Gardens (2020) and Sound Of Blue (2023). Dorval describes these collections as a sort of “emotional purging or shadow work,” before arriving at “the state of inner paradise:” Ataraxia.

As the third, final, and most purist realisation of the original ‘Paradise Gardens’ vision, Ataraxia delivers. Nine instrumentals of nimble guitar, elevated bass, clean rhythm, and clear light, gliding like swans on a shimmering pond. There’s a sense throughout of playful tranquillity, of serenades at sunset, of kisses of blissful Muzak wafting along a boardwalk.

But behind the music is a patience, grace, and levity born of Dorval’s personal journey with spiritual healing that paralleled the trilogy. A process of transmuting pain into beauty, day by day, melody by melody, cleaving the darkness from the soul and re-entering one’s rightful home in the Garden.

WRWTFWW Records is happy to further its collaboration with Japanese electronic/ambient group Interior by releasing their never-heard-before soundtrack for environmental artist NILS-UDO’s 1987 Laserdisc Sculpture of Time (Apocalypse). The intriguing sound design/kankyo ongaku/new age album is available as a limited edition LP housed in a heavyweight 350gsm sleeve and comes with a obi strip. It is also available in digital format.

In 1987, Intermission published a Japan-only Laserdisc showcasing one hour of works created by renowned German environmental artist NILS-UDO. To accompany the visuals, they commissioned electronic music group Interior, fresh off their Haroumi Hosono-produced self-titled debut (also available on WRWTFWW Records) and their Windham Hill Records-released sophomore album Design. For the first time ever, the soundtrack is now available in full HD glory, demonstrating Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto’s precise, subtle, and spellbinding approach to ambient sound design.

Calming nature sounds, ritualistic synths, meditative atmospheres, and eruptive forays into darker territories mesh superbly in a 4-part soundscape that flirts with oeuvres such Midori Takada’s Through The Looking Glass and Hiroshi Yoshimura’s Green, making Sculpture of Time one of one of the best kept secrets of kankyo ongaku – a must have for mystery hunters and levitating music lovers.

Sculpture of Time (Apocalypse) follows WRWTWW’s reissue of Interior’s debut album and precedes the upcoming release of Tarzanland, band member Daisuke Hinata’s pitch perfect solo from 1989.

Monument is one of Portico Quartet’s most accessible, direct records to date. If Terrain addressed the darker side of how Duncan Bellamy and Jack Wyllie made sense of the pandemic, then Monument resonates as an ode to better times. If not quite a dance record, it nonetheless pulses with an energy, radiance and a scalpel sharp focus. Jack Wyllie explains: “It’s possibly our most direct album to date. It’s melodic, structured and there’s an economy to it that is very efficient. There’s not much searching or wastage within the music itself, it is all finalised ideas, precisely sculpted and presented as a polished artefact.” Bellamy expands “Monument sits somewhere between our albums Portico Quartet and Art in the Age of Automation. It has perhaps a more overtly electronic edge to its sound – there are more synthesisers and electronic elements than we have used before and the music is often streamlined and rhythmic”.

