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Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder/CEO of Rock The Bells, LL COOL J continues his trailblazing career with upcoming album 'The FORCE'.

LL’s highly anticipated 14th studio album The FORCE (Frequencies of Real Creative Energy) set for release September 6th follows over a decade long hiatus. The record was executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings. As LL was the label’s first release, there is no better way to represent the legacy of Def Jam Recordings on its 40th year

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder and CEO of Rock The Bells, LL COOL J has created one of the most multifaceted careers and brands in entertainment and continues to display his wide range of talents with every project.

Four decades after he first burst onto the scene, LL COOL J continues his vibrant, trailblazing career. LL COOL J helped elevate the burgeoning rap and Hip-Hop scene of the 80’s, which developed into the musical and cultural phenomenon that is Hip-Hop as we know it today. Of LL’s many contributions to the culture, he also is credited with the creation of the acronym “G.O.A.T.” - short for “Greatest of All Time.”

First introduced to the world in 1984 as a Def Jam Recordings’ flagship artist, LL is the first rap artist to amass ten consecutive platinum-plus selling albums, including his critically-acclaimed debut album, RADIO, and the international, timeless anthem and album of the same name, MAMA SAID KNOCK YOU OUT. LL’s hit singles include “Going Back to Cali,” “Doin’ It,” “Around the Way Girl,” “Loungin’”, “Headsprung,” and Hip-Hop’s first rap ballad “I Need Love.”

Up next, this fall LL is back to make his latest artistic contribution and continue to elevate Hip-Hop culture after over a decade long hiatus with the release of his highly anticipated new album, The FORCE (Frequencies of Real Creative Energy), executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings.

In December 2017, LL became the first rapper to earn the prestigious Kennedy Center Honor, which is America’s highest achievement for any performer. In addition, he received his star on the world-renowned Hollywood Walk of Fame on January 21, 2016.
In March 2018, LL launched his own SiriusXM timeless Hip-Hop channel entitled “LL COOL J's Rock The Bells Radio,” garnering millions of daily listeners. The channel features a wide range of innovative and timeless Hip-Hop content, music, interviews, and in-depth retrospectives curated, programmed, and presented by the award-winning artist himself. Since founding the radio station, Rock The Bells has developed into a global platform that has become the preeminent voice for timeless Hip-Hop. Rock The Bells focuses on content, commerce and experiences that honor the CULTURE and the core elements of Hip-Hop – MCs, DJs, Breakers, Graffiti Artists – and more. Rock The Bells hosted its inaugural eponymous music festival in Queens, New York in August 2022, which sold out back-to-back years in 2022 and 2023, where LL headlined both festivals.

LL COOL J was inducted into the Rock & Roll Hall of Fame on October 30, 2021, in Cleveland, Ohio for the 36th annual induction ceremony. Considered by most as the crowning achievement for one’s musical career, the ceremony was a celebration of LL’s lasting impact on Hip-Hop and the music industry.

In Summer 2023, LL COOL J, Rock The Bells, and Live Nation Urban kicked off his first arena tour in 30 years across North America called The F.O.R.C.E. Tour, inspired by the name of LL’s forthcoming album. Living up to the acronym for Frequencies of Real Creative Energy, the lineup for this tour was personally curated by LL COOL J. Building off their amazing performance together on the GRAMMY® Awards earlier that year celebrating the 50th Anniversary of Hip-Hop, all dates featured collaborative live performances with preeminent Award-winning Hip-Hop band The Roots, the legendary DJ Jazzy Jeff, and DJ Z-Trip.

LL hosted the GRAMMY® Awards for an unprecedented five years in a row from 2012-2016, for which he earned rave reviews. In addition, he hosted and produced the GRAMMY® Nominations Concert Live Special for seven years and has also been a presenter at the Emmy®, Golden Globe® and SAG Awards. Most recently, at the end of 2023, LL helped produce CBS’ live concert special A GRAMMY Salute To 50 Years Of Hip-Hop, which celebrated the 50th anniversary of Hip-Hop and was nominated for an NAACP Image Award.

LL has always been an avid philanthropist involved in numerous causes, including literacy for kids as well as music and arts programs in schools. Founded in 2005, LL’s charity “Jump & Ball” – which takes place every August in his hometown of Queens, New York – aims to give back to his local community by offering an athletic and team building program dedicated to bringing wholesome fun to young people.

Between being a musician, actor, philanthropist and entrepreneur, LL COOL J is the ultimate multi-hyphenate whose career continues to expand and where he remains one of the most beloved and innovative brands in entertainment. He currently resides in both New York and Los Angeles.

2025 marks the vinyl release of Changes 2, the pioneering album by legendary vocalist, keys player and composer Mike Lindup.

A remarkably engaging body of work with wide ranging elements, Changes 2 plots a course through upfront soul, deep funk, jazz riffs and disco vibes, tied together with the melodic magic and engaging vocals for which Mike Lindup is widely known.

As an internationally renowned musician with decades of achievements and accolades, Mike Lindup's outstanding career has taken him on a unique journey. With the band Level 42, he consolidated a place in music history with some of the greatest hits of the era, gaining a dedicated fanbase that see the band still touring to this day. As a soloist, the first Changes album and a notable release on Naim records, as well as his work with UK/Brazilian outfit Da Lata, have all allowed further development of a burgeoning creativity, now ultimately culminating in Changes 2 - an enthralling representation of where Mike Lindup is today.

Changes 2 features various excellent guest artists that demonstrate the diverse nature of the album, including the stellar vocals of Omar and Tony Momrelle, bass magic from Yolanda Charles and even an appearance from the comedian and impressionist Jon Culshaw! The album has also inspired two funk- fuelled dance remixes from Dave Lee and the inimitable Louis Vega. All of these talented individuals enhance the project greatly, making valuable contributions to Mike Lindup's distinguished work.

Speaking about the album, Mike Lindup says: "Changes - so many since I began recording this album, and as the saying goes, the one thing you can be sure of in this life. During the four years of making this album I've been reflecting on the world as I see it, the actors and actions on this grand stage of life, love, death, prejudice, politics, separation, longing, hopes and dreams. Musically, many of the seeds of these songs took hold a while ago and wouldn't let go, but to be fulfilled they needed input and inspiration from my producers Toni and Mike, and the talents of the singers and musicians that are featured within. My wish is that some of these themes will resonate with you."

With Gilles Peterson, undoubtedly one of the UK's most influential DJ's and tastemakers describing Mike Lindup as "one of his all-time favourite vocalists" and high praise from many other leading music broadcasters and writers, Changes 2 destined to be enjoyed by a multitude of discerning music and vinyl lovers the world over.

