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After almost 25 years a new studio album of the German prog rock legend in original lineup! Agitation Free was one of the leading representatives of German experimental rock
music in the early 1970s. The Berlin band developed long, for that time unusual, free
instrumental improvisations from the end of 1967. They achieved cult status as early as
1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and
trance elements.
Extensive live activities gave the band a steadily increasing level of recognition throughout
Europe. For example, the group performed in the cultural program of the Olympic Games
in Munich in the summer of 1972, toured France for two months in early 1973, performed
at the "German Rock Super Concert" in Frankfurt in May, produced the second album "2nd"
and then went on tour through France and major German cities. In 1974, the band began
to show signs of fatigue, which led to their temporary breakup at the end of the year after
a farewell concert.
Although a number of albums (with recordings from 1972 to 1974) were released after the
group's breakup and the studio album "River of Return" was released in 1999, it took
almost 35 years for the original band to reunite for concerts. In February 2007, Agitation
Free, with the original lineup from 1974, gave a series of concerts at Tokyo's "Shibuya
O'West."
In retrospect, it became clear that the experimental circle Agitation Free was one of the
important bands of the "Berlin School" and furthermore a career springboard for several
German musicians. Christopher Franke, for example, helped the band Tangerine Dream
achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine
Dream before he became known as a film composer in Hollywood after a solo album
(among other things, the film music for the blockbuster "9 1/2 Weeks" with Kim Basinger
and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a
founding member of Bel Ami. Gustl Lütjens, toured with Shirley Bassey and Nena and later
found a large audience with his new age band Living Mirrors, especially in the USA. Lutz
"Lüül" Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced
solo records in addition to theater music, and has enjoyed success with the 17 Hippies since
the late 1990s.
In the line-up Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz GrafUlbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) and Daniel Cordes (b, syn) the
new studio album "Momentum" was recorded.

Fire and water collide again: On her latest album "Wandering Through Time", Swiss sorceress ASHTAR opens up a menacing yet ethereal world of opposing forces, fans of emotional yet dirty Blackened Doom Metal should willingly enter. ASHTAR - a duo at first - emerged on the scene in 2015 with their critically acclaimed debut album, "Ilmasaari", voted by Tom G Warrior (Celtic Frost, Triptykon) as one of his favorite albums of the year in Deaf Forever magazine The follow-up, "Kaikuja", released in 2020, took the project's unique blend of black and doom metal to the next level. Since then, ASHTAR has shared the stage with renowned bands such as Inter Arma, Primordial, Bell Witch, Bolzer, and Schammasch.

Now, with "Wandering Through Time", frontwoman Witch N. takes the helm as a one-woman band, pushing the limits of her creative expression to new heights. On her latest offering, she aims to express the darkness, power, and magic of most notably female forces in nature in a saturnine and poetic way. The deeply personal songs take listeners on a journey through the darkest corners of the human soul while embracing the beauty of the natural world. They never fail to showcase Witch N.'s accomplished songwriting and her talents in delivering tortured, gritty screams as well as super- heavy, leaden guitar riffs. Consequently, she names metal masters such as Winter, Darkthrone, and Black Sabbath as her major influences.

From the gloomy and depressive "Into the Gloom" to the tragic tale of the Waterman in "The Submerged Empire", each track is a cathartic work of art. The lyrics transcend metal-cliches of fantasy and lore by telling stories about personal growth, finding soulmates within a cold world, and keeping one's own inner black flame alive. Recording and mixing of the album were handled by V. Noir at Inferno Studio in Switzerland. He also provided additional guitars and jaw harp. The album was mastered by Greg Chandler (Esoteric) at Priory Recording Studios in Birmingham, UK. The front cover photo was captured by Raphael Wolf, while Anti Graphic laid his skilled hands on the new logo design. For Fans of: Oranssi Pazuzu, Wolvserpent, Mizmor, Mantar, Blut aus Nord, Dark Buddha Rising, Eagle Twin, Glorior Belli

Walt Disney Animation Studios’ “Wish” is an all-new musical-comedy welcoming audiences to the magical kingdom of Rosas, where Asha, a sharp-witted idealist, makes a wish so powerful that it is answered by a cosmic force—a little ball of boundless energy called Star. Together, Asha and Star confront a most formidable foe—the ruler of Rosas, King Magnifico—to save her community and prove that when the will of one courageous human connects with the magic of the stars, wondrous things can happen. Featuring original songs by Grammy®-nominated singer/songwriter Julia Michaels and Gramm winning producer/songwriter/musician Benjamin Rice.

