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Winner of Channel 4’s ‘The Piano’, Brad Kella
releases his debut album, ‘Phoebe’s Melody’.
Since winning the show, Brad has recorded with
world renowned string arranger Rosie Danvers in
RAK Studio, sold out The Liverpool Philharmonic,
played The Royal Albert Hall and sold out two
nights at The Southbank Centre’s Purcell Rooms.
Brad has also worked alongside John Lewis for
last year’s Christmas campaign, as well as
Liverpool Football Club and EA sports, as he was
nominated as a super fan and ingrained into the
‘FC25’ game.
Brad is also going on a 36-date tour supporting
Gary Barlow across the UK and Ireland.

“Evil is very real and having its way, and love is also real and hasn’t lost yet.”
That’s how Activity’s Travis Johnson described their third album, A Thousand Years In Another Way. A friend had asked why these songs seemed to capture the strange, heavy feeling of being alive right now better than anything else—and that was his answer. The album doesn’t try to explain this time we’re living in; it simply feels like it. It’s a mix of violence, alienation, and tenderness—reflecting the surreal, dreamlike (or nightmarish) rhythm of daily life.
Across ten songs, Activity blends experimental rock, electronics, and found sounds with a sense of paranoia, flickers of hope, and a warped reality. Working with producer Jeff Berner (of Psychic TV), the band manipulated sounds and played with room acoustics to create a feeling that’s disorienting—like the air is thick and the walls are listening.
Coming out of a period of uncertainty, the Brooklyn-based quartet—Travis Johnson, Jess Rees, Bri DiGioia, and Steven Levine—pieced the album together from fragments: clipped samples, looping guitar lines, ghostly melodies. Rees, DiGioia, and Johnson share vocal and writing duties, shaping a record that feels both deeply personal and strangely alien. There’s a constant sense that things could shift or fall apart at any second—nothing stays one thing for long.
A Thousand Years In Another Way might not offer answers, but it captures the feeling of right now better than most. And maybe, it sounds a bit like your world too.

When Madlib went to Brazil in 2002 with Mochilla to participate in the production of Brasilintime his one mission was to meet Ivan “Mamao” Conti the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Jackson Conti is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like Upa Neguinho to 21st century ears.

"Max Knouse’s voice feels like laughter that follows a well-loved joke. Only afterward, it dawns on you that you don’t fully understand the punchline. Or for that matter the set up. In fact, you’re not even sure what language the joke was told in. What to make of such a laugh—inexplicable, delightful, surprising, seemingly nonsensical? And what to make his voice, at once comforting, beguiling, and just beyond the bounds, like a blues moan or a Mingus lick or some ancient guttural holler? It’s the kind of haunt that lingers long after the record fades, echoing back in your imagination, laden with cryptic possibilities and occulted meanings.

Chipmunk’d Away is his third album. Known for his sessions and live shows with artists like Califone, Jolie Holland, Adan Jodorowsky, Psychic Temple, Simon Joyner, Alex Dupree, and others, Knouse has established himself as an essential factor in the West Coast indie pop underground, brandishing guitar chops that mirror the rawness of his voice; he treats his instrument like a divining rod of spiritual tension and joyful racket, pushing and pulling on it with affection and sometimes something darker.

From the swelling cosmic folk of “Mint and Tobacco,” which features Knouse intoning apocalyptically over engineer Michael Krassner’s washing guitars, “Your breathing ain’t so deep,” to the jazz standard swooner-meets-West Coast psych-pop title track, to the nightmare-scape blues of “Clumsy Hunter,” to the concluding audio collage sway of “Banana, Orange, and Something Else,” Chipmunk’d presents the range and scope of Knouse’s style: bold, adventurous, frightening, and then frequently, when you least expect it, heartbreakingly lovely, like a joke that clarifies your feelings before you could actually verbalize what those feelings even are. They had been hidden from you, chipmunk’d away, but now Max Knouse has revealed them."

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

Celebrate 20 years of Jazzanova"s groundbreaking debut album In Between with this stunning live reinterpretation. Recorded at Little Big Beat Studios, the Jazzanova Live Band breathes fresh energy into timeless tracks like That Night, No Use, and Days To Come. This performance seamlessly blends the album"s sample-based origins with the vibrancy of live music. A must-have for fans of jazz, soul, and electronic fusion