The long-awaited new full-length from legendary electronic pioneers THE ORB with cover design from iconic graphic wizards THE DESIGNERS REPUBLIC • A fascinating sonic journey over four epic tracks, constantly switching between psychedelic flourishes and beat-driven focus

Veritable pioneers of electronic music, iconic act THE ORB returns to Kompakt with the new full-length MOONBUILDING 2703 AD - another major slice of psychedelic synth bliss, obscure loops and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), as well as several contributions to our Speicher and Pop Ambient series - but more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a ground-breaking career.

True to form, the new offering MOONBUILDING 2703 AD features a small track list, but turns each one of its four cuts into a mini epic in its own right. Opener GOD'S MIRRORBALL hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners - welcome to THE ORB's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner.

Likewise, follow-up track MOONSCAPES 2703 BC presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately 9 minutes, LUNAR CAVES is the shortest jam of the bunch - and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut MOONBUILDING 2703 AD introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve - even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscling as needed.


• Das langerwartete neue Album der legendären Elektronikpioniere THE ORB mit einem Coverdesign der gefeierten Graphikschmiede THE DESIGNERS REBUBLIC • Eine faszinierende Klangreise über vier epische Tracks hinweg, permanent zwischen psychedelischen Schlüsselreizen und beatgetriebenem Fokus changierend

Mit THE ORB kehren echte Pioniere der elektronischen Musik zu Kompakt zurück - der Langspieler MOONBUILDING 2703 AD präsentiert erneut einen grossen Wurf in Richtung psychedelischen Synthie-Segens, obskurer Loops und porentiefer Ambient-Texturen, geschwenkt in schwungvollen Breakbeats und wirkmächtigen Basslines. Mit einem für genresprengende Projekte wie diesem hier eher unüblichen Vorwärtsdrang beerbt das neue Album von den Großmeistern Alex Paterson und Thomas Fehlmann ihren 2005er Erfolg auf Kompakt, das augenzwinkernd benannte "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), sowie einige Beiträge zu unseren Speicher- und Pop-Ambient-Serien - viel wichtiger allerdings, daß wir das legendäre Duo auf der Höhe ihrer Schaffenskraft antreffen, eine neue wesentliche Phase einläutend in einer Laufbahn, die nur als bahnbrechend bezeichnet werden kann.

In bekannter Manier hat das neue Werk MOONBUILDING 2703 AD eine eher kleine Tracklist vorzuweisen, baut dafür aber jeden seiner vier Tracks zu Mini-Epen von eigenem Recht um. Der Eröffnungsakt GOD'S MIRRORBALL schwebt einem da vor Ohren, zuerst nur mit einer Handvoll gemütlichen Rauschens bewaffnet, später dann in ein feingliedriges Mosaik von atmosphärischen Melodieskizzen und mitreissenden Rhythmen explodierend. Mit einer hypnotisierenden Lauflänge von über 14 Minuten etabliert das Stück die Blaupause für die folgenden Ereignisse, perfekt die enorme Reichweite der künstlerischen Vision und ihre Fähigkeit zur massenhaften Verführung nichtsahnender Tänzer illustrierend - willkommen in THE ORB's Klanglabyrinth, wo nichts ist wie es scheint und das Unerwartete um jede Ecke lauert.

Ähnlich präsentiert sich der Folgetrack MOONSCAPES 2703 BC als einzigartig vielseitige Angelegenheit, bequem zwischen ambienten Ornamenten und beatgetriebenem Fokus sitzend und mit sovielen Drehungen und Wendungen wie ein Gaunerfilm - doch stets seine Cliffhanger im makellosen Flow erdend. Ein wenig über 9 Minuten lang, ist LUNAR CAVES der kürzeste Entwurf in der Gruppe - und auch der ätherischste, hält er doch die Rhythmusanteile auf einem puls-ähnlichem Minimum und optiert stattdessen für freilaufende Synthie-Texturen. Das letzte Kapitel des Albums schließlich ist auch der Titeltrack: MOONBUILDING 2703 AD besitzt eine überraschend jazzige Note, die sich ziemlich gut in den Reichtum an elektronischen Tricks einfügt, welche hier aus dem Ärmel geschüttelt werden - sogar in rauem Bass schwelgend und eine atemberaubende Vielfalt an Rhythmussektionen aufrufend, die ständig die Plätze tauschen. Es ist ein passender Abschluss für ein derart facettenreiches Album, so idiosynkratisch wie möglich und so anschiebend wie nötig.

A limited edition white vinyl repress of some of the major classic tracks from the legendary old skool artist, Sublove. With a technical skill and production level way above the usual for the early 90s, this selection of tracks is epic in every sense!

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon. Not coincidentally, it also marked the point where all of the elements of the music (and more) that would define the group's success for more than a decade fell into place fully formed, writes AllMusic, giving Fragile a 5-Star rating.

Propelled by the timeless hit "Roundabout," Yes' fourth album, Fragile, became an instant classic and is undoubtedly one of prog-rock's finest moments. It was the first Yes record to feature Rick Wakeman on keyboards and the first to display the inimitable artwork of Roger Dean. Here's the ultimate way to enjoy one of Yes's most popular and enjoyable albums.

This Analogue Productions (Atlantic Series) reissue of Fragile is a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from the original master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Dream on, on to the Heart of the Sunrise!

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Denmark"s leading outlet for jazz April Records presents their first debut of 2025 from a brand new quintet of some of the country"s most well known and respected young musicians - collectively called Oh People. Inspired by the works of Duke Ellington in the 20"s and combining them with sounds that came to life over half a Century later with a palpable sense of joy and love, "Part-Time Elegance" is set to release on January 17th on April Records. Exploring the idioms and tropes of the golden age of jazz, the record is built from deep pocket swing, lovesick ballads, percolating latin grooves, and upbeat melodies that can"t help but bring a smile to one"s face. With undertones of contentment and playfulness, each song evokes a sound and style of some of the 20th"s Century"s greatest jazz composers before evolving into passages of animated improvisation from Denmark"s finest new-generation soloists. Anyone who has been keeping up to date with Denmark"s prolific scene will recognize the members of "Oh People" from their solo projects and contributions to many of the nation"s leading jazz innovations. Jonas Due"s trumpet can be heard in the DR Big Band, and popular modern outfit OTOOTO. Andreas Toftemark cut his teeth working and learning as a musician in New York, before returning to Denmark to establish himself with two releases under his own name, receive the prestigious Bent Jædig Prize, and become one of the country"s busiest artists. Casper Christensen"s deep roots in the jazz tradition and Brazilian, coupled with the warm, acoustic sound of his guitar have seen him perform with the likes of Nana Rashid, Jesper Lodval and his own quartet. Lasse Morck has released three albums under his own name, drawing on South American musical traditions as well as literature and mythology. Henrik Holst has spent over a decade contributing his talents to Danish outfits like the Kathrine Windfeld Big Band and Jeppe Zacho Quintet, as well as international jazz legends Mike Stern, Gilad Hekselman and Immanuel Wilkins.

