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Two decades at the highest level in this industry is a landmark really reached. Pig&Dan celebrate this major milestone with an immense, twenty-track album project ‘20 Years: Pig&Dan’ of which this eight track, 2 X 12” vinyl sampler cherry-picks some of the finest moments.

Released via their long-standing record label ELEVATE, the album delivers some of the duo's most forward-thinking techno productions to date. It is a remarkable opus of intelligent, cutting-edge dance music from two artists who came together back in 2002 to form what would become one of the most prolific and globally revered acts in electronic music.

Unyielding in their commitment to originality, eclecticism and tradition, the album will feature an array of brand-new Pig&Dan productions, alongside a selection of new 'update mixes' of some of the duo's most celebrated anthems.

Speaking about the twentieth-anniversary project Pig&Dan commented:

"It's almost hard to take in that we are celebrating a 20-year milestone of producing and performing together. This project features an array of fresh unreleased euphoric productions that hold a sound that we hope represents our growth in sound. We've also included a selection of new, updated 2022 versions of some of our more celebrated productions from the last two decades. We really see it as more of a statement than an album, hence the fact there's a track that represents every year on our musical journey."

Es sind die wohl bedeutendsten Alben ihrer Karriere: 1991 veröffentlichten Guns N‘ Roses ihr drittes und
viertes Studioalbum “Use Your Illusion I & II“ - beide am selben Tag, dem 17. September. Beide Alben,
die in ihrer ersten Verkaufswoche mit 685 Tsd. und 770 Tsd. Alben in den USA einen Verkaufsrekord aufstellten und selbstverständlich Platz #1 und #2 der Billboard Charts belegten, warfen legendäre Hits, wie
”November Rain”, ”Don’t Cry”, ”Knocking On Heaven’s Door”, ”You Could Be Mine” oder ”Civil War” ab.
Zum ersten Mal erfuhren nun alle Tracks eine musikalische Aufbereitung und kommen in zeitgemäßer
Tonqualität daher. Neben allen bekannten Albumtracks gibt es auf den Deluxe Versionen Aufnahmen von
zwei Live-Konzerten in Audio- und BluRay-Qualität, sowie eine neue Version von “November Rain“ mit
einem 50-köpfigen Orchester.
Die größte Deluxe Version der neuen Editionen bringt es auf 97 Tracks – 63 davon bisher unveröffentlichte
Audio und Video-Tracks - sowie ein 100-seitiges Hardcover-Buch, Backstage-Pässe und vieles mehr.

Ever since he remixed Abimaro & The Free’s ‘Mark’ back in 2014, NuNorthern Soul boss Phil Cooper has kept in touch with Daniel Stenger, the producer and self-taught multi-instrumentalist behind the Flashbaxx project. Cooper was always convinced that Sanger would be capable of crafting a very special release for the label but was willing to give him time to come up with something special.

With Take Care My Friend, a mini-album inspired by the German producer’s deeply rooted love of jazz-funk, Stenger has repaid the faith shown in him. He’s deliv-ered a collection of quality cuts marked out by audible warmth, effortless musicality and memorable, sun-soaked songs.

As he makes clear in the liner notes included with the vinyl version of the mini album, the project began with the recording of luscious, Rhodes-laden opener ‘Al-right’. After staying up all night recording the track, Stenger not only decided to continue recording with the same relatively limited set of instruments (think bass and electric guitars, drums, piano, electric piano, organ, hand percussion and a handful of synthesizers), but also stick to a hybrid sound that added a subtle Lat-in shuffle to his Balearic-minded take on jazz, funk and soul fusion.

We’re biased of course, but there’s no denying that Stenger’s creative choices have resulted in a superb set of tracks. While the restricted kit list provided focus during the music-making process, there’s still plenty of musical variety across the six tracks that make up the set.

For proof, compare and contrast the jazzy, loose-limbed headiness of ‘It Just Happens’, where simmer-ing synth-strings, twinkling melodic motifs and glis-tening guitar licks rise above smooth jazz-funk bass and a gentle broken beat rhythm, and the slow-motion soul brilliance of ‘Strangers’, where Kathryn Kempf’s evocative and poignant lead vocals rise above a sump-tuous downtempo groove and heart-aching piano lines.

This subtly varied but musically coherent vibe contin-ues across the mini album. Stenger indulges in a bit of New York daydreaming on ‘Brooklyn Love Boat’, a wonderfully musically detailed chunk of 1970s style jazz-funk heat that offers knowing nods to Roy Ayers, Herbie Hancock and the jazz-fusion stylings of Azymuth, before opting for a deeper, slower and even more seductive sound on the Hammond-sporting bliss of ‘Take Care My Friend’.

Closing cut ‘City Lights’, a gorgeous, soft-focus affair smothered in echoing Rhodes riffs and immersive chords, has the feel of an underground classic in wait-ing: a stirring, string-drenched future sing-along whose emotion-packed lyrics are delivered brilliantly by Glasgow-born singer/songwriter Chris Pookah.

Despite the song’s subject matter – the painful final breakdown of a relationship – there’s something strangely uplifting about the combination of Pookah’s pitch-perfect vocal delivery and the absorbing warmth of Stenger’s comforting and sonically detailed music. It provides a fittingly impressive finish to a mightily immersive mini album.

Forget your search for a holy grail, THIS is The Lost Ark Of The Covenant.

Walter Gibbons presents 'The Ten Commandments Are The Law Of The Land'
It will melt your face and make you clap yo' hands!
Mythical disco foundations from Sunshine Sound.




Label Info:
Take a journey to the dawn of DJ culture with Sunshine Sound, the NY imprint that through a series of genre defining Disco Edits became recognised as the 'Birthplace of the Edit'.

These 'Disco Adjustments' would become the hottest tracks in a DJ's crate, spawning countless bootlegs & imitations since they first appeared so many years ago.
As influential as these recordings were, most only appeared as acetate discs individually cut in mono & sold direct to DJs.
Some of these were cut in such small quantities it could be debated as to whether they ever really existed at all.
40 years later and all that remains are remakes & rumours...

...or so it was thought.



Sunshine Sound rises again to bring you a series of classic, legendary & mythical Edits.
Travel back with us to re-discover monumental works that helped shape the sound of dance music as we deepen the textures of history with a series of exclusive Digital & limited Vinyl releases selected from the vault.
Sunshine Sound releases are distributed by Moonshine Sound, bringing you antiquities of historical Disconificance.

Sunda Arc are brothers Nick Smart and Jordan Smart. Best known as key members of folk and jazz influenced minimalists Mammal Hands, their Sunda Arc project takes inspiration from the likes of Jon Hopkins, Rival Consoles, Moderat and Nils Frahm as well as their own music world. Their debut EP 'Flicker' was released in December 2018 and now the duo are set to release their debut LP, 'Tides' on 7th February 2020.

Named for a volcanic arc in the Indian Ocean, created by the process of massive tectonic plates colliding, Sunda Arc strives to mingle electronic and acoustic sounds until they become almost indistinguishable from each other. It's a process where they draw the acoustic properties and quirks out of electronic sounds and find the electronic potential in acoustic sounds. "Finding the ghost in the machine or blending the human elements of playing live is something we are always trying to explore in our work.