These songs came to be a record accidentally and unintentionally. They were written sporadically over a tumultuous two years riddled with more valleys than mountaintops. We considered it a victory when we could actually make ourselves get together to write, even if we struggled to produce anything of any quality. Creativity was tough amidst half-hearted business relationships, being dropped from our label, inconsistent touring, and filing personal bankruptcy. It took a toll on everything: our confidence, our outlook, our health, our happiness. In late 2015, our friend Brandi Carlile invited us to Seattle to play a couple of shows in her hometown. It was there that we explained all that had transpired with our career, how we were barely staying afloat. It was also there that she told us she would be producing our next record. Once we saw that this fantasy could actually become a reality, the frantic search for enough songs to make an album began. To our surprise, we had many things to say, and though some were difficult to write and slow to reveal themselves, we pushed onward. The songs here carry a common thread of what remained when we felt like we’d lost everything. It was in the hardest times that we saw the core of where our music and our souls originate. We still had our homes, our family, our friends, and our fans. This is not a record about rising from the ashes. Rather, it is a deep look into ourselves in an attempt to put out the flames. These songs are our catharsis; an effort to forgive, an effort to heal, an effort to look back into the darkness with newfound light and undeterred fearlessness, an effort to redeem ourselves. The damage was done, but our hearts remained.

The #2-charting, debut album from Potter Payper, 'Real Back In Style' releases on vinyl for the first time. A 2-disc product, pressed on black vinyl. The album is a true testament of his dedication to music over the last decade, betting on himself and surpassing every expectation he once had for his life. Raising the bar for UK Rap, ‘Real Back In Style’ is a frank and deeply honest record that sees the award-winning musician bare all - his boldest and most intentional body of work yet.

Clear Marble Vinyl. Fairport Convention are an English folk rock band, formed in 1967 by guitarists Richard Thompson and Simon Nicol, bassist Ashley Hutchings and drummer Shaun Frater (with Frater replaced by Martin Lamble after their first gig.) Vocalists Judy Dyble and Iain Matthews joined them before the recording of their self-titled debut in 1968; afterwards, Dyble was replaced by Sandy Denny, with Matthews later leaving during the recording of their third album. Denny began steering the group towards traditional British music for their next two albums, What We Did on Our Holidays and Unhalfbricking (both 1969); the latter featured fiddler Dave Swarbrick. For Liege & Lief Swarbrick joined full time alongside drummer Dave Mattacks. Both Denny and Hutchings left before the year's end; the latter replaced by Dave Pegg, who has remained the group's sole consistent member to this day. This album is from their 1974 tour of the USA recorded live in Denver.

Clear Marble Vinyl. Fairport Convention are an English folk rock band, formed in 1967 by guitarists Richard Thompson and Simon Nicol, bassist Ashley Hutchings and drummer Shaun Frater (with Frater replaced by Martin Lamble after their first gig.) Vocalists Judy Dyble and Iain Matthews joined them before the recording of their self-titled debut in 1968; afterwards, Dyble was replaced by Sandy Denny, with Matthews later leaving during the recording of their third album. Denny began steering the group towards traditional British music for their next two albums, What We Did on Our Holidays and Unhalfbricking (both 1969); the latter featured fiddler Dave Swarbrick. For Liege & Lief Swarbrick joined full time alongside drummer Dave Mattacks. Both Denny and Hutchings left before the year's end; the latter replaced by Dave Pegg, who has remained the group's sole consistent member to this day. This album is from their 1974 tour of the USA recorded live in Denver.