Ein dynamisches und erhabenes Werk voller Emotionen und Sensibilität, "From Where You Came" als eine Reihe nächtlicher Übertragungen, altertümlicher Verfeinerungen und lebendiger Geschichten, die reich an erhellenden Qualitäten sind. Die Kombination von programmatischer Musik des 19. Jahrhunderts mit Jazz aus der Mitte der 70er Jahre und ihrem unverwechselbar farbenfrohen und mehrdimensionalen Kompositionsansatz, der die Improvisation einschließt, ermöglicht Coverdale die Synthese mit Live-Instrumenten in einer genrefreien, aber deutlich erkennbaren Geste der Wiederverbindung mit Land und Körper durch Klang zu verbinden. Sie betrachtet Komposition als diagnostische Methodik zu spirituellen Zwecken, leitet emotionale Resonanz wie Ladungsströme und verdrahtet das rein Gefühlte in elektronische Signale. Obwohl sie auf mehreren Kontinenten komponiert und aufgenommen hat, unter anderem im GRM Studio in Paris und dem Elektronmusikstudion EMS in Stockholm, wurde "From Where You Came" im ländlichen Ontario, Kanada, fertiggestellt. Mit Beiträgen der multidisziplinären Klangkünstlerin und Cellistin Anne Bourne und dem mit einem Grammy ausgezeichneten Posaunen-Wunderkind Kalia Vandever, enthalten die 11 ausgedehnten und doch verdichteten Kompositionen des Albums Streicher, Holzbläser, Blechbläser, Tasten, Software und modulare Synthese, die eine musikalische Sprache einschreiben, die Animationen mit ungefilterter, beeindruckender Klarheit wiedergibt. ,Alles kann eine Stimme haben", sagt sagt Coverdale. ,Für mich ist die Stimme mehr als nur menschlich." Passenderweise ist es die eigene Stimme der Künstlerin die sich im einhüllenden Schwellwerk des Albumauftakts in Luft auflöst: ,Everything you know is real", singt sie in ,Eternity`, "I'm sorry, life is beautiful." Als zwischen Animismus und Animalismus oszilliert, ist das folgende Album absolut voll von Leben in all seiner atemberaubenden Komplexität. Coverdale rechnet mit der Erfahrung von Trauer, Entwurzelung und dem Druck der totalen Freiheit und Unabhängigkeit ab, und beweist eine übernatürliche Fähigkeit, die Trübsal in höchst fantasievolle und inspirierende Fantasy-Epen aus Klang zu verwandeln.

Exclusive vinyl with the singles released by the Watford post-punk band between 1981 and 1983.

"Before I began to write this piece I listened to some of the tracks and I admit there was a small tear or two as I remembered… Pet Sounds Studios, an 8 track reel to reel studio in a basement under a pet shop in Kennington, South London, our first studio experience as fresh faced 20 year olds. Surrey Sounds, a studio above a milk depot where Siouxsie and The Banshees had recorded singles, we got some studio time through the night when The Professionals (ex Sex Pistols) weren’t recording. Silo Studio in Hammersmith, the engineer was stoned, I smoked at least three packets of cigarettes during the session and having arrived at the studio with a song we believed in, we came out disillusioned and slightly underwhelmed; maybe greatness wasn’t destined to descend upon us at that stage of our career. Spaceward in Cambridgeshire, an old school building turned into a professional recording studio, where we recorded our first album Epic Garden Music over a weekend working through the night with about an hour of sleep. We returned there to record our second album, Feeding The Flame which took two months rather than two days. But my moist eyes are not for the broken dreams, the incredible highs or even the camaraderie with fellow band members, all of whom I may add we are still in touch with. My slight sadness is for my lost youth and the courageous optimism of those early days so viscerally evoked by this collection of songs. The glory of the world fades but in reality Sad Lovers & Giants goes from strength to strength, albeit in a very understated English way mainly because that’s the way we like it. So enjoy these songs which were created with passion and energy over forty years ago but still remain vivid and exciting to a new generation of listeners today." From Garce/Simon Allard's exclusive liner notes (October 2024)

This is one of a couple of proper holy grail boogie funk gems that French label PBT are dropping this month. Love At First Sight by First Love was originally released in 1982 out of Chicago and is a rare gem that captures the peak of modern soul and funk. Led by powerhouse vocalist Yvonne Gage (who is credited as Yvine Gage), the newly reissued record deals in rich production by Randy B and Chuck Colbert, who are icons of the genre. Standout tracks include the synth-drenched 'Don't Say Goodnight' and the smooth, late-night groove 'Party Lights', while 'Don't Be Afraid' is a sentinel, string-laced slow burner. With deep basslines, tight drums, and lush synths throughout, this one is a real heart melter.

Repress now on 140 gram black vinyl comes with download code. SLOW AIR is the fourth album by Still Corners. Evoking the atmospheric sounds Still Corners are known for, SLOW AIR continues the band's journey with an album full of tension and brooding all the while wrapped in a reverb laden dream. Written in the hill country in Austin, Texas, Slow Air nods towards a classic sound with emphasis on the guitar, both acoustic and electric, combined with the alluring and ghostly voice of Tessa Murray.

NAD aka Dan Tyler of the legendary Idjut Boys arrives at Duca with a bouncing 4 track of obscurities, all wrapped in a sheen of echo and reverb.

The Idjuts’ have released on a myriad of labels, including Noid, U Star and Smalltown Supersound, being one of the originators of the 90s edits revival, DJing the globe including to almost cult-status in Japan, as well as remixing the likes of DJ Harvey, Brian Ferry and Dimitri From Paris

A master of editing, Dan’s move to Oslo has seen him step out solo to remix the likes of Todd Terje (Olson), Mudd (Claremont 56) and King Sporty (Emotional Rescue) and not forgetting running the Record Mission edits label with old friend Nick The Record.

Das Wordy hits with a bump, the gastarbeiter NAD rockin’ like Tom Tom Club on Stasi steroids.

La nouvelle musique of Histoire De Cul sweeps the catwalk, sweeping past Le Palace queue, hitting Cuevas’ dancefloor to “effet sensuel”.

Rocking out is NAD’s nature, Kropps Smack a body with a mind of its own, come down, come all night…boody language.

Release The Pigeon is a smooth ride home, the music nomad, the gypsy man, one of these days he’ll settle down.

Yer yer yer ahhh yer.