Experimentation is a large part of our process and we tend to combine carefully composed material with chaotic ideas to find the balance between the two" — Sunda Arc 'Tides', their debut album, takes its name from the idea of unseen forces that can affect our lives in myriad ways, being pushed and pulled and at the whim of powerful forces outside of our control as well as offering a nod to things such as the tides on our planet, tectonic plate movements and weather systems. There are often chaotic elements in these systems that function in a way that produce a type of controlled randomness on a large scale. This is something they try to reflect in their music by adopting some of the ways these systems work into musical sequences, and using ideas such as chaos theory to control musical parameters. "Tides is a reference to themes we were thinking a lot about during the making of this album. These include the similarities between macro and micro systems, or the circulatory and nervous systems in the body. Things that produce a type of controlled randomness on a large scale". — Sunda Arc 'Hymn', the first single from the album, uses Nick's voice sampled and played back through a keyboard to create a human yet electronic feel.

It mixes soft vocals with heavier electronic elements to create a danceable yet human sound world. 'Dawn', is best described as uplifting-techno, its use of repeated phrases building in intensity and variations to put you into a hypnotic state whilst also being industrial and danceable. 'Daemon' is one of the tracks that really resonates live. Drawing on the sound of UK dubstep it's intense but fun and the bass clarinet blends with synths at the end to create a sound almost like a vocal. 'Secret Window' brings forward another side of the band, focusing around a lo-fi recording of felted piano and bass clarinet.

These are blended with granularised and processed versions of themselves which emerge like ghosts of the instruments throughout the track. 'Cluster' is another key track. It utilises a small group of notes looped in an unusual way to create a sense of cascading patterns over a solid danceable drum groove. It emphasises soprano sax blended into the sound world half-way through to lift into the final section.

"Contaminated Culture" is the next various artists on limited edition by Scena_731 Recordings. Are two collections with 7 artists and divided in one vinyl release. The contamination comes from the different culture of these artists, who found two similar genres into the techno music and who marry in a festival line up. On the Part I of the V/A on side a, we have three artists on the classic techno and deep sounds. As you will know the well-known sound of Ritzi Lee with a classic mix, Paul Birken with his unmistakable technique through modular systems, Booz equally a lover of the sound sought through spatial connections of the universe. On the Part II on the side b, we have the B2B of Yari Greco & Karah from Rotterdam with a totally raw and edgy version for the dancefloor with a mix of raw and pounding groove. Then you will listen to Aeit, with an industrial London sound with a raw electronic synth perfect for the rave crowd and the last track signed by Jassass, an earthquake that damages you with very fast grooves and changes of industrial scenarios.
Support the good techno music for his different culture. Enjoy!

Repress expected. Date TBA

By 1980 when this was originally released Pharoah Sanders was solidly entrenched with his own voice on tenor. The passing of John Coltrane and Sanders's fruitful years of playing with the prolific saxophone genius resulted with an unmistakable influence on his sound and explorations of the instrument. Beginning with "Greetings to Idris" the structure of the music is one that follows tradition yet opens up for the musicians to improvise within the arrangements. "Greetings to Idris" is in reference to the featured drummer Idris Muhammad who also played with Coltrane during his late period. Naturally Sanders is featured as the main instrument and his horn can be bold and demanding of your full attention. Always interested in other instruments from other cultures, much like Trane, he incorporates the Japanese instrument the koto, a beautifully harmonic stringed instrument to counter his soft rich blowing on tenor with only wind chimes and a harmonium for a delicious peaceful bit of music on "Kazuko"(Peace Child) that has the qualities of a meditative offering. Most of the music, eight tracks, is composed and arranged by Sanders and demonstrates his leadership. There is one John Coltrane composition entitled "After The Rain" that gets the Tranesque treatment by Sanders that makes it hard for even the most discerning listener to distinguish between the original version and Sanders impression. It is a bluesy duet featuring only sax and piano and leaves you wanting to hear it over and over again because of it's simple and haunting melodies. Another song that Coltrane recorded entitled "Easy To Remember" has a gentle swing to it built around a classic quartet (drums, bass, piano, sax) like that employed by Coltrane that results in a superb standard. Sanders incorporates the use of another "foreign" instrument to jazz by working in a tabla and sitar on "Soledad " that takes center stage before Sanders joins in on the music. The result is a thing of genius as the East and West merge and interface for composition that is peaceful. Sanders music on this LP fluctuates between the tranquil sounds of his mellow horn to the outer limits where he left off with the explorations of Trane's late period. What separates this LP from others is that it is a group playing under his leadership where he gives all others close to equal billing. The uptempo, "You've Got To Have freedom" is one such song where Sanders gets out there on some of his solos but works within the group structure as the other musicians, most notably Eddie Henderson on flugelhorn, bring the music back home. There is a chorus sung much of the time throughout where the the proclamation "Ya gotta have peace and love, ya gotta have freedom" is presented in Manhattan Transfer style but with much more soul. The use of vocalists is done again on the track entitled "Think About The One." The chorus features vocalese specialist Bobby McFerrin. This LP shows the different sides of Pharoah Sanders, a man always willing to explore the music, explore his soul and share it with you. The closing track "Bedria" is a mellow exploration of the various ranges of the tenor. It is a ten minute song that displays all the grace of his being, a gentle giant who can manipulate the horn to do extraordinary things, reverberating out and back in undulating waves of harmonic bliss. Sanders on this LP is next to perfect. One of his best recording from his post Impulse career. It belongs in your jazz collection right next to John Coltrane.

Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet. Recorded live at ETA (referencing David Foster Wallace), a bar in LA’s Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depth-full & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan’s Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle.

While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group —just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It’s tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras —dub & Dilla, primary source psychedelia, ambient & drone— suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, “we sound like the Byrds” (to certain ears, the Clarence White-era Byrds, who really stretched it).

A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they’ve established in Parker’s -The New Breed- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker’s beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers —as distinctive a sonic signature as we have in contemporary acoustic drumming— bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom.

For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker‘s unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker’s music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power.

On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together. – Michael Ehlers & Zac Brenner

Standing firm on a steady driving rhythmic section, Over The Leap symbolizes the awakening of the life on Earth, the arrival of the morning sun. A deep chord brings in the necessary warmth to prepare the ground for the life on earth to emerge, a bright uplifting pad signs in the beginning of a new day as the light surely gains intensity. Steve O Sullivan adds his signature steady sound to the original track. Emphasizing the comfort and warmth of the early hours of a summer day; extending time as if to focus the attention on the beauty of a world not yet awakened but ready to be. Original hovering over, remix going deep into the leap that the world is about to take every single day when the birds sing. Original Behold, Begin will be available as free download, which offer the necessary well deserved space to Heavenchord to fully express his deeper interpretation of it, giving a massive push to the Jazz influences of the track to then introduce to the audience the depth of a reshape that could only come from one of the most profound artists that Dub Techno has in store today. A release aiming to bring together the two principles of life according to ancient Philosophy : ground the feet on the soil, extend to the sky, and come back to being with a deeper focus on the feeling of being alive.

