Cerca:anti time

Returning for another highly-anticipated album for Spatial, label stalwart Aural Imbalance breathes new life to a genre often starved of truly wide-ranging ambience blended with breakbeats that can move a dancefloor, elevating and surpassing expectations once again across a varied, cohesive selection of tracks.

A1 - Dream Assembly

Opening the LP we see Aural Imbalance showcase that inimitable world-building through swirling ambient soundscapes in full effect, a luscious intro welcoming sharp, snappy breakbeats, edited sublimely, collecting visceral cyberpunk debris on their long journey home. Subtle 808 basslines lie sleepily beneath as the composition forms a memorably soothing vibe that captures the mind.

A2 - Comet Cycle

Low filtered beats adorn an intro warning of energy to follow, forming a distinctive tone that is quickly elevated by surprisingly energetic and impeccably tuned breaks. Presently joined by inquisitive smatterings of ethereal effects, the track develops a curious and tuneful identity with harmonising melodies crafted across a varied mix, building and retaining a rousing, suspenseful vibe, leaving the listener in no doubt as to the ever-evolving skillset of Aural Imbalance.

B1 - Neptune

Setting the pace immediately with classy, imposing breakbeats, Neptune sees Aural Imbalance showcasing a wonderful ethos of dancefloor-friendly atmospherics with finely crafted edits toyed with at will for the listener with the breaks being the undoubted star of the show from an ambient legend. Subdued melodies and wide-ranging synthwork dances back and forth complementing the mix, all with a bouncy 808 bassline rumbling below.

B2 - Stasis

Changing the pace somewhat, next up we are treated to Stasis, a track which again opens with breaks, this time slightly more reserved with a thudding, analogue tone. Calming atmospherics crafted from delicious synthwork and reverberating melodies join forces with wisping pads that fly gently around the soundscape, with plinky rhapsodies delicately adding texture to a truly wonderful collage of sound.

C1 - Warpcore

Deceptively airy with incredibly light bongos and synths, the introduction to Warpcore entices the listener perfectly, smoothly introducing filtered breaks which suddenly reveal superbly programmed, distinctive amens that thrash around the mix with vigor. Clicky hats, striking cymbals and layers of tuneful effects deliver immense detail you can listen to over and over, hearing new elements each time.

C2 - Into The Void

Continuing the breaks-driven approach to the LP, Into the Void sees Aural Imbalance lay down a sublime selection of crisp, earthy old school breakbeats, edited to perfection with an immensely danceable beat pattern with delicate cowbell-style hi hats. Energising, vibrantly inspiring pads inject a warm sparkle to the mix, while a consistent, luscious classic 808 bassline playfully judders along below.

D1 - Thermal Isolation

Opening with an ever so slightly nervous tone, a plethora of layered ambient sounds create caution and intrigue, as Thermal Isolation's intro draws you in before a wonderful arrangement of messy breaks built with a delicious exuberance Aural Imbalance is clearly enjoying as his Spatial repertoire grows ever more impressive. Radiant effects are liberally flecked across the flourishing track in the latter half, adding grand texture and depth.

D2 - Forever

Closing the LP in style, Aural Imbalance delivers a mellow intro to Forever, consisting of filtered beats and a simple xylophone-style melody, before the true star of the show - some of the most finely crafted breaks you'll hear - thump their way into the mix and warmly seize our attention. Edited with a bold, effortless brilliance, the classic hats and kicks triumphantly jostle around long vocal samples and subtle ambient synths to round off this beautiful track - and album.

Words by Chris Hayes (Spatial / Red Mist)

For the past couple of years, Sam Akpro has been rising as one of the brightest talents coming from the thriving UK alternative scene. Hailing from Peckham, South London, he incorporates elements of post-punk, wave, dub, jazz and trip-hop, fueled by a fascinating range of influences (from Joy Division to SAULT, through Miles Davis, Talking Heads, Cocteau Twins, Dean Blunt, Fela Kuti, Frank Ocean). Fuzzy, moody and dreamy at times, "Evenfall" paints a refreshing picture of life in the London suburbs in your twenties. It"s the light, the darkness and the slow passing of time in an accomplished, genre-defying art form. With this beautiful debut, Sam Akpro is destined to break through in 2025.

