Buscar:back in time

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and following the first ever vinyl release to attend to James Tenney's legendary Postal Pieces, the label now presents the first LP published by the visionary Swiss composer Jürg Frey. Drawing from the transformative power of breath and resonance, this release represents one of the most profound explorations of musical metamorphosis to emerge from the contemporary experimental landscape.

The completed work represents a "conjunction of these two artists" that has "activated a transformative form of experimentalism." These renderings "dance with an airy lightness, humour, and play, imbuing them with a beauty and emotiveness that can be rare within experimental music." They exist as "breaths, carrying the curiosities of life, belonging to no time and all time, to no one and everyone: a human music to be inhaled and pondered, for which the outcome remains unknown." In this liminal space between composition and interpretation, between breath and resonance, Zurria and Frey have created something that transcends the boundaries of experimental music itself, offering what might be called a metaphysical cartography of sound in its most essential form. As Bradford Bailey observes in his penetrating liner notes, "music is rarely a fixed entity," existing instead in a state of perpetual flux, "taking on the influences of its interpreters and performers." This fundamental truth finds its most eloquent expression in the transformative collaboration between Italian flutist Manuel Zurria and Frey, longtime member of the Wandelweiser Group. Where conventional recordings might preserve a definitive version, this release activates what Bailey calls "states of unknowing and continued experimentation," allowing Frey's compositions to evolve into entirely new dimensional territories. The original string quartet and piano works dissolve into breath-carried architectures of sound, where "the original remains in a constant dialogue with its transformation." This is not mere arrangement but ontological metamorphosis - an alchemical process through which crystalline harmonies are reborn as atmospheric phenomena.

The metaphysical dimensions of this transformation become clear through detailed analysis of the musical result. Where Frey's original compositions operate through what he calls "basic confidence in the clear and restricted material," Zurria's interpretation activates entirely new perceptual territories. Space holds almost atomic sense of weight against the airy punctuations of timbres, textures, and tones, creating "suspensions of time within which questions and identities posed by instrumentation fade." The Extended Circular Music pieces - each comprising "a small number of bars to be repeated an undetermined number of times" - become organizations of sound that defy being definitive or fixed. Originally scored for different combinations of violin, viola, cello, and piano, these works now exist as pure phenomena of breath and resonance, where "hanging, breath-length utterances dance and intertwine amongst complex harmonic clusters and conjunctions."

The philosophical implications of this transformation illuminate a lineage of composers who have moved "away from abstraction and responding to the need to create" something beyond mere technique. Drawing parallels to Morton Feldman's understanding of non-functional harmony, Zurria's approach represents "a transformative form of experimentalism" that activates what Frey calls the "thaumaturgic power" of music - its capacity to heal and transform consciousness itself. The result is "a radical reimagining of ambience: sprawling sonorities and resonances adrift in space, carrying the liberated traces of the work's former incarnations and their truths." In Zurria's interpretation, Frey's String Quartet n.3 becomes something approaching "an organ played in slow motion, its seals leaking," while the Extended Circular Music pieces transform into "glacial chords from a diverse palette of voicings, harmonies, timbres, and tones."

Performed by Manuel Zurria. Recorded and mixed by Zurria at BigCardo, Catania between 2022-2024, with mastering by Bruno Germano at Vacuumstudio, Bologna, this Blume release represents a profound exploration of musical transformation.

For anyone unfamiliar with Skeleton Recordings, it was started in 1992 by DJ Monita based in West London and had a quality string of releases between 92-94 like Triple 6, Luv To Luv Ya, A Classic Skank, The Razor's Edge, Nightmares, I could go on and on...

In 2014, the label started back up again & I'd been sending some of my music to Monita around this time which led to me releasing an EP called Storylines on the label in 2016, where I was able to put out some of my music that was made in a darker & more modern style than my usual oldskool inspired work. I also had a tune featured on the 25th anniversary release series called Time's Up alongside other favourite artists of mine like Threshold, Gremlinz, Antidote (R.I.P), Future, Theory, Ricky Force & many more.

In 2021, Monita announced that he would be retiring Skeleton Recordings and putting out the final releases, which were single sided represses of Luv To Luv Ya & Nightmares, nearly 30 years after they originally were made. However, I had some great unofficial remixes that Phineus II had done of The Razor's Edge & Full Cry by Steve C & Monita, which never saw the light of day officially and I took a chance by contacting Monita to see if he'd be up for one more Skeleton Recordings release, in conjunction with Future Retro London.