2022 limited edition of this Japanese no wave gem from 1982. With extended liner notes and interviews with band members about the recordings of the album, as well as unpublished photographs from 1981 by Jibiki Yuichi.

The Japanese punk rock movement known as Tokyo Rockers began in the summer of 1978. It incubated an independent music culture as well as a host of fascinating, individualistic musicians. One of the more striking units was the male-female duo Maria 023. NON played bass for them, and it was here that she first attracted attention. However, Maria 023 was short-lived, and NON would not reappear until the following year, August 1979, on stage at the legendary concert event "Drive to 80s". Her unbilled performance at the event consisted of several songs for solo bass and vocals, and her combination of intensity and a distinctly female emotionality made a striking impression. In the months that followed, NON continued to play solo and she became a pivotal presence among the female rockers on the scene at the time.

Finally she shifted from solo to group performance, and formed NON BAND. After several member changes, the line-up stabilized into a unique trio with Kinosuke Yamagishi on violin and clarinet, and Mitsuru Tamagaki on drums. It was with this line-up that the group reached a musical peak. At the same time, the Japanese punk and new wave rock scene was moving in a new direction, as a second generation of artists appeared and mushrooming independent labels began to play an increasingly important role. I myself started a label called Telegraph Records in 1981 and worked hard on record releases and building a distribution network.

Since starting the label, I had wanted to release a record by NON BAND. There were many vicissitudes before it could happen, but in February 1982 NON BAND's first album was released as a 10-inch LP on Telegraph Records, the label's fifth release. In the early Japanese indies scene, if a release sold 1000 copies it was counted as a significant success. The NON BAND album went through several repressing and sold 2000 copies. The album was a hit and the band's critical reception and popularity suddenly took off.

The shows that followed the release of the album were given a boost by the addition of two female rockers, the guitarist Kummy and keyboard player Mitsuwa. The group was reaching a real musical peak and everyone expected more great developments, but just six months after the release of the album the group would grind to a halt. Members quit the band one after another, and with no possible replacements to be found, NON herself faded away from the scene.

NON BAND's career in the early Japanese indies scene was thus short-lived. But their sole album was reissued twice on CD, and remained popular with listeners. However, the group's history was to have a second chapter.

NON ended up returning to her hometown, snowy Hirosaki in the far northern prefecture Aomori. There she raised two children and took over the running of the family business, an arts supplies store. Her thoughts turned once again towards music, and in 1999 she took up her bass again and began to sing. She invited two fabulous musicians, Keiji Haino and Tatsuya Yoshida, to Hirosaki, and performed together with them as well as solo. This marked the beginning of a new phase for her, and she played live in Tokyo and released a solo album, "ie". She got back in touch with Yamagishi and Tamagaki and reformed NON BAND. They added Emi Sasaki on accordion and began to play a handful of gigs each year, bringing a mature depth to their undiminished power and dazzling a new generation of fans. In 2012 the group released an album of recent live performances entitled " NON BAND Liven' 2009-2012". I released the album on the newly reanimated Telegraph Records.

NON still lives in the north, in Hirosaki. The city is famous for its summer Neputa festival. The first track on this album, "Duncan Dancin'" is almost a theme song for NON BAND, but its rhythm is taken from the ohayashi music that is performed in this festival, as large floats and troupes of dancers wind their way through the streets. The title refers to the legendary dancer, Isadora Duncan. The image perfectly represents NON herself: Isadora Duncan dancing to the earthy rhythms bubbling up out of the north land.

Nov 9, 2016 Jibiky Yuichi (Telegraph Factory)

In order to achieve a meticulous sound quality the reissue version is cut on 12" vinyl instead of the original 10" format. The original cover artwork has been reproduced and there are liner notes by Jibiky Yuichi with unpublished photos of NON BAND.

2022 marks the 25th anniversary of Suction Records, the Toronto-based electro/IDM label founded in 1997 by two emerging producers, Lowfish (aka Gregory De Rocher) and Solvent (aka Jason Amm), the latter still overseeing the label to this day. The label’s inaugural release was a split Lowfish/Solvent 12”, marking both artists’ debut vinyl appearance.

Gregory and Jason had known each other since high-school, but a deeper friendship was forged during their university years, after Gregory introduced Jason to early Rephlex releases by Aphex Twin and µ-Ziq. Gregory had been making electronic music in his bedroom for more than a decade, but it was those Rephlex releases that ignited Jason’s passion to do the same. After several years of obsessive gear buying, music making, and playing tracks for each other, Lowfish and Solvent had hit their stride, and their demos even attracted the interest of legendary early IDM labels labels Skam (for Lowfish), and Isophlux (for Solvent). But things were slow-moving in those days — letters, faxes, phone calls… nothing was panning out. So that’s when they decided to start their own label, and put out 300 copies of this 12”, suction001.

The label was heavily inspired by contemporary artists like AFX, Autechre, and Panasonic, but on suction001, those influences collided with their ‘80s synth-pop and industrial roots to create something unique. 25 years later, it still sounds fresh, and like nothing else out there. On suction001, 808 drum machines are run through distortion and breakbeats are chopped and mangled, contrasting with melodic OMD-style leads and catchy synth-pop basslines — a sound the label would refer to as ‘distortion pedal new wave.’

Over the past 25 years, Suction’s sound has morphed and evolved, but in recent years has shifted back to it’s original Rephlex-inspired roots. That makes 2022 the perfect year to revisit this wild, 1997 debut, now reissued in a new, expanded edition for it’s 25th anniversary. The reissue adds 2 bonus tracks — a 1999 remix by Detroit electro-punk duo ADULT., along with a previously-unreleased version of Lowfish’s A1 cut, and also features new and improved artwork, including an insert with full label discography.

Limited to 500 copies, and comes with a Bandcamp download card.

F.B.I…Funky Business Incorporated under the direction of Root Jackson, described as the Godfather of Britfunk with his 9-piece band. They caused a sensation on the British Funk scene in the 1970s. Regulars at Ronnie Scott s, the band also supported KOOL & THE GANG and THE TEMPTATIONS and toured with BEN E. KING.
This self-titled debut album was originally released in 1976 on Tony Visconti’s Good Earth label. Root Jackson first reissued the album (in a new sleeve) on his own Kongo Dance label in 1992, Kongo also first releasing “There’s Nothing Like This” by his nephew Omar. It was in 2001 Soul Brother Records reissued the album again (in it’s original sleeve) on both LP and CD.

F.B.I.’s rhythmic, soulful sound has drawn comparisons to the early EARTH, WIND & FIRE and has influenced generations of British R&B artists including INCOGNITO,
BRAND NEW HEAVIES and SOUL II SOUL. Due to demand, the LP is back again on Soul Brother. It contains the rare groove classic “Talkin About Love” a multi paced track that is still very in demand today and a great version of 'Love Love Love' which was made famous by Donny Hathaway.