Makin' Moves is back with the latest edition of unreleased tracks “Unreleased Volume 3” that might one day see the light of day digital but for now they will stay in the vinyl vault !

First up on the A side we deliver two choice cuts from one of New York’s underground producers Conway Kasey as he returns to Makin Moves with two tracks that will work dance floors in equal measure.

On the flip Johnny Melek brings us Manifestations with Juliet Mendosa on vocals. This one is much anticipated following Johnny’s colossal debut release on Your records that was number one in the Traxsource charts for a long time! Finishing off this classy 4 track EP is David Harness’s unreleased remix of Reggie’s Steele’s “Vulnerable” which was a huge track in 2024. Harness uses his trademark beats to take this one to peacetime floors!

Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.

By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.

The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

ProleteR, French producer and iconic figure in the international electro swing and swing hop scene, makes a strong return with a highly anticipated new album. Announced and available for pre-save on streaming platforms five months before its release on March 14, 2025, Temperamental Cats promises a unique musical journey through genres, blending jazz samples, hip-hop rhythms, and electro-soul melodies, while showcasing the distinctive style that has earned this independent beatmaker over 200 million streams across platforms.

Temperamental Cats affirms ProleteR's desire to mix genres, eras, and cultures. This new album will feature American rapper Napoleon Da Legend, Canadian artist Spark Houston, and Japanese producer Takada Fu.

ProleteR is also preparing for his grand return to the stage with a tour titled Swing Hop Party. This will be an opportunity for his fans to see him live, accompanied by a brass section, for a timeless moment driven by his expert patchwork of samples and the rhythms that have made him famous.

Based in Ottawa, Ontario, the capital city of Canada, The Riptides have been cranking out high-energy blasts of melodic, poppy punk rock for over 25 years. With their new LP Burn After Listening, the band makes the move to Pirates Press Records, and are ready to bring their sound to an all new worldwide audience! Originally formed in 1998, the band wasted no time assembling their own studio and label, putting out their own records as well as their fellow Ottawa bands. Word spread quickly, and the band's notoriety grew, particularly in the US, and soon the band found that they enjoyed rising to the challenge of leaving home and recording at noted US studios, with Burn After Listening being no exception. This album was recorded at the legendary Blasting Room in Fort Collins, CO, with Andrew Berlin at the helm for tracking and Jason Livermore in charge of the final master. These studio sessions included a cavalcade of friends & guest musicians, including members of Teenage Bottlerocket, All American Rejects, Screeching Weasel, and The Queers. A number of songs on the record also bear co-writing credits from fellow Pirates Press Records artist Matt DeeCRACK. Blending attitude-driven downstroke riffs with irresistible hooks and harmonies, combined with an aesthetic informed by everything from nerdy pop culture and surfing, they've already amassed quite the following across the decades, but this record stands poised to introduce them to many new fans.

*Repress*

180gr) 10 YEARS ON, ARTHUR VEROCAI'S ENCORE GETS A VINYL RELEASE. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to createa modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
To celebrate the album's 10th anniversary, Far Out Recordings announces the first ever vinyl edition of Arthur Verocai's 2007 masterpiece Encore. Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.

In the mid-2000's, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of 'Encore' of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in 1972 critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 - aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth - playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, 'As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds'.

Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become 'Encore' were being laid down. Produced by Dave, 'Encore' sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.


Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4 and Marcos Valle, among others. In the 1970s he was hired by Brazil's biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album "Agora", Arthur recorded his self-titled debut album on Continental Records. 'Arthur Verocai' challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.