This brand new EP from the Cornish improv noise / post-rock / shoegaze trio is their first release since their acclaimed second album Sleepover, which came out at the end of 2021. It features two long tracks and vocals from their Sonic Cathedral bandmate Lorena Quintanilla from Lorelle Meets The Obsolete. “One of our recording sessions resulted in a couple of tracks that had a very different energy to what we’ve recorded to date because there was less of a motif-based approach to them, which made them kind of scenic,” explains Mildred Maude guitarist Matt Ashdown. “We felt like they were the best opportunity we’ve had for doing a collaboration. We’ve played a few shows with Lorelle Meets the Obsolete and really clicked – we love what she does in that band and also as J. Zunz – so we asked her to do both tracks. It feels completely right – a natural pairing.” “I love collaborations and this one was really special,” adds Lorena. “I feel honoured to be part of this EP. I always enjoy seeing Mildred Maude, I feel that one can grasp eternity during their sets. With ‘Half The Sky’, the vocal melody and lyrics came out immediately, I felt like I was in a room jamming with them and everything was slowly flowing and growing. As for ‘Shifting’, it was another story. It is such a beautiful song, and I didn't want to mess it up. They liked one of the takes I sent, so I kept on that track for the first part and for the end I looped vocals on my DL4.” “Vocals change everything and give it a different air of completeness, but Lorena understands our music, so she was able to maintain its looseness,” concludes Matt. “We’re stunned by what Lorena has done; she’s given both tracks a different life

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

Recital presents the first full-length vinyl LP by sound artist Asha Sheshadri. Whiplash combines elements of sound poetry, diary-like narrations, and delicate incidental music. Sheshadri has crafted a unique and marvelous album.

Asha Sheshadri is a visual artist and musician, who “meditates on meaning, context, and impermanence” (Joshua Kim). Moves freely between video, writing, sound, and photography. Her forms flow together to create unpredictable observations of the overlooked, while documenting personal and political networks within our collective, imperfect memory.

“This record is an alternate approach to the autobiographical ‘confessional’ – I wanted to stitch together some pivotal sketches in self-understanding and forgiveness. While their designs may seem affectively disparate, they are in fact quite interrelated. My intention (as with past recordings) is to task the listener with tracing the contours of the narrative (or lack thereof). Each track contains sound from video work, excerpts from writers I admire, ethnographic methods, recovered and recycled voice/text memos, photographs from personal and public archives, and research-driven fictions. These sources expand and collapse into each other, only to reveal the eponymous "whiplash". To me, the feeling of "whiplash" is the collision of: a refracted ambivalence towards what was once real, the endless cycle of reckoning with wherever "home" has taken place, the fraught process of anchoring one’s self in the wake of slow-release trauma, and how (if even possible) to translate all of this into artwork.” –Asha Sheshadri, 2023

“Place is security, space is freedom: we are attached to the one and long for the other. There is no place like home.” –Yi Fu Tuan, Space and Place: The Perspective of Experience.

All tracks arranged & recorded by Asha Sheshadri; in bedrooms, living rooms, libraries, bars, airplanes, backyards and parks across North America.
Mastered by Sean McCann.

" Ashley McBryde’s #1 UK Country album - The Devil I Know will be released on vinyl on the 10th November.
-Ashley will be touring the UK in January and will be appearing on various UK TV and radio shows
-The Devil I Know is Ashley’s fourth studio album, it features lead single ‘Light On in the Kitchen’. The album was produced by Jay Joyce and all tracks were co-written by Ashley. "

Miguel Atwood-Ferguson lebt in seiner Heimatstadt Los Angeles und ist einer der herausragenden Musiker, Orchestratoren, Arrangeure und Komponisten unserer Zeit. „Les Jardins Mystiques Vol.1“ ist sein lang erwartetes Debütalbum. Es präsentiert uns eine leidenschaftliche Liebeserklärung und ein Reich der schönen Möglichkeiten.