6 face-melting gurners for the 21st Century’s, wilted and jilted generation.

Glasgow’s Lady Neptune follows her New Gorbals Gabber cassette E.P. with her debut vinyl release NOZ. Over the course of 23 bloody fisted minutes, Lady Neptune’s – aka Moema Meade - hyper destructed take on Gabber and Happy Hardcore breaks down the genre tropes before rebuilding them as a new pop music. If 2020’s New Gorbals Gabber showed an artist building their own language from fragments of different genres, 2022’s NOZ goes harder into the cyberpunk-ass future and takes no prisoners. Recorded and mixed at Glasgow’s legendary Green Door Studios and mastered by Rashad Becker, here Lady Neptune evolves into a monster.

With the classic weapons of Dutch Gabber – distorted 909 kick drums, bursts of noise and world-eating Rave-O- Matic hoovering synth riffs, Lady Neptune’s 6 tracks constantly threaten to careen off the speaker into the sweatiest, most gibbering, messy corners of the club. The two years since her debut has seen Meade destroying festival dancefloors, training for the full assault that is NOZ. Live performances have seen foam guns, tequila-pistols, neon stage dancers and a full, maxed-out orgy of fast-as-hell BPM, rave music burning up the cones. The experience reaps rewards from the outset on recorded form here. APOCOLYPS begins with monstrous vocals and the all-consuming kick, pulled back and taut for launch. The arsenal builds; warbling synths and high-pitched synth-strings before dropping into Bald Terror-sized hoovers and stuttering 4/4s. It quickly bleeds into MASTERER, with a looped, pitched up vocal intersecting with the synth riff. The aesthetics might be Happy Hardcore but the dynamic feels like a synthetic, evil Nu Metal-influenced Industrial music. Constantly evolving and twisting with its own natural drama, the drop at 2:15 is pure ecstatic release. fusing Meade’s inclination for pop hooks with the first out-and-out 180BPM (ish, who’s counting?) anthemic melter of the E.P., TELL ME has THE big catchy chorus, used sparingly and sung by Meade with angelic devilishness, coming at you in waves of XTC. It’s a repeater.

It’s then massive fists in the air for the ruthless Side B opener WIT. In the Welsh-Brazilian artist’s adopted home of Glasgow it translates directly as WHAT!? Itt makes sense. g. Sharp, weaponised, rhythmic punishment abounds before OH responds. Pitched up vocals and another mid-frequency synth hook wipes the slate clean. Like the best Gabber, the tension and release dynamic is used to full effect by Meade, with the thunderous low end kick -expertly tweaked in the mastering by Rashad Becker – slipping into the ghostly cavern. Industrialized 4/4 and noise-snares propel onwards to be utterly squashed by that bloody synth, stinging and horribly brilliant. Proving her genius for a ridiculous A-N-T-H-E-M, TIME 2 MAKE U FEEL GOOD closes the 23 minutes of ragged, drugged glory with a festival-slamming chorus built from the wreckage. It’s a song that does that thing we all know and love but can’t put our finger on. Sad, happy, tragedy, ecstasy, joy, horror...There’s big, minor chord changes (yes there’s some CHORDS on this slammer), the kick is submerged in layers of pads and Meade’s actual secret weapon: her vocal and knack for writing a chorus line. In the listener’s mind it’s over before it’s begun, a track destined for the big rewind.

NOZ is a breathless, E-number riddled eternal ecstasy.

Eclair Fifi is back with the first new release on her River Rapid label in 2 years. Rapid Remixes brings together two of her favourite producers - Montreal legend and fellow LuckyMe alumni Jacques Greene and rising NYC star AceMo - to reimagine 2 key tracks from the labels previous releases - DC Salas and Santiago Salazar. These have been secret weapons amongst select djs for a while.

Beth Orton returns after six years with her new album, ‘Weather Alive’.

“Through the writing of these songs and the making of this music, I found my way back to the world around me - a way to reach nature and the people I love and care about. This record is a sensory exploration that allowed for a connection to a consciousness that I was searching for. Through the resonance of sound and a beaten up old piano I bought in Camden Market while living in a city I had no intention of staying in, I found acceptance and a way of healing.” - Beth Orton

Album collaborators include Tom Skinner, Alabaster dePlume, Shahzad Ismaily and Tom Herbert.

Big headline UK tour in October 2022, including a headline show at Koko in Camden, London.
CD housed in digipak packaging. Clear vinyl in a single-sleeve jacket and printed inner. Black vinyl, housed in a single-sleeve jacket and printed inner.

“As the music rises against the ragged pulse of her vocals, the English artist, nearly 30 years into her career, constructs an entirely new landscape for her songwriting - a wide-open space that grows stranger and more beautiful the further inside she leads us.” - Pitchfork

“The musical richness only mirrors Orton’s astounding writing” -MOJO (★★★★)

“Viscerally corporeal music, full of gristle and breath and richly ambient” - Uncut (8/10)

“‘Weather Alive’ is an enormously exciting record” - The Guardian

“Soaring” – NME

“Best New Track” - Pitchfork

“Singular and captivating” - Stereogum

Beth Orton returns after six years with her new album, ‘Weather Alive’.

“Through the writing of these songs and the making of this music, I found my way back to the world around me - a way to reach nature and the people I love and care about. This record is a sensory exploration that allowed for a connection to a consciousness that I was searching for. Through the resonance of sound and a beaten up old piano I bought in Camden Market while living in a city I had no intention of staying in, I found acceptance and a way of healing.” - Beth Orton

Album collaborators include Tom Skinner, Alabaster dePlume, Shahzad Ismaily and Tom Herbert.

Big headline UK tour in October 2022, including a headline show at Koko in Camden, London.
CD housed in digipak packaging. Clear vinyl in a single-sleeve jacket and printed inner. Black vinyl, housed in a single-sleeve jacket and printed inner.

“As the music rises against the ragged pulse of her vocals, the English artist, nearly 30 years into her career, constructs an entirely new landscape for her songwriting - a wide-open space that grows stranger and more beautiful the further inside she leads us.” - Pitchfork

“The musical richness only mirrors Orton’s astounding writing” -MOJO (★★★★)

“Viscerally corporeal music, full of gristle and breath and richly ambient” - Uncut (8/10)