Belgium's iconic DJ and producer, Yves Deruyter, who celebrates his 40th DJ career in 2025, makes a triumphant return to the music scene with the much-anticipated remaster of his seminal second album: "2001".

Renowned for his pioneering influence on techno and classics, Deruyter's re-release is packed with timeless tracks, including the unforgettable anthem "Back To Earth" and also including but not limited to: "Music-Non-Stop", "Rhythmic Bazz", the much sought after Transfusion and as a special bonus "Born Slippy".

Available in an exclusive 2 x 12" vinyl release, collectors and fans alike can choose between a special light blue edition, limited to 500 copies, or an ultra-limited faded smoked black-to-transparent white 180-gram audiophile version, limited to just 200 copies.

Each version comes repackaged in a stunning, redesigned sleeve, making it a must-have collector's item for true enthusiasts. Don't miss the chance to own a piece of techno history!

Demonstrating the poignant power of experience + human connection + innate musicality + operating in the present moment, Jeff Mills' Spiral Deluxe collective unveil their second album - The Love Pretender. Driven by the free expression and creativity of improvised performance, Spiral Deluxe is an electronic jazz fusion project comprised electronic music visionary Jeff, along with legendary keyboardist Gerald Mitchell (Underground Resistance/ Los Hermanos), Japanese rocker Yumiko Ohno (Buffalo Daughter/Cornelius) on Moog synthesizer and the Japanese bassist, adopted New Yorker, Kenji "Jino" Hino - son of Terumasa Hino, the world famous jazz trumpeter. Together, the four key players formed a band centred around completely improvised journeys through sound.

During their unrestrained performances, what Jeff describes as sonic "conversations" arose between the musicians, as they each contributed to full-length live shows, and studio sessions. Within the boundless parameters of freeform spontaneity, they developed an unspoken understanding of one another, finding balance and poise within the unplanned performances. The resulting recordings have been used for three releases so far: Two EPs, Kobe Session (2016) and Tathata (2017), and their debut album Voodoo Magic in 2018. With The Love Pretender, we're presented with another stunning collection of "tracks" extracted from one long improv session.

With each musician proficient in their specialism and, of course, an all-out music lover, the communication between the group members became almost telepathic. Very little preparation was needed, and their performances flowed naturally and organically. This can be heard, and felt, throughout The Love Pretender. Tracks like 'The Soloist' evolve effortlessly, each new shift subtly influenced by one of the musicians nudging the conversation into a different phase, and the rest responding accordingly, or vice versa. It's music that embodies the true nature of mindfulness and letting go of fear. In their unstructured, liberated cocoon the artists thrive and create musical moments that have, fortunately, been captured for us all to immerse ourselves in. Jazzy notes fill the air, combined with electronic bass, synthesised beats, sparkling keys and an all-round warm and welcoming atmosphere, with the slight edge you can only get from improvised performance.

Sylvain Luc's posthumous appearance on the album is of significance too. The French guitarist died in March 2024 at the age of 59. His natural flair adds another dimension to the album, bringing a touch of that laid back 1980s American California Coast feeling to tracks such as 'Society's Man'. These contributions to the LP, recorded separately, add character - a final sprinkling of humanity to complement the aliveness and presence of this body of work. Three other musicians also added their creative energy to the project. They were; TOKU, a Japanese jazz musician who specialises in wind instruments, especially the cornet, trumpet and flugel horn. And there's Masa Shimizu, who also has wide-ranging with the guitar, as well as being a producer.

Themes on the album include the optimism one can have by simply trusting the process and trusting that everything will work out in the end. By playing together in the way they do, Spiral Deluxe place their trust in the mystery of what will happen next. Getting comfortable with not knowing is key to a sense of peace with regard to the future and this energy is vital to their collective musical output. By embracing the notion of the unknown, you become an eternal optimist, living in the moment, rather than projecting into the future. This cultivates excitement, an antidote to anxiety.