COOL HAND FLEX - MELODY MADNESS

BLADERUNNER / OUTRAGE / RONI SIZE REMIXES AND REMASTERED ORIGINAL

Suburban Base returns with a heavyweight release, delivering fresh remixes of the classic Melody Madness by Cool Hand Flex, reimagined by two of the most respected names in the scene—Bladerunner and Outrage.

Bladerunner brings his signature rolling basslines and crisp production to the track, delivering a modern take while staying true to the original’s deep jungle roots. On the flip, Outrage delivers the AWOL Remix, a tribute to the legendary club night, channeling the raw energy of those iconic sessions with rugged breakbeats and deep, atmospheric textures.

This double A-side includes the highly valued Original Version and the much sought after Roni Size Remix from 1995, the release bridges the old and the new, paying homage to a foundational anthem while pushing the sound forward.

The Patchouli Brothers are best friends bound together by oddities. They share an affinity for the esoteric side of disco, house, and all other forms of soulful dance music. They hold down a residency at Beam Me Up, a disco night in Toronto & Montreal, and have had releases on some of their favourite labels like Defected, Nervous, Razor-n-Tape, Soundway, GAMM, Soul Clap, Star Creature, Pleasure of Love & Basic Fingers.

We are so stoked to have them join us here for their first release on Sosilly and our seventh vinyl release SSE007… Like Bond they delivered nothing short of pure class! 4 x absolute fire cuts that can turn any place upside down.

Robyn is doing brilliant and important work - the world needs more music like this. Just one word: listen!" Giles Peterson “Even aside from her skills on her instruments and unique approach to music, Robyn devoted an immense quantity of emotional resources to the delivery of this record, and seemed to take its challenges on as a chance for personal growth. It was consistently clear that the personal input of the players was welcome in a fundamental way, and we all responded to Robyn’s efforts that went to the limits of her capacity and her love for bringing her project to you, the listener” Alabaster DePlume “It has been such a joy to work with Robyn, especially when entering the fascinating world of Robyn’s Rocket and Avant Garde jazz. We had our fun moments, like when the fire alarm went off during our recording session of Mystery Man, and we just rolled with it and kept it in. It’s like nothing matters. It’s such an honour to be part of the world of Robyn’s Rocket and to listen to the many stories, expressions and colours that shine throughout the album.”Sebastian Golgiri What happens when you bring together familiar faces at London experimental music venue Café OTO, Charles Hayward (drummer Abstract Concrete, This Heat) and John Edwards (double bass), and the Total Refreshment Centre (hub of new london jazz scene recording studio ) like Alabaster DePlume (singer and saxophonist) and Danalogue (synths from Soccer96, The Comet is Coming), and the learning disability autism art scene like singers/spoken word artists Sebastian Golgiri and Dean Rodney Jnr (Fish Police), on a magic carpet with space trumpeter Robyn Rocket? The answer materialises in the groundbreaking collaboration 'Robyn Rocket and People You May of Heard of'. Recorded across three days in three different studios connected to the three communities Robyn Rocket calls home, each session brought together musicians from these diverse backgrounds—many meeting for the first time. Together, they improvised and created a musical journey that transcends conventional boundaries.

This cosmic voyage features more than 20 musicians and a dog ( Taz from lost socks), gliding through free jazz, danceable tunes, loopy vistas and spoken word doors into different ways of seeing the world. At its heart lies a profound message about community as a vital part of existence and difference as something to embrace and value. The project culminates in the final single and focus track 'We Are All Human', featuring a poignant speech by Rocket from her night 'Robyn's Rocket - a residency at cafe OTO featuring experimental music and live visuals by artists with and without Learning Disabilities/ autistic and non autistic artists ' in the speech rocket talks about supporting each other—words she actively lives by and encourages others to embrace. Like many autistic people, Rocket has experienced abuse, bullying, isolation and feeling unwelcome in the world. “This project is like my nights but you can carry it around with you”, she explains. “I started my own night to share my work. I also recognised, it was a privilege to have my own night, I wanted to help other artists share their work too, and create an environment where people with and without learning Disabilities/Autistic and non autistic people as audience and performers could come together and get to know each other”. Historical Context

Born from a desire to explore her background in film composing to create a music film, Hannah Holland’s upcoming album 'Last Exit On Bethnal’ is set for release via PRAH Recordings on 18th July. Together with director Lydia Garnett, the multi-faceted London producer shaped ideas born out of images the pair weren’t finding in film, inspired by queer icon filmmakers like Kenneth Anger and Derek Jarman. “We wanted to craft something unapologetically for dykes: a poetic, surreal exploration of dyke power and sexuality set in a fantasy underworld,” explains Holland. Once the film was shot, she channelled its stunning imagery and the energy of the cast into making the record. Seductive and bass-driven, its nine tracks merge sleazy guitars with 707 machine drums, beautiful evolving arps, and surreal moments of Lynchian dreaminess and Aphex Twin-inspired atmospherics. "It was a really amazing collaborative experience and coming together of a community to make something totally unique….and hot!” she continues. The first single ‘Biker’ features a filthy synth hook atop Hannah’s signature bass-guitar, perfectly capturing the raw and sexy energy of the album and its visual centrepiece. You can listen to it here. The film will be screened at a one-off club night at London’s ICA on 11th April in association with Culture Divided, Somesuch and Bala Project.