Picking up where "Máquina de Vénus" (Blacksea Não Maya) left off, this is now 100% DJ Kolt at the controls. Slow, grinding power tools working their way across the complex web of ideas the producer lays down. Truly a next level thing, taking elements from recognized styles such as tarraxo, EDM, even trap, bending their accepted signifiers to suit his own creative mind instead of the crowd pleasing monster that constantly haunts Dance Music. Here we find a wonderful, twisted approach to the dancefloor, one heavy on brain activity, fantastically moody, showcasing music that we long ago quit trying to define.

"Despertar" (again) changes the game, adding secret doors and pathways previously unheard and unthought of. This right here is the mark of a unique producer. You'll have a hard time trying to compare Kolt with any other artist on Príncipe, much less on the outside world. A keen sense of groove filters through all tracks, the dance is never forgotten but you know there are certain demands - you can't just expect a straight line to "a good night out", there's an effort required, you'll have to reach out as well so you can let loose and connect with the universal Master Plan.

The album is all made up of liquid transitions as much as rock-hard foundations, perfectly capable of being explicit when honouring the roots but so committed to a new stance that one may feel thrown off balance by the sheer genius of

The only album released on the Verve Label by prolific Brazilan singer Marcos Valle, Samba '68 has him recording his Brazilian hits in English in order to capitalize on the then-huge Getz-Gilberto-Jobim-Mendes-Astrud market.

Marcos' rapid and stunning artistic growth is apparent on this Bossa Nova classic. Fans of Sérgio Mendes and Astrud Gilberto (both of whom recorded tons of Valle's tunes) will enjoy it immensely, for Samba '68, with brilliant arrangements by Eumir Deodato, is definitely one of the ultimate "loungy" records. The albumreceived a 4 1/2 star rating on AllMusic，with reviewer John Bush stating that "Samba '68 is a vibrant set of Brazilian pop, indebted to bossa nova and samba but undeniably Americanized for a domestic audience. The result is a joyous album throughout. One of the best Brazilian crossovers of the 1960s."

Waxwork Records is thrilled to present GODZILLA 70th Anniversary Original Motion Picture Soundtrack by composer Akira Ifukube. Released in 1954 by director Ishirô Honda, Godzilla holds the record for being the longest- running franchise in film history. Waxwork Records worked closely with Toho to create this deluxe 70th Anniversary release, featuring a re-mastered score and all-new art.

When ships begin to go missing near Odo Island off the coast of Japan, the locals look to the government for help. Paleontologist Kyohei Yamane (Takashi Shimura) is sent to investigate the situation. There, he discovers the horrors of Godzilla, who soon begins attacking the Japanese mainland. As the military’s efforts to destroy the monster continuously fail, scientist Daisuke Serizawa (Akihiko Hirata) is called upon to use his “Oxygen Destroyer” to kill the beast. Finding Godzilla in Tokyo Bay, Serzawa’s machine is used and finally, the beast is felled.

Since its release, Godzilla has continued to terrorize audiences around the world. The film has influenced countless filmmakers, with both Akira Kurosawa and Steven Speilberg citing it as one of their favorite films. The genius use of practical special effects and miniatures changed how the Japanese film industry made movies for decades. Godzilla has spawned over thirty sequel films and countless video games, comic books, toys, TV shows, and more becoming a pop culture phenomenon in the process.

The film’s score by Akira Ifukube has become an instantly recognizable piece of film music. Given only the script and a week in which to compose, Ifukube crafted a score that feels as enormous as the kaiju himself. Godzilla’s theme has become a staple of nearly all subsequent Godzilla films and was considered by Ifukube to be the greatest piece of music he had written. Using low-pitched brass and string instruments, Ifukube gives the score a massiveness and weight that complement the terror and destruction brought about by the rampaging monster. Ifukube also used a deeply resonant stringed instrument to create Godzilla’s iconic roar, a trick used to create the roar throughout the franchise.

Waxwork Records is beyond excited to present this vinyl release of Godzilla for its 70th Anniversary. Re-mastered, pressed to colored vinyl, housed in a deluxe gatefold jacket with matte satin coating, an art print, and featuring all-new artwork throughout by Robert Sammelin.

A new full-length from THE ORB following last year's acclaimed album MOONBUILDING 2703 AD.

An expertly crafted ambient experience from two pioneers at the height of their creativity

180g standard vinyl version comes with download code of the full album

Being pioneers with a new album created in no more than 6 months, THE ORB are bound to be exposed to fan expectations running high, while quizzical questions about little fluffy clouds and the good old times take over. It's especially jarring as the duo of accomplished soundsmiths Alex Paterson and Thomas Fehlmann has become known for its genre-bending curiosity and surprising sonic detours, exploring experimental soundscapes as well as club-friendly beats.



The funny thing is, though, that whatever the context, you know a track from THE ORB when you hear it. Case in point: COW / CHILL OUT, WORLD!, their latest full-length offering - a masterful ambient album that branches out in many directions, but unmistakably sounds like THE ORB in either ear (and probably to your third ear, too).



"The idea was simply to make an ambient album", Dr Paterson explains, "we didn't look back and study earlier recordings, but wanted a more spontaneous approach, a focus on THE ORB today, our vibe in 2016."



In contrast to their much-acclaimed previous full-length MOONBUILDING 2703 AD (KOMPAKT 330 CD 124) - which took years to prepare and finetune -, the new album was produced over the course of only five sessions in six months, directly following the like-minded ALPINE EP (KOMPAKT 339): "it got so spontaneous that a track like 9 ELMS OVER RIVER ENO (CHANNEL 9) consisted only of material collected at North Carolina's Moogfest in May - second-hand records from local stores, field recordings, live samples from gigs that we liked, and of course an excursion to the Eno River, which actually exists. This geographic intimacy and the spontaneity are among the top reasons why we love this album so much."