Meanwhile, the title alludes to the shifts and changes that have occurred in today's society, whereby it's possible to achieve success through pretending. The superficiality, and falsehood, that can often be presented via social media, can lead to questions about what's real and what's not. From AI to the fake personas that populate the dominant platforms, The Love Pretender speaks to a process that is symbolic of the time we're living in. Behaviour that has become acceptable in today's world, which may not have been as welcomed a few decades ago. But this is part of the cycle of life...

Jeff's intention with this music is to present it in high-fidelity, to be listened to over and over and over again. In post-recording he worked for hours to ensure the audio quality was as high as it could be. The goal is to create music that people can live with their entire lives, from his solo work to these masterful improvisations. Music that comes to life, music that has a voice we can replicate with our own vocals. Expressive, unstructured, and alive...

With The Love Pretender Jeff Mills continues his mission to experiment with music outside the bounds of what is typically expected. It's freeing, enlivening, vibrant and uniquely human. As ever, Jeff's visionary outlook and bold approach to musical performance and recording has produced a body of work that epitomises his often revolutionary capabilities. There's no pretending here, just pure unadulterated sonic transmissions from a wonderfully daring, inspiring and optimistic ensemble...

Tobacco City is a Chicago-based band that blends cosmic country with a mix of psychedelic rock and honky-tonk soul. Their sound captures the essence of small-town nostalgia while embracing modern-day themes, exploring heartache, longing, and the bittersweet nature of life. With their uplifting energy and authentic songwriting, Tobacco City continues to carve out a unique space in the countrytinged Americana scene. On Horses, the highly anticipated follow-up to their critically acclaimed debut, Tobacco City, USA, the band takes listeners on a nostalgic journey through the haze of youth, where time feels suspended and plans are nonexistent. The album’s lyrics conjure vivid images of small-town life—smoking schwag behind the grocery store, drinking cream from a gas station with your first love—capturing that carefree, uncertain time when the future felt distant. The music channels the spirit of ’70s country with influences from legends like Gram Parsons and Emmylou Harris, bringing a timeless, uplifting energy to each track. At the same time, the lyrics intersect with modern-day themes, blending the beauty and innocence of youth with the harsh realities of life. Horses feels like a contemporary take on classic country, merging a nostalgic past with the complex world of today, all while remaining undeniably authentic and heartfelt. This follow-up to Tobacco City, USA—which received high praise from NPR and Rolling Stone— cements the band’s place at the forefront of a new wave of countrytinged Americana. “...Like the Chicago band’s namesake, a slow smoke hangs in the air, heavy with heartbreak and feather-blue eyeshadow, but puts a brave face on. Lexi Goddard sings with a far-away look over a pedal-steel cry, a melody that sways to country songs on jukeboxes of yore...” —NPR “Chicago’s Tobacco City do more with less... spacious grooves as pedal steel wafts through like a gentle breeze. Vocalist Lexi Goddard and Chris Coleslaw sounds simultaneously wistful and playful throughout...” —Rolling Stone

180G vinyl pressing

After releasing their well-received 7” and 12” singles ‘Night Time’ and ‘Feel It / So Hot’, Isle of Jura is pleased to present Exotic Illusions, the debut album from D.D. Mirage, the Sydney-based duo of Josh Dives and Disky Dee.

Having first played music together during the mid-2010s in the indie-psyche and punky-shoegaze bands King Colour and SCK CHX, the two Australian musicians/DJs came up in the warehouse party scene that fermented in the wake of the Sydney lockout laws. While organising mixed media events under the Yeah Nah Yeah brand, they discovered the joys of disco, dance-punk and the Balearic beat through Pender St Steppers’ DJ mixes and reissue releases and found themselves changing direction in response.