“‘Weather Alive’ is an enormously exciting record” - The Guardian

“Soaring” – NME

“Best New Track” - Pitchfork

“Singular and captivating” - Stereogum

Black feminist punk band Big Joanie have announced their upcoming second album 'Back Home', set for release 4th November on Daydream Library Series in the UK and Kill Rock Stars in the US. The brand new album 'Back Home' follows on from last month's one-off single 'Happier Still', and the release of their 2020 single ‘Cranes in the Sky’, a cover of Solange Knowles released on Jack White’s Third Man Records. Recorded at Hermitage Works Studios in North London, 'Back Home' was produced and mixed by Margo Broom (Goat Girl, Fat White Family) and features violin courtesy of Charlotte Valentine of the experimental art rock project No Home, who recently collaborated with the LA-based artist SASAMI. 'Back Home' is a dramatic leap forward for the band; the band build on their tightly knit, lo-fi punk formula to bring forth a collage of blazing guitars, down tempo dance punk, and melancholic strings that evoke the full depth of the band’s expansive art punk vision. The album title references a search for a place to call home, whether real or metaphysical. “We were really ruminating on the idea of a home and what it means,” explains Stephanie. “It’s about the different ideas of home, whether that’s here in the UK, back in Africa or the Caribbean, or a place that doesn’t really exist; it’s neither here nor there." The band worked with multidisciplinary artist Angelica Ellis to design the striking embroidered cover art, which is a depiction of Chardine’s nephew at the barbers. The artwork is a reference to the embroidered wall hangings popular in Caribbean homes post-Windrush that were a callback to the homes they left behind. The album’s strength lies in the band’s bold and varied new sound. Album opener ‘Cactus Tree’ is an eerie, gothic folk tale that tells the story of a woman waiting for her lover while a wall of euphoric harmonies and screaming feedback roll in the background. Lead single ‘Happier Still’ is a driving, Nirvana-influenced track that grapples with the idea of wanting to push through a depressive episode. Inspired equally by the melodic rock of Hüsker Dü and the mystical sensibilities of Stevie Nicks, closer ‘Sainted’ brings the club-ready sentiment of the 2018 single ‘Fall Asleep’ to its natural conclusion. Big Joanie live dates 2022 Sun 31st July - Liverpool International Festival @ Camp & Furnace Sat 20th August - La Route Du Rock Festival St Malo, France Sun 28th August - Greenbelt Festival, Kettering, United Kingdom Could the song splits across the sides be changed to this: Side A 1.Cactus Tree 2.Taut 3.Confident Man 4.What Are You Waiting For? 5.In My Arms 6.Your Words 7.Count to Ten Side B: 1.Happier Still 2.Insecure 3.Today 4.I Will 5.In My Arms (Reprise)6.Sainted












[l] 12 IN MY ARMS [REPRISE]

Black feminist punk band Big Joanie have announced their upcoming second album 'Back Home', set for release 4th November on Daydream Library Series in the UK and Kill Rock Stars in the US. The brand new album 'Back Home' follows on from last month's one-off single 'Happier Still', and the release of their 2020 single ‘Cranes in the Sky’, a cover of Solange Knowles released on Jack White’s Third Man Records. Recorded at Hermitage Works Studios in North London, 'Back Home' was produced and mixed by Margo Broom (Goat Girl, Fat White Family) and features violin courtesy of Charlotte Valentine of the experimental art rock project No Home, who recently collaborated with the LA-based artist SASAMI. 'Back Home' is a dramatic leap forward for the band; the band build on their tightly knit, lo-fi punk formula to bring forth a collage of blazing guitars, down tempo dance punk, and melancholic strings that evoke the full depth of the band’s expansive art punk vision. The album title references a search for a place to call home, whether real or metaphysical. “We were really ruminating on the idea of a home and what it means,” explains Stephanie. “It’s about the different ideas of home, whether that’s here in the UK, back in Africa or the Caribbean, or a place that doesn’t really exist; it’s neither here nor there." The band worked with multidisciplinary artist Angelica Ellis to design the striking embroidered cover art, which is a depiction of Chardine’s nephew at the barbers. The artwork is a reference to the embroidered wall hangings popular in Caribbean homes post-Windrush that were a callback to the homes they left behind. The album’s strength lies in the band’s bold and varied new sound. Album opener ‘Cactus Tree’ is an eerie, gothic folk tale that tells the story of a woman waiting for her lover while a wall of euphoric harmonies and screaming feedback roll in the background. Lead single ‘Happier Still’ is a driving, Nirvana-influenced track that grapples with the idea of wanting to push through a depressive episode. Inspired equally by the melodic rock of Hüsker Dü and the mystical sensibilities of Stevie Nicks, closer ‘Sainted’ brings the club-ready sentiment of the 2018 single ‘Fall Asleep’ to its natural conclusion. Big Joanie live dates 2022 Sun 31st July - Liverpool International Festival @ Camp & Furnace Sat 20th August - La Route Du Rock Festival St Malo, France Sun 28th August - Greenbelt Festival, Kettering, United Kingdom Could the song splits across the sides be changed to this: Side A 1.Cactus Tree 2.Taut 3.Confident Man 4.What Are You Waiting For? 5.In My Arms 6.Your Words 7.Count to Ten Side B: 1.Happier Still 2.Insecure 3.Today 4.I Will 5.In My Arms (Reprise)6.Sainted












[l] 12. IN MY ARMS [REPRISE]

Limited edition on green vinyl.The collective's debut album 'Papara' is an inviting mouthful of afro rhythms, funk, and prog jazz, combined with the spacey soundscapes of the Brussels metropole, as they look to Fela Kuti's afrobeat style for inspiration.


On the isle of Crete, the ancient practice of dipping your bread in different sauces and dips is called "papara". True to its music-as-sauce philosophy, Brussels-based groove formation M.CHUZI invites you to dip your ear into the sonic sauces that are on offer in its versatile menu.

Released 4th November via Sdban Ultra, the collective's debut album 'Papara' is an inviting mouthful of afro rhythms, funk, and prog jazz, combined with the spacey soundscapes of the Brussels metropole, as they look to Fela Kuti's afrobeat style for inspiration.

Winner of the prestigious Sound Track contest held at Ancienne Belgique back in December 2019, the octet has gone from strength to strength, including having album track 'Tzatzìki' feature on the critically acclaimed various artist's compilation 'Lefto presents Jazz Cats volume 2', released earlier this summer. The track was arguably the highlight of the album and received radio support from leading radio DJs including Gilles Peterson of BBC Radio 6 Music and Worldwide FM fame.

It's the tasty 'Tzatzìki' that launches 'Papara', an exotica-spawned, merry bombardment of fizzing percussion and a subsequent brass freakout. Next up is the heavy acid rock of 'Mammoet' featuring rising trombonist Nabou, which soon breaks out into a groove-laden mix of Egyptian-inspired horns and Fela-style rhythms, before poetic warrior Joy Slam, adds her vocals to the dub-centric rhythms of the sweet 'Carbonade'.

Elsewhere, 'Intermetsauce' fuses skittish horns with funky drums while the spicy 'Tahini Miso' bursts into life with trance-inducing beats and mystical, Middle-Eastern seasoning. The album closes with the multi-rhythms of the burning 'Sambal', before we dive-dip into the funky 'Pickles', featuring Mixmaster Menno's (STUFF.) wildstyle scratching skills. With each track named after a band member or featured artists' favourite sauce, M.CHUZI serves you a diverse and flavourful plate of unique compositions, taking afro-groove and its descendants to a new level of eclectic dynamism.