Herr Fehlmann sees the duo's relentless gigging schedule as a formative influence on the new album: "the countless performances we've played in the last years - probably up to 300 - have brought us closer as a musical unit. The spice of our concerts is improvisation - a fertile process that we've brought to the studio, where we operate with very simple rules of engagement (in this case "ambient") and go wherever the flow takes us." It's an approach that one might expect from traditional acoustic instrumentation, not necessarily an electronic set-up, but for THE ORB it works wonders: "we're quite happy and also a little bit proud that we've reached this level of unscripted levity with purely electronic means. We're finessing ourselves, sort of, always looking for the next sonic surprise that leaves us rubbing our eyes about how the heck we got there."


Once more, THE ORB's trademark playfulness is on full display on COW / CHILL OUT, WORLD!, and it doesn't limit itself to the multi-layered sampling and psychedelic sound composites that the duo has become known for - you'll find it in the album title as well. The simple invitation (or order) to chill out (relax Calm the eff down) is converted into an acronym - and the cow that you might expect to find on a Pink Floyd cover or with iconic UK chill-out/dance pranksters The KLF. It's not so much an obscure trope coming full circle as a perfect example for THE ORB's multitimbral approach to sound and meaning - a compelling, immersive journey to diverse places and impressions.



Each track title is a conceptual work in its own right, playing with multiple references, some of which remain highly personal and mysterious. But the greatest feat of THE ORB's latest outing might just be how all this semantic doodling never gets in the way of the actual listening, at all times directly relating the artists' sonic vitality and cheerful nosiness. Chill out world! and treat yourself to an outstanding new ambient experience from THE ORB.

Re-Issue

Long-Awaited Reissue of Classic Solo Album by visionary Gong Founder Daevid Allen

The classic Now Is The Happiest Time of Your Life, is being reissued in a beautifully remastered edition. This release, a follow-up to the beloved Good Morning album, captures the whimsical yet profound spirit of Daevid Allen's music, blending his countercultural message with tranquil and organic sounds that evoke the best of his work with Gong.

Originally released in 1977, Now Is The Happiest Time of Your Life invites listeners to join Allen's musical journey alongside his imaginary green hero, Zero, a character familiar to fans of the Gong trilogy. With its lush instrumentation, including the use of tabla, harp, and Allen’s signature glissando guitar, the album creates a peaceful, meditative atmosphere that meanders gracefully across its tracks.

Accompanied by Gilli Smyth and the Spanish group Euterpe, Now Is The Happiest Time of Your Life showcases Daevid Allen’s unique blend of cosmic psychedelia, folk influences, and countercultural sensibilities, all wrapped in a sound that feels both timeless and refreshingly original. This reissue celebrates one of Allen’s finest solo efforts, offering a new generation the chance to experience his visionary artistry.

First-ever reissue on vinyl Remastered audio bringing the warmth and clarity of Allen's sound back to its analog roots Faithful reproduction of the original LP artwork, featuring Daevid Allen's own hand-drawn illustrations and personal notes on the back cover CD digi-sleeve captures the spirit of the original LP and includes collector full-sized poster showcasing Allen’s hand-drawn artwork

Fragility, modesty, delicacy... Frànçois’ voice evokes illustrious contemporaries, from Devendra Banhart to Vincent Gallo, whose vocal inflections sometimes echo behind the uniquely French timbre.

Artists like Malik Djoudi with his captivating pop, in-demand jazzman Thomas de Pourquery, and British folk artist Rozi Plain all lend their talents to Âge Fleuve. These three delightful collaborations blend seamlessly into the album’s 10 tracks. But the album’s fluidity is also felt in the flavor of certain compositions, like the upbeat “Où mène la nuit,” a kind of mystical inquiry into the whirlwinds of youth. Then there’s “Aïeul inconnu”, whose apparent melancholy pairs perfectly with its elegant groove. “Adorer”, the duet with Thomas de Pourquery, is an uplifting track that jumps wholeheartedly into the joy of living in the “present moment”.

Âge Fleuve—or rather, a “liquid inspiration”— is built on a heritage of memory. And when one delves into the mystery of this heritage, the answer becomes clear: “We’re here, under this part of the river, further downstream. Everything communicates, everything is in motion.” In other words, an album flowing through the river of our sensory, intimate, and universal heritage.

Celebrate two decades of lyrical genius and innovative sound with this 20th anniversary re-press of Eyedea & Abilities' seminal album, E&A. Originally released in 2004, this album is a masterclass in expressive ingenuity and sonic experimentation. Eyedea's profound storytelling and introspective themes resonate deeply, inviting listeners on a journey through the complexities of identity, existence, and the human experience. Paired with DJ Abilities' exceptional production and turntablism, E&A creates a soundscape that is both rich and original, making it a standout in the genre. Critically acclaimed upon its release, E&A garnered praise for its unique blend of styles and thought-provoking lyrics. Tracks like "Now" showcase the technical precision of each artist_with Eyedea's reflective depth complemented by Abilities' infectious rhythms and razor sharp cuts. Together, the pair masterfully blend introspection and energy, making "Now" a powerful anthem for anyone seeking to navigate life's complexities. Meanwhile, "Paradise" is a mesmerizing exploration of the pursuit of happiness and the nuances of human desire. The song balances vulnerability with an impactful message about the human condition, evoking a wide range of emotions and making it both relatable and impactful. E&A stands out as a highlight in the duo's discography, showcasing their unique ability to blend profound lyrical content with inventive production, and solidifying Eyedea & Abilities' place as innovators in the hip-hop genre. A must-have for anyone who appreciates the art of storytelling and the power of music_grab your copy of E&A and join the celebration!