The unconscious and unknown must be really nice places. In any case, if you take the second album of Menelaos Tomasides under his given name as travelogue. A trip into dreamlike territory, yet concrete enough, a journey without target yet looking forward and looking back into familiar places, „dreamhike“ both continues and departs from the style Menelaos has found earlier, in “When the Moon Comes Through”, or his more conceptual-intentional “31 Minuten” works. As the album title - which roughly translates to “dream hiking” but also hints on “walkabout” and “songlines” – suggests, we are rambling between the real and the imaginary. From the bucolic border triangle of Belgium, Germany, and the Netherlands to the buzzing streets of the capital of Cyprus, where Menelaos has lived for many years, the tracks are about real places, about real experiences and emotions yet interwoven with a dreamlike fabric. Something that is just not tangible, yet substantial and palpable. Something concrete that manifests in the genuine and special sound design of this records - basically all of Menelaos’ works - his really special treatment of dynamics and loudness. It is one of the very few records where the established language of music making, specifically Techno, House, Dub, and early 2000’ Electronica, the clicks, thumps and plops from an earlier age of electronic music, transmogrify into slow movements of something new. Something that is gentle and truly personal, looking inwards. There are four-to-the-floor beats, there is wobbly bass, and dubby chords, even sublimated clarion calls. There is an immense energy in these tracks, the sheer materiality of low frequencies of a massive sound system manifested in a tiny room. Yet it is without any aggression, stripped bare of sonic pressure. It is quiet music no matter how high you turn up the volume. A rare treat, that requires exceptional skills and exceptional restraint and control on the technical side of music making. Probably it is a result of Menelaos specific combination of instinctual, intuitive approach to making music, which meets a genuine love for sound in seemingly endless loops of refinement that can lead to such a result as „dreamhike“. The elegant floating balance of control and playful experimentation manifests for example in a track that continues the ongoing collaboration with seasoned Cologne improviser Achim Fink on bass trumpet. Not only in this respect, the album can be described as a product of openness. It comes from a lot of taking in the world, of travel, of places and people met, of friendship and conversation (not necessarily with words). The deep trip of “dreamhike” further manifests Menelaos as one of the truly independent voices of electronic Cologne and beyond. Somewhat alike in character and attitude probably to what late Pete Namlook has established for Frankfurt with his label Fax +49-69/450464 (though ultimately warmer and much less uncanny) Menelaos has found his very own sound and vision. Music that answers to no one but speaks to everyone. Uncompromising yet gentle to the core: kind sounds from a kind spirit, arguably the most extraordinary and valuable quality music can have these days.

In a joyous reunion after a long, 7-year hiatus, the Neil Cowley Trio reconvene giving rise to a creatively inspired recording, 'Entity', their 7th studio album. In 2006 the Neil Cowley Trio burst onto the scene with an exciting sound that fizzed with energy; their muscular anthems, galloping grooves and tender moments placed them at the forefront of the new 'post jazz' movement, paving the way for 6 highly acclaimed albums over 10 years. Cowley then pressed 'pause' to pursue a solo career - no less successful - with a focus on electronica. Now, stirred by his extended time of solitary music making, he makes a firm statement about the joy, comfort and the rewards of human connection in the digital age. Joining Cowley are his close musical allies, bassist Rex Horan and drummer Evan Jenkins; three friends giving their all to each other. Cowley is a brilliant composer and dazzling pianist and the trio flame still burns bright. 'Entity' is a magnificent return to form cementing the 'Neil Cowley Trio sound' - head-nodding wonky grooves, killer melodies, emotionally charged pieces with a glass like fragility laced throughout. It is a mature, sophisticated album of deeply impassioned music, delicate beauty, hooks aplenty and an ode to friendship.

'Wish On The Bone' is Why Bonnie's sophomore LP and debut for Fire Talk. It's untethered from any landscape or genre, propelled by this freedom and resulting in Why Bonnie's most catchy, hopeful body of work to-date. Ranging from twangy country infused rock jams to more intimate and lo-fi arrangements, ‘Wish on the Bone’ is wide-eyed and waiting. It’s a coming of age film in which the protagonist rejects the forces that have tried, and failed, to shape her into something other than herself. It leaves you with a hard-fought sense of hope, which is among songwriter Blair Howerton’s greatest gifts. “You owe it to the people who are experiencing the worst to just keep pushing,” Howerton says. That’s the throughline of “Wish On The Bone”, a record that rewards with repeated listens.

'Wish On The Bone' is Why Bonnie's sophomore LP and debut for Fire Talk. It's untethered from any landscape or genre, propelled by this freedom and resulting in Why Bonnie's most catchy, hopeful body of work to-date. Ranging from twangy country infused rock jams to more intimate and lo-fi arrangements, ‘Wish on the Bone’ is wide-eyed and waiting. It’s a coming of age film in which the protagonist rejects the forces that have tried, and failed, to shape her into something other than herself. It leaves you with a hard-fought sense of hope, which is among songwriter Blair Howerton’s greatest gifts. “You owe it to the people who are experiencing the worst to just keep pushing,” Howerton says. That’s the throughline of “Wish On The Bone”, a record that rewards with repeated listens.