Es gibt eine Fülle von Möglichkeiten, sich Miguel Atwood-Fergusons Musik zu nähern - und es gibt keine Grenzen, wohin sie jemanden führen könnte. Als Komponist, Arrangeur, Multiinstrumentalist und Produzent hat er an mehr als 600 Alben und Soundtracks für genreübergreifende Künstler:innen gearbeitet, darunter Flying Lotus, Thundercat, Anderson .Paak, Mary J. Blige oder Seu Jorge. Seine Klangpalette umfasst Jazz, Klassik, Hiphop, Electronica, Avantgarde, Pop und vieles mehr. Zu seinen gefeierten Live- und Aufnahmeprojekten gehören die innovative orchestrale Neuinterpretation des Repertoires von J Dilla, „Suite For Ma Dukes“ (2009), seine produktiven Werke mit seinem langjährigen Freund und Kollaborateur Carlos Niño, darunter das improvisierte Album, „Chicago Waves“ (2020), auf International Anthem, und seine Gruppen wie das Quartetto Fantastico und das Miguel Atwood-Ferguson Ensemble. „Les Jardins Mystiques“ ist ein Projekt, das Miguel Atwood-Fergusons musikalisches Universum offenlegt und mit anderen teilt. Es hat sich über ein Dutzend Jahre hinweg entwickelt, wurde größtenteils von ihm selbst finanziert und zeigt seine ausgesprochen elegante Musikalität (u. a. auf Geige, Bratsche, Cello und Keyboards) sowie seine freigeistigen Dialoge mit mehr als 50 Instrumentalist:innen. ‚Volume 1‘ ist hierbei bloß der erste Teil eines geplanten Triptychons, das insgesamt ganze zehneinhalb Stunden origineller und erfrischend ausladender Musik umfassen wird. Atwood-Ferguson verband sich mit seinen Gastmusiker:innen auf vielfältige Weise: durch gesellige Studiodialoge, durch Fernkommunikation während der Pandemie und durch die Energie von Live-Auftritten in seiner Heimatstadt, darunter im Del Monte Speakeasy (das herrlich belebende, von einem Klavier begleitete „Dream Dance“) und im Bluewhale (u. a. „Ano Yo“ mit dem temperamentvollen Alt-Saxophon von Devin Daniels und den kosmischen Harmonien von „Cho Oyu“). Bennie Maupin, der legendäre US-Multi-Blasinstrumentalist, zu dessen Repertoire auch Miles Davis' Fusion-Opus „Bitches Brew“ gehört, spielt Bassklarinette auf der hinreißenden Eröffnungsnummer „Kiseki“. Im Laufe seiner illustren Karriere hat Miguel Atwood-Ferguson mit Künstler:innen wie Rihanna, Ray Charles, Lana Del Rey, Lady Gaga, Anderson .Paak, Dr. Dre, Kamasi Washington, Mary J. Blige, will.i. am, Big Boi, Arthur Verocai, Bonobo, Lianne La Havas, Kaytranada, Moses Sumney, Seu Jorge, Common, The Roots, The Cinematic Orchestra, Jamael Dean, Shafiq Husayn, Adrian Younge & Ali Shaheed Muhammad, Carlos Niño, Bilal und viele mehr zusammengearbeitet.

Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills, where the core duo of the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for the music they wrote while there, but you're free to look."Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos. "The kinds of things that have shaped our band aren't anchored to any one time or place."Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting that line of thought to the test; their musical influences travel from the Midwestern malaise of Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British belligerence of The Fall and This Heat.Recording the album while living with Foxygen's Jonathan Rado at his rented house in Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on a porch," says Pulos of the experience.Their first collection of songs slyly unties the shoes of genre and convention, shapeshifts mischievously, and tramples on the promises delivered on the name itself.There are only eight songs on this rangy debut.Intense blasts of hook-filled noise rock ("Hayward!"), rocksteady marionette stomp ("No Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest across 9 Songs. The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges, pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh out of his electric. Laffer matches him step for step on the drums, an exacting presence behind the kit who pushes even the band's more placid moments into bouts of tension. Together they succeed in animating their musical ideas to startling, almost unnatural life. Reverb units, keyboards, samples and processing gluing everything together, saturated in the August heat and worn in until they sound second nature, it's like somehow you've been listening to these songs forever.

Gawk, released in 2015 on the band's own Gawk Records, was the highly anticipated follow up to the band's debut album Antics. The album received widespread praise from critics and fans and quickly became the band's breakout album. Pitchfork called Gawk a "a charming, chaotic pile-up of surf-, math-, and art-rock."

As an important agent of Gothenburg’s underground scene, Dan Johansson has been a member of several experimental harsh noise projects such as Sewer Election, and lo-fi indie folk bands like Enhet För Fri Musik and Amateur Hour. Ordeal is his latest solo output, and might as well be ashes stuck in the blast furnace's edges of his last longing career. Not by means of summing up genres or as a culmination of his musical development, but as a profound music piece weaved in his own household.