Louisville, Kentucky-based musician and artist Evan Patterson never planned for JAYE JAYLE to blossom from a stripped-down solo project into the otherworldly, full-band sonic experience that it is today. In the beginning, the songs were short and lighthearted, written on acoustic guitar with no intention of releasing them or even performing them publicly. Time, however, is a fickle thing. `After Alter' is an astounding collection of musical memories and emotional fragments, all drawn together from previous recording sessions and previous lives in order to chart a cathartic creative course into new, unknown territories. At once volatile, gut wrenching and serene; expect the unexpected. Raw remnants and lingering refrains from these pivotal moments are reframed to form a powerful reminder of what Jaye Jayle is and always has been: an unadulterated, unfiltered outlet for the sounds that pour out of Patterson's mind at any given time or place. `After Alter' is a document of the indecipherable, of feeting feelings dragged once again to the surface. Lead single and opening track `Father Fiction', for example, dives headlong into the fables and factious ideologies of organised religion with a hardened gaze and a wry smile as rolling drums and repetitive discordant guitar refrains spiral ever down into the labyrinth of meaning and misinterpretation. Elsewhere, `Fear Is Here' sees Jaye Jayle facing up to day-to-day examples of how terrifying everything around us can become within an instant as the song's truncated blues piano hook is pushed ever further, distorted over time into something strange and hideous whilst the crawling post-hardcore dirge of `A Blackout' serves as a searing critique of the American Dream; a nameless, homeless protagonist worships the alluring glow of billboard ads from their bed in the dirt on the side of the highway. Simultaneously both tracks five and eight though, the arresting `Bloody Me' is Jaye Jayle's dichotic, janiform identity made manifest. Written even before the band's debut album was released, track five's `Bloody Me' is a bolshy, bass-driven punk rock retaliation to dressing up for Halloween because Patterson is always dressed for Halloween. Track eight's `Bloody Me' however, is a tender solo acoustic recording cut straight to wax at Third Man Records in Nashville, mere hours before Patterson saw Bob Dylan perform for the first time. Two sides of the same coin; one ferocious and snarling, the other plaintive and bare but both unapologetically Jaye Jayle. By creatively exorcising these poignant moments, Jaye Jayle have opened themselves to even more inspiration. FOR FANS OF Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows The very limited Help Edition is single colour purple vinyl!

180-gram 45 RPM double LP. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing

Genesis' seventh studio album was released in February 1976 on Charisma Records and was the first to feature drummer Phil Collins as lead vocalist after the departure of Peter Gabriel. The album was a critical and commercial success in the U.K. and U.S., reaching No. 3 and No. 31 respectively. A Trick Of The Tail was a landmark album for the band, and it still stands today as one of their best with classics such as "Dance On A Volcano" and "Squonk."

In the wake of Peter Gabriel's departure from the band, the remaining members of Genesis were determined to forge ahead, showcasing their songwriting prowess and recording prowess in the absence of their iconic frontman. This period marked the genesis of A Trick of the Tail. In mid-1975, the band embarked on an intensive creative journey, crafting new compositions and diligently rehearsing them. Their quest for a new lead vocalist led them to sift through a staggering 400 audition tapes.

As the autumn leaves began to fall, Genesis found themselves at Trident Studios in October, accompanied by producer David Hentschel. Surprisingly, the recording sessions began with an air of uncertainty regarding who would take on the role of lead vocalist. However, fate intervened when Phil Collins was persuaded to step up and deliver a powerful rendition of "Squonk." The strength of his performance not only won over the band but also paved the way for him to assume lead vocals for the entirety of the album.

Genesis has always been synonymous with grandeur and innovation, both in their electrifying live performances and their trailblazing studio albums. From timeless classics such as Nursery Cryme, Foxtrot, Selling England By The Pound, to the epic concept album The Lamb Lies Down On Broadway, the band has consistently pushed the boundaries of musical creativity.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing.

Over the span of four remarkable decades, Genesis has left an indelible mark on the music industry, having sold a staggering 150 million albums worldwide. Their influence extends far and wide, inspiring artists ranging from the indie rock stylings of Elbow to the experimental sounds of The Flaming Lips, and even the soulful resonance of Jeff Buckley. A Trick of the Tail stands as a testament to their enduring legacy and their ability to adapt and thrive in the face of change.

More than a decade into his career, Harlem emcee Smoke DZA has become one of hip-hop’s most recognizable voices. Vividly narrating his own remarkable lifestyle with slick wordplay, DZA has amassed an unprecedented catalog for an independent artist, with more than 40 projects to his name featuring the likes of Kendrick Lamar, A$AP Rocky, Wiz Khalifa, Action Bronson, Ty Dolla $ign, ScHoolboy Q, Cam’ron, Wale, and more. A key member of burgeoning Buffalo collective Griselda Records, Benny The Butcher is a formidable lyricist known for powerful flows and complex punchlines steeped in his real criminal past. In recent years, Benny has continued his ascent, signing with iconic label Def Jam and releasing a series of acclaimed studio albums featuring collaborations with Lil Wayne, J. Cole, Snoop Dogg, Rick Ross, Big Sean, and more. In 2019, Smoke DZA and Benny The Butcher linked for the joint project Statue Of Limitations, entirely produced by the legendary Pete Rock. The union of three supremely talented artists drew immediate attention online, leading to coverage from outlets like Complex, Okayplayer, The Fader, HipHopDX, RapRadar, Stereogum, Hypebeast, and more. Finding genuine chemistry over Pete’s raw instrumentation, DZA and Benny deliver a cohesive exploration of Empire State street life on this memorable collection, which features appearances by Westside Gunn, Conway The Machine, and Styles P. To celebrate the 5th anniversary of its release, Statue Of Limitations is now available on vinyl for the first time in years, complete with the previously unavailable Pete Rock instrumentals.

Beige Banquet's 2021 breakout debut album delivers 12 drum machine-driven, cold and robotic tracks that immerse listeners in a world of dystopian weirdo-punk. Initially a one-man project, Beta's arty yet mechanical rhythms quickly became a cult favorite in the underground post-punk scene.

Unfamous prose Australian songwriter Jakson is one of the most satirist corrosive artist from our era. Originally a painter, he describe our 21st century world with a sad reality. In a kind of nonchalant spoken word. Accompanied with guitar, bass and drums, his musicians friends are truly deserving that realistic observation of that world going up in flame in a noisy folk mood.

Beirut Birds (طيور بيروت) is a sonic memory capsule honoring (inter)personal stories of migration, displacement, and the cyclical turbulent circumstances in Lebanon. Transforming her multi-year project, multidisciplinary artist and composer Nour Sokhon crystallizes the performance Beirut Birds (طيور بيروت) into her long-awaited debut album. When presented and performed live, it is accompanied by juxtaposed images of the Lebanese capital’s city life and avian migration across the Mediterranean Sea, representing themes strongly woven into the music.

In her variegated artistic process, Nour has undertaken and recorded interviews with diasporas and repatriates to commemorate, share, heal, and envision. These source materials become the album’s core elements that loop, narrate, and return throughout time, with Nour responding with both instruments and her voice. Chanting in dialogue with the interviewees, crafting near-mantras, Nour further congregates these materially-rooted soundscapes by including field recordings that she gleaned during 2018–2021 in Lebanon and her subsequent move to Berlin.

Embedded within the composition are manipulated sounds from objects that symbolize migration, such as office bells, a luggage wheel, car parts, and bureaucratic paperwork. Musically, the songs are enriched by Nour’s improvisations on classical piano, electronics, synthesizers, violin, and various percussion instruments. As time is sculpted and the layers blur, words become specters, while an entropic orchestra of drums and melody rises, giving shape to an in-between space for those who have left, and stayed.