Written and recorded with a range of vintage keyboards and preamps, instruments and digital studio software, Exotic Illusions is a cosmopolitan love letter to the immaculate blend of Italo disco, Neopolitan funk, Nigerian boogie, cosmic house, synth-pop, UK street soul and lovers rock sounds that have inspired D.D. Mirage since they began this iteration of their ever-evolving musical relationship.

“The name Exotic Illusions refers to our fascination with all of this music made in other parts of the world,” they explain. “During lockdown and thereafter, we indulged in these exotic sounds as an antidote to our lack of travel. This fascination continued as the world opened up again, and we started working on tunes together. It’s also a way of acknowledging that we feel like tourists partaking in these styles and established sounds. They aren’t ours and weren’t born out of the place we’re from, but we hope we’ve been able to add something unique to them.”

In recognition of this, rather than just reinterpreting genre motifs through an antipodean lens, D.D. Mirage opened up lines of communication with some of their favourite musicians from the Neapolitan scene, bassist Daniel Monaco (Rush Hour, Periodica Records) and drummer Andrea De Fazio (Parbleu/ Nu Genea), who recorded the rhythm section for ‘So Hot’. They also wrote to the Manchester-based singer/producer Private Joy, who graced ‘Night Time’ with a smoother-than-silk street soul vocal that helped the single secure crucial plays on NTS and BBC Radio 6.

Opening with the tropical melodies, post-disco machine beats and jilted art-punk singalong chants of the title track, Exotic Illusions unfolds as a series of sturdy, internationally-minded dancefloor excursions. ‘Piranesi’ is boogie with a South American shuffle. ‘So Hot’ is Neapolitan funk with a Leichhardt strut, and ‘Antenna’ (featuring Jofi) is D.D. Mirage’s love letter to ‘80s drum machine bossa nova from Brussels.

On ‘Feel It’, the duo hit a sparking groove that reaches into an eternal sunset of the mind before throwing out a bubbly disco-not disco spoken word bounce on ‘Cat’s Cradle’, featuring psychedelic-pop singer Jermango Dreaming. From there, D.D. Mirage bring it home with a cheeky Aussie drawl on ‘Living Upside Down’ and the nocturnal excellence of ‘Night Time’, making a case for themselves as a significant new force from Australian music to the world.
full sleeve artwork from Bradley Pinkerton.

Output/Input release their debut album 'Forward Motion' on double vinyl LP, December 1st. The album is an eclectic mix of 70's-inspired soul and funk delivered in a truly 2023-style of recording, with all tracks being recorded remotely across multiple continents. The band is a truly diverse and international group featuring members from countries including the USA, UK, Germany, Hungary and South Korea. Their previous releases have been praised by DJ's and tastemakers, regularly featuring on Jazz FM, BBC Radio 2, BBC Radio 6 and a host of specialist Soul radio stations across the globe. The CD and digital album have been No.1 on multiple UK Soul Charts.

Lead vocalist Antonio McLendon (pictured) has worked and performed with James Ingram, Tata Vega, Gladys Knight and Donna Summer, and features as vocalist on seven of the ten tracks on the album. He has definitely made an impact as a world-class singer this year, with the singles 'Smilin' Faces' and 'Someone I Used To Love'. both being radio hits. Co-incidentally, Antonio's daughter, Samara Joy won two Grammy awards this year for her album 'Linger Awhile'. Here We Go Again' features the vocals of Audrey Wheeler-Downing, who worked with Unlimited Touch and Chaka Khan, and Brent Carter, the current lead singer of AWB and previous to that, Tower Of Power. 'Doin' Alright' features vocals from O'Bryan, who Davis worked with extensively on his albums for Capitol. This re-recorded version, co-written by Melvin, originally appeared on the album of the same name in 1982, and is widely tipped as a stand-out rare groove revival cut on the album and is already hotly anticipated. 'Really No Chance' features the lead vocals of Katie Holmes-Smith, a globally sought-after singer, who backed Adele on her world tour as well as currently performing with her for the duration of Adele's residency at Caesar's Palace in Las Vegas. The CD release featured a bonus track, 'Every Time You Touch Me', recorded very recently, written by Noval Smith and Mark Love and sung by Antonio McLendon, while the 2LP features another bonus cut, a fantastic cover of the Earth, Wind & Fire classic 'Can't Hide Love', penned by Skip Scarborough, with vocals by Brent Carter