Thankfully, he was up for the release and on top of that, he was able to provide 2 tracks that he made in 1995 that were meant for Skeleton Recordings but never saw the light of day until they were released digitally on Hardcore Junglism for a brief period of time, but never released on vinyl.

Big thanks to DJ Monita of course for allowing me to make this happen (as well as for his work in creating such a great label) & Phineus II for his remixes.

Double A-Side release by two of Englands best Streetpunk/Oi! Bands with two new songs on a ltd vinyl 10inch! GIMP FIST celebrating their 20years anniverary with brandnew track "History Repeats"."HISTORY REPEATS" is something very special in every way: The song surprises with a sound that is very atypical for Gimp Fist, with excursions into folk punk, and for good reason: It is released exactly 20 years after their first pub concert back on June 6, 2005, in Bishop Auckland, and it has captured just that atmosphere musically. Instead of merely celebrating themselves as is usual with anniversary songs, the lyrics convey a clear message to society and politics for mutual respect and peace, as the signs unfortunately point to 'History Repeats' with all the current conflicts worldwide. UK's Streetpunkers RIOT CITY RADIO shouting out loud to all football and soccer fans with their new song "We're still singing" A terrace themed anthem calling out all the 'fair weather' supporters who turn their back on their sports team when times get hard. Catchy Singalongs paired with melodic hooklines and straight forward guitars, for good reasons RIOT CITY RADIO are handled as on of UK's actual best Streetpunk bands! Classic black vinyl, here's the Gimp Fist cover art displayed.

Double A-Side release by two of Englands best Streetpunk/Oi! Bands with two new songs on a ltd vinyl 10inch! GIMP FIST celebrating their 20years anniverary with brandnew track "History Repeats"."HISTORY REPEATS" is something very special in every way: The song surprises with a sound that is very atypical for Gimp Fist, with excursions into folk punk, and for good reason: It is released exactly 20 years after their first pub concert back on June 6, 2005, in Bishop Auckland, and it has captured just that atmosphere musically. Instead of merely celebrating themselves as is usual with anniversary songs, the lyrics convey a clear message to society and politics for mutual respect and peace, as the signs unfortunately point to 'History Repeats' with all the current conflicts worldwide. UK's Streetpunkers RIOT CITY RADIO shouting out loud to all football and soccer fans with their new song "We're still singing" A terrace themed anthem calling out all the 'fair weather' supporters who turn their back on their sports team when times get hard. Catchy Singalongs paired with melodic hooklines and straight forward guitars, for good reasons RIOT CITY RADIO are handled as on of UK's actual best Streetpunk bands! Classic black vinyl, here's the Gimp Fist cover art displayed.

Tough Love brings to vinyl for the first time April Magazine's Sunday Music For An Overpass, a nine track collection originally issued on cassette in vanishingly small number by Paisley Shirt in 2021. The kind of mythical recording you might have once needed to know the band to own. Alas, no longer... Can the universe have two centres? Because if it's not Gothenburg it's San Francisco... It's impossible for me to think about what's going on in that particular part of the west coast right now without immediately being drawn to April Magazine, a comparatively loosely assembled three (sometimes four) piece centred around artist/musician Peter Hurley, who seem to simultaneously operate at both the heart and the margins of the current Bay Area underground. On the one hand they share members with many other bands, their guitarist/singer runs a gallery that functions as some kind of focal point/social space, and Cindy even have a song named after them. On the other hand, their music is resolutely lo-fi and invariably couched in a mysterious haze, the live footage available online seems to suggest that they sound slightly different each time they play, and there are reports they have dozens of songs (possibly albums?) that have not and may never be released, hidden inside their own private universe. On its initial release, Sunday Music For An Overpass was an early attempt to drag the group a little closer into the light, yet inevitably made them feel as endearingly enigmatic as ever. Typically, this vinyl reissue some four years later only goes part way in clearing that alluring fog. April Magazine channel the greats - Spacemen 3, The Pastels, early B&S, Mary Chain, Rainy Day/Opal/Mazzy et al - but submerge their obvious melodic capabilities within seemingly infinite spray can hiss, as if the songs are being pulled backwards through some vortex to the past. Half of these tracks are instrumentals, and it's in those moments that the band are perhaps at their most expressive, suggesting a very inviting melancholy that can't quite be figured out. Though the LP remasters the original recordings and is a little cleaner sounding as a result, no secret is being given away. The appeal is that the more you hear from them, the less you really know, and all the better for it. Maybe, then, it's that April Magazine are here to show there is no centre to the universe, that instead it's always just off to the side...