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

Tape

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

Bristol has always been a hotbed of innovative producers within the UK's sound system and rave cul-tures. One of these music makers is without a doubt Lamont, whose massive hit Titanic came out on Loefah's influential Swamp 81 imprint in 2016. With a style sitting in between classic 808-driven electro and instrumental grime, his productions are authentic dancefloor slayers: minimal and effective, yet pro-duced with musical sophistication. Just listen to his drum programming and feel the funk. Lamont's latest 4-track EP on Version is his second release on the label. These are certified bangers, rinsed by the likes of Loefah. All tracks are 130 bpm, sub-heavy and fun to mix - translating the darker side of early dubstep into a unique, contemporary club sound. This one from Lamont and Version is not just deadly DJ ammuni-tion. It is also a testament to the label's longtime bonds with the UK's cutting edge. Out on vinyl and digital.

2LP black vinyl in a gatefold sleeve, polylined inners and download code. 2 x CD in 6 panel digifile sleeve.
When Darren Hayman made his debut in 1997 with the acclaimed indie band Hefner his lyrical remit was the broken hearted. His early songs told the story of the lonesome and lost, and broken dreams of love on the back streets of London. After Hefner, Hayman’s palette grew to include a unique take on place and memory. In the early 2000s he wrote a trilogy of albums around the history of Essex. In 2012 he made an instrumental album describing the tranquillity of Lidos. In 2016 Darren was awarded ‘Hardest Working Musician’ by the Association of Independent Music for his epic project on Thankful Villages, the 55 villages that survived the Great War with no casualties. His most recent record, 12 Astronauts, tells the personal story of the only men to have walked on the Moon. Darren is continually obsessed with the idea of what songs can be, and the stories they can tell. As he explains, “With projects like Thankful Villages, I became interested in what a record could be, using field recordings, interviews and songs to make sound collages. I wanted to return to the stricter art of song writing and try and make the twelve best compositions I could. I wanted to make useful songs, words that could be comfort, not just thoughts that would depress.” // "bold and unique" The Sunday Times // "Its delicately observed song cycle unfolds like a novella or short film, with tracks that might seem slight in isloation gaining resonance in situ." Q // “Bugbears is a rich and warming curio, and there’s something quietly noble about Hayman dragging the thoughts of these long-dead writers back into the light.” Mojo // “uniquely intimate and very satisfying” - BBC // “Hayman has hit a creative purple patch… a treat”. Mojo

The ‘3000 Volts of Holt’ album was the third in a series of records that launched John Holt into the UK charts in the 1970’s.
To say that every home had a copy of a 1000 Volts and many 2000 Volts of Holt might be an overstatement but it certainly felt that way, as all good radio stations and parties seemed to have these tracks on permanent rotation.’3000 Volts of Holt’ was the more roots sounding of the three albums but still carried that sweetened string sound that set these recordings together.
This album also featured the first recordings that Sly Dunbar and Robbie Shakespeare played on together.
We are glad to get this version back out on the streets where it belongs especially on vinyl so those new Reggae Blues parties can again spin some fine vintage John Holt Magic…
Sit back and enjoy…..

Aggressive Blackened Death Metal with hooks and technical finesse that invokes the Ancient Gods! Aurora Borealis has been around for years (going back to as far as 1994! and it has mostly self-released their albums. Underground fanatics might remember the band reaching out to promote its music on forums back in the day and tracking its progress, each album was a large improvement over the earlier ones. And through time Aurora Borealis had great drummers ranked in its line-ups: Tony Laureano, Derek Roddy and Tim Yeung, which indicates the quality and level we talk about here. Aurora Borealis plays Black/Death Metal, remaining gritty not unlike Angelcorpse, but being more dynamic comparatively. It has got unique themes and the album artworks represent that. As the band name suggests, they are indicative of the Aurora Borealis phenomenon although the band has progressed to involve sci-fi imagery not far removed from Nocturnus, where artworks are concerned. Musically, the band remains true to its original Black/Death sound but it’s doing it with far more potential and competency than the others. The band’s definitely got a solid US death metal sense, it is not flirting too much with the European style of melody-infused death metal as it may appear. One will be surprised to find it so hard-hitting and gravelly and yet be rife with some of the most driven and enthusiastic activity. It is not solely focused on being technical (which in a way it is) but it is varied and it is catchy. Floridian Death Metal bands have much in common with the way Aurora Borealis structures its songs and there is the ever-present Morbid Angel influence, infected with some early Malevolent Creation rabidity. This is what makes death metal so good, few could contest with that. It’s got Death Metal in its genes, but Aurora Borealis takes the vitriol from Black Metal especially in the vocal department and gives the music an edge that is hard to miss. Here there is that special spice, that sizzling quality that comes from the rasps, adding a certain Thrashiness to it as well. The hooks make this album special, because writing good songs can be safely left in the hands of founding member Ron Vento.

On the isle of Crete, the ancient practice of dipping your bread in different sauces and dips is called "papara". True to its music-as-sauce philosophy, Brussels-based groove formation M.CHUZI invites you to dip your ear into the sonic sauces that are on offer in its versatile menu.

Released 4th November via Sdban Ultra, the collective's debut album 'Papara' is an inviting mouthful of afro rhythms, funk, and prog jazz, combined with the spacey soundscapes of the Brussels metropole, as they look to Fela Kuti's afrobeat style for inspiration.

Winner of the prestigious Sound TrackIB1 contest held at Ancienne Belgique back in December 2019, the octet has gone from strength to strength, including having album track 'Tzatzìki' feature on the critically acclaimed various artist's compilation 'Lefto presents Jazz Cats volume 2', released earlier this summer. The track was arguably the highlight of the album and received radio support from leading radio DJs including Gilles Peterson of BBC Radio 6 Music and Worldwide FM fame.

It's the tasty 'Tzatzìki' that launches 'Papara', an exotica-spawned, merry bombardment of fizzing percussion and a subsequent brass freakout. Next up is the heavy acid rock of 'Mammoet' featuring rising trombonist Nabou, which soon breaks out into a groove-laden mix of Egyptian-inspired horns and Fela-style rhythms, before poetic warrior Joy Slam, adds her vocals to the dub-centric rhythms of the sweet 'Carbonade'.

Elsewhere, 'Intermetsauce' fuses skittish horns with funky drums while the spicy 'Tahini Miso' bursts into life with trance-inducing beats and mystical, Middle-Eastern seasoning. The album closes with the multi-rhythms of the burning 'Sambal', before we dive-dip into the funky 'Pickles', featuring Mixmaster Menno's (STUFF.) wildstyle scratching skills. With each track named after a band member or featured artists' favourite sauce, M.CHUZI serves you a diverse and flavourful plate of unique compositions, taking afro-groove and its descendants to a new level of eclectic dynamism.

Scottish fire-brands Bleed From Within have reached a career tipping point. Rising above the multitude of challenges the pandemic spewed up, the metal 5-piece have transformed themselves over the past two years, in a story of sheer resilience. Reaching their strongest career position yet, momentum has been snowballing since the release of 2020’s critically acclaimed record Fracture, bolstered by recent significant successes in both touring and digital streaming.

2021 saw the band dominate the UK live scene, selling out their largest ever headline tour in November, capturing hearts as support on Bullet For My Valentine’s arena tour (several critics stating they shone brightest on the line-up), slaying a Lamb Of God livestream support slot, alongside blazing performances at Download Festival + Bloodstock Festival.