Music and artistic research by Nour Sokhon, 2018–2024. Recording, editing, and mixing by Rabih Beaini at Morphine Raum, Berlin. Mastered by Rashad Becker at Clunk.

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Heather Maloney’s new album, Exploding Star was never intended to be released. Written after the death of her father, the songs were the most vulnerable body of work she had ever created - meant and written only for her. The idea of releasing an album went against her instincts to keep this art close. Luckily for us, her family convinced her otherwise. Maloney was able to track for 2 days in her childhood home - recording songs, backing vocals, the crickets in the yard and even percussion played directly on the walls and floors of the house itself. Maloney also played her father’s guitar and a keyboard that she had since she was a child. The result is raw and exquisitely personal, a collection of twelve songs urgently written at the time to help ease the “greatest heartbreak” of Maloney’s life but are thankfully and transcendentally now ours as well.

"577 Records’ The Sea, The Space, and Egypt, Vol. 1 is what happened when old friends and a new connection united in the name of music. A heartfelt tribute to the great Sun Ra, the otherworldly album debuts the collaborative gifts of Michael Sarian (on the trumpet), Matthew Putman (on the keys), Federico Ughi (on the drums), and up-and-coming Cuban bassist Ledian Mola.

Sure, most of these musicians have played together in the past. Sarian and Putman have made many albums together, while Putman and Ughi have conspired on melodies for fifteen years. However, we guarantee you have never heard them all in one spot like this.

Alabama’s Sun Ra rose to the top of the Chicago music scene in the 1940s with something unprecedented. A cosmic pioneer of Afrofuturism, he became known for his diverse and unique avant-garde experimentalism. Modern artists champion him as a true innovator.

The new band revives the late Sun Ra’s magic in this appropriately named new release. Matthew Putman even plays the same keyboard model as the experimental music icon (the Rocksichord). Even the cover art is a nod to Sun Ra's ancient Egyptian influences, featuring an upside-down pyramid over a galactic setting created by Robert Mirolo.

Meanwhile, Ledian Mola adds vocals inspired by Cuban folklore to these incredible improvisations. The album marks Mola’s first time recording with the other artists in the group (and 577 Records), but you would never know it. Their abstract rhythms sound like they’ve been playing together for a lifetime! He was hand-chosen for this project from 577 Records’ 2022 SOF music residency in Italy and has performed at several of the New York Forward Festival's live events."

Trumpet by Michael Sarian.
Keyboards by Matthew Putman.
Bass by Ledian Mola.
Drums by Federico Ughi.

On Hardcore, James Mapley-Brittle (GRRL) and Nick Sanborn (Made of Oak), meld their love of late-night club music to make mind-bending high-energy dance music. GRRL is one of the brightest emerging stars in the underground arts space and a regular collaborator with PC Music, NTS, and more; Sanborn is better known as one half of the Grammy-nominated electronic pop duo Sylvan Esso. First sparked during DJ sets in North Carolina basements, the duo's unique creative chemistry has grown exponentially since the 2022 release of their debut EP, Inertia. GRRL x Made of Oak's glitched-out sounds have been featured on Adult Swim, Fortnite, and with their own sample pack on Splice. Finding new fans in the likes of Björk, Arca, AG Cook, Porter Robinson, Barker and DJs across the world, GRRL x Made of Oak is an exhilarating experience that will shake the speakers and get any after-hours dance floor moving.

Slam poetry, rap battles, singing, song writing and drumming. The hit album “Say Yes” by Iyeoka is now being released as a high quality vinyl version (180 g) in gatefold. The YouTube hit “Simply Falling” received over 216 Million clicks.

Iyeoka (read: ee-yo-kah) is well versed in many expressive arts, but in essence she is a storyteller and poet. "My goal is very simple", says the US Nigerian American, "I want to move the world, one poem at a time". She does this enchantingly well with her album "Say Yes (R)evolved". In poems set to music Iyeoka Ivie Okoawo (her full name) reveals herself to be a strong, self-confident woman of the modern world. She tells tales of love and relationships in the 21st century and philosophizes about the daily struggle of life and being a woman in a post-feminist world digging deeply and personally into her African roots.

Musically Iyeoka handles expertly a wide variety of styles from electronic soul "Break Down Mode" to technofied R'n'B "Broken Hearts Anthem (Walk Away)", from energetic dance inducing grooves "The Yellow Brick Road Song", to a more jazzy "Happily Ever After", from melodic soft rock "Say Yes", to pop "Soundtrack to Life" and reggae "Testify". She certainly has presence and shines out with a silky smooth elegance reminiscent of Sade "This Time around", "Simply Falling". This woman has real all-round talent, and she knows how to use it!

With lyrics that "give a voice to the feelings of people who often get left out of
popular discourse and pop culture" (NPR), Oliver Anthony became the first artist
in history to debut at No. One on the Billboard charts without previously having a
song on the charts with his hit song "Rich Men North of Richmond." The song has
been streamed more than 153 million times on YouTube and has tallied more
than 433 million across all streaming platforms. He is the first living male
songwriter to chart 13 songs simultaneously in Billboard's Top 50 Digital Song
Sales. Five of his other songs have made iTunes' Top 10, including "Ain't Got a
Dollar," which also claimed the No.One spot on Spotify's Viral 50 list.
In April, he released his first studio album, Hymnal Of A Troubled Man's Mind; the
dynamic 11-song collection "hits on an emotional, nostalgic musing of childhood
joy compared to adulthood strife. These ideas expound on facets of human
existence untouched by the political realm, no matter which camp you find
yourself on" (American Songwriter). Produced by Grammy winner Dave Cobb, the
album was praised by fans and critics for its "homespun sound" that shines light
on "his grainy, soulful vocal with acoustic guitars, bass and fiddle" (Billboard).
"Helmed by Nashville super- producer Dave Cobb, the 18- track collection is rife
with stories of addiction, depression, faith, and fury as Anthony documents the
decade leading up to his unexpected rise to stardom (it also features eight Bible
verses as interludes). A stark departure from "Richmond" in some ways and
others not, the album is proof that his viral moment wasn't a fluke." -
"This album represents the most pure and transparent view inside my heart and
soul that I could offer. While Richmond was the song that got my name out in the
public, these songs represent the true foundation of the music that got me
through life up until now" - Oliver Anthony Music

Paris-based talent Manda Moor arrives on Hot Creations for the first time this May with the three-track The Climax EP, continuing a standout 2022 for the Danish-Filipino artist.