Hannah Holland has played a pivotal role in London’s alternative and queer London club scene since the mid-noughties. Rooted deeply in London’s fertile musical community, musical exploration and the transcendent potential of dancefloor have always been her biggest inspiration. Her recent delve into experimental theatre, film and TV scores has proved a future further artistic voyage to explore her creative vision. Holland first arrived on dancefloors sharing electro-tinged techno, with equal inspiration taken from the sounds of DnB and jungle heard at legendary parties such as Metalheadz, which she had frequented in her early teens. Having already been “borrowing” (and perhaps never since returning) Kraftwerk, Grace Jones and Talking Heads records from her parents, the influence of this metropolitan musical soup ensured that Holland emerged on the decks with a unique musical character and diverse taste, hallmarks of her sound that she has not lost since. This has been reinforced with trusted residencies at iconic parties such as Trailer Trash, Adonis, Glastonbury’s NYC Downlow, or undertaking far-reaching marathon sets at Berlin’s Panorama Bar. In 2006 Hannah started Batty Bass with vocalist Mama. Immediately a roadblock party and then a record label with releases from Josh Caffe and The Carry Nation sitting in its discography, Batty Bass explores the disparate strains of electro, acid, techno and house. Hannah also released her own music on the label including the ever-anthemic Paris’ Acid Ball.

A steady stream of releases have followed on Shall Not Fade, Super Rhythm Trax, Crosstown Rebels, Classic, Nervous, as well as remixes for Blessed Madonna ft. Kylie Minogue, Planningtorock, The Knife and Goldfrapp among others. Hannah also finds the time to play bass in several bands including Black Gold Buffalo whose debut album she also co-wrote. Her much-anticipated debut album, Tectonic, came out on PRAH Recordings in 2021, with a second on the way. Hannah’s latest venture into the world of film scores have included queer icon Bruce LaBruce’s ‘The Visitor,’ Channel 4 series Adult Material and award-winning indie feature Electrician.

Hannah Holland continues to push the boundaries of electronic and live music, telling stories and carving her own path in the deeper frequencies.

Dr. John's Gumbo is the fifth album by New Orleans singer and pianist Dr. John, a tribute to the music of his native city. The album is a collection of covers of New Orleans classics, played by a major figure in the city's music.

Dr John's Gumbo was released in 1972 and is in many ways a tribute by Dr. John, aka the Night Tripper, to his hometown of New Orleans. It features excellent interpretations of New Orleans traditionals ("Iko Iko", "Tipitina", "Junko Partner" and "Stack-O-Lee") and contemporary R&B written or played by the likes of Huey Piano Smith ("Blow Wind Blow" and "Huey Smith Medley") and Earl King ("Big Chief" and "Those Lonely Lonely Nights").

Dr. John delivers a strong set of infectious songs drenched in good vibes and spiced with a pinch of voodoo. His eccentric (stage) appearance adds unique color to his stature as master of the ivories and as an entertainer.

We expect this definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of Dr. John's Gumbo to be a cherished addition to the music collections of all fans of New Orleans classics.

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world.

HERO U.D.A. aka Hiroyoshi Udaka is not someone you can easily google, but he’s sure lived a life worth retelling. His story starts back in the late 80s when, inspired by the acid house emanating from the UK — during what was fondly christened the Second Summer of Love — he picked up DJing and made the move from Japan to London. Throughout the 90s he DJed at underground techno institutions like London’s The End, CLUB UK and Silver Fish, as well as at the infamous Tribal Gathering raves, periodically returning to Japan to support techno greats like Colin Dale, Mad Mike, Suburban Knight and D. Wynn on tour.

The tracks on this EP, previously unreleased except for one, were all recorded after Udaka moved back from London to Tokyo, between 2002 and 2005. Yet they sound strikingly modern, drawing on a rich range of sounds that have come back round again two decades later: broken beat, acid jazz, dub and breaks. Deceptively simple grooves are given depth by layers of textures and micro samples, for example the surface noise on ‘On The Way’ that glues together an otherwise sparse skeleton of dubby pads and body popping drums. ‘Mature Missile’, ‘So Good’ and ‘Night Driver’ employ raw broken beat templates with acid accents, whimsical melodies and vocal interjections for a playful mood. ‘Sin City’ takes a darker turn, off-key piano hits and plunging bass adding to the wonkiness. The EP closes with a wiggly vignette, ‘222AM’, reminiscent of early 00s contemporaries like Mouse On Mars. Now these hidden treasures from Udaka’s archive gain a new life on SAISEI.

———

SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Junki Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.


b A2. So Good Acid Funk

In his sixth and latest album “New African Orleans”, released by ENJA and Yellow Bird, bass guitarist and composer Alune Wade explores the multiple junctions between his native West African rhythms, the Afrobeat and juju rhythms from Lagos and the brass band repertoire immortalized in New Orleans. “I’m exploring a world that goes from my roots to the lost branches on the other side of the Atlantic,” explains the musician from Senegal. He has whittled down around 50 compositions – both original and standards - to a dozen which Alune recorded in Paris, Dakar, Lagos and New Orleans. “The idea first came to me during the Jazz à Gorée festival I organized back in 2014,” he explains. “It had me reflect on the notion of reversing the musical trip most people take from the United States to the African continent. I wanted to set out westward and begin a musical conversation with the best artists, both in Nigeria and the US.”
To achieve this, Wade has invited top artists from both sides of the Atlantic, including the Nigerian talking drummer Olaore Muyiwa Ayandeji, the percussionist Weedie Braimah and the jazz drummer Herlin Riley from New Orleans. The musical inspirations are equally transatlantic, ranging from Dr. John to Manu Dibango and Charlie Parker. But the 45-year-old also pays homage to his father who was a brass band star in his native Senegal back in the Sixties.
BACKGROUND