Last year also delivered Bleed From Within’s most successful single release yet, track ‘I Am Damnation’, which has since racked up more than 2.8 million combined streams. It landed impressive playlisting such as Spotify ‘New Metal Tracks’ (#1), ‘Kickass Metal’, ‘Adrenaline Workout’, Apple Music ‘Breaking Metal’, YouTube Music ‘New Metal’, ‘Metal Hotlist’, ‘Today’s Metal’. Their monthly Spotify listeners have almost doubled in that time, now reaching more than half a million.

What makes Bleed From Within unique is their immense inter-personal bond, characterised by resilience and self-reliance - firm friends and colleagues, they are a close-knit unit, bound by common goals. Having existed as a band for 17 years, more than half of most of their lifetimes, they are an authentic home-grown success story, having achieved everything to-date off their own backs as a self-managed unit. Their swelling success is a testament to their talent, focus and sheer resolution, backed up by a positive mentality and drive to construct the most killer metal anthems in existence. Not forgetting their devoted global fanbase, who track their progress eagerly.

With new record ‘Shrine’ on the horizon, a key turning point moment, Bleed From Within are set to become a future kingpin of our scene and make history.

Armed with a disdain for pastiche and a penchant for experimentalism, rRoxymore has spent the last decade pushing the boundaries of what constitutes club music. Across a steady stream of releases, the Berlin-based artist has continually reinvented her sound, shifting from hypnotic leftfield techno to UK bass mutations, genre-eschewing dub oddities and so much more. On Perpetual Now, her sophomore album, she again displays this propensity for pushing the sonic envelope. It's a slow-burning record, and one that blurs the lines between the electronic and the organic. Subverting the traditional album format, Perpetual Now is made up of four extended soundscapes - each taking the listener on a journey through tempo, texture and emotional state. Downtempo opener `At The Crest' gently sets things into motion, allowing the sparse percussion to tentatively find its feet. `Sun In C' is a peculiarly meditative excursion, crafting a rich, intoxicating atmosphere across its nine minutes. `Fragmented Dreams', with its pulsating rhythms and fractured melodies, sees the album fleetingly burst into life, before `Water Stain' winds things down in the most effortless of manners. A daring, unconventional album, Perpetual Now is everything we've come to expect and more from one of electronic music's most unique producers. French-born, Berlin-based DJ, sound artist and producer rRoxymore first emerged on the scene with `Wheel of Fortune', a ten-minute epic released on Planningtorock's Human Level back in 2012. She has since put out music regularly, dropping her debut album Face To Phase in 2019, and more recently "I Wanted More", a four-track EP that veered from downtempo ambience to lush deep house.

2+ is the 3rd album of DjeuhDjoah & Lieutenant Nicholson. A new sound stopover in their funky trip since their beginning with T’es qui ? album in 2015. This new building stone prolongs their critically acclaimed album Aimez ces airs released in 2019.

What’s new? 15 tracks , eclectic, soft, deep, and funky, where electro, soul even afro beat touches , or bossa nova live together harmoniously. DjeuhDjoah & Lieutenant Nicholson make praise of slowness (« Pas si vite »), address environmental issues (« Coeur béton »), social statements on (« Police », « Raie publiques », « clic »), childhood on (« Bola Mba ») , the post colonial relation between Africa and the other continents. Love is also really well presented ( « Thé à la menthe «, « Ping Pong ») and why not sailing to Essaouira in Morocco ?

During the summer of 2020 , when the french national radio asked them to perform a live cover , our french funky duo chose the famous « Né quelque part » by Maxime Leforestier released in 1987. Their Suave interpretation, haunting beat and spatial & languid atmosphere give a fantastic tribute to this beautiful melody and strong lyrics. They found a very intimate link with chorus in Zulu, harking back to the strong connection they made with South Africa during their last tour.
It became clear that they needed to put this track on their new album , as their now club remix classic « Bwe Dlo « performed with their friend David Walters.

After their tour in South Africa, they met « Cool Affair », the musician and electro house producer in Johannesburg who made a beautiful remix of « Aimé Césaire » which close perfectly this new opus. Recorded at « Le triangle des Bermudes » the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement , even during the pandemic… On 2+, we can also hear the swirls of Antoine Berjeaut at the trumpet and bugle, magic keys from Florian Pellissier , two new flagships of the French jazz scene.

Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional « French song « to make the world dance. They want to keep their international audience , from Australia, Japan, Usa, South Africa to name a few the dance floors of the world will ignite with this new album . The French touch will still shine !

clear vinyl

Colours Of Absence is the follow up to Original Soundtrack. Both albums were written during the 2020 pandemic lockdown, which was no doubt a phase of experimentation and pushing boundaries, as producers found themselves with a lot of time and no dancefloors.

This saw ASC pushing himself creatively and focusing on instrumentation within his ambient music, and in the case of both Original Soundtrack and Colours Of Absence, this meant the piano. The piano focus is a little less obvious in Colours Of Absence though, as this album attempts to strike a balance between ASC's 'traditional' beloved ambient work, and the aforementioned Original Soundtrack. 9 tracks spread over two slices of clear vinyl that will take your emotions on a journey like no other. Sit back and absorb Colours Of Absence.

Emerging from a live recording at St.Mary's Episcopal Cathedral in 2021, Alliyah Enyo’s ‘Echo’s Disintegration’ is a transformational project; a coded reflection on loss, metamorphosis and rebirth.

It’s a work of two parts, each incarnation informed by the parameters of the recording environment. In the initial live performance, Alliyah harnesses the organic echo and reverb formed by the vast open space of the cathedral. Her luminous vocals break through a dense sea of layered noise, a reverberating wailing drenched in heartache.

Her words are fractured and frayed, broken into segments, and enshrouded in mysticism. Yet through the ambiguity, there’s an innate spirituality to the work; iridescent melodies are heightened by the imposing presence of the surroundings.

The five studio tracks, made in retrospect, carry the live performance within the DNA of their reinterpreted sounds and loops. Recorded in Glasgow’s renowned Green Door Studio, constructed reel-to-reel tape loops further fragment and transform compositions, evoking the intoxicating tape feedback of Eliane Raidgue and the harrowing loops of William Basinski.

There’s a radiant clarity to the recordings, Alliyah’s voice implemented as the guiding instrument, the heady sensuality of her vocals layered and echoed in enchanting formation. Through the agony and longing, we reach reincarnation in the culminating euphoria of ‘the healer’. We’re left amongst the blissful reverberations of an awakened soul.

Echo’s Disintegration is the debut album by Alliyah Enyo. The work has received early support from Jack Rollo (NTS), Lucinda Chua (NTS), Pako Vega (Fade Radio, Athens), Elina Tapio (Radio Radio, Amsterdam), Conna Harrawy (INDEX:records) and Martyna Basta (Unsound festival).