With not much more than a synthesizer, Vätterns Pärla is built by trembling, dissonant drones stained in feedback and reverberation, thickly textured by the no-fi quality of the recording, depicting a menacing atmosphere congested with heavy fumes. In Johansson's words, Ordeal "takes inspiration from the early 80’s albums of Maurizio Bianchi, filtered through a Gothenburgian no-fi bleakness. It’s an album for inner voyage, childhood memories, and places that now lost purpose and meaning”.

There's certainly intimacy and nostalgia, yet a claustrophobic, hypnotic ambiance wraps it all up in a contained and narrow space. Emphasis is put on texture rather than on detail, on color rather than on progression, on suspense rather than on conclusion. Tension varies stiffly, sometimes a drone layer dismantles and the mood seems to filter, but ragged edges are never polished. We can feel the walls and the air, which although tarnished, can be breathed in somehow. It's as if waking up in a dark room and having to recognize it with our ears and tact, testing its dimensions and its surface. The stillness in the chamber is like the stillness between gasps of storms.

Without visible stars, an enclosed share of night sky hides a heavy load of industrial debris underwater. These remnants are maybe the pearl regarding the album's title. It all can seem like a dream, a grim mechanical soundscape deafened by hefty, yet sporadic winds. Soil strives to make something grow, but sprouting is kept suspended, held by a dismal presentiment. Long shadows on the ground prove that darkness is about to befall. And as these shadows stretch, almost about to break up in a loud strike, the noise turns white.

Spirit of Sundaze Ensemble (SOSE) is the latest evolution from London based DJ / producer, label and party series Secretsundaze. Sitting at the intersection of live music and electronic music innovation, leading contemporary musicians reimagine, record and perform a selection of tracks which have been foundational across Secretsundaze’s 20+ year history, embracing a myriad of influences from Balearic to synth pop to Brit funk.

EP 1 opens with their first single, a re-imagination of Photek’s seminal ‘Mine to Give’. Featuring Wayne Snow on vocals and garnering wide support from the likes of BBC 6 Music heads Gilles Peterson and Nabihah Iqbal, through to NTS and Worldwide FM tastemakers including Zakia, Moxie and Colleen ‘Cosmo’ Murphy, the tempo is slowed and explored in a more synthy 80s production style.

Next is their take on Joyce Sims’ (RIP) ‘Come into My Life’, moving the original Mantronix production into a more contemporary UK / Street Soul / Balearic territory.

The B-side sees them take on beloved Phil Asher (RIP) production, Nathan Haines’ stunning ‘Earth is the Place’, a classic Secretsundaze record if ever there was one. Featuring the vocals of Cherise, the SOSE version is a dance floor ready update which will appeal to all lovers of proper deep, soulful-leaning house music, one for the heads.

Closing the record is a flip of Wbeeza’s ‘Coast Spotting’. Featuring synths from the excellent Hinako Omori, this one goes in with an extended late night transcendental electronic / jazz rework with the original’s looped lead line modulating throughout the piece.

Leading musicians feature on the record including Myele Manzanza (Theo Parrish, Sound Signature), Lewis Moody (Zeitgeist Freedom Energy Exchange), Nikos Ziarkas (Theon Cross, Chelsea Carmichael), Oli Savill (Basement Jaxx), and Johnny Brierley (Fofoulah).

Following their debut sold out show at Southbank’s Centre Queen Elizabeth Hall, the Ensemble next take to the London stage at the iconic EartH Theatre, Dalston on September 21st for an EP launch party as well as a headline open-air concert at Las Dalias, Ibiza as part of Beat Hotel on September 30th.

All in all, an impressive debut showcasing the breadth and scope of this exciting new live project from Secretsundaze founder James Priestley, one to watch.

South London soul artist Andrew Ashong returns with his first full release since 2014 - an expansive six-track collaboration with Kaidi Tatham, the unrivaled underground virtuoso described as the UK's Herbie Hancock. 'Sankofa Season' takes both artists to new heights as they seamlessly complement each other's musical language, giving voice to productions that criss-cross genre and time to move into their own distinct lane. Expect deep jazz funk, hazy contemporary soul, jazzy broken beat, breezy latin soul, organic deep house and much more.