INSTIGATORS are back, with their first shows in over 30 years, and to tie in Boss Tuneage is making their classic second and third albums "Phoenix" and "Shockgun" available again on vinyl, as limited edition colour vinyl pressings as part of the highly acclaimed Boss Tuneage Retro Series. "Shockgun" was originally released in 1988, hot on the heels of extensively touring the US and Europe, and was the second album from the classic second phase of the band, which feature original guitarist Simon Mooney teamed up with Andy "Tez" Turner (ex XPOZEZ) on vocals and the rhythm section of Bob Gorlik on bass and Steve "Cuzzy" Curran on Drums. Restored and remastered by Andy Pearce, it has never sounded better! The first time this album has been available on vinyl for over three decades!! This is a must own purchase for anyone in an interest in 1980's UK punk.

Ghetto Cycle is the soundtrack of Charlie P’s life, set to music by O.B.F.

Meeting up with Charlie P and Rico from O.B.F in a studio is like diving into a particle accelerator operating at full speed. Lively, hyperactive, hardworking, Southend’s MC and the greatest warrior of French sound systems just can’t stay put.

Their creativity works continuously: riddims, melodies, lyrics, clip concepts and other fantasies spurt out at top speed. These common traits allow them to produce explosive collaborations, both on stage and in the studio.

After the success of the singles “Dub Controler” and “Sixteen Tons of Pressure”, the launch of an album became self-evident. Coming from a modest background in a remote London suburb, Charlie P has been through a lot before understanding that his passion for music could be a vehicle for emancipation. It is this life trajectory, punctuated by difficulties, pitfalls, hard work, encounters and challenges that he tells through the tracks of “Ghetto Cycle”.

Conceived as a concentrate of joint influences, this album gathers tracks in the purest digital dub vein, but also reggae, dance or downright grime. A new stage in the development of their collaboration.

Second album from North East indie rockers Fortitude Valley! "We're still very much the same band," says Fortitude Valley's Laura Kovic, describing the band's triumphant return with second album Part Of The Problem, Baby. "But the dials have all just been turned up a bit." That much is immediately apparent from the off - whereas 2021's self-titled debut was a breezily charming coalescence of effortless pop hooks and indie-punk energy, this new effort announces itself with guts and a road-earned sense of self-confidence. It's the sound of a band growing into itself; with a smartly effervescent approach to songwriting and a seemingly inexhaustible supply of swoon-inducing indiepop hooks. Over the course of Part Of The Problem, Baby's ten glorious offerings, we get treated to a miscellany of pop cultural sources of inspiration as a means of tackling themes like distance, personal growth and self-determination. For Kovic, an Australian-born musician living in the UK for almost two decades, the first of those is clearly a big one. "When I was a teenager I couldn't wait to get away," she explains, referencing her upbringing in Brisbane, "and now I can't wait to go back each time. My life is now just repeatedly visiting and then feeling sad when I leave, but knowing in my heart that I am where I'm supposed to be." Louder, wiser, in tune with each other and their identity as a collective_ Fortitude Valley may well remain the same band, but Part Of The Problem, Baby is a step forward on every level.

Thank You For Using GTL is a 2020 album from vaunted Los Angeles rapper, Drakeo the Ruler. The album contains verses recorded entirely through phone service from GTL while Drakeo the Ruler was incarcerated at Men’s Central Jail in Los Angeles, California. The album focuses on topics such as the targeting of rap and rappers by the US criminal justice system, the prison-industrial complex, incarceration, capitalism, and the gray area between what’s real versus fiction in hip-hop. Lauded by Pitchfork as “Likely the greatest rap album ever recorded from jail,” and included at number 32 on their 50 Best Albums of 2020, the album serves as an interesting moment in hip-hop, further cementing Drakeo the Ruler as one of LA’s most beloved rap luminaries. For the very first time, for any album, on any format, Drakeo’s music will be available on vinyl for fans. Pressed on Green & Blue A Side B Side vinyl and limited to 1700 copies.

Back in 2016 a talented wordsmith from the Bronx going by the name Mickey Factz teamed up with producer Nottz to release his full-length "The Achievement: Circa '82". The album is an ambitious piece of work that finds Mickey trying to encapsulate all his thoughts in lieu of this very moment, with Nottz serving as the executive producer providing a plethora of landscapes for Mickey to illustrate his stories. Featuring guest appearances by names such as Styles P, Smoke DZA, Phonte, Curren$y, Royce Da 5'9", Skyzoo, Stalley and several others, this deluxe and extended edition also presents a few remixes and unreleased tracks, all packed in a 2LP limited edition vinyl, bringing Mickey's achievements on physical copy for the first time ever.