We only have a partial idea of the birth and remarkable development of the music born of the transatlantic slave trade. From Malinke ballads to Cuban son, from call-and-response patterns to field hollers and hip-hop, Yoruba rhythms to Argentinian tango, from Angolan percussions to the New Orleans brass band sounds… all have roots in Africa and a shackled migration that lasted four centuries. No more so than Congo Square in the Louisiana capital. In 2024, we mark the 300th anniversary of the implementation of the Code Noir which “gave enslaved Africans Sundays off to dance”. A drop in the ocean, but one which shows the importance of culture as a lifebuoy against this barbaric trade. As the Guadeloupian writer Daniel Maximin once claimed: “Our music guided us from the scream to the song, from dragging our chains to dancing.”

After 45 years, Trigger’s never-released second album, Second Round, invites listeners to rediscover the hard rock sound that made the band a standout act of the 1970s. In early 1979, Trigger walked out of Electric Ladyland Studios with a completed second album. Mere months had passed since their self-titled debut came out on Casablanca Records, home to KISS and Parliament. The band had toured with Cheap Trick and The Godz, met Bruce Springsteen and Joni Mitchell, and things were looking bright. But Casablanca unexpectedly went bankrupt, and the label’s artists went into freefall. Trigger unsuccessfully sought interested parties, shelved the recordings and disbanded; a disappointing end for a band who dominated the Jersey Shore club scene on their way up with fiery, kick ass live shows. RIP Trigger: 1973-1979. Jump to 2024. Guitarist Richie House is living in Northern New Jersey with his wife, enjoying a relaxing afternoon at the community pool with neighbors. One of them, Andrew Wexler is shocked to discover his friend had a band in the ’70s. He listens to their recordings, and as an avid record collector, assumes the mission of getting that unheard second album released. He writes to Ba Da Bing, a label with Jersey roots. Much excitement ensues. Second Round’s long-awaited release will now be available. All original members—Derek Remington (vocals/drums), Jimmy Duggan (guitar/vocals), Tom Nigra (bass guitar/backing vocals), and Richie House (lead guitar/vocals)—are present on the recordings. Sadly, Duggan and Nigra have passed away, but Remington and House have overseen this reissue, with songs sourced directly from the analog masters.. The Trigger of today maintains a high level of quality, albeit with a bit less flair, and even less hair. And there’s more going on here than at first listen. While the band carries the earmarks of their era—melodic hard-rock fashioned for Saturday night parties—they override the cliché with incredibly catchy songs. How would a ripping song like “Back Talk” have been received in 1979? It’s a question we’ll never be able to answer, but the raw energy of the track spans generations. “One In A Million,” however, with its full harmonies and forceful chorus, could have easily made the soundtrack for Fast Times. Celebrate the discovery of this lost gem by giving it a listen. You’ll be Trigger happy…

COMPUMA's new new album “horizons”now available on vinyl via his own label Something About!

The album “horizons” is a further development of COMPUMA's “horizons EP”, which was released in July 2023 as a digital-only EP on his Bandcamp. The songs are inspired by the scenery and environment of Lake Ezu, Kumamoto, where the artist's roots lie, and by his walks in various places around Japan.

Horizons 1”, in which the undulations of electronic sounds seem to represent a leisurely walk across a clear expanse of sky and lake scenery, and the vocoder voice somewhat reminds us of people's activities, and the piece changes to a more minimalistic play of rhythms and electronic sounds, as if focusing on introspection in the midst of walking. The album also includes “horizons 2,” which changes with exquisite salinity, “horizons 3,” which pays homage to early electronic music, and “horizons 4,” a more stoic minimal electro-dubwise piece that seems to be immersed in the act of walking, The last track on the album, “horizons 5,” is a non-beat ambient track with a hint of the waterfront, as if the artist is gazing at the vast sky, as if the steps of the first half of the album are expanding into a faint memory, and is accompanied by a field recording. The album includes “horizons 5”, a non-beating ambient taste that is covered by field recordings and depicts the atmosphere of a wandering waterfront, and five versions of “horizons” that remind us of the days of “walking”, sometimes immersed in the scenery and walking, sometimes lost in thought, with “horizons interlude” in between, which reminds us of the surface of a bobbing lake, and is a self-titled version of “View 2” from the previous album, “A View”. The album contains seven songs in total, including a self-remix of “View 2” and an electro version of “view 2 electro”, reminiscent of the shimmering surface of a lake.

Personally speaking, this work reminds me somewhat of Kraftwerk's “Autobahn,” which depicted the countryside of West Germany with minimal electronic sounds, and this work also seems to depict a scene of a “walk” with electronic sounds. However, what is different from “Autobahn” is that there is an element in the middle part of the album that seems to go into introspection in the midst of walking, and it is a work that shows various views (including feelings) throughout the album. From a macro perspective, this album is a new response to the recent environmental music revival and generalization of ambient music, which he has introduced as a DJ and record buyer for a long time.
The album was co-produced by hacchi, who also works with Deavid Soul, Urban Volcano Sound, and as a recording/mastering engineer, and mastered by Nakamura Soichiro of Peace Music, a studio that has produced many masterpieces, including Shintaro Sakamoto's solo work. The package artwork is by designer Seiichiro Suzuki. The package artwork is by designer Sei Suzuki. （The package artwork was designed by designer Sei Suzuki.)