Born in Cleveland, Ohio to Russian parents, Alina Baraz has been around music all her life. With both parents having classical training, she was destined to find her voice through music. Almost immediately after the release of her first single, “Roses Dipped in Gold” at age 19, Baraz and her family moved to Los Angeles to pursue her career as a singer/songwriter full time.In 2015, Baraz released her debut project, Urban Flora. The acclaimed project was praised by the Guardian, NPR, Huffington Post, Harpers Bazaar and many more, and sat on Billboard’s Top Dance/Electronic Albums chart for over 125 weeks, peaking at #2. In January of 2017, she released the viral single “Electric” ft. Khalid, which has been streamed over 190M times and counting. In 2018 she released The Color of You, enlisting Grammy-nominated producer Robin Hannibal (Kendrick Lamar, Calvin Harris, Cee Lo Green) to help produce the project Baraz has been in the works of a special project, leading with her single “Trust” as her first release of 2020.

Dark Entries returns to Mexico with Back Up Dos: Mexican Tecno Pop 1982-1989. Following 2021’s Back Up compilation, Back Up Dos delivers 10 more tracks of synth-pop and New Beat, 7 of which have never before appeared on vinyl. From mutant drum machine beats to irresistible synthesizer hooks, fans of the fringes of the 80s will find songs to stir their cold, dark hearts. But Back Up Dos does more than mine retro kitsch; it documents the development of a rich DIY music scene that is still underexplored. As affordable samplers and digital synths spread throughout the decade, post-punk and new wave gave way to more aggressive EBM and cyberpunk sounds. The scene also developed in opposition to the political climate of the times: the rise of the drug cartels and a reactionary turn in national politics. Using home recording techniques, these bands took cues from the electronic wizardry of the Human League and Wax Trax Records while reflecting the vibrant and chaotic Mexican cultural landscape of the era. On Back Up Dos, impeccable pop anthems from Casino Shanghai and Los Agentes Secretos sit alongside gnarled obscurities from Ford Proco and María Bonita, showcasing a decade of sly deviance and enthusiastic experimentation. This album comes housed in an 80s-inflected neon sleeve designed by Gwenael Rattke and includes a 12-page booklet with photographs, lyrics, and notes. Back Up Dos compiles synthetic music produced in Mexico at the crossroads from Tecno Pop to Post-Industrial, nourished by culture shock and stories of dystopian worlds.

A selection of 24 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Double LP. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, Medellín, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia. This first volume in the series “Cumbia Cumbia Cumbia!!!” comprises 24 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. This is complemented by a selection of cumbias recorded by the label Discos Tropical, which sold most of its catalog to Discos Fuentes in 1990. Discos Fuentes concentrated on recording cumbias played on the accordion and by orchestras and ensembles. The label produced a prodigious number of albums devoted to cumbias between 1962 and 1979, which served to define ambiguous stereotypes, rooted as much in authenticity and modernity as in demure sensuality and joyful nostalgia. “Cumbia Cumbia Cumbia!!!” combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns.

FOR FANS OF: Soundgarden, Foo Fighters, Queens Of The Stone Age, Silverchair, Black Sabbath
Wie sie selbst zugeben, gab es eine Zeit, in der es unwahrscheinlich schien, dass Torus überhaupt hier stehen würden, um der Welt ihr Debütalbum
vorzustellen. Das ist an sich schon eine überraschende erste Aussage, die aus dem Mund von Frontmann und Band-Mastermind Alfie Glass kommt,
während er und seine Bandkollegen im Wohnzimmer seines Hauses außerhalb von Milton Keynes sitzen. Jeder Schritt, den Torus bisher
unternommen haben, wurde mit Interesse und Beifall bedacht - bereits vor der von der Kritik gelobten Debüt-EP Sail" schwärmten die wichtigsten
Kritiker wie Kerrang! und Classic Rock von ihrer Marke des Null-Bullshit-Hardrocks", der gigantische Riffs und dicke, monströse Grooves" in der
Tradition von Rockgrößen wie Kyuss, Queens Of The Stone Age und Smashing Pumpkins bietet. Wenn Ihnen der Name Alfie Glass noch vertrauter
vorkommt, liegt das wahrscheinlich daran, dass Black Sabbath-Gitarrenlegende Tony Iommi die Fähigkeiten des Sechssaiters in der TV-Talentshow
Guitar Star lobte, als Glass gerade mal 12 Jahre alt war. Torus begann als Ein-Mann-Schlafzimmerprojekt, wurde aber schon bald durch den Bassisten
Harry Quinn (2020) und den Schlagzeuger Jack Orr (Anfang 2022) ergänzt. Trotz ihrer unterschiedlichen musikalischen Hintergründe und Einflüsse, die
von Wüstenrock über psychedelischen Prog bis hin zu Punk reichen, verbindet das Trio der gemeinsame Wunsch, Musik zu machen, die die Köpfe zum
Klingen bringt und die Füße bewegt. "Wir kommen alle aus verschiedenen Ecken, haben aber eine gemeinsame Vision für die Musik, die wir schreiben
wollen", nickt Orr.