Originally released in 1996, Kerosene 454’s sophomore album 'Came By To Kill Me’, is back in print after 28 years. These were the first recordings written exclusively with drummer Darren Zentek (formerly of the band, Glendale) and came at a time when the band felt like they were moving at 100 miles per hour. The album was recorded in the summer of 1996 with J. Robbins (Jawbox, Magpie Cage Studio) and Don Zientara at Inner Ear Studios with help from Juan Carrera (Warmers, Slowdime Records).

John Carroll Kirby brings his signature sound tofilm scoring with the official soundtrack album forfeature film ‘The Luckiest Man in America’, whichpremiered at the Toronto Film Festival andreceived a wide theatrical release.
John Carroll Kirby’s background is steeped in jazz,but his signature sound blends genres and styles.He has collaborated with artists ranging fromsuperstars Solange, Frank Ocean, Harry Stylesand Steve Lacy (earning him a GRAMMY nod forthe smash hit ‘Bad Habit’) to beloved indiemusicians like Connan Mockasin, Yves Tumor,Eddie Chacon and Liv.e.
John Carroll Kirby has released several recordswith Stones Throw, most recently ‘Blowout’ in2023, which Pitchfork called “endlessly vibey… hismost energetic and immediately enjoyable releaseyet.”
His records have received previous support fromPitchfork, The FADER, LA Times, The Guardian,BBC Radio 1, BBC 6 Music, MOJO, Clash andVICE, among many others.
Kirby has toured extensively across NorthAmerica, Europe, Australia / NZ and Asia, and ison tour throughout Summer 2025 with Khruangbinin the US.
For fans of Duval Timothy, Sam Gendel, AlabasterdePlume

After lot of Skep Waxing Amelie and Rob and Cathy, Ian and Peter are back for indie good! It's been a long time coming but influential jangle guitarpop band Heavenly are releasing a brand new 7" single, with a full album to follow in February 2026. Portland Town is as effervescent a pop song as any of Heavenly's past recordings, with duelling vocals from Amelia and Cathy; looping, twanging, `how-did-he-do-that' guitar escapades from Peter, and a super-catchy melody. As so often with Heavenly, though, the lyrics have real bite. The song embraces those who find themselves on the margins of a hostile world where maleness, straightness and conformity are in the ascendant. So why Portland? It has always been a sanctuary - one of those places where difference is celebrated, a place where, as the song puts it, anyone can fit in. The flip is a cover version of a much-loved Only Ones song, `Someone Who Cares'. Heavenly are: Amelia Fletcher (guitar, vocals), Cathy Rogers (guitar, vocals), Rob Pursey (bass), Peter Momtchiloff (guitar), Ian Button (drums)

After roughly 15 years out of the game, Marc Kushin makes a highly anticipated return with his Ely Muff project - a label favourite since its inception - debuting proper on Love Love with 4 tracker 'Human Nature'. Kushin's proto-tekno take on the early breakcore sound was a stand-out of a particularly noisy strain of hardcore which emerged in the UK in the late 90s and early 00s, releasing on the likes of Headfuk, One Inch Punch, Deathchant, as well as Kushin's own labels Kinky Stump and Dead Pig, run alongside longtime collaborator Tantrum.



Unpretentious, unserious and completely unapologetic, 'Human Nature' features four tracks of brutal hardcore spiral tekno, distorted and mangled but retaining groove and swagger. The EP features two re-released classics from Kushin's back catalogue: the pumped-up pirate radio pastiche of 'Hold Tite The P, No Need For London' and the feedback-laden blunt lobotomy of 'Automatic Predator', two decades on from their original releases in 2005 on Capsule Core and One Inch Punch. Complementing them are tracks 'Human Nature' and 'Cycle Dirty', previously unreleased spasmoid gems from the same era, unearthed and seeing the light of day for the first time.



All four tracks have been lovingly (re)mastered by Love Love's own Ben Pest for a maximal sonic experience, shining a light on this criminally overlooked corner of UK rave heritage.

Re-issued for the first time on vinyl, this obscure dub masterpiece – originally available on the small imprint Silver Camel in 1981 – is still considered one of the best efforts by brilliant singer and producer Al Campbell. More magic at the controls with the key presence of Barnabas and Maxie at Channel One and Scientist tracks mixed at King Tubby’s studio.