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Compuma is a Tokyo-based log-serving DJ whose extensive knowledge of obscure and left-field music across so many genres and different regions of the world established himself as one of the most respected record buyers in Japan,
a country well known as record collectors’ paradise. While he built his career in record business over decades, he has also been sharing his expertise in music as a DJ just as long. Not only the breath and the depth of where his selection derives are hard to compete, the way he blends them all together is also a state of art. Often intricately layered and collaged, Compuma is capable of sculpting something entirely new with bits and pieces of existing tracks in various forms such as ambient soundscapes to dubbed out club sets. In 2017, his unique ability caught the attention of Berlin Atonal directors and he was invited to play at the festival in Berlin.

He extends his skills into remixing which can be heard on the released from EM Records - “Compuma meets Haku” (2015) and “Bangkok Nights” (2017.) In June 2022, he released his first solo album, A View.
He is also an active member of a DJ trio called Akuma No Numa (which translates to “devil’s swamp”) in which he explores darker and more psychedelic periphery of dance music.

Die deutschen Epic-Doom-Metal-Meister Lord Vigo veröffentlichen im Mai 2025 ihr sechstes Studioalbum auf High Roller Records. Nach den von Presse und Fans gleichermaßen gefeierten "Danse De Noir" (2020) und "We Shall Overcome" (2022) handelt es sich bei "Walk The Shadows" mitnichten um den dritten Teil der begonnenen Trilogie. ""Walk The Shadows" steht für sich alleine und ist unabhängig von einem durchgehenden Konzept", erläutert Schlagzeuger, Sänger und Keyboarder Vinz Clortho. "Das war nach zwei doch sehr ausgefeilten Konzeptalben eine schöne Abwechslung für uns. Es hat wirklich Spaß gemacht." Stücke wie "Through A Glass Darkly", "Servant Of The Dark" oder "The Triumph Of The Killing Heart" verströmen eine Art von Gothic-Horror-Atmosphäre, die einem eklektischen Mix aus Sisters Of Mercy, Fields Of The Nephilim und sogar The Cure ziemlich nahe kommt. "Das kann man durchaus so ausdrücken", stimmt Vinz Clortho zu. "Das Album kombiniert viele verschiedene Stile und kreiert dadurch etwas ganz Neues. Meine Roots liegen im klassischen Metal, und dies in Kombination mit den düsteren Songs auf der neuen Platte ergibt eine komplett andere Richtung für Lord Vigo. Ich denke nicht, dass es ein Album gibt, das ähnlich wie "Walk The Shadows" klingt. Ich weiß nur nicht, ob das ein Vorteil oder ein Nachteil ist." "Der Song 'Walk The Shadows' ist die erste Single", erklärt Vinz. "Dazu haben wir auch ein Video gedreht. Jeder Song steht für sich. Deswegen ist es auch schwierig, bestimmte Nummern herauszuheben. 'El Hakim' ist zwölf Minuten lang, es ist nicht nur der längste Song des Albums, sondern auch der atmosphärisch dichteste. Ganz sicher einer meiner Favoriten." "Stilistisch ist das neue Album sehr wohl ein Sprung für uns" fährt Vinz fort. "Aber genau aus diesem Grund denke ich, dass es eine wegweisende Platte für uns werden kann. Es gibt Gruppen, die immer wieder das gleiche Album schreiben. Aber das sind nicht wir. Bei Lord Vigo klingt jede Scheibe anders. Diesmal haben wir unsere Komfortzone verlassen. Kommerziell mag das nicht unbedingt sinnvoll sein. Aber das ist uns ziemlich egal. Wir wollen Erfolg auf unser Weise. Stellenweise singe ich eine ganze Oktave tiefer als für gewöhnlich. Auch das ist ein Grund dafür, warum "Walk The Shadows" so klingt, wie es klingt."

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Shattered Pieces Of The True Cross is the latest long player from Alabama's haunted artists, The Pine HIll Haints, a collection of southern psychedelic tunes captured and recorded live at the legendary Muscle Shoals Sound Studio, engineered and mixed by Single Lock founder and Grammy-winning producer/engineerBen Tanner.

Love is a first kiss, a late night call, an ache of longing that can break your heart or a long drive with the top down to anywhere but here. Love can equally be contained, repressed and longed for as much as it can save, nurture and embolden. Love is a measure of our humanity or how lost we have become. In her new album, How Love Bends, Reb Fountain muses on the transformative power of love. Imprinted with our fear, desire, hurt and hope as much as it is an expression of our suffering and joy, love is an ever-evolving shapeshifter that lives in our marrow; magnetic and emergent it is loosed by its archer to ride on the wind. Reb's medium is that of a surrealist, playing with the stories that we tell ourselves she harnesses the sage wisdom of the dream; we embark upon a limitless exploration of love, life and loss within a landscape entirely of Reb's making. Reb's love is the stuff of chaos and oceans, vulnerability and revolution; stirring up the depths of the human condition and dancing with the richness of who we really are. Unapologetic, vulnerable, heartbroken and commanding; this is How Love Bends. How Love Bends is at once haunting and alluring, mystical and triumphant. Reb is a seeker, actively reaching for the expanse. A reverent explorer she traverses the turbulent and tidal with heartbreaking vulnerability and blazon courage. The result is an emergent odyssey; a dynamic dreamscape unfolding and revealing itself mid-evolution. Reb has explored new approaches to songwriting revealing nuanced layers with endless depths.