Alliyah Enyo - Bio
Alliyah Enyo is an Edinburgh-based artist. She comes from a visual-arts background which is evident in her theatrical live performances that encompass elaborate stage design and choreographed dance. She recently performed her 9-month collaborative project ‘Selkie Reflections’ for Hidden Door festival, working with dancers and classical musicians to explore Siren and Selkie myth. She has performed at multiple venues across Scotland and previously supported Erika De Casier.


Somewhere Between Tapes - Bio
Somewhere Between Tapes is a Glasgow-based record label, formed in 2022 via connections made at local community radio station Clyde Built Radio and at Green Door Studio’s sound workshop.

The label is primarily drawn to working with artists who use experimental processes, often as part of an interdisciplinary practice, where live performance and visual accompaniments are intrinsic to the work. Our focus is on diaristic, sensitive approaches to sound, from ethereal ambient to avant-folk and psychedelic-infused electronics.

The label is run by Lizzie Urquhart and Tim Dalzell. Both are residents at Clyde Built and have contributed to Mutant Radio, Refuge Worldwide, Lyl Radio and Rinse FM. Collaboratively and independently their shows are characterized by their reflective nature, designed for deep listening. This is supplemented by their online mix series ‘Somewhere’, and involvement in co:clear; a new collaborative listening series formed with Conna Haraway of INDEX:Records that commenced with a performance by Berlin-based artist Perila.

To say that R.A.M.B.O. occupies a singular space in punk history is an understatement. During their initial run from 1999 to 2007 the Philadelphia band took influences from thrash, anarcho-punk, d-beat, crust, and hardcore and combined that with intelligent but very fun – and at times downright ridiculous – lyrics to create what was very much a DIY powerhouse. In those eight years they released two albums, 7" splits with Crucial Unit and Caustic Christ, and played thousands of gigs across the country and across the world. They might have gone out at the top of their game but now, 15 years later, R.A.M.B.O. is back with their aptly titled new album, Defy Extinction. This is not a nostalgia trip, or an attempt at recapturing past glory; R.A.M.B.O. have their sights trained on the present. On these 16 tracks of pounding epic crust-infused hardcore punk and beatdowns, R.A.M.B.O. is imploring you to believe in science, fight authoritarianism, and most of all DEFY EXTINCTION!

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

Like the flower from which he takes his name, which is very rare and only grows once a year in one region of the world, the music of Rose Noir cultivates a form of dark and fascinating elegance. Traces of its genesis can be found in the sampling practice of the golden age of hip hop dear to the musician, but it also manages to retranscribe the total aesthetics of the culture of the 60s and 70s, when the stars aligned to give birth to a music bathed in cinematographic influences in the wake of Marc Moulin, Brian Bennet, Azymuth, Janko Nilovic or David Axelrod. Assembled with the help of instruments, Rose Noir’s music has nonetheless benefited from the hybrid background of its creator, an unrepentant digger with a wide-ranging and curious musical culture.

Rose Noir embodies a new phase in the development of a master craftsman, the sound of the French producer is halfway between beat making and majestic arrangements. Though the tracks of this new project Bloom EP wouldn’t be out of place in the soundtrack of a suspense film from the past, they are the reflection of a man in complete control of his art, guided by the same instinctive and passionate searching that has allowed him to evolve from his first starts, by following a trajectory that belongs to him alone. Rose Noir’s compositions are lush and varied, using as much space as they do sound for dramatic and dynamic effect.

The French musician and producer Rose Noir appears to float across different musical time periods, as if touched by grace. But it’s thanks to his iron will, combined with a highly personal and creative approach to music, that he has managed to define new territories and reinvent himself constantly.

Following the release of acoustic EP Letters To Our Former Selves – Acoustic late last year, Youth Fountain is excited to be back at it with new single “Peace Offering" “This track was written in the perspective of knowing you could never truly love or be loved by anyone before being comfortable with who you are as a person,” shares Tyler Zanon “No matter what positive aspects can come out of a relationship - if the foundation isn’t there of having that bare minimum of self love, things inevitably tend to tarnish.” As Youth Fountain prepares to move forward, the future perfectly mirrors the past. What began as a solo project by guitarist/vocalist Tyler Zanon in 2013 under the name Bedroom Talk eventually blossomed into a full-blown band by 2017, with the Vancouver-based Youth Fountain (then a duo) proudly announcing their presence with the debut single “ Grinding Teeth ” and a pair of Pure Noise Records releases that expertly toed the line between pop-punk fervor and more reflective emo moments. Alternative Press hailed the band’s 2019 debut full-length, Letters To Our Former Selves , as one of the year’s very best, dubbing it the “ perfect blend of emo-tinged punk to soundtrack reflecting on every single life decision you’ve ever made ,” while North American tours with the likes of Free Throw, Can’tSwim, and Chris Farren cemented Youth Fountain’s sweat-soaked sound as something best experienced live – all while dodging a few stray elbows and overzealous crowd-surfers. Now once again, Zanon finds himself as a solo artist following the departure of co-vocalist Cody Muraro in mid-2020 – but this time, he’s exactly where he wants to be. Youth Fountain’s new release, Letters To Our Former Selves – Acoustic EP, re-introduces Zanon’s project to the world, reimagining fan favorite aterial from the 2019 LP of the same name.

EDO8 aka Mr. Portamento, part of Doubledutch and half of the Cosmic Force (who had their debut on Clone Records in 1998!). Edo8 comes back with solo work on the Clone West Coats Series! After years of relative silence the dutch electro master hits back hard with this funked up 6 tracker of pure machine funk! Techno, House and Electro rooted in the classics.... the undoubtable influences of early Detroit techno, Kraftwerk and 80's electro are present and stirred to a unique blend which results in Edo8's signature sound carefully developed and crafted over the last 25 years.

Axces Recordings is releasing their second various artist release “Trip Wire EP”. Compiling 4 different tracks from 4 different artists focussing on minimal experimental techno club music. The record premieres Søren Kinch aka CX alongside the usual gang: Alfredo92, Kasper Marott and Popmix.

Trip Wire’s 4 tracks all have common denominators of being moody, trippy and darker than the usual Axces europhoria. All composed from an idea of linearity whether it being the straight forward grooviness of the track IZA, the 8 minute suspenseful robotic tantra workout in Kasper Marotts “Welcome” or the more laid back in the sofa, über minimal parade in popmix’s Ultima. With the opener track “Sjunne” Sørens Kinch or CX makes a promising debut. The track is ultimately the most romantic piece of music on this next edition of Axces music frisbees, with swirling pads and a kick drum that goes deep as the ocean.

The EP will be available on black vinyl. The release is presented with beautiful artwork done by Axces visual artist A.V. Nielsen.

SJT and Aaty are still running street acid / rave project Teknobuskers.
After a long covid isolation, finally we came back on the street of Berlin.
Since last year, Robotron (Drums) and MCRD (Mic.) got a part of this project
We are now 4 people bringing up own gears on the street and playing them together to generate street acid music.

This acid improvisation was recorded directly to Tascam Portastudio 414 in front of S-Bahn Warschauerstrasse on 21.08.21.

It will be released on cassette tape w/ digi download code by end of October.