GIMP FIST feiern ihr 20jähriges Bestehen und hier ist ihr Geburtstagsgeschenk: seit über 10 Jahren ausverkauft, sind jetzt die Alben #2, #3, und #4 als spezielle Sammler-Editionen wieder erhältlich: "Your Time Has Come", "The Place Where I Belong" & "Marching On And On" enthalten jetzt jeweils einen zusätzlichen, seltenen Bonustrack und kommen als 180gr farbiges Splatter-Vinyl! Jede farbige Ausgabe ist auf nur 233 Exemplare limitiert! Spätestens mit Album Nummer 4 (Marching on and on, 2013), einem weiteren absoluten Hit mit Songs wie ,First in Line" und ,Battered & Bruised", war klar: Gimp Fist sind eine Ausnahmeband und haben das gewisse Etwas, das sich die Band aus Norwich bis heute erhalten hat. Ein dreifaches Prost auf Jonny, Mike & Chris!

Italian techno force Alarico makes a striking debut on KEY Vinyl with 'Sweaty Techniques', a seven-track LP that encapsulates his signature style: groove-centric, stomping and irresistibly danceable. Known for his prolific output, the Berlin-based artist delivers a fast-paced and energetic sound, interwoven by the thematic thread of the whole release: a sweaty encounter.

From the opening pulse of 'Cradle to the Grave', rhythm takes center stage-percussion-driven and primed for peak-time occasions. Snipped vocals and bouncy baselines carve out some sort of hypnotic patterns, while deep, rolling low ends keep the momentum locked in. Gritty textures collide with fragmented modulations, twisting into distorted, high-energy productions. Across the LP, tightly coiled bleeps and moaning snippets emerge, lending a sinister yet seductive edge.

Then there's 'Dammelo'-Italian for 'give it to me'-which subsumes the album's thematic essence into pure physicality, embracing its vocal motif with a knowing smirk. As the record progresses, Alarico shifts between functional, stripped-back rhythms and more tension-driven moments, culminating in 'Touch My Heart', where sharper drum programming meets hypnotic vocal loops. Closing on a high, 'Jamira' encapsulates the album's crisp percussive edge, rounding off a release that is as relentless as it is intoxicating.
With 'Sweaty Techniques', Alarico solidifies his place as one of techno's most electrifying new voices-an LP made of steel, but definitely built to move.

If anyone knows how to roll with the punches, it’s Travis Roberts. At 24, the Texas songwriter has already battled addiction, buried friends, and been so broke he couldn’t put a roof over his head. Hell, he even joined an underground fight club just to pay for studio time.

“Whoever won the fights took home the lion’s share of the money,” he explains, “but even if you lost, you made something. I lost a lot, but I got what I needed out of it.”

It should be no surprise, then, that Roberts comes out swinging on his blistering debut, Rebel Rose. Recorded with Roberts’ longtime live band, The Willing Few, the album fuses earnest country storytelling with rowdy rock and roll energy as it blurs the lines between roots, punk, folk, and power pop. The writing is raw and visceral here, built on gritty portraits of working-class underdogs just trying to get by, and the performances are nothing short of explosive, propelled by a relentless rhythm section, searing guitars, and infectious melodic hooks. The result is an exhilarating album that defies easy categorization, an alternately bruising and triumphant reflection on growing up, getting clean, and giving it your all from an artist who’s taken more than his fair share of hits.

Every fighter knows, it doesn’t matter how many times you get knocked down. All that matters is how many times you get back up

Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP Set Plays with Authoritative Tonality, Airiness, and Clarity:
Pressed on MoFi SuperVinyl and Strictly Limited to
3,000 Numbered Copies
1/4” / 15 IPS Dolby A analogue master to DSD 256 to analogue console to lathe

Joni Mitchell is the only artist who could’ve made Hejira. The legendary singer-songwriter said as much when discussing the album decades after its release. Yet that fact seemed obvious from the moment the gold-certified effort streeted in fall 1976. An adventurous travelogue, probing narrative, and offbeat homage to freedom, Hejira remains an inimitable entry in the catalog of recorded music — a spare, gorgeous, meditative series of sonic vignettes comprised of floating harmonic pop, cool jazz, soft rock, and sensitive vocal elements that beckon feelings of motion, discovery, and self-examination.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set presents the record ranked the 133rd Greatest of All Time by Rolling Stone with definitive detail, richness, accuracy, and directness. Marking the first time the revered LP has received audiophile treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD.