Imaginative re-workings and improvisations by Andrew Tuttle of the late great Michael Chapman's unfinished instrumental album. Sonic explorations that bridge the Southern and Northern Hemisphere via the Caribbean, remote Northumberland and sub-tropical Australia. Navigating calm seas and turbulent waters of ambient corals, new-age pirates, waves of lapping banjos and drifting eroding guitars.
When Michael Chapman passed away in September of 2021, at the age of 80, he did so – as he spent much of his life – as both a pioneer and a legend. A veteran of the British blues/folk/jazz scene, Chapman emerged in 1966 and continued working throughout his life, always pushing the boundaries of his creations while collaborating with a slew of similarly heralded musicians along the way: Bert Jansch, Mick Ronson, Elton John, Thurston Moore, Steve Gunn; to name just a smattering of those he worked alongside over the years.
It's the latter of those – Brooklyn guitarist and songwriter Steve Gunn – who Chapman flourished alongside in recent years, the two collaborating on 50 and True North, two of Chapman’s final and finest records. It was through that friendship that Chapman’s music found Andrew Tuttle, the Brisbane-based multi-instrumentalist who has toured Australia several times alongside Gunn.
In the aftermath of Chapman’s passing, his partner Andru discovered Tuttle’s Fleeting Adventure LP, describing it as “one of the albums that kept me sane during that first brutal winter on my own.” The pair met in Australia shortly after, and before Andru had even made it back home to the north of England, Tuttle had begun working on the recordings she shared with him at that time. Those recordings were part of a project Chapman was working on at the time of his death, called Another Fish – what would have been a companion piece to his previously-released LP, simply called Fish.
Though Chapman had spent time in his local studio playing all the guitars, layering the different sounds and effects, he’d always intended to do much more work on the songs, however fate had its way and he never got to ribbon-bow those ideas and bring the album to its conclusion.
Though there was little intention in terms of how to finalise the project, Tuttle spent valuable time with those recordings. What materialised, eventually - with time, care, and diligent attention - is a two-disc set Another Tide, Another Fish, something both unusual and completely distinctive. The first disc, Another Tide is centred around Tuttle’s own work, which shaped all seven of Michael’s songs and ideas into new songs of their own, and the second disc which simply incorporates the recordings that Michael left behind.
“On all of the tracks I also ‘played along’ on banjo to the originals several times until I learned an approximation,” Tuttle continues. “This ended up resulting in a ‘hybrid’, where some works are easily identifiable to those who know Michael’s originals, and some took that inspiration to head altogether elsewhere. Each of the tracks, even where not obvious, does have at the very least a trace element sample of the original recordings so that it’s a true collaboration.”
What we’re left with is indeed a hybrid: part remix album, part cover album, both a solo work and a collaboration, of sorts. Inspired by Chapman’s original ideas and with new track titles directly referencing the numbered but otherwise untitled source material, Tuttle adds his own flashes of colours throughout, including editing, sampling, MIDI transposing and signal processing that twists these songs into beautiful new shapes. Perhaps Tuttle’s greatest achievement here then is that Another Tide sounds so effortlessly free of all this context.
Whether you know Michael’s, Andrew’s or even Andru’s story or not, these recordings will bristle with enchantment and intrigue, worlds are built, and while some thrive and grow, others fizzle out in a burst of light, such is the way. “It's been a long, long road but we got there and I think it's been more than worth it,” Andru says in the record’s liner notes. “I really hope you think the journey was worth it too.”
Guitars and effects by Michael Chapman recorded by Alex Warnes at Phoenix Studio, Brampton, Cumbria, 2017 Banjo, effects and edits by Andrew Tuttle at Bella Vista, Brisbane / Meanjin, 2023-2024