Legendary Brazilian jazz-funk trio Azymuth are set to release "Arabutã" (Daniel Maunick Dub), a vinyl-only 7" single, on December 13, 2024. The limited edition release serves as a captivating preview of the band's highly anticipated new album, set for release in 2025.

"Arabutã," which takes its name from the Tupi Guarani word for the endangered Brazilwood tree, underscores Azymuth’s fusion of timeless Brazilian jazz-funk and cosmic futurism. A symbol of both the value and fragility of Brazil’s natural beauty, Arautã reminds us of the salience of indigenous wisdom to ecological preservation.

In the hands of producer and long-time Azymuth collaborator Daniel Maunick, “Arabutã” is tweaked for a special mid-tempo 7”inch, two part, dancefloor dub mix.

The limited edition 7” single is available to pre-order exclusively from the Far Out Recordings website and Bandcamp ahead of its 13th December 2024 release date, and at shows on Azymuth’s upcoming European tour.

Tri-colour striped 2LP. LP 1: Red, Black, Blue LP 2: Yellow, Black, Green Limited to 300 copies. The classic hardcore punk album from New York's H2O, the third album is their 1990s-era trilogy, is back in print for the first time in 25 years. Featuring guest vocals from Roger Miret (Agnostic Front), Civ (Gorilla Biscuits, CIV), Freddy Crecien (Madball), Dickie Barrett (Mighty Mighty Bosstones), and Tim Armstrong (Rancid). Repackaged with a deluxe gatefold jacket and updated artwork, this 25th anniversary edition comes with a 2nd LP featuring the 1998 "Faster Than The World" demo session (17 songs), engineered by Tim Armstrong (Rancid) and previously unreleased.

Dj Spinna’s very own Wonderwax record label is back with yet another soul-infused EP of trademark remixes from the man himself. This time around the Brooklyn producer unleashes for the first time on wax his brilliant vocal and dub versions of two tracks from critically acclaimed RnB duo King.

The 4 track EP includes the highly anticipated and unsurprisingly ace Galactic Soul remixes of “Mr Chameleon” plus the vocal and instrumental remixes of “Red Eye”, released digitally back in 2017 and never before on vinyl, showcasing once again Spinna’s amazing touch with downtempo beatdown jams.

Yellow & Black Vinyl. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll.Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

La Pambelé Unveils Nací Mestizo, A Bold New Album Reviving Salsa with a Contemporary Twist Bogotá’s heavy guaguancó orchestra, La Pambelé, proudly presents their highlyanticipated second studio album, Nací Mestizo, now available on all major digital platforms as of November 27th. This album pays tribute to the golden era of salsa, particularly the 1970s, while breathing new life into the genre with modern lyrics and stories that resonate deeply with Latin communities.

All while maintaining a distinct Bogotan essence that highlights the city’s unique cultural flavor. Nací Mestizo seamlessly blends the timeless salsa brava sound with contemporary themes, reflecting the everyday lives of people across Latin neighborhoods. The album’s songs capture the struggles, passions, and joys of ordinary people, presented through the vibrant rhythms of salsa, creating a musical experience that connects the past with the present. Building on Their Rising Popularity Prior to the album’s release, La Pambelé debuted the singles “Amargura” and “Perdí mi Corazón”, which quickly captivated audiences and set the stage for the full album's success. The band’s electric performance of these tracks at the MedPlus Coliseum in Bogotá, before an audience of 22,000 attendees awaiting Marc Anthony, was met with enthusiasm as fans danced and applauded.