Love is a first kiss, a late night call, an ache of longing that can break your heart or a long drive with the top down to anywhere but here. Love can equally be contained, repressed and longed for as much as it can save, nurture and embolden. Love is a measure of our humanity or how lost we have become. In her new album, How Love Bends, Reb Fountain muses on the transformative power of love. Imprinted with our fear, desire, hurt and hope as much as it is an expression of our suffering and joy, love is an ever-evolving shapeshifter that lives in our marrow; magnetic and emergent it is loosed by its archer to ride on the wind. Reb's medium is that of a surrealist, playing with the stories that we tell ourselves she harnesses the sage wisdom of the dream; we embark upon a limitless exploration of love, life and loss within a landscape entirely of Reb's making. Reb's love is the stuff of chaos and oceans, vulnerability and revolution; stirring up the depths of the human condition and dancing with the richness of who we really are. Unapologetic, vulnerable, heartbroken and commanding; this is How Love Bends. How Love Bends is at once haunting and alluring, mystical and triumphant. Reb is a seeker, actively reaching for the expanse. A reverent explorer she traverses the turbulent and tidal with heartbreaking vulnerability and blazon courage. The result is an emergent odyssey; a dynamic dreamscape unfolding and revealing itself mid-evolution. Reb has explored new approaches to songwriting revealing nuanced layers with endless depths.

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Olsvangèr joins Craigie Knowes with ‘The Core’ EP. 4 sophisticated club tracks spanning the spectrum of the Olsvangèr sound. From bumping house on the title track ‘The Core’ to darker club atmospherics on ‘Goldman’s Propeller’ and outright techno bounce on ‘Lunar Kiss Baby Whale’. The record is rounded out with the blissed-out breaks of ‘Lava Luva’. A truly spectacular and versatile record to cover all points in the night, get some!

Remedy Entertainment und Laced Records präsentieren die wegweisende, unvergessliche Musik des preisgekrönten Videospiels 'Alan Wake 2' auf Vinyl.

Remedy und sein Creative Director Sam Lake sind wohl unübertroffen in ihrem Engagement für die Musik in ihren Spielen. Für den Soundtrack verfolgten sie vier kreative Hauptstränge: Der langjährige Mitarbeiter Petri Alanko (Alan Wake, Quantum Break, Control) kehrte als leitender Komponist zurück und lieferte einen bissigen und doch gefühlvollen dramatischen Horror-Score sowie die bei den Fans beliebte Hausmeister-Ballade „Yötön Yö“, gesungen von Martti Suosalo (Ahti).

Der Musikkünstler POE und Sam Lake haben sich zusammengetan, um vier Teile des spiralförmigen, melancholischen Epos „This Road“ zu schaffen, das das Ende von Wakes Reise durch den Dark Place darstellt.

Die Poets of the Fall schlüpften erneut in die Rolle der alten Götter von Asgard und schufen mehrere Prog-Opera, darunter das monumentale „Herald of Darkness“ mit dem Gesang von Matthew Porretta (Alan Wake) und David Harewood (Mr. Door).

Schließlich versammelte die Musikproduktionsfirma Fried Music in Zusammenarbeit mit Nordic Music Partners eine kleine Armee außergewöhnlicher Songwriter-Talente, um die vielseitigen, atmosphärischen und im Universum angesiedelten „Chapter Songs“ zu komponieren.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

A collection of songs and stories with women at the centre, that
I hope everyone can find some resonance, strength and solace with.
credits
released February 28, 2025

Jenn Butterworth: Vocals, Backing Vocals, Guitar, Mandolin & Mandola
Seonaid Aitken: Violin
Kirsty Orton: Violin
Patsy Reid: Viola
Alice Allen: Cello
James Lindsay: Double Bass, Electric Bass & Moog
Louis Abbott: Drums & Percussion
Signy Jakobsdottir: Percussion
Keir Long: Synths & Pianet
Tom Gibbs: Piano (track 5)

Arranged and produced by Jenn Butterworth

All string arrangements by Seonaid Aitken, apart from tracks 3 & 4 which are by Jenn Butterworth and Seonaid Aitken

Slaughter was formed in Las Vegas, Nevada in 1988. The group was founded by lead vocalist and rhythm guitarist Mark Slaughter
and bassist Dana Strum, who previously played together in the band Vinnie Vincent Invasion. The addition of guitarist Tim Kelly
and drummer Blas Elias allowed Slaughter to quickly gain attention for their lively performances, catchy hooks, and melodic guitar solos. Slaughter's debut album Stick It to Ya had three singles released that hit the Billboard Hot 100: the hit "Fly to the Angels" (US#19), and the moderate hits "Up All Night" (US#27) and "Spend My Life" (US#39). In 1992, the band released their second album, titled The Wild Life. It reached number eight on the
US Billboard Top 200 Album Chart and was certified gold, but did not produce any Top 40 hits on the US Hot 100. The only single to reach the Hot 100 was the first single "Real Love" (US#69). The band would go on to release Fear No Evil in 1995, followed up by Revolution in 1997 and their last studio album Back To Reality in 1999. Now Revolution is getting a makeover, being released in updated packaging by original artist Ioannis (Deep Purple, Allman Brothers, BOC), including a 6-Panel Digipak CD

Der 1999 veröffentlichte Soundtrack zu Eyes Wide Shut enthält eine einzigartige Trackliste mit Hits wie „Baby Did a Bad Bad Thing“ von Chris Isaak sowie Originalkompositionen von Jocelyn Pook, die den unheimlichen und spannungsgeladenen Ton des Films perfekt ergänzen. Ein herausragendes Stück, „Masked Ball“, wurde wegen seiner eindringlichen, atmosphärischen Qualitäten zur Ikone. Das Album wurde für einen Grammy Award in der Kategorie „Best Score Soundtrack for Visual Media“ nominiert, was die Anerkennung der Kritiker unterstreicht.