Playing with a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible reissue reproduces in enveloping fashion the tones, textures, and craftsmanship that help Hejira function as the equivalent of a liberating trip down an open road with nothing but blue sky, natural landscape, and fresh air in the immediate vicinity. Passages bloom, carry, decay as they do amid an acoustically optimized environment. Soundstages extend far, wide, and deep, with black backgrounds and pinpoint images adding to the realism.

The reference-grade immediacy, airiness, and presence put in transparent perspective Mitchell’s dense strings of words, stream-of-conscious-like phrasing, and unhurried albeit forward momentum. Likewise, the instrumental contributions of her A-list support musicians — a cast that includes L.A. Express members John Guerin, Max Bennett and Tom Scott, plus Neil Young, Victor Feldman, and Abe Most — emerges with breathtaking clarity and dimensionality.

While Mitchell, whose intimate vocals and abstract guitar parts center everything, Mobile Fidelity's restoration of Hejira further reveals the visionary breadth of guitarist Larry Carlton and bassist Jaco Pastorius. Though heard on only four tracks, Pastorius' fretless bass epitomizes the fluid, subtle, flexible, roomy, and shape-shifting characteristics of songs that often appear to transpire out of nowhere akin to the formation of a puffy cumulus cloud overhead. In sync with Mitchell’s voice, Pastorius’ fusion hovers and floats, suspended in a fog you want to deeply inhale. The "grace notes" Mitchell desired on Hejira can now be heard in full. Ditto the luxurious tapestries of alinear lines, fills, and supplements unreeled on Carlton’s six-string.

Visually, the packaging of this UD1S set complements its identity as the copy to own. Housed in a deluxe slipcase, the LPs come in foil-stamped jackets with faithful-to-the-original graphics. This version is for listeners who desire to become immersed in everything about Hejira, including the unforgettable album cover — a pastiche of 14 different photos Mitchell used a Camera Lucida to assemble into one image that’s anchored by a portrait of her in a stoic pose — and the interior shots of Mitchell skating on a frozen Wisconsin lake wearing a pair of black skates, black shirt, and fur cape.

The notion of skating, feeling an awakening wind whipping against your face, and losing yourself to the surroundings are extremely apt for Hejira, which Mitchell wrote after a sequence of trips and relationships prompted her to reflect on the complicated conflicts between independence and marriage, success and satisfaction, duty and desire — and, more specifically, “the cost of being a woman.” The Canadian native delved into such themes before. But never as she does on Hejira, whose liberating, running-away aura doubles as another of Mitchell’s rejections of tradition as well as a suggestion of a better alternative.

At once observational and personal, expansive and insular, cheerful and poignant, Hejira spans a sea of human conditions, emotions, and circumstances. It addresses drifting, isolation, pleasure, place, time, and surroundings with strikingly poetic discourse matched with music that, save for the crooned ballad “Blue Motel Room,” forgoes conventional structures and choruses.

The jazz-based arrangements, marked by scaled-down percussion and all manner of bent, rounded, and unsettled notes, hint that Mitchell has no exact destination in mind. Excursions such as the moody “Furry Sings the Blues,” funky “Coyote” and edgy “Black Crow” throw open previously locked doors to possibility and journey. They signal it’s time for a welcome departure from norms and the past, one that leads to a heightened sense of clarity and perspective. Or, as Mitchell said upon choosing the album title, it’s time for “leaving the dream, no blame.”

Hidden Folder returns with its fourth transmission – HDF004 – featuring three original cuts and standout remixes from bullet tooth and K-LONE.

The EP further refines the label’s distinctive blend of UK-rooted club music and stripped-back dancefloor aesthetics.

Opening with ‘Matter of Time’, the title track is a peak-time speed garage weapon – driven by a menacing reese bassline, swing-heavy drums, and deep atmospheric pads.
‘Blurred Line’ follows with a more melodic, emotive touch, already turning heads with early support across the scene.
On the flip, ‘Can’t Get Over’ taps into classic UK Garage sensibilities, pairing housey drum grooves with lush Rhodes chords, chopped vocals, and a warm, rolling low-end.

Remix duties come courtesy of bullet tooth and Wisdom Teeth’s own K-LONE.
bullet tooth flips ‘Can’t Get Over’ into a modern house banger – punchy drums, a snarling peak-time bassline, and undeniable floor energy.
K-LONE takes a more minimalistic route, layering intricate percussion, loopy vocal cuts, and Rhodes stabs with his signature swing and subby finesse.

A forward-facing entry in the Hidden Folder archive – continuing the imprint’s streak of genre-fluid, system-ready club gear.