This moment marked a significant milestone for the orchestra, cementing their place as a rising force in the global salsa scene. Additionally, La Pambelé’s growing visibility has been marked by their appearances at major festivals such as Salsa al Parque and features on prominent radio stations, including Radio Nacional de Colombia and Latina Stereo. These platforms have helped introduce La Pambelé’s signature sound to a wider audience, building anticipation for the release of Nací Mestizo and reaffirming their influence in Colombia’s tropical and alternative music scenes. A Contemporary Salsa Sound with Classic Roots La Pambelé’s unique blend of traditional salsa brava and contemporary Latin storytelling is showcased through their distinctive nine-piece orchestra, which includes piano, conga, flute, trumpet, trombone, timbales, bongos, and baby bass. The dynamic vocals of Miguel RoRebolledo and Lorena Contento elevate the album’s themes, creating a sound that invites listeners to their feet and onto the dance floor. Under the direction of Camilo Toro Morato, the orchestra has honed its signature style, pushing the boundaries of salsa while staying true to its roots. As a proud defiance of stereotypes about Bogotá’s musical abilities, La Pambelé’s name pays homage to legendary Colombian boxer Kid Pambelé, symbolizing resilience and strength.

The name also draws from the Bantú language, meaning "defender of one's own," reinforcing the band’s connection to their Colombian heritage and pride in their distinctive sound. Global Recognition and Continuing Influence Since the release of their self-titled debut album in 2022, La Pambelé has gained international recognition, especially within the vinyl collector community. Theirdebut album was released in both 45” and LP vinyl editions, further solidifying their unique position in the contemporary salsa movement. Influenced by salsa greats such as Markolino Dimond, Eddie Palmieri, Edy Martínez, and Ismael Miranda, La Pambelé has carried forward the torch of salsa brava with passion and innovation. Nací Mestizo marks a significant evolution in the orchestra’s journey, melding the old and the new, and cementing La Pambelé as a driving force in the future of salsa music. A Collector’s Dream With their 2022 debut album garnering international recognition, La Pambelé’s vinyl releases—including 45” and LP editions—have become coveted items for salsa collectors worldwide. Their music is a bridge between classic salsa traditions and a modern vision, appealing to seasoned fans and new listeners alike. About La Pambelé La Pambelé is a heavy guaguancó orchestra from Bogotá, Colombia, known for their vibrant, rhythm-driven sound that blends 1970s salsa brava with modern Latin influences. With a unique nine-piece lineup and powerful vocals, the band continues to break boundaries, defying expectations and inspiring audiences around the world

Producer, songwriter and director Sevdaliza releases her highly anticipated sophomore album Shabrang in roaring 2020. Produced entirely by herself together with long-time collaborator Mucky, the 14- track album is the long awaited follow-up to the 2017 debut album ISON.

In just a few years time Sevdaliza established herself as an iconic, highly creative, versatile and independent artist who has landed on many celebrity moodboards. Her stunning visual for HUMAN of her debut album ISON has collected over 25 million YouTube views to date and masterpiece Shahmaran about mental slavery, won 2 UK Music Video Awards. Sevdaliza toured 35 countries in the last 2 years and amassed thousands of fans globally (Spotify 200.000, Youtube, 300.000, IG 230.000). In 2020 Sevdaliza will return with her follow up album Shabrang.

“Shabrang” is mentioned In Persian mythology, although there is no direct translation to capture it’s essence, the Farsi phrase Shabrang literally translates to color-palette of the night. This “palette” is visualized in the tones in Sevdaliza’s black eye on the album cover. The black eye represents the years of physical and emotional turbulence. In Sevdaliza’s words “This album represents to me that the essence of it all to me is love. It is a deep letter to myself, my own bible I have to write in order to trust and believe in life. Trust in myself and my character as a human being.”