My debut EP on Rupture LDN, ‘Shades of Rave Vol 1’ was created with my love of raving at its core. I love arriving early doors when the anticipation of the night ahead is at its peak, feeling like we’re on the edge of something new and thrilling. I love dancing when we’re deep in session, everyone has come undone and the power hours are in full effect - the energy is frenzied and wild. I love the golden hours towards the end of the night when the crowd has thinned and we’re exhausted but energised, physically empty but spiritually full.

This EP touches on 4x4 jungle techno, jungle, deep d&b and there’s also a spoken word/ poem track dedicated to our ‘all night long’ Ferry to the Underworld sessions at Corsica Studios.

Inspired by the many moods and energies of the dance floor, I wanted to express the different shades of rave I continue to love and cherish all these years on since going to my first rave at 14.

Viva la rave!!

The debut release of Collective Direction explores the incredibly broad and fascinating variety of work of Tasti Box, operating in San Francisco in the early 90’s.

This previously unreleased album, made in the early 90’s, captures the spirit of the San Francisco free party scene that exploded around that time. DJ Harvey, Doc Martin, the Hardkiss Brothers, the Wicked Crew and a host of international guests played at legendary all-night parties at locations such as under the Golden Gate Bridge, on huge custom-built sound systems. Helping to define not only the West Coast scene but also influencing the rest of the country throughout that decade. The cultural impact of this moment in time continues to inspire today’s dance music landscape.

Opening on the delicate and melodic ambient tracks Mim and Quetzcal, the A side closes on Dr Tripi, a house-infused track preluding the uniqueness and diversity of the emblematic Tasti Box sound, explored more broadly on the B side with the triptych of Desire, U Can Fly and Box, a trippy journey melting influences from breaks, house, experimental and techno, one that can be experimented at home or in a club setting. The C side opens with the killer trancey and psychedelic club track Feel It, one expected to be definitely heard on dancefloors over the Summer. It is complemented by the almost balearic Story of O and bleepy and esoteric Electrons. On the D side, some Daisy Glow tracks, showing strong late Tasti Box influence, close the musical journey with four tracks of joyful and melodic house music, a perfect ending to a night and to the double LP.
It’s a compilation for music collectors and dancers alike and those excited to explore the history of a sound not afraid to experiment. The vinyl includes a limited edition A4 design of the artwork cover, an exclusive conversation with the artists and two vinyl exclusive tracks. One not to miss!

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

At a time when post-ambient electronica and bedevilled folk music are co-habiting, and the public’s interest in Pagan rites and rituals has been sparked by a new generation of fans. The bizarre storyline of Whistle And I’ll Come To You seems even more pertinent… and strangely haunting.
The Jonathan Miller-adapted 1968 ghost story was originally part of BBC’s Omnibus series and featured Michael Horden as a fussy professor who discovers an ancient whistle which summons up the spirits. A black and white folkloric tale in the style of The Wicker Man, the original TV programme received rave reviews.

The esoteric live score was recorded at the Hypnos Theatre in Malmö. The 42-minute soundtrack utilises stuttering tape loops on ‘Intro’ before breathing new life into the primitive John Carpenter-like drum machine on ‘Supernatural Breakfast’, while ‘Walk On The Beach 2’ sounds like a hauntological rendition of a Broadcast classic. Indeed, that effect is amplified on ‘Nightmares’, with its swirling wind and other-worldly choral effect, before the feeling of some supernatural presence is suggested on the penultimate cut ‘Evidence Of Spiritualism’

Inspired by Abba, early AC/DC, Beefheart and the dark heart of outsider pop, The Beyond and the Better Way is a record featuring warped orchestrations, extended autobiographical rants and sumptuous performances by a collection of Glasgow's (and Ireland's) finest musicians and singers The Gorgeous Pouting Mr AR is a pseudonym for Ronan Breslin - a recording studio owner, composer and academic who teaches sound and music at The Glasgow School of Art.

Ronan comes from an Irish family of musicians, with the most notable being his brother Niall Breslin, who helmed the iconic Irish band "The Blizzards" before becoming a highly regarded mental health podcaster and now presenter on BBC Radio 3. Niall's stellar guitar playing features on many of this record's tracks. The recording will be released on the 23rd May via Strength in Numbers Records on vinyl and digital platforms and will be accompanied by an online collection of song- related essays (aka rants). The album is distributed by Last Night From Glasgow. "The songs explore OCD, politics, anxiety, grief, regret, rage, lost love, but also reflect on joyous moments that define the transition from fearful child to fuck- you adolescence and finally reluctant adulthood. The album title song 'The Beyond and the Better Way' is morbidly confessional; however, it is also a statement of resilience, positivity and optimism for the human condition. There is always a better way." - Ronan Breslin