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NOTON and The Vinyl Factory are pleased to announce the release of the new edition of Carsten Nicolai’s ∞ (Endless Loop Color Edition), under his alias Noto.

This new limited edition box set celebrates Carsten Nicolai’s beloved interactive installation, bausatz noto, currently featured at The Vinyl Factory: Reverb exhibition at 180 Studios.

The exhibition features an expanded version of Nicolai’s artwork bausatz noto (1998) – an interactive piece centered around four Technics SL-1210 turntables and a selection of colored vinyl records. Visitors are invited to select and play the records, each of which has been cut with 9 or 8 unique locked grooves on each side. As Nicolai explains, “the different colors indicate different sound material, from the very abstract to the graphic” that users can loop and layer to create infinite permutations and combinations.

Previously released as a sold-out signed edition with a hardback book, this 2024 box set edition brings the installation into your own space. Comprised of twelve 10” colored vinyl records, each featuring 18 or 16 unique locked grooves (9 or 8 per side), the concept remains the same: Nicolai provides the tools to build your own soundscapes.

The records are sleeved in twelve custom-made archive folders, housed in a handmade box with artwork. Limited to 1000 copies worldwide.

Lacquers created by Lupo / Calyx Mastering

Steven Wilson is no stranger to composing music that appears to counter everything else before it in his catalogue. Bass Communion, his long running solo electronic project, is no exception to this perverse streak that apparently likes to turn all expectations upside down. The Itself of Itself, Bass Communion's first album for 12 years, skilfully pays testament to this. Long established as a purveyor of mostly atmospheric or ambient textures, the seven cuts that represent The Itself of Itself take detours from this approach in order draw as much from musique concrete, noise music, abstract electronics and uneasy listening. Whilst still rippled with the same shades of light and dark that can be found throughout all of Bass Communion's work, The Itself of Itself reveals a fascination with analogue sounds and, more importantly perhaps, 'unwanted' analogue artefacts like tape hiss, wow and flutter, static noise, and sonic break-up, taking the music into a space at once different yet familiar. 'Apparition 3' presents a stark nod to Wilson's established command of shifting textures steeped in penumbral gauze, while 'Bruise' is akin to a space probe adrift and headed towards a white dwarf as all communication is reduced to a disturbing and indecipherable crackle. Between the other five cuts we witness fragmented, garbled and buried voices, vast vacillating banks of grainy hum, what sounds like the dying gasps of an oboe, spooky swirls from an indiscernible source, swathes of tape hiss, moody drones, and spiralling slivers of noise. Meanwhile on the title track, a mellotron flute rusts and collapses in on itself in a way that renders it the very antithesis of the one deployed on 'Strawberry Fields Forever'. Everything adds up to a dynamic listening experience where unease, dread and comparatively claustrophobic torrents of sound make (un)natural bedfellows to moments of enchantment and serenity. Above all, The Itself of Itself sees Steven Wilson cutting his teeth on an album that's at once cinematic and moody whilst proving him to be a master in electronic music craftsmanship. It's an album that might surprise some of those who have thus far been paying attention to his work as Bass Communion, but setting out to please everyone was never part of his raison d'etre. The Itself of Itself catches Bass Communion spreading its weatherbeaten wings to embrace new strategies and a strong desire to journey elsewhere. Arriving in a wonderful Carl Glover designed deluxe cover also comprising a 24pp. booklet of his photographs and an obi strip, this version of The Itself of Itself arrives in December on Lumberton Trading Company as a 2LP pressed in an initial run of 1000 copies.

Back in 2018, Argentinian producer Fernando Pulichino released ‘Search of Indigo’ on Leng, a shuffling slab of colourful, Balearic-adjacent dub disco featuring his own distinctive lead vocals and backing vocals from Luca Gasparini. Six years on, the track returns renewed and refreshed thanks to a string of new floor-friendly reworks by LTJ Xperience and Pulichino himself. Fernando kicks off the EP with his ‘AM Mix’, an inspired re-invention that re-frames the song as a hard-wired, acid-fired chugger – all restless, razor-sharp TB-303 lines, low-slung bass guitar and sparkling piano riffs. On the digital version of the EP Pulichino has also offered up his ‘PM Mix’, a deliciously Balearic disco dub rich in colourful synth sounds, elastic bass, flanged guitars and sun-bright piano licks. It's LTJ Xperience’s trio of remixes that lie at the heart of the EP though. The Italian producer, real name Luca Trevisi, initially made his name as a downtempo and nu-jazz producer before perfecting a trademark style of chugging, slow-motion hedonism that draws influence from both deep house and nu-disco. His main Remix foregrounds many of these trademark elements, in the process delivering a bongo-rich chugger laden with delayheavy bass guitar sounds, head-nodding drums, heady guitar loops and echoing vocal snippets. On the Dirty Mix, Trevisi reaches for tight, short TB-303 ‘acid’ loops, a more sparse and heavy rhythm track offering a more heads-down, dubbed-out affair that should delight those who love late night and early morning hypnotism with flashes of wide-eyed sonic bliss. Then, to round things off, Trevisi delivers a heady, atmospheric and spaced-out Dub full of jazz guitar licks, bubbling electronics, vocal snippets and effects-laden bass. It’s a winning combination.

A killer fusion of bass, poetry and social consciousness from the King Midas Sound vocalist.

Roger Robinson is one of the most versatile voices in the dub poetry scene today, seamlessly blending the power of the written word with the raw energy of the soundsystem.

Teaming up once again with Dub wizard Disrupt to conclude an album trilogy that began with “Dis Side Ah Town” and “Dog Heart City“, Robinson pulls a wide range of riddims straight from the Jahtari vaults to create “Heavy Vibes“, a killer fusion of bass, poetry, and social consciousness.

With a voice oscillating between soulful falsetto and deep poetry thunder Robinson’s verses hit as hard as the bass, challenging the listener to confront uncomfortable truths, while Disrupt’s richly textured, dub-heavy production ensures the music moves both body and mind. You’ll find yourself dancing, but more importantly, you’ll find yourself thinking.

Coming with stunning cover art by Kiki Hitomi and featuring deadly riddims by Tapes, Naram, Jura Soundsystem, Maffi and Bo Marley, “Heavy Vibes” balances the weight of oppression with a glimmer of hope – the belief that change is possible, that the beat goes on, and that through solidarity and art, new futures can be forged.

Next Polyamore Recs release comes from Capofortuna – brothers Riccardo Cardelli (Funk Rimini) & Francesco Cardelli, and Davide Santandrea (Rame, Pastaboys) – the instrumental funk-jazz trio renowned for their ground-breaking productions and musical soundscapes. Here the Italian trio unveil a fusion of sounds with some heart felt nostalgia on their ‘Punti Di Vista EP’. In true Capofortuna style, this uber classy record pushes boundaries and is a further testament to the band’s constant evolution and commitment to musical innovation, all recorded at their boutique studio in Rimini.

The title cut is a collaboration between Capofortuna and producer Andrea ‘Neve’ Recla, highlighting their experiments with a Casio CZ3000 synth, adding a more futuristic electronic dimension. On ‘Venusian’ you will hear plenty of the Moog Rogue and the Roland JX3P, both machines together paying homage to Rimini’s vibrant arcade culture of the 90s. ‘Pianobar’ takes inspiration from the same musical moments of the 90s, adding melancholic trumpet flourishes played by Jacopo Buda. ‘Acid Basico’ nods its head to the darker sounds of Italo disco and Chicago house, seamlessly blending dub elements to create a genre-defying experience. Reflecting the trio’s shared musical heritage, ‘Punti Di Vista’ showcases Capofortuna’s ability to transcend genres at the same time staying true to their Italo-funk Rimini roots.

Music To Varnish Owls By. Does Geoff Bastow have a claim for the best album title of all time? It's certainly up there. It's also one of the hardest to find library funk records. But don't let the eye-catching name fool you into thinking this isn't serious business.

As a key member of Giorgio Moroder's team, the legendary Geoff Bastow shouldn't need any introduction. You'll be familiar with his singular brilliance as the brains behind the much-sampled boogie/disco classics "You Don't Like My Music (Hupendi Muziki Wangu?!)" and "Don't Stop", released by his group, K.I.D.

But 1975's Music To Varnish Owls By is where it all began for our hero.

It's packed with incredibly soulful, soothing music that - despite being utilised a few times by Knxwledge - remains still largely un-mined. So, beat-makers, get cracking. And instead of that hyper-rare original, spend that £300 on something else.

Born in 1949, Bastow was a Munich-based English songwriter and record producer. Originally working as a guitarist and pianist in dance bands around his home county of Yorkshire, he moved to London in the early 1970s and then Munich in around 1976. He was one of the main architects of the Munich disco sound of electronic innovator Giorgio Moroder and also released heaps of killer library records for legendary labels like Bruton (with brother Trevor), Impress, JW Music Library and the Munich-based Sonoton between the 1970s-2000s. Bastow died tragically young, in Berlin, Germany on 16 March 2007, at the age of just 57. But he left behind a truly incredible electronic music legacy. He deserves to be much better known and this reissue should bring him to a fair few more ears. Let's see why...

Light-hearted opener "The Rough With The Smooth" contains a killer open drum break and is basically guitar-drenched flute-laced piano-funk. However, the first genuine highlight, "Beautiful People", is just majestic. Reflective, pastoral and silky smooth - as the title suggests, it's just straight beautiful; a chiming, deeply soulful instrumental that has to be heard to be believed. Sampled by Knxwledge but nobody else of note, which is crazy. Slo-mo soul beat "Tumbleweed" is another stone cold track just desperate to be laced by a skilled MC. Laconic, lysergic funk with nostalgic overtones, the guitar is prominent but the flute and glock really elevate it to perfection.

"Bits And Bats" is clav-enhanced Blaxploitation-esque street-funk with tough bass and crunchy drums that, despite its hardness, manages to flirt with breeziness. All in all, sumptuous, pounding wah-wah brilliance. Another huge one, up next. The insistent piano-funk head-nodder "A Change Of Pace" is a total sleuth-funk jammer, with a wonderfully soft snare and more hypnotic, melancholic flute lines. Man, we'd love to hear Alchemist chop this up. It even sounds a bit like Bastow was keeping things thoro with this one. Closing out Side A, the bright and breezy Bossa of "Janelle" makes it a perfect run of six untouchable gems. As elegant as it is sleazy, it sounds like it could've been on the classic KPM greensleeve, Piano Viberations.

Side B opens with the Ramsey Lewis-inspired "Time And A Half", a deceptively simple bass, drums and piano workout, decorated with stylish percussion with some great chord changes and hints of drama via a great bass solo. The heavy "Supersplash" is a doped-out drama suite with fuzzy wah-wah guitars, electric piano and glock. "Fillet Of Soul" is a catchy wah-wah propelled shuffle with piano and vibes, super dynamic but also incredibly chill.

"Well Above Average" is exactly that, a funky instrumental that serves as a straight ahead guitar-soul workout. Oozing bass-driven class, it gets better with every listen. Some open drums for your delectation, too. The fuzzy clav-and-vibes funk of "The Clan" - also understandably sampled by Knxwledge - is a monster head-nod slow jam whilst, seeing us out, the uber-relaxed "Sing Song" rounds things off in bright fashion with its slow but insistent clav, electric piano and glock greatness. Swoon.

As ever, the audio for Music To Varnish Owls By has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Launched in 2020, Big Saldo’s Chunkers draws on the sensibilities of classic US house music, crafting unique dancefloor cuts that don’t compromise on quality. It is label founder Sally C’s deep passion for the golden era of hip house and the sounds of 88’ - 98’ that has really shaped her raw and chunky style and inspired her productions and eponymous label Big Saldo’s Chunkers. A homage to the era she’s so obsessed with.

What started off as a self-release series is now a home to showcase and support talented artists. Inviting artists to put their own twist on Chunkers has been a natural next step in the evolution of this growing label, as it continues to push boundaries and open doors.

BSC006 marks the sixth release on Big Saldo’s Chunkers. The 4 track EP showcases both the first time Sally has collaborated with another artist and the inaugural remix of a Sally C track by Blitz Munich resident, BASHKKA.

Teatro Del Metapresente is the debut album by La Nuit Je Mens, a duo hailing from the Parisian suburbs and southern Italy. Now based in Rome, the two artists have crafted a striking sound that merges their DIY ethos with raw, unfiltered energy.

Driven by synthetic, minimalist rhythms created on a fleet of analog machines, the seven tracks pay homage to the sound of the '80s – yet entirely forward-looking and embracing the dancefloor modernity.

Blending genres such as EBM, synth-pop and minimal-cold-wave, paired with French vocals, the album delves into themes of underground activities, the slow decay of the club scene and the depths of emotional yearning.

Released on the Berlin-Basel-based label Reach Another System, Teatro Del Metapresente follows the previously released 7” and reinforces the duo's own sound and unique identity.

All the music in the world is at your fingertips, and it's up to you to set the vibe_ So, what should we listen to? If you're having trouble deciding, turn on the radio. It's the perfect place to discover something new, or jam along to a tried-and-true station that'll never let you down.Tune In is due out 11/1/2024 via Chiefdom Records. The second of three installments in the Terrestrial Radio series, it's a carefully curated collection of instrumental fusion, designed to serve as the perfect radio mix for fans of jazz, hip hop, funk, soul, reggae and beyond. It's the latest release from Cincinnati based executive producer Doctor Bionic (Jason Grimez). As a DJ, producer, and former member of 90s rap group MOOD, Grimez' musical career revolves around hip hop. He's always preferred to sample songs from the late 60s and early 70s because of the authentic tone. "Growing up collecting and sampling records was an education, whether we realized it or not," he explained. Grimez records and produces music using analog gear to emulate the instrumentals that he's always loved as he works with some of the best musicians in the Cincinnati area to bring his ideas to life. Among others, Jonathan Luck Spaulding and Josh "Mojo" Cole made several appearances on guitar throughout the record. Every Doctor Bionic release is accompanied by a unique, thought-provoking album cover. For Tune In, Grimez worked with Refael Idan Suissa, a painter and digital artist based in Israel.Next time you're looking for some new instrumental tunes to set the tone, you can count on the growing catalog from Doctor Bionic. Tune In is available everywhere on 11/1/24.

The Equatoguinean Norberto de Nöah established in Madrid in the early 80s, where he became a firebrand of African culture in the vibrant Movida. In 1988 he self-released his first solo album, a blend of homeland sounds —modern and traditional— with new synth and drum machine touches. The vanished album finally gets its well-deserved reissue.

Edition of 500 albums on vinyl (Bandcamp download code included) - Original artwork with new 14 pages insert and poster

In the mid-1980s, the European media, music industry and public became increasingly interested in African music. This was a period of international success for King Sunny Adé, Salif Keita, Youssou N’Dour, Ray Lema, Touré Kunda, etc. Spain, with its own particular conditions, wasn’t oblivious to the phenomenon and the Equatoguinean Norberto de Nöah may be its best exponent.

Norberto moved in the early eighties from his hometown in the island Fernando Po (now known as Bioko) to its former colonial capital, Madrid. While studying dramatic arts, he created and led the band Nohkis, made up of African and Spanish musicians. In 1985 they released the maxi-single “Mujer española” / “África, ¿dónde está tu gloria?”, and the song “El loco”, was released on a compilation LP called Esto es increíble, both on the label Lollipop. According to the journalist Patricia Godes, they were first artists to record an African music record in Spain. It received positive reviews and a great impact on the most independent side of Madrid’s La Movida movement. Very soon afterwards, Nohkis’ band split up.

Afterwards, Norberto would concentrate on his solo career, and Norberto de Nöah and The Böhöbé Spirits Müsic was released in 1988, definitely a solo album. Norberto created his own label, Kilimandjaro Productions, and composed, arranged and produced all the songs of the LP. Moreover, he sang and played all the instruments: a vast selection of organic instruments, a Yamaha RX-5 drum machine and a Roland D-50 synthesizer.

In the album he exposed his deepest roots, updating the lexicon of traditional Bubi music, the musician’s ethnic group, a compendium of ceremonial melodies that ancient troubadours composed for the court. Doing so he showed new possibilities to one of the oldest ethnic groups in the world. Besides all this, he was also inspired by American music such as funk, R&B, Latin American music and also by a wide range of African and Caribbean rhythms.

Mixing the traditional and the avant-garde in a spontaneous and natural way, the music contained in the record’s grooves flows freely and takes you to places full of magic and mystery, while still transmitting new and exciting sensations. Even more, according to the Equatoguinean musician and writer Baron Ya Búk-Lu based in Madrid, the album’s sound was “the perfect combination of all characteristics that defined the Equatoguinean Afropop music made in Madrid during the 1980s”, a story that still needs to be told in all its depth and intensity!

Following the release of two LPs and several singles, the activity of Norberto de Nöah and Kilimandjaro Productions (and the subsequent Bananas Podridas) ceased. Nevertheless, Norberto’s links to music continued, as a promoter and DJ in Madrid’s nightlife.

Norberto de Nöah contributed greatly to changing Spain’s musical landscape, breaking barriers and mental frameworks. He was the first to make contemporary and popular Guinean music known to the Spanish public.

The repercussions in the African market of a Spanish (and Bube) speaking African musical project, where English and French dominate, was very difficult. In addition, the passage of time and changes in phonographic formats have diluted the memory of Norberto's legacy. Now it’s time to reverse the situation and break all the outdated frontiers!

Norberto de Nöah and The Böhöbé Spirits Müsic, as every important music piece, was at the same time part of a universal phenomenon of recognition of African music and a very personal project, based on the artist’s nostalgic and heartfelt need to show and homage his ethnic group, the Bubis. In this process he also refreshed his hometown music legacy, giving it a new air and opening the door to lots of other great Equatoguinean artists coming afterwards, as well as being an inspiration for many musicians in Spain.

"Dwell time is defined as the length of time a shopper spends in a shopping center, starting from the moment they enter till the moment they exit."

Experimental artists Xqui & Dogs Versus Shadows join forces in this lively, dadaesque spree through the earthly delights of shopping mall muzak and consumer theory. Xqui is a prolific experimental electronic producer based in Lancashire UK, known for his mind melting-palettes and brooding abstract soundscapes: "carefully constructed, intelligent and mature.. a musician very much in control of his art" - We Are Cult "As good as Basinski, and neck and neck with the degenerative sounds of Eno's best." – TQ Dogs Versus Shadows is a prolific experimental electronic producer based in Nottingham UK, known for his boundless invention and quick-witted powers of reflective observation. Formerly a much-loved broadcaster, Lee 'Pylon' was known for his influential underground radio show Kites & Pylons, before changing tack to delight and intrigue listeners with his DVS project: "A rare example of gamekeeper turned poacher...a welter of impressive electronica"

Black Country, New Road is a new seven-piece: Charlie (Drums), Georgia (Violin), Isaac (Guitars/Vocals), Lewis (Saxophone), May (Synthesiser), Luke (Guitar) and Tyler (Bass), due to release their debut album on Ninja Tune. The latest stars from the burgeoning and famed Brixton Windmill scene, which also fostered the rise of contemporaries Black Midi, Squid and more.
‘For The First Time’ features six new songs, including reinterpretations of early tracks ‘Sunglasses’ and ‘Athens, France’.
2019 saw multiple sold-out headline dates across the UK (1700 tickets in London) as well as in Europe, with more highlights including supporting Fat White Family on their UK tour and coheadlines with Black Midi, Squid and Goat Girl.
Festival appearances in 2019 included 6 Music Festival at London’s Roundhouse, Latitude, End of the Road and Visions.
For fans of IDLES, Black Midi, Squid, Fontaines DC, Goat Girl, Phoebe Bridgers, Jockstrap, Nick Cave.
CD in cardboard colour printed wallet with 16-page lyric booklet and sticker.
140g vinyl in 350gsm cardboard colour sleeve with matte finish,
16-page lyric booklet, sticker and digital download code.
“One of the UK’s best new live acts” - The Guardian (Ones To Watch)
“The best band in the world right now” - The Quietus

Pacific Rhythm returns with a heady new offering entitled the “Deep Hows EP" from NYC based Producer and DJ, Arsenii under his Bliss Street Queens moniker. The EP effortlessly trips through the cosmic and psychedelic sounds of the hazy and hopeful 1990's in a refreshing and modern style, all while shining a light on Arsenii’s undeniable ear for rhythm, energy, and feeling on the dance floor.

This one can carry you from the chill-out room to the main stage and is an essential pick-up for all of the Interesting Audio enthusiasts out there looking for machine funk of the highest caliber!

“Other Phases Of Sleep” is Amsterdam based artist Kennedy’s first excursion beyond his ever-consistent imprint “Dream Machine”. On this EP he further explores the ethos behind his creative process he describes as - "a series of thoughts, sensations and sounds occurring from a person's mind, translated by machines."

The EP calls to mind the effervescent and driving energy of early Metroplex material while also paying homage to the Vancouver Sound and the optimistic vibe of the early 90s. Playful, sophisticated, and life-affirming dance music for those looking to uplift their mind, body, and soul.

Pacific Rhythm alumni Space Ghost rounds out the EP with a masterful remix of “Asleep” that slows the energy down to a crawl and leans into his love of UK Street Soul and cosmic flourishes.

Art Peppers drittes Album beim Label Contemporary Records, ”Gettin’ Together”, wurde 1960 veröffentlicht. Das Album enthält eine Auswahl von Standards und Eigenkompositionen und wird von Conte
Candoli (Trompete), Wynton Kelly (Klavier), Paul Chambers (Bass) und Jimmy Cobb (Schlagzeug) begleitet. Diese Neuauflage, die als Teil der Acoustic Sounds Series erscheint, enthält (AAA)-Lacke, die
von den Original-Masterbändern von Bernie Grundman geschnitten wurden, und wurde bei QRP auf 180-
Gramm-Vinyl gepresst und in einem Tip-On-Jacket präsentiert.

Recorded in 1960, Art Pepper’s 5th album release on Contemporary Records, “Intensity”, was released in 1963. A collection of 7 jazz standards the album features Dolo Coker (piano) along with Jimmy Bond (bass), and Frank Butler (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

„Dreamstate“ ist Kelly Lee Owens viertes Studioalbum, das am 18. Oktober erscheinen wird. Das neue
Album wird das erste sein, das sie bei ihrem neuen Label dh2 veröffentlicht - einem brandneuen Imprint für
elektronische Musik beim renommierten Independent-Label Dirty Hit, das von George Daniel von The 1975
geleitet wird. Kellys kommendes Album „Dreamstate“ vermittelt ein unglaubliches Gefühl von Freiheit und
Eskapismus, das aus der Erfahrung der inneren Entwicklung nach einer Trennung entstanden ist. Es ist
der Sound einer Person, die loslässt und alle anderen dazu ermutigt, das Gleiche zu tun. „Dreamstate“
basiert auf der Zusammenarbeit mit Bicep, Tom Rowlands von The Chemical Brothers und George Daniel
als Produzenten und Autoren.

Laurant Webb, Dave Coker, Justin Bailey and Dave Pine were the driving forces behind Strange Weather Studios. Based in Southeast London, the studio served as a creative hub, playing a pivotal role in shaping the sound of a groundbreaking genre. Alongside close friends and collaborators, they produced a series of influential records that have left an indelible mark on the music landscape.

This release is a heartfelt tribute to Strange Weather Studios and the talented individuals who brought its magic to life. It also honours the studio’s production partners though iconic projects such as Housey Doingz, 7th Voyage, Space Bunny, Get Fucked and Green Eyed Monster. These projects that were instrumental in forging the signature, original London Tech House sound.

The tracks on this record have been handpicked by Laurant Webb and Yossi Amoyal, meticulously restored and remastered from the rare original DATs.

This release marks a significant milestone for London Tech House, symbolising a collaboration between its key pioneers and a label that evolved alongside the genre. It’s an organic partnership that celebrates the past and looks towards the future. A project we’re incredibly proud to share with you

Man of the moment Diffrent unleashes his debut full length EP via Bristol's Time Is Now imprint, fresh off the back of his hit single 'A Little Closer', which was widely regarded as the song of the summer in 2024 in clubs across Europe.

My Sound EP is a weighty body of work for an artist's debut EP, it blends together all the best elements of UK Garage, Bass & Breaks forming a stand out take on modern day dance music.

This re-issue faithfully replicates the original 1971 Island Records UK release in gatefold sleeve, inner sleeve with lyrics, 8 page booklet, promotional poster and sticker; it is pressed onto high quality 180g vinyl. 'Babbacombe' Lee was Fairport Convention's foray into the concept album so loved by groups in the 70s. Instead of looking at something fantastical or progressive, the group went back to the tale of John 'Babbacombe' Lee, the man they couldn't hang: The gallows failed three times after he was convicted of the murder of Emma Keyse in Torquay in 1885. Dave Swarbrick found details of the trial in a junk shop, and the band worked up the story into an album. Released at the end of 1971 with ephemera from the day telling the story, 'Babbacombe' Lee had episodes listed rather than tracks. It contained the most original material of a Fairport album to date, and was seen as taking folk-rock a huge step forward. Within weeks of the album's release both Dave Mattacks and Simon Nicol left the group, leaving Swarbrick and bassist Dave Pegg to lead Fairport on through their next chapter. Today, 'Babbacombe' Lee is one of the group's most enduring albums.

FÜR FANS VON: TOTO, HEART, STARSHIP, ROXETTE, SURVIVOR, LITA FORD, VIXEN
Gegründet 2019 auf einer Party in der legendären Rockfabrik in Ludwigsburg, schicken sich VIOLET an, die bunten extravaganten Achtziger, ein
Jahrzehnt voller großen Melodien und Hits, im hier und heute wiederzubeleben. Bereits mit ihrem ersten Album „Illusions“ von 2022, von Fans und
Presse zur Nummer #1 Zeitmaschine zurück in die Achtziger gekürt, spielte sich die junge Formation direkt ins Rampenlicht. Auch ihre Liveshows
wurden schnell zu äußerst beliebten Events für AOR Fans. Und nicht nur für die. Kein Wunder, denn die leidenschaftliche Performance von Sängerin
Jamie Beckham, das virtuose Gitarrenspiel von Gitarrist/Sänger und Songwriter Manuel Heller, die filigranen Keyboardmelodien von Filip Kuzanski
sowie der unwiderstehliche Groove der Rhythmusfraktion mit Eric Hart am Bass und Maurice Probst am Schlagzeug lässt niemanden still stehen.
Ende 2024, zwei Jahre nach dem Debütalbum, erscheint nun „Mysteria“. Für den sehnlichst erwarteten „Illusions“ Nachfolger gab es für VIOLET
keinerlei Grenzen. So brilliert auf einmal ein feines Saxofon oder überraschen plötzliche und unwiderstehliche Gang-Shouts den Hörer unerwartet. Es
sind mehr Gitarren zu hören, hier und da nimmt es einen leichten progressiven Schlenker, aber alles immer im Sinne des Songs. Dazu mit einer
unglaublichen Authentizität für eine Zeit, in der alle Bandmitglieder noch nicht einmal geboren waren. Wer authentischen Achtziger Sound mag und
Bands wie Starship, Heart, Toto oder Roxette zu seinen Lieblingen zählt, sollte sich VIOLET auf keinen Fall entgehen lassen!

Soul Jazz Records are issuing this album as a one-off pressing special orange coloured vinyl edition, fully remastered and with exact reproduction artwork especially for Black Friday 2024.
In similar vein to groups such as Mandrill, Jimmy Castor Bunch, The Blackbyrds, Pleasure and Kool and the Gang, Tribe blends together elements of funk, jazz, rock, latin and soul music into a unique sound (their first album was aptly named ‘Ethnic Stew’).
‘Dedication’ is a fantastic long-lost album of deep funk, soul and jazz from the group, originally released independently in 1977 and out-of-print for over 45 years.
Tribe was the brainchild of multi-instrumentalist Earl J Foster, who put together the band along with producer Big Dee Ervin in 1974. Aside from Earl Foster the band features Clyde Jardine Powell on bass, Billy Soto on guitar, Jimmie A. Clapper on sax, Benjamin Taylor and Harold Clayton on vocals and Harold Davis on drums.
The group made three albums, but ‘Dedication’ remains their tour de force, a fantastic slice of spaced-out funk, jazz and soul.

Acclaimed musicians Nitai Hershkovits and Daniel Dor will release their highly anticipated album, “The Garden Suite”, on Circus Company. Following their previous collaboration on Daniel Dor’s debut album, “Four Petals”, this new project sees the duo exploring uncharted musical territory with an innovative, Moog-based sound.
Inspired by the groundbreaking work of synth pioneer Malcolm Cecil, “The Garden Suite” marries electronic textures with the richness of orchestral sound. Drawing from a vast range of influences, including the works of Benjamin Britten and Fredrick Delius, Hershkovits and Dor meticulously composed each track, layering Moog synthesizer melodies to emulate various instruments from the orchestra - from French horn to percussion, guitar, brass, and woodwinds. The result is a sound that is lush yet light, deeply textured yet not dense.
“The Garden Suite” marks a significant evolution in the partnership between Hershkovits and Dor, with their new compositions shifting from the rhythmic focus of “Four Petals” to a more texture-driven approach. The album showcases their ability to create genre-defying soundscapes, blending Daniel’s rhythmic system, “The Flower,” with lush, ambient layers of sound created on the Moog.
Nitai Hershkovits, known for his extensive work in jazz and classical music, began his musical journey as a clarinetist before transitioning to piano at the age of 15. His early passion for improvisation and jazz earned him several jazz competition awards in Tel Aviv. Nitai’s career highlights include his fiveyear tenure with the Avishai Cohen Trio, and his numerous projects as a solo artist, including work with ECM and his band Apifera.
Daniel Dor, a drummer and multi-instrumentalist, was born into a family of musicians in Tel Aviv. He began exploring rhythm at the age of 10, building his first drum set out of household objects. His innovative rhythmic method, “The Flower”, gained attention with his debut solo piano album, “Four Petals”, which led to his collaboration with Hershkovits. Daniel has performed with notable artists such as NOA, Avishai Cohen, and Chano Dominguez, and regularly lectures on rhythmic symmetry and music.
With “The Garden Suite”, Hershkovits and Dor offer a unique listening experience that challenges traditional genre boundaries. Their seamless fusion of rhythm, melody, and texture creates a soundscape that is as experimental as it is captivating.

Limitiert auf 500 Stk. – 100 Stk.


OSS! Spy vs. Spy! MI6! All operating in the shadows of darkness and danger... listen...underneath that double-trouble of uncertainty lays the groove. The exotic and the erotic sounds. 007! The music with a license to kill and thrill. When the clock strikes five and it is cocktail time, no man is a match for the soundtrack of the Femme fatale of the underworld. Shake that thing baby-don"t stir it....and the Martini too. The spy universe has been quite an inspiration for composers and orchestras. Lounge music, Exotica and symphonic, this record will have you spinning the globe hitting every longitude and latitude from Bangkok to Rio. So drop that needle and get on board this second volume as this jet is leaving the gate right on time.

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

New single with echoes of Slowdive, Lush and the Cocteau Twins. Limited edition 7-inch on Precious Recordings of London comes with free badge – plus an exclusive B-side. Download card also included – with a bonus 'Popkiss version' of the title track.

Blueboy continue their extraordinary re-emergence after 20 years of separation with a magnificent new single that hits you in the solar plexus and then forces you to sing along.

At various times, their guitar-led sound has been described as having echoes of bands like The Smiths, Slowdive, Lush and The Cocteau Twins.

Darkness, light and shade, melancholy and euphoria, sadness and joy are Blueboy's natural territory; in ‘Deux’, an anthemic chorus is juxtaposed with quietly spoken verses, mood and emotion driven by
ever-present guitar.

The thread of you, through everything, pulls me upwards … Could it be I'm not one; we are deux?



Blueboy first got together in the early 1990s and went on to build a global following, touring Europe and Japan and featuring regularly in the UK independent charts with a series of acclaimed singles and well

regarded albums.



Having reformed in 2024, founder member Paul Stewart was joined by Gemma Malley (now on vocals) to play in London, Cologne and Paris; their comeback single ‘One’ was launched at a triumphant full

band show in London where drummer Martin Rose and bassist Mark Cousens rejoined the team from the 1990s line-up.



Later this month, Blueboy will play to 45,000 people at the Joyland Festival in Jakarta along with Bombay Bicycle Club, St Vincent and Air

Nach der Veröffentlichung von 'Mothership Connection' im Jahr 1975 wurde spekuliert, ob Parliament nochmal etwas ebenso Gutes liefern könnte. Kein Problem. Das bahnbrechende Album 'The Clones Of Dr Funkenstein' erschien 1976 und gehört zu den besten der P-Funk-Crew. Es erreichte in Amerika Goldstatus und # 20 in den Billboard-Album-Charts. Zu George Clintons cooler Crew gehörte u.a. Bootsy Collins (Bass). Die musikalischen Arrangements stammten von Keyboarder Bernie Worrell und dem ehemaligen James Brown-Bläser Fred Wesley. Zu den Studiobläsern gehörten die legendären Brecker Brothers.
Jeder Titel war ein Volltreffer, wobei 'Gamin' On Ya' und 'Children Of Production' vor musikalischer Elektrizität sprühten. 'Getten' To Know You' war sogar eine Art romantische Ballade. 'Everything Is On The One' war eine Zusammenfassung der aufgefrischten Groove-Philosophie von Parliament in einem einzigen Song. George Clinton spielte natürlich die Rolle des Dr. Funkenstein, der auf dem ikonischen Cover abgebildet ist. Natürlich auf Black Vinyl!

Following a handful of singles and EPs, and a series of live performances that have only served to heighten the group's intensity and strengthen its sound, Bada-Bada - the trio of sought after instrumentalists/producers Lilian Mille, Tiss Rodriguez and Leo Fumagalli - finally unveil Portraits, their debut album. As a flagship of a new exciting French scene, melting the jazz idiom with the most innovative instrumental music, Bada-Bada stands out for its rare ability to transcend genres and to use the studio as an instrument in its own right.

“With this band, it’s all about searching for a sound”, says drummer Tiss Rodriguez. “It’s a quest for a sound as much as a quest for meaning," adds Leo Fumagalli (saxophone). A quest that requires unrushed studio experiments, of course, but one that never forgets to draw on the unmatched energy of the live performance and the chemistry at work between an audience that understands a band’s language and intentions and give it time to unfold them, and musicians at the top of their game.

Bada-Bada's sound is informed by its members’ backgrounds – all of whom have put their academic training to good use by confronting it with experience; by the way they relate to the time they’re living as much as the History of music; and by their ability to encapsulate a body of forward-thinking instrumental music (electronica, symphonic music, trance-based music and 21st century jazz).

Da Beatminerz defined the dark, gritty sound of underground Hip-Hop in the '90s. Formed in 1992 by brothers Walter “Mr. Walt” and Ewart “DJ Evil Dee” Dewgarde, the production duo pioneered Hip-Hop's brooding vibes, a tonal shift that came with the release of Black Moon's classic debut album Enta Da Stage. As producers of the seminal 1993 project in its entirety, Da Beatminerz set a precedent for hardcore Hip-Hop.

Their sample-heavy, gutter tracks laced with heavy basslines, and hard kicks and snares helped reshape the music genre. Da Beatminerz continued to refine their distinct sound and identity with countless classic records for other artists and two albums of their own (2001’s Brace 4 Impak and 2004’s Fully Loaded w/ Statik) over the course of their illustrious 30-year career.

Stifled Creativity is the duo’s first full-length album in 20 years.

“We started working on this album in 2009... We had one focus and the focus was to stick to our core sound. We just wanted to bring back our traditional way of attempting a classic album. Everybody has their own type of hip hop that they love. Well, this is ours.” - Mr. Walt













m Adore HER (feat. Keith Murray)



q It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)













[m] Adore [HER] (feat. Keith Murray)



[q] It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)













[m] Adore [HER] (feat. Keith Murray)



[q] It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)

Skylla is the debut solo recording of Italian-born and London-based composer, bassist, and vocalist Ruth Goller. This
album of otherworldly detuned bass harmonics and dense vocal arrangements was initially released in 2021 by longtime collaborator Bex Burch's Vula Viel Records, and quickly went out of print. Since then Goller's notoriety has only grown, and her follow-up record, SKYLLUMINA, was released by International Anthem in early 2024 and met with high praise.

Skylla is the genesis of her sound, and it is a sound that is hard to place. Listeners could be convinced that these recordings came out of contexts as disparate as 80s Downtown NYC or some mysterious Bjork-adjacent project of the Icelandic 2010s. It's hard to imagine a person making this music despite the fact that its elements are instantly recognizable.

Since ever great fans of DJ Ralf's music, both Marcellino and I decided of dedicang a tribute to him... a record that could
always feature him in his DJ sets!

There was a video on YouTube with an interview with the "uncle from Italy" who told a li$le about his career... with
various anecdotes...

We therefore thought of "building" him a musical ou&it specifically so that he could play it himself...
Groove, great rhythmic bass, and a very Old Skool sound that recalled the Chicago and Detroit periods... we therefore
gave life to the project (ino)2 (Walterino & Marcellino and Keller)
We took the most interesng phrases from the interview, and looped the phrase... Ralf, Ciao Ralf, thus giving the song the
tle!

In the crowded field of contemporary jazz AuB stands out on first listen. Reinventing the classic twin-tenor line up for the 21st century is a tough proposition, but top-flight UK virtuosi Alex Hitchcock and Tom Barford are more than equal to the task, not so much reviving the format as turning it inside out and upside down. For their brand new collection "Folk Devils" the two horns dance and dialogue over the scintillating team of Danish bassist Jasper Hoiby and French drummer Marc Michel in a series of compositions that perfectly balance complexity with powerful melody, drama with intimacy, angular post-funk with sombre, spacey beauty.

St. Morris Sinners is a band of troublemakers who were born in 2011 in Adelaide (Australia). "Nightmares" is their second LP out throught Beast Records. Stephen, the leader of the group proclaims in a spoken word with off-key singing and a strong voice, these feverishly hallucinated texts as if under the influence of an evil demonic spirit. Sporting an anarchic and unpredictable approach, his apostles are: Django Martin (guitar), George Thalassoudis (bass) and Angus Mason (drums) with noisy post punk sounds. These incarnate pieces touch on electric hysteria telling a twilight vision of existential excesses. The ego-altering gravity of melancholy in the tortuous timbre of Stephen's howls where the vitality of a tribute to decay, As a cursed preacher, despite the ordeals narrated, he seeks absolution with a lost look towards the captivated audience. Crazy and terribly captivating!

New York psych-pop band Crumb return with AMAMA, their most carefree and open-hearted album to date. A soundscape full of playful and patchwork experimentation _ glitchy pitch-shifted vocals, cell phone recordings, nautical blips, sax mouthpiece solos, blasted drum samples, and piano strings dampened with Silly Putty _ AMAMA continues to deepen the band's hypnotic sound in a cohesive line back through 2021's Ice Melt, 2019's Jinx, and breakout EPs Locket and Crumb. Without a doubt, AMAMA is Crumb _ singer and multi-instrumentalist Lila Ramani, keyboardist and saxophonist Bri Aronow, bassist Jesse Brotter, and drummer Jonathan Gilad _ at their most animated.AMAMA exists at the crossroads of psychedelia, pop, jazz, and rock, and cements Crumb as a band uniquely their own. Released independently on Crumb Records and produced alongside Johnscott Sanford and Jonathan Rado in Los Angeles, AMAMA is an incandescent statement about searching for solid ground, connection, and clarity in a life of nomadic upheaval.

Jazz Funk duo Zaimie is poised to take the music scene by storm with the release of two highly anticipated remixes. The fresh reimaginings of Zaimie's hit tracks—“Smash N Grab,” remixed by the talented Bluey of Incognito, and “Wildfire,” remixed by the acclaimed DJ and Producer Al Kent—are set to captivate audiences and keep dance floors alive.
“Smash N Grab,” known for its infectious beat and vibrant horns, receives a brilliant touch from Bluey, infusing the remix with groovy melodies, soulful undertones and a thumping bassline that are sure to make it a standout track of the season. Meanwhile, Al Kent’s remix of “Wildfire” enhances the song's already captivating essence, transforming it into a disco-infused anthem that encourages listeners to let loose and revel in the moment.
These exclusive remixes will be released on a limited AA side VINYL ONLY run through Splash Music Productions, making them a must-have for collectors and enthusiasts alike. Each track showcases Zaimie's artistry and innovation, promising to bring a fresh dose of excitement to their discography.

Wundervolles Kleinod von einem in Freiburg und Hamburg ansässigen Duo um ehemaliges Kids Explode-, Tapes-Personal. Musikalisch ein nicht ganz einfach zu greifender Misch aus 90er Emo mit deutschsprachigen Texten, Postpunk und bezaubernd schönem Indie-Pop der Marke Arab Strap mit ein paar Tortoise- und The XX-Einsprengseln. Neben dem klassischen Gitarre-Bass-Drums-Triumvirat, gehen vor allem auch die toll inszenierten, ergreifenden Synthies, dezent eingesetzte Drumcomputer und der immer wieder auftauchende Doppel- bzw Wechsel-Gesang an Herz und Nieren. 13 Songs liefern uns "Alle Angst", die gleichzeitig runterziehen und aufbauen, sich verspielt geben und doch getragen wirken, die Welt stillstehen lassen und uns trotzdem auf den Dancefloor locken.

Poetry of the Deed is the third studio album by London-based singer-songwriter Frank Turner. Unlike Turner's previous solo albums, Poetry of the Deed was rehearsed, arranged and recorded with his full band. This marked a significant change in the singer songwriters musical output, spawning the singles ‘Poetry Of The Deed’, ‘Try This At Home’ and ‘The Road’. The video for ‘The Road’ saw Frank play 24 shows in 24 hours.. The successes of the third album included further Radio 1 daytime playlists, sessions with Zane Lowe and headlining a sold out show at London’s Shepherd’s Bush Empire and a few months later, The Roundhouse, London, setting him firmly on the course we see him on today, as a headline act the world over. Produced by Grammy nominated Alex Newport.

Peter Brötzmann: tarogato, contra-alto clarinet, bass saxophone Paal Nilssen-Love: drums, gongs, percussion 2nd Volume of the perfect pairing Brötzmann & Nilssen-Love, recorded at Zuiderpershuis in Antwerp, August 2015. The music is less frenzied and aggressive than we're used to, as the musicians shared their exploration of new tools with a more contemplative approach. To be sure, both Brötzmann and Nilssen-Love summon the usual energy here and there, but it's a genuine revelation to hear them feel out new sounds in real-time, whether it's the former caressing the rheumy nasality of the contra-alto clarinet, or the latter reveling in the sustained resonance of his new gongs. Still, even if they were trying out new tools, their rapport and level of engagement was just as strong and deep as ever. Colliding schedules prevented them from ever wrapping up the production on the album, but they began planningfor it during the pandemic. Sadly, it fell to Nilssen-Love to shepherd the project at home, but it was worth the wait. This duo album represents a major statement from both musicians. Artwork by Brötzmann, design by Lasse Marhaug. Liner notes-transcription of an interview with Peter Brötzmann.

"Känguru" ist das dritte Album von Guru Guru, 1972 veröffentlicht auf dem Brain-Label. Produziert von Conny Plank in der damals "klassischen" Guru Guru - Besetzung mit Ax Genrich (Gitarre), Uli Trepte (Bass) und Mani Neumeier (Drums, Vocals). "Känguru" besteht prinzipiell aus den gleichen Ingredienzen wie seine beiden Vorgänger "Ufo" und "Hinten", die 1970 und 1971 auf Rolf Kaisers Ohr Label veröffentlicht wurden. "Känguru" ist Krautrock in Reinkultur, auf dem Album sind "nur" 4 Tracks, alle in einer Länge zwischen 10 und 15 Minuten. Die Band geht aber weg vom unorganisierten Chaos der beiden Vorgängeralben und geben den Songs mehr Struktur, der Härteanteil wird zurückgefahren, alles klingt zugänglicher und harmonischer. Gleichzeitig nimmt die humoristische Komponente zu, siehe z.B. Mani Neumeiers Sprechgesang bei der Einleitung zu "Immer lustig". Kurzum: "Känguru" ist ein Krautrock-Juwel.

2009 veröffentlichte Deutschlands dienstälteste aktive Punkband mit "Krieg der Kulturen" ein provokant-unbequemes Dauerfeuer ohne Rücksicht auf vermeintlich politisch-korrekte Befindlichkeiten. Martialischer Hardcore-Punk untermalt von Sänger "Deutscher W"s aggressiven Anklagen gegen religiöse Fanatiker, Kriegstreiber, Extremisten und allen "Feinden der Freiheit". Die thematische Brisanz der Texte hat sich aktuell in Politik und Gesellschaft weltweit leider noch weiter verschärft, oder wie OHL zu singen pflegen: "Die Welt steht in Flammen" Die 15 years Collectors Édition erscheint mit neuem Cover-Artwork auf farbigen 180gr. Vinyl streng limitiert auf 333 copies

2009 veröffentlichte Deutschlands dienstälteste aktive Punkband mit "Krieg der Kulturen" ein provokant-unbequemes Dauerfeuer ohne Rücksicht auf vermeintlich politisch-korrekte Befindlichkeiten. Martialischer Hardcore-Punk untermalt von Sänger "Deutscher W"s aggressiven Anklagen gegen religiöse Fanatiker, Kriegstreiber, Extremisten und allen "Feinden der Freiheit". Die thematische Brisanz der Texte hat sich aktuell in Politik und Gesellschaft weltweit leider noch weiter verschärft, oder wie OHL zu singen pflegen: "Die Welt steht in Flammen" Die 15 years Collectors Édition erscheint mit neuem Cover-Artwork auf farbigen 180gr. Vinyl streng limitiert auf 333 copies

Triumph And Power« will turn out to be another victory in GRAND MAGUS’ history! GRAND MAGUS was founded by JB Christofferson (vocals/guitars) and Mats “Fox” Skinner (bass) in 1996. Two years later, Fredrik “Trisse” Liefvendahl joined in on the drums and the first two demos were released. In November of 2001 the self-titled debut album – obviously inspired by the late creative period of bands such as BLACK SABBATH or DEEP PURPLE - was published on the European and US market. »Monument« (2003) and »Wolf’s Return« (2005) followed, receiving but praiseful press reactions. On their fourth studio outcome, »Iron Will« (2008) GRAND MAGUS present a redefined style and grand expertise, still acknowledging their own roots, gaining perfect scores with the music press again and being entitled the soundcheck winner with German Metal Hammer. Album number seven got the meaningful name »Triumph And Power« and was released in 2014. 2024 the 10th Anniversary edition will be available on vinyl.

"In 2004 Swedish melodic death metal kings released ""The Arrival"", by then the ninth album by Peter Tägtgren (guitars, vocals), Mikael Hedlund (bass), and for the last time with Lars Szöke behind the kit. Yet, an ending proved to be a beginning with 'Eraser' becoming one of the group's most successful tracks while offering further highlights like 'Stillborn', 'Slave to the Parasites', 'The Departure' and the re-recorded 'The Abyss', originally composed during the ""The Fourth Dimension"" era. Now, 20 years after its release, ""The Arrival"" is finally available on vinyl again! "

Andrew Bird und Madison Cunningham taten sich zusammen, um ein Coveralbum des Kultklassikers Buckingham Nicks aus dem Jahr 1973 zu veröffentlichen. Das Album erscheint am 13.12. über Loma Vista
Recordings / Verve Forecast. Mit Cunningham Bird ehren die beiden engen Freunde und virtuosen Musiker
ein Album, in die sie sich immer mehr verliebten, je mehr sie zuhörten, lernten und sich zu eigen machten.
Das gleichnamige Debüt von Lindsey Buckingham und Stevie Nicks war lange vergriffen und immer noch
nicht auf digitalen Plattformen erhältlich. Es ging der unverzichtbaren Karriere des Duos mit Fleetwood
Mac voraus, und in diesen Songs interpretieren Cunningham und Bird diese Energie der unbegrenzten
Möglichkeiten neu. Cunningham und Bird verkörpern den gleichen Geist des Selbstbewusstseins wie auf
dem Debüt, bringen aber auch eine anspruchsvolle Ehrfurcht vor dem jugendlichen Ehrgeiz der Musik mit
und verwandeln das zeitlose Werk in etwas Neues. Während die Abfolge der Stücke exakt gleich bleibt, ist
der Sound von Cunningham Bird nicht unverändert. Produziert von Mike Viola, sind nur Griffn Goldsmith
an Schlagzeug und Perkussion, Mike Viola an Wurlitzer, Bass und Schlagzeug und die vielen subtilen,
einzigartigen Klangsignaturen von Madison und Andrew zu hören.

Multi-Platinum Maryland quartet All Time Low are celebrating two decades together as a band this year. To commemorate this significant milestone, the band will be releasing The Forever Sessions Vol. 1 album via their own imprint - Basement Noise Records - in partnership with Photo Finish. The new LP will feature re-recordings of the band’s greatest hits from the early part of their career including “Dear Maria, Count Me In (ATL’s Version)”

Recorded in 1960, Art Pepper’s 5th album release on Contemporary Records, “Intensity”, was released in 1963. A collection of 7 jazz standards the album features Dolo Coker (piano) along with Jimmy Bond (bass), and Frank Butler (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

Trawling the net for sounds of a different fashion two humans encountered each other and their mutual taste for exotic rhythms, heavy sonics and all things dub.

Based in Scotland and Kazakhstan, drawing influences from ghetto music cultures from around the globe. They broke through barriers, political and language, to collaborate and create. Announcing their sound under the banner ‘Illuminations’ in a hope to shine the light away from the algorithms of corporate greed and control, bringing it back to individuals with creative souls.

Released under scopeotaku’s DiY tape label, this is a limited edition of 50 hand-stamped and numbered cassettes feat 15 tracks by the duo that drag future dystopian soundscapes into bass laden rhythms best heard in dark spaces through large speakers.

Comprising someof Denmark"s most prominent young musicians, Copenhagen"s trailblazing neo-jazz quintet OTOOTO refer to their innovative blend of jazz tradition and modern indie-pop as "homeshake meets the jazz messengers". Their third studio album"2nd Quake" is set to release on November 8th on April Records. OTOOTO, consisting of Jonas Due (trumpet and flugelhorn), Oilly Wallace (alto sax and flute), Calle Brickman (keys), Andreas Svendsen (drums and percussion), and Matthias Petri (bass), has been a fixture on both the Danish and international jazz scenes since their 2021 debut "This Love Is For You". Their new release marks a new chapter in their journey, reflecting a bold, mature artistic vision that promises to cement their place as leaders in Scandinavian contemporary jazz. "Our mission is to reflect the modern society and put a sound to its vibrations. And through this sound we seek to transmit purity, love, and joy." Navigating through a wide array of inspirations from 70"s rock and European church music, to the pioneering sounds of Jean-Michel Jarre and Vangelis, the five piece - led by trumpeter Jonas Due and saxophonist Oilly Wallace - self describe their sound as"a roaring sea of analogue synths and velvety horns". Featuring eight meticulously composed original pieces, 2nd Quakebalances strong memorable melodies with intricate orchestration, a continuous sense of groove, thick layers of texture and fearless, lyrical improvisations. A collaboration with electronic producer Sofie Birch, the record is an electro-organic sonic exploration of the union between acoustic instrumental timbres and electronic manipulation, spearheaded by the sound of the legendary Juno 106 synth alongside stellar jazz-informed musician-ship.

Following a period of five years establishing himself and blossoming into an innovative and in in-demand creative force on the New York jazz scene, 26 year old Danish pianist/composer Rasmus Sorensen returns to his home country to present his third accomplished piano trio record in two years. Combining musicianship far beyond his years with a distinctive contemporary voice, At The Right Time is set to release on November 15th on April Records. The record follows his 2022 debut Traits " which showcased his capabilities as a modern jazz composer and instrumentalist and 2024" s Balancing Act "", which saw the rising star stretch out on American Songbook classics alongside New York bassist Alexander Claffy and celebrated drummer Kendrick Scott. Now, in 2024, At the Right Time cements Sorensen s position as a trailblazing voice on his instrument whilst providing subtle nods to modern jazz piano greats of the 21st Century: there"s some Fred Hersch counterpoint, Brad Mehldau Mehldau-esque improvisational elasticity, Vijay Iyer influenced rhythmic cycles, a touch of Robert Glasper"s acoustic hiphip-hop inflection, and hints of Craig Taborn s polytonality. Featuring 12 diverse original compositions, the focus of this trio is on togetherness, with which the three formidable players bring the music to life. Jon Henrikssons bass sound holds the trio in an enveloping warmth that seems destined to become well known to European audiences. At the drums, Francesco Ciniglio, most recently heard by those audiences as a member of Wynton Marsali"s quartet, brings out the color, energy and movement sewn into the writing. The trio juxtaposes the feelings of being tightly locked locked-in and suspended in free free-floating time, and spends most of its time in the best of both rhythmic worlds.

"It's a game of hopscotch while drunk on sleep deprivation. It's a dance based on inaudible, but irrepressible rhythms. It's interaction dressed up like a call & response game wrapped up in a sparring match full of agitation and confusion. It's a manic pursuit over wobbly scaffolding, broken roof tiles or a creaking suspension bridge. It's an irregular movement that snaps, roars, drips, defies, tumbles, slithers, cajoles, interrupts, sizzles, triples, dodges, throws curveballs, causes panic, restores order, well kinda, and stutters and mutters. It's like Jaap Blonk's invented Onderlands: a language that sounds familiar, but that ultimately defies comprehension. It's part application and part imagination, it's a mystery and a trap. It's a system, perhaps, and an attempt at something, probably, but it's not, definitely not, a holiday. The idea!" - Guy Peters Ken Vandermark (US) and Terrie `Ex' Hessels (NL) have been playing together for years. For example, the Chicago reed player has been a guest with The Ex almost 100 times and the two are also part of Lean Left, an explosive improvising quartet with Andy Moor and Paal Nilssen-Love. It took them until 2014 before they went on stage for the first time as a duo. A dozen concerts followed on various international stages and resulted in their first LP `Scaffolding' recorded upstairs in the Witte Villa, Wormer. Released in 2019. This new release is the result of an blasting tour in Poland, 2021. Recorded live in the SARP Social Club in Poznan. `This is not a holiday!' Eight improvisations; eight musical adventures!

Anglo-Norwegian ensemble celebrating the work of Nordic poet, Nils Christian Moe-Repstad. With Jan Bang (live sampling, samples & programming, synthesizer), Michael Francis Duch (double bass), Erik Honoré (live sampling, synthesizer), David Toop (paper, cardboard, leaves, friction, activated objects, air, aerophones, bone conduction, cassettes, vibration, voice), Mark Wastell (tam tam, gongs, sticks, beaters). Recorded live at Punkt, Kristiansand on 31 August 2023.

Scions are a new innovative experimental ensemble. The group features members from the award-winning minimalist chamber-jazz quartet New Hermitage, the Polaris-nominated drone-hymn duo Joyful Joyful, and the acclaimed producer and composer Michael Cloud Duguay. Their collaboration began at the Sappyfest music festival in Sackville, New Brunswick, in August 2022. During this event, New Hermitage and Joyful Joyful connected for the first time and teamed up with Duguay for a spontaneous improvisational performance based on his song writing. The enthusiastic response, capped by a standing ovation, solidified the ensemble's decision to pursue the project further, with Duguay deftly shifting from front-person to producer and musical director. After being awarded a Canada Council project grant in early 2023 the group took residence in Hotel Wolfe Island on Wolfe Island. Over a week the seven core members lived and worked together, culling material from sunrise improv sessions and collaboratively shaping it into a unique body of work that would later become To Cry Out In The Wilderness. In June 2023, the ensemble, now joined by double bassist Gabriella Ciurcovich, recorded their debut album in Halifax’s north end. Led by Duguay’s distinctive approach to site-specific production, the recording took place in the sanctuary of St. George’s Round Church, with engineering by Jake Nicoll, known for his sustainable recording methods using a solar-powered, mobile control room. The resulting album, To Cry Out In The Wilderness, finds the ensemble expertly exploring and powerfully combining their skills in jazz, devotional, classical, drone, folk, ambient, metal, improvisational, minimalist and avant-garde music. The project culminated in a week of production, with contributions from numerous artists from Halifax’s creative music community. Scions then presented their work live, performing on the opening night of Halifax’s Everyseeker festival of experimental music, where they shared the spotlight with the renowned Sun Ra Arkestra. Speaking on the narrative of To Cry Out In The Wilderness vocalist and lyricist Cormac Culkeen said: "When we came together to make this body of work, we started from a narrative seed; a post-apocalyptic humanity relearning and recreating itself, after a total ecological collapse." Speaking on "Fight Song" they add, "“Fight Song” became the song we thought the last of us might need. It is sung for an imagined last stand. It is a rallying cry to wholeheartedly fight a losing battle. So it is for us now, in this time of great dismay and unease. The axe must be disobeyed.

Irishman Dom Martin is a multi award winning artist from Belfast Northern Ireland.
The 34 year old's music is steeped in the atmospheric celtic hallways of the past with many likening his style and stage presence to the likes of the late greats Rory Gallagher and Belfast's own Gary Moore.

Equally at home with an acoustic guitar in hand tearing at the heartstrings of the audience, he's an inducted UK Blues Hall of Fame Artist as a result of three consecutive acoustic awards, and his trusty telecasters and Les Pauls that lead his power trio, delivering him two consecutive Instrumentalist of The Year Awards, Dom tours internationally on a regular basis and has built a reputation for his emotional and powerful legendary shows.

His latest album 'Buried In The Hail' garnered rave reviews and was voted Best UK Blues Album of 2024 at the UK Blues Awards.

Whilst touring the UK and Europe in 2023/2024, many tracks from 'Buried In The Hail' were recorded live along with several from his previous albums, 'Spain To Italy' and 'A Savage Life'.
The result is 'Buried Alive', a double live album by one of the most exciting artists to come out of Ireland in a very long time.

Having thrived throughout the underground realms for the last ten years, Question built a respectable body of work displaying a sound meeting constant progression, a vision sharpened and perfected with each output. Six years following the debut full-length recording, the Mexican quintet unleashes “Reflections of the Void”, a grand tome of sheer Death Metal might in eight tracks that take Question’s sonic traits and overall concept to a whole new level of magnitude. In perfect unison with the majestic Shoggoth Kinetics artwork that adorns the album’s cover, “Reflections of the Void” stands apart and invites the listener to a pathway beyond the horizon, a detailed journey on life and death and yonder. Such carefully threaded concept meets its aural accomplice as Question carries a cloud of impending doom, a dense and arrestive atmosphere on brilliantly crafted songs that drink from the fountain of the past yet blistering in its very own with a striking sense of dynamics which assuredly puts the group in the major leagues of Death Metal mastery. Obscure, threatening riffs blaze through the first moments of the record, trading somber licks and faster belligerent attacks, yet never failing to enter a redundant path, for a tempo change or a dissonant endeavor spells unexpectedly and takes the listener on an intense rollercoaster. Fiercely crafted, the pulsing bass impulses and organic drumming patterns exhale as the pounding heart of “Reflections of the Void”. Technical, precise, enter a scorching performance in taste and dexterity, never sounding dull or plastic but shining for its soulful presence, side by side with the dazzling production, utterly potent and vibrant, taking the defying arrangements to greater extents. In and above this sonic frenzy, a vociferated voice grunts the illusions of our existence with a resonating dark tone spawned directly from the imposing void. As this opus resumes into the boundless vacuum, we are left with a sense of distress and awe. Question crafted a work for the ages, one which with every listening reveals a further dimension, a hidden mystery, just like the classics in the unholy pantheon to which this opus will surely belong someday.

“Reflections of the Void” is released under the banner of Chaos Records.

Performed by:
Bob Anderson - drums
David Archibald - vocals
Jessica Argo - cello/theremin
Sophie Askew - harp
Ronan Breslin - keys
Jen Cunnion - vocals
Mark Ferrari – bass guitar/vocals
Therese Martin - vocals
Sarah Martin - vocals
Olivia McLean – cello
Simon Whittle – guitars/vocals

Recorded at La Chunky Studios, Glasgow by Ronan Breslin, and mixed/mastered by Johnny Smillie.

"Ire" bleibt dem klassischen Parkway-Drive-Sound treu, dennoch haben die elf neuen Stücke deutlich mehr Tiefe als alles andere, was die im Sommer 2003 gegründete Band bislang abgeliefert hat. Damit liegt es nahe, das Album als konsequent-mutige und neugierig-kreative Weiterentwicklung zu charakterisieren. Diesbezüglichen Einsatz lassen Sänger Winston McCall, die beiden Gitarristen Luke Kilpatrick und Jeff Ling, Bassist Jia O"Connor sowie Schlagzeuger Ben Gordon auch im "echten Leben" nicht missen.

Whispers, based out of Thailand, are bringing an immense sound to modern metallic hardcore. Originally formed in 2014, the band picked upsteam in 2021 with the release of their Narok Bon Din EP grabbing international attention

From Rotterdam's fertile grounds springs another thorny rose. Composer, DJ, and producer Muzmin kicks off the maiden release of 'Fusion of Thought' with 'Yucca EP', featuring four tracks of old-school harbour city slamming techno with a heady, contemporary twist. An elegant balancing act between thought-provoking sound-design and undulating, peak-time efficacy that the San Francisco Bay Area-based artist is such an expert at. A promising start for this young label.

First detected in the 1950s, Quasars remained a mystery for years with the massive amount of energy seeming to come from a very small area of space. Over time, astrophysicists theorised and proved that these celestial objects are black holes forming the centres of galaxies. For the latest Micron Audio release, 6SISS creates a sonic exploration of the many aspects of these gigantic cosmological bodies resulting in a collection of tracks that reflect their density, power, and luminosity. Each of the four tracks, QUASAR I-IV, represents a different phase of interaction with a quasar's energy, from initial observation to a final, euphoric absorption into the quasar's core: fizzing and enigmatic synths suggest the radio waves that travelled for thousands of years before being detected, while other bassier sounds bring to mind the vast gravitational pull of galactic centres, slowly attracting stars and planets alike towards them. As with all Micron Audio releases, QUASAR reveals a deep appreciation of scientific discovery and knowledge. Whilst avoiding retro-futuristic clich?, the imaginative abstract storytelling genre of electro is perfectly represented in this collection, in which 6SISS yet again emits his own densely packed work to emanate across the universe with a bold radiant energy.

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo "exploration of visionary California."

Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band's lushest and most elevated creations to date: Time Enough For Love. Inspired by the "groove and mood" of Harry Nilsson demos, as well as its wider 70's wavelength - Rhodes, Wurlitzer, wood paneling - Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo's smoothest and most multi-sensory voyages. "Sail Across The Moon" delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. "Messengers" echoes the cosmic lounge of Air's Moon Safari, shuffling, weightless, and ethereal, while "Falling Deep" reaches for the stars, pure cascading bliss, the ecstatic moment writ large.

The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. "Like A Grain Of Sand" opens with a spoken sample by the celebrated late American poet Rachel Sherwood ("The children watch, breathless / with the birds / They feel an emanation / from this shuddering place"), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the "life enhancing" nature of the band's time in Los Angeles - sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city's mystic sprawl glittering beneath purple dusk.

Well-versed in vintage vernaculars, Oakland-based producer/musician Mike Walti is about to return with his sophomore offering under the Organi moniker – as new album “Babylonia” follows 2020’s “Parlez-vous Français?,” a landmark in vibe acquisition ever since.

Wyldwood Studios is a portal. It’s a secret gateway to analog spheres. Cross the threshold and you’ll feel the difference: you can pick any ol’ time, any place, any tongue or vibe, in fact. Hit the dancefloor in 1967, feel that plushy loveseat in the early 70s. It’s a welcoming place where better, saner vibes are still within reach. Fueled, at least in part, by those long-classic 12”s on the walls – just imagine the sepia-tinted countenance of Melody Nelson alongside actual Birkin sans wig, right next to Shadow’s immortal crate diggers, forever blurred –, and channeled through ancient time travel devices such as the MCI 416B only to arrive on classic 2-inch tape (MM1000 aka Ol’ Bessy), it’s a haven for all things organic, for all things imbued with that warm élan. Built and run by Oakland’s own Mike Walti, countless artists from many different genres have felt that flair, creating sonic spheres and moving back and forth along the malleable axis that is space-time. Capturing magic.

Emerging from this unique portal back in 2020, Walti’s aka Organi’s first studio album was a stunning answer to its titular question – “Parlez-vous Français?” It was a soothing, somewhat psychedelic trip so magnétique and alluring that it immediately brought back those bits of Franglais you never knew you remembered. Whereas the debut LP indeed felt like a spontané voyage to the French Riviera ca. 1968, its follow-up “Babylonia” is so much more than linguistic confusion and ancient Akkadian Rhythms. Using that hidden portal near Alameda’s finest port to access all kinds of remote regions and sonic spheres, it’s super tight and feels, well, decent, even though, just like the ol’ Babylon, it’s full of surprising tongues and dreams, schemes and melodies.

“Where do we go from here?,” someone asks in opening “Organii-“ – all majestically cinematic boom bap, buoyant bass, sick strings. A fittingly massive opener that feels like cracking open a cold one after long weeks at work (that ecstatic “ahhhh”), it perfectly sets the tone for another half hour of pure time traveling, globe-spanning bliss. Whereas that certain prédilection pour all things French makes “La Rockette” so tempting and tantalizing (think MalMalNonBien), the sophomore album’s Berlin-based guest singer Nana Lacrima soon takes us elsewhere: title track “Babylonia” spins ever so softly, like a magic lantern, with images of dreamier Stones Throw funksters or Savath y Savalas looming over the steady flow of an arrangement that washes you clean like an ancient, unpolluted River Euphrates or Brazil’s actual Amazon. A sexy Portuguese-flavored anthem, occasional guest singer Alix Koliha also enters the scene to add yet another layer of French chic to this Brazilian landscape. Next, we’re back at the Riviera, but the “Italiano” version of it, splendido sunsets and bell towers in the distance, the ragazze laughing and shaking it up, perhaps even some Portofino Gin so you can really feel that “me ne batto il belin,” as your fingers align form some half-serious “ma che vuoi?”

Tim Maia-penned “Padre Cicero” (1970) deals with the stunning transformation of the titular hero – “De reverendo a lutador,” and what a soaring, sensual hook –, and Organi’s take on Elephant Memory’s “Old Man Willow” (now an “Old Man Waltz”) perfectly underlines what Walti’s Wyldwood endeavor is all about: Easy-Going Experimental Dream Pop, fueled by Gainsbourg, Broadcast, Stereolab, etc.

Later on, even though something seems to be tres complique in “Remembering Anna,” it all sounds carefree like a spontaneous Friday afternoon with a bottle of fine wine. Right before the outro, key album guest Yea-Ming Chen (of Yea-Ming & The Rumors) returns to the mic, adding her dark and dusky trademark timbre to melancholy anthem “Pictures Of Your Face”. Reminiscent of Nico and Trish (rip & rip), it’s a track that’s both dark and strangely propelling, hypnotic and hip-shaking.

A third generation Bay Area native, Mike Walti aka Organi has been running Wyldwood Studios in Oakland CA for some 15+ years (recording artists like Tommy Guerrero, Spelling, Why?, Latyrx, Del, Dan The Automator, and Big Freedia, to name but a few). A multi-instrumentalist who’s obviously in love with the 60s/70s, he loves to work with analog equipment (“We just love us some analog!” “Just listen to those relays purr…”). Recorded and mixed by Mike Walti at Wyldwood, “Babylonia” will be released on vinyl/digital by Alien Transistor.

Red Vinyl. Since emerging in 2015, Sextile have been a party-provoking force on the LA underground, capable of kicking up a riot with the raw-edged squall of a synth or the sharp-elbowed jerk of a guitar. Sextile are now ready to rage with a serotonin-boosting new album, a new group dynamic, faster BPMs, and an even wilder new direction. Recorded in Yucca Valley, Push bounces and bops at the fringes of hardcore dance music, with the hallmarks of drum & bass, gabber and trance illuminating the record like glowsticks at a `90s Fantazia rave. "Contortion" introduces the album with shadowy vocals from Keehn and a `00s-ready twist of dirty electro bass, setting the tone for the dance-punk rave-up that unfolds across 11 attention-grabbing tracks. There's plenty of historic teen angst and biting social commentary written into the album's vivid tales and misadventures. Balancing storytelling with face- melting synths that turn the tune into an acid trance character study, "No Fun" is penned from the perspective of a teenager trying to flee their town. A punk spirit underscores the album. The clue's in the name with "Crassy Mel," which partly serves as a high-energy dedication to `70s anarcho-punk legends Crass . The track's headbang - ing heft, vocal yelping, and Prodigy -shaped breakbeats accentuate the album's overwhelming sense of fun. Plus, the dreamy ambient wash at the end of the song is the ultimate palate- cleanser. Push was inspired by the kind of pleasure-seeking music fans whose social calendar comprises both the punk show and the rave. Josh Wink, Iggy Pop, Goldie, and early XL Recordings have all been namechecked as influences on Push , and the dancefloor remains a constant pres - ence. Repping their place of origin, "New York" brings these musical touchstones off the page, guiding the album like an acid-soaked lodestar with its grinning nod to "Higher State of Consciousness" and a whirlygig of music-box synths. There are still nods and "hellos" to the caustic post-punk of Sextile's earlier work. Sextile haven't relinquished their punk credentials, they've just given them a smiley-faced revamp.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

Philipp Greter is a genius. He is not only the keyboardist of the acclaimed swiss Dub band Dub Spencer & Trance Hill he is also the producer and mastermind behind the band and responsible for the crisp project "William S. Burroughs In Dub". Philipp has worked with and for The Young Gods, Yello mastermind Dieter Meier, Lee Scratch Perry, amongst many others. "Greter Than Dub" is being released on Liquid Sound Design, the psychedelic dub label of Grammy Award winning producer Martin "Youth" Glover: highly respected songwriter/producer, sonic pioneer, and founder and bassist of Killing Joke. Almost everything on this album is grooving, swinging, vibrating and echoing in delay. It is not only an album for the dancefloor it is also a soundscape travel for the comfortable sofa trip.

Warehouse Find!

Detroit Swindle continue their incredible run of form with a cracking new EP for for their Freerange follow up, suitably entitled Unfinished Business. It's pretty fair to say that the Dutch duos 2012 Freerange debut helped cement their reputation as one of the most exciting young house music acts to emerge in recent years. Their relentless tour schedule and stream of quality EP's for the likes of Tsuba, Dirt Crew and their own fledgling label Heist are testament to their success. Remixes for the likes of Waze & Odyssee, Sowar and Medlar all did the damage as did their immense Boiler Room takeover session which sealed the deal for any skeptics. Turning to the fresh stuff, we see DS delivering three brand new originals plus we have a hard as nails (by our standards anyway!) remix from the enigmatic Crue.

Title track Unfinished Business sets the tone with a driving, shuffling, tech tinged beauty loaded with their trademark cut-up, MAW style vox samples.

Under The Spell drops next with a more low slung groove, rhodes stabs and breakdowns that are tried and tested for maximum dancefloor pleasure.

The B1 sees Crue step up for his hard hitting remix which brings a darker, raw edge to the EP with a bad boy basement feel and garage swing bringing some peaktime intensity.

Finally we close the EP with Woman, a track that's probably about as close as the DS boys get to a smooching torch song. Lush pads and strings bring a deeper vibe to proceedings but the female spoken word samples keep the energy high and ensure things never stray too far from the floor.

Silky Steps hustles towards the scene trailblazed by Nile Rodgers, and currently held by the likes of Jungle, L'imperatrice and Parcels. The 5-piece hailing from Estonia's summer capital Pernau have their own concoction of neo-soul, nu-disco and pop-funk to offer, though. At the helm, a combo of male-female lead vocals sing about the X-rated side of life. Plentiful synths and suave basslines get all the right juices flowing. All the while a musical guest will pop in here and there to provide a sax solo, sing a ref or throw down a little rap.

The latter is especially true for their upcoming LP "Universal Language," as 2023 sees the group step up their game in a big way. Their 2nd single "Fly, Goodbye" took off as the title suggests and got its first BBC 6 airplay on the revered Cerys Matthews show. Robert Linna of Lexsoul Dancemachine lent his falsetto to the latter track, while MC Roki raps on "Falling For You" and Rahel collabs on the title-track. In total, there are 10 tracks on the album that's put out digitally and on vinyl via Funk Embassy Records - the Estonian imprint that recently won Record label of the Year at the local music industry awards.

Jazz re:freshed are proud to present the third studio album by bassist and composer Daniel Casimir.'Balance'encapsulates 'Big Band Energy', with his signature combination of Classical, Jazz and cinematic sounds.

The albumpays homage to the traditions of big band composition and historical significance whilst illustrating contemporary sensibilities.

This ambitious project explores the balance between two large and full sounds of a big band and a string section and is inspired by icon Wayne Shorter's album'Emanon'which made a deep impression on Casimir during the process of creating the album.

An organic development of Casimir's last critically acclaimed album'Boxed In'which featured a jazz quintet alongside a mini chamber Orchestra and was comprised of a woodwind, brass, with a string quartet,'Balance'is a self produced album that takes his musical vision to the next level in his most ambitious body of work to date, leading 26 musicians.

Recorded in November 2022 at Livingston Studios, in a very conscientious recording process which saw piano, bass, and drums recorded together first, followed by trumpet, trombone, saxophone, and the string section and an all star band that consists of figures from the UK Jazz scene, Cassie Kinoshi, Binker, Nubya Garcia, Rosie Turton, Sheila Maurice-Grey and Jay Phelps to name a few alongside a stunning string section performed by the London Contemporary Orchestra.

The final day of recording enlisted the powerful vocal prowess' of Zola Marcelle and Ria Moran to finesse the masterpiece. The track'Music Not Numbers'is an encouraging call to all musicians to not allow streaming culture to affect their creative process and to continue expanding the intrinsic nature of music. Whereas track,'Search for Goldilocks'explores the second meaning behind the album title 'Balance', which is to seek balance within and discover the qualities in life that are "just right".

2024 Repress
Transparent Blue Vinyl

Little Dragon - die bahnbrechende schwedische Band um die rätselhafte Sängerin Yukimi Nagano, den Multiinstrumentalisten Håkan Wirenstarnd und Fredrik Wallin an Keyboard und Bass und Erik Bodin an Schlagzeug und Perkussion - kehren mit ihrem sechsten Studioalbum „New Me, Same Us“ zurück.

Für eine Band, die stolz darauf ist, abseits gängiger Hörgewohnheiten zu stehen und die sich mit aller Entschlossenheit dafür einsetzt, die Dinge zu ihren eigenen Bedingungen zu verwirklichen, haben sie bislang nicht gerade wenig Anerkennung im Mainstream bekommen. Mit dem Grammy für ihr Album „Nabuma Rubberband“ im Jahr 2014 nominiert, gelten Little Dragon seit langem als eine der gefragtesten Gruppen für Kollaborationen. Im Laufe der Jahre ist eine beneidenswerte Liste an Künstlerinnen und Künstlern zusammengekommen, mit denen sie zusammengearbeitet haben, darunter bspw. BADBADNOTGOOD, Gorillaz, SBTRKT, Flying Lotus, Flume, Kaytranada, Big Boi, De La Soul, DJ Shadow, Tinashe, Mac Miller, Future, Raphael Saadiq oder Faith Evans. Ihre berühmt-berüchtigte Live-Performance hat eine mittlerweile zehnjährige Tourneekarriere nach sich gezogen, in dessen Verlauf sie kürzlich gemeinsam mit Flying Lotus als Co-Headliner eine Show im Hollywood Bowl in Los Angeles gespielt haben, sowie auf einigen der weltweit angesehensten Festivals wie Coachella, Glastonbury, Bestival, Lollapalooza, Melt!, Dour, Sónar und dem Festival von Tyler, The Creator, „Camp Flog Gnaw“, aufgetreten sind.

Vollkommen alleine und ohne Unterstützung von außen im langjährigen und selbstgebauten Heim-Studio in Göteborg produziert und aufgenommen, repräsentiert „New Me, Same Us“ ein weiteres Kapitel in der kontinuierlichen Entwicklung von Little Dragon. Mit ihrem einzigartigen Stil finden sie eine neue Richtung von gemächlichem, unkonventionellem R'n'B, Pop und Elektronik und klingen damit so verjüngt und energiegeladen wie eh und je. Die Platte zeugt auch von einer reflektierenden Stimmung, mit Yukimis unverwechselbarer Stimme, die von Übergängen im Leben, Sehnsüchten und Abschieden sinniert.

Releasing now for well over a decade - Neue Grafik: known to friends as Fred, has successfully transplanted from Parisian rookie to one- man London Institution. Beginning as a solo producer and DJ,Fred spread his wings upon relocating to South London - at first with his Neue Grafik Ensemble and later with his now iconic twice-weekly Orii Jam - the latter of which has given agency to an entire new generation of musicians; spawning an aesthetic, nurturing a unique sound and becoming a launchpad for countless artists.

Dalston Tape Volume 1 is Fred’s attempt to fall back in love with beatmaking - taking it back to the roots of
where the project began. I say “attempt” because he’s simply learnt too much and made too many friends
along the way to make a mere DIY beat tape. Since his early MPC-led productions on Parisian label, Beat
X Changers, Fred has learnt to play the keys to a concert hall standard, he has become proficient in double bass and built up a dense network of collaborators who he has composed, recorded, engineered and produced for