Born in Iran and residing in the Netherlands, Sevdaliza has been a strong independent force in the creation of her art. She is a producer and engineer, an independent art director with critical eye for detail and storytelling and an unique songwriter. Her music has been described as “genre- bending”, drawing on various genres including alternative electronic, indie, triphop, alternative R&B and the avant-garde.

Shabrang is available on grey vinyl and the package contains a large poster and photograph ID-sheet.

With an intrigue for a particular niche of old UK hardcore which takes cues from Sheffield bleep ambience, heady rave futurism and soft, almost new age synth pads, Blank Mind presents ‘Lost Paradise: Blissed Out Hardcore 91-94’. Though the records gathered for the compilation span a short three-year period and bridge the gap between scenes, the collection manages to find a sweet spot where the influence of Warp’s Artificial Intelligence, back room chill out sonics and the nascent jungle boom meet with elements of Italian piano house and slower breakbeat cuts.

Opting to focus on atmosphere to highlight shared connections; in this case the duality of often serene and calming soundscapes with frenzied breaks and bass (see Hedgehog Affair’s ‘Parameters’ and Luxury’s ‘Twirl’ respectively); Lost Paradise is a formidable collection of tracks plucked from a thriving time for British dance music experimentation. The general themes of ascension and escapism channelled through digital samplers are also inescapably linked to a turbulent time in politics, beginning in the post-Thatcher years and culminating in the year the harshest anti-rave Criminal Justice Act came into force.

Initially building the compilation around DJ Mayhem’s track ‘Inesse’, Blank Mind label founder Sam Purcell and Amsterdam based producer Tammo Hesselink began a process of swapping favourites and deep cuts to spread across this 2x12” doublepack. The compilation avoids any obvious centrepieces through masterful sequencing, allowing for moments of refrain and tempo changes in a way that helps add to their overall vision of what this music is and can be; “We wanted to frame hardcore in a different light, looking at this idea of ecstasy through the traditional meaning of the word and exploring that symbolism”. By drawing from what some might consider the softer edges of the movement, the pair offer a look into the relevance of these tracks in the contemporary era, where the past years have seen both an explosion in popularity of old ambient/new-age music and a certified jungle revival.

"In celebration of its 20th Anniversary, Waxwork Records is proud to present THE RING Original Motion Picture Music by Hans Zimmer! This long anticipated release marks the first time that The Ring will be available on vinyl. The Ring is a 2002 supernatural horror film directed by Gore Verbinski and starring Naomi Watts and Brian Cox. It is a remake of Hideo Nakata’s 1998 Japanese horror film Ringu, based on Koji Suzuki’s 1991 eponymous novel. The plot follows a journalist who investigates an urban legend of a cursed videotape that seemingly kills the viewer seven days after watching it. The Ring was released on October 18, 2002 to positive reviews praising its atmosphere, visuals, and Watt’s performance. It is one of the highest grossing horror remakes and paved the way for English-language remakes of other Asian horror films such as The Grudge and Dark Water. The score by composed by Hans Zimmer is a dark symphonic orchestration that shifts from ghostly and melancholic to frightening and terror stricken. Constructed from a base of a piano, violins, synthesizer, and two cellos, Zimmer’s score is thoroughly effective in bringing the listener into the haunting space that is The Ring with dreadfully anxious strings, mournful keys, and rolling percussion. Zimmer creates a shadowy ambience that pulls you into the gripping ghost story. Waxwork Records is thrilled to present the full score to The Ring composed by Hans Zimmer for the very first time on vinyl as a deluxe double LP for the film’s 20th Anniversary. Featuring 180 gram “Samara & The Well” Green & Black Marbled Vinyl and “Cursed VHS Tape” Black with White Splatter Colored Vinyl, heavyweight gatefold jackets with matte satin coating, new art and design by Matt Needle, exclusive liner notes by director Gore Verbinski, a 12”x12” printed insert, and enthusiastic album packaging approvals from director Verbinski and composer Hans Zimmer.