Rustling with tribal undertones and a rolling four-four groove, The Climax instantly transports us to the dancefloor and beyond. Jungle-like melodies live beside infectious lyrical samples before the minimal-sounds of Sandy Groove soon arrive, as fast-paced drums drift beneath a pummelling bassline throughout. Besame rounds things off, ratcheting up the tempo with bell-like percussion and driving kick-hat combos, forming an upbeat, club-ready cut.

Manda Moor has fast-become an esteemed force in contemporary house circles. Racking up acclaimed releases on labels such as Kaluki, Tamango and DJ Pierre’s Afro Acid, her MOOD EDITS series - in conjunction with Sirus Hood - has garnered support from true industry heavyweights, including Pete Tong, The Martinez Brothers and Loco Dice to name a few. Each edition of MOOD EDITS has reached the number one spot on Bandcamp’s House / Deep House / Minimal chart, proof of Manda’s keen ear for production, whilst her club and festival sets include performances at Amnesia, The BPM Festival, Elrow and many more besides.

The 1980s were a golden era for Mike Mareen and his label, Night’n’Day Records. In just a few short years, Mareen carved out a stellar reputation on the German electronic dance music scene, excelling both as a groundbreaking artist and a hit-making producer. His tracks, alongside those he produced for other artists, dominated the charts and filled DJ crates across Europe. One of the standout talents he nurtured was Luisa, a singer from Bad Oeynhausen, who recorded “Parole” under Mareen’s guidance. With its Italian title and lyrics penned by Italian songwriter Rocco Caruso, the track exuded a breezy, summery vibe. While it didn’t achieve massive chart success at the time, “Parole” became a staple in DJ sets across the Eastern Bloc, quietly winning fans with its airy charm.

Over the years, the track’s cult following grew – and now, there’s even more reason to celebrate. Recently unearthed session tapes from Night’n’Day Records have revealed previously unheard versions of “Parole.” These rare gems, along with the original release and a special DJ edit, are now part of a brand-new reissue, fresh and ready to spin for a new generation. Get ready to rediscover the magic of “Parole” – a timeless piece of ’80s nostalgia brought back to life!

With her new “Let Me Be Your Fantasy” remix package, Anané continues to solidify her position as one of the most talented and charismatic recording artists in the world today. It’s never easy to take on a classic disco tune, which in this case is a song originally released in 1978 by The Love Symphony Orchestra. But working with producers Two Soul Fusion (Louie Vega and Josh Milan), Anané has crafted a new version of this song that retains the glamour of disco while also injecting a raw toughness and rhythm perfectly suited for today’s dancefloors. As is her custom on her remix packages, Anané has pulled together an outstanding team of producers to lay down their own very unique and high impact mixes, including Masters At Work, Dimitri From Paris, Mousse T, Blackchild and Moplen.

Drivetrain, a.garcia & M.Kretch are techno monsters. Our music is what we eat, sleep, and drink. Our passion is our uncompromising style. This E.P. is a dedication to those artists that know and bet on themselves.

Cryovac #29 starts off the A side with Drivetrain’s 3am; an electro bass smoothie that claps waves of funk to warm a sexy spine. Track 2 “Discipline” is a dark fantasy, slapping bottom bass breaks pinch and twist synth to climax receding into an afterglow of rhythm.

Garcia and Kretsch open the B side with an epic tale of lost souls howling behind a spiritual synth devining a path for rocking minimal percussion progression. It is a heart felt yearning that rocks through pain that defines this track’s soul. B2 squeaks into a raucous groove of rhythms acting as one and defining themselves throughout a deforming heroic classic techno stomp.

“Thunder” is the second release from Hip Horns Brass Band in 2022. With “The Dream” the band paid homage to 90’s rap with the collaboration of London singer R.A.E. In “Thunder” they continue with the fusion of brass band and hip hop, but with an instrumental look and making references to contemporary rap artists.

For this recording they have had the trumpet of Miron Rafajlović, one of the references of jazz on the state scene, as well as the production of Tito Bonacera and the drums of HOSS$ Benítez one more hit. The groove that is established from the beginning —which the most music lovers will quickly recognize—, together with the careful arrangements and the enormous quality of the soloist, make “Thunder” a fresh and energetic song for the dance floors. Apart from the digital release in collaboration with graphic designer Hermes LeBleu, “Thunder” has been edited and distributed by Rocafort Records and Say it Loud Records. Side B includes the single “Marathon Runner”, a sample of the band’s first recordings that vindicates the raw sound of the street brass band.

40th ANNIVERSARY PRESSING ~ REST IN POWER DANAN POTTS

DETROIT 1983: You might know Danan from his first release in 1982 under the alias Superlife. At that time Danan was hanging around the Recording Institute of Detroit where Juan Atkins was training in production. Danan was interested in Atkin's style of dance music and quickly recorded "Go Bananas" (soon the be re-released on PPU records). Bananas was released locally on Southern Sun Records in hyper limited quantity, it is today one of the most sought after underground detroit techno recordings of all time. Only a year later Danan would find himself back at the Recording Institute working with Orlando Cash on his second release "Psycho For Your Love". Productions in this style were given the artist name "Westwood" or "Clint Westwood". Danan was working close to 100 hours a week next to George Clinton, and certainly some p-funk had rubbed off on Danan. Peoples Potential Unlimited PPU-025 features both original versions of the infamous second release from Danan Potts aka Westwood/Cash "Psycho For Your Love" and "Work Those Joints", there are also two brand new PPU edited versions of both tracks! This record is dedicated to the late Danan Potts and his family.

Kicking off the EP we have a Jungle Techno track from 2007 ‘Revolution’ made by Persian & DJ Staf, ‘Kool London’s finest DJ’...

‘D dub retwist’, see’s a minimal Break Heavy Dub amidst a Trippy background soundscape from a Japanese Movie.

‘Rumbling interlude’ There’s some interesting Organ at play over modern D&B being played here, al be it with the room vibrating (hence the title) this short segment is a nice escape!

‘Milton 21’ This track dates from 2001, this is a rare glimpse of what Jungle Techno may have become, a direction of futurist sound play amidst Bone Crunching Heavy Bass! Again, Genre pioneering stuff, from True Underground Artists.

‘Not nuff time’, feature’s Lauryn’s freshly sounding Tone, over one of Persian’s Breakbeat projects...

This has variations of electronic shades of what a deejay would love! These tracks were found & lovingly remastered for this ‘ Collector’s Breaks’ EP.
The cross over has been kept!

“Gallows” is our third solo EP for Artikal Music, and was written over mid-2020 as an intended collection of 140bpm tracks with varied styles, themes and sound palettes, which would still gel together in EP form. The track that got the ball rolling was the title track, “Gallows” a link-up with PAV4N, in which we explored some of the more melodic, experimental corner of our sound for the instrumental, which is beautifully contrasted by Pav’s aggressive and intense delivery, and his lyrics which serve as an observation on political and government hierarchies. The second track, “Understand”, is a more dark, dub-focused outing, with chunky elements and bass that are built for sound system playback. Building this one was really fun, allowing us to dig for drums and elements that we don’t typically use to create a more grungy experience. Track three, “Blinded”, goes darker still, enlisting regular collaborator Jack Flynn-Oakley, who we love working with, to write something with pure, crushing impact and a level of anxiety that increases steadily throughout the track. There’s no dance that this one hasn’t shelled down yet. The final track, “Inner Sanctum”, was the last track to be finished for the release and is a track we’ve been keeping locked down for a while now. It’s an off-kilter mix of wailing vocal cuts, cold bass movement, and percussion that’s bursting with character.

We’re stoked to be back on Artikal, and we hope you guys enjoy the sounds this time around.

Will & Mike
Mystic State

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

David Allred is a prolific composer and producer based in Portland, Oregon. His new album The Beautiful World captures an enriched, realised understanding of why he composes in the first place. Dedicated to the expression of existential themes such as death, grief, longing and loss, the album’s core theme centres around the suicide of a young girl Lauren, who was a family friend to Allred. For as long as he could remember, Allred always created music out of a kind of dissociative state which he finds alluringly easy to lapse into. A repetition of a motif is usually where he begins composing. But unlike his previous works, The Beautiful World firmly has one foot in reality and is deeply intertwined with Allred’s relationships, past and present. Through his correspondence with Erased Tapes label head and the album’s producer, Robert Raths, over the past year, he came to realise that everyone has a Lauren in a way – someone they’d lost. Through writing to Raths, Allred was able to draw out this thread from the work and position it more clearly as the central concept to this work. The music doesn’t reflect the chaos of trauma, instead it has a therapeutic quality. It was through this dialogue that Allred was able to create what may be his most cohesive body of work to date. The 11 track album unfolds around Oh Lauren, providing the core of the album’s sentiment – how grief returns to us throughout life over and over. Embedded more than halfway through the album, Allred allows listeners to cohabit a meditative space through ambient textures, drones and ballads echoing the vocal sincerity of Arthur Russell, Daniel Johnston and the hypnotic storytelling of Robert Ashley. To truly reckon with The Beautiful World’s emotional position, listeners must understand the importance of the figure of Lauren, and the significance she has had throughout Allred’s life. Lauren’s suicide as a child provided the catalyst for Allred’s lifelong grief. But it was death anxiety and grief itself which provided Allred a link to a universal relationship that people have with each other and the world they live in. Impermanence and loss are the driving force behind all of our connections. The trance-like nature of the album perhaps comes from David Allred’s time sense – particularly when it comes to memory and trauma. Time becomes non-linear rather than a straight line – where one can repeat or return to the same themes but older and in a different frame of mind. Grief continues to manifest itself in life and despite personal growth, there will always be moments where the same feeling will manifest itself again. The album encourages listeners to sit with the concept of grief, and Allred is hopeful they can find comfort and learn to process it in a healing way. The Beautiful World is therefore heavily influenced by Allred’s work in therapy, particularly his relationship to writing music. In the past, Allred would be composing music as a means to dissociate from his life, but the album sees him engaging and connecting more authentically than ever with others and himself. Despite his prolific previous works being made in the company of others, Allred needed to step back from the scenes that he’s worked in to discover what he really wanted to create. Allred concludes: “In the power of love, curiosity, humour, and reconciliation, we give you The Beautiful World.”

Back in December 2016, Jeshi fell asleep whilst driving home from a party at 5am, and he crashed into a park car, only to be woken up by the airbag exploding in his face. This is the inspiration for album two. The new album is a statement of waking up and levelling up from the last period of his life. This is a new era, and full of energy.

SHORT BIOG

Jeshi doesn't run away from fire; he runs with it. The East London artist is on a quest to feel alive in every sense. To him, feeling alive means being present in each experience, no matter how challenging. For Jeshi - who has spent the last few years establishing himself as one of the most exciting voices of his generation - this is what life and art are all about. Chaos, then, is not something to shy away from, but where great ideas are born.
Jeshi's electrifying second album, AIRBAG WOKE ME UP is a collection of moment-capturing songs built to ignite reactions and start conversations. His scene-stealing jaunts to stages worldwide clearly influence its live-wire sound, as Jeshi and his cohorts smash through moods and tempos like kids let loose on funfair dodgems. "I want to make things that have intent and feel like statements," Jeshi declares. His versatile voice is the conductive thread that pulls everything together. "On Universal Credit, my voice was used in one way, whereas on this it's used in ten ways," he notes.
AIRBAG WOKE ME UP is an exploration into what happens when you emerge from tough times, and how they encourage you to view the world a little differently. It's bolder in ambition and built from renewed energy. Chaotic, but in the very best way. "In my head, this is the real arrival chapter," states Jeshi. "The 'I am here, I've arrived' moment."

"When it travels, the voice is a double agent, a trickster, or a dubious guru, but when it pauses for a recording, it's historical, capturing a mood or an emotion for all time. I didn't expect that I would hardly recognize the people who made Salt — myself and Hessel Veldman — a year and a half after recording it, but this is where I find myself now, so I'll say a few words about this temporary prosopagnosia.

Twelve years ago, when I moved to the Netherlands from Japan, I made a piece called How to Lose Your Voice. It was a YouTube hit because people wanted to learn how to actually lose their voices, though I doubt they found what they were looking for in the video. But I mention it because it's like a diary for me: my voice simply isn't the same now as it was then.

I wonder where my voice has gone.

I just listened to a radio interview with a woman who had her larynx removed.

About fifteen minutes after listening to her new voice, altered by the use of a voice prosthesis to make her audible, the interviewer played a recording of her pre-surgery voice. Of course, I was curious to hear it, and although it was immediately obvious that the gentle ease of her first voice was gone, this new voice, with its raw, gravelly sound, was even more intriguing because of its determined power to express that which needed to be expressed.

When Hessel and I first listened to the Salt in its entirety, I said in astonishment, "who wrote this?"
Marianna Maruyama, sure, but this artist goes by more than one name. Many voices spoke through me in this album. You might even recognize one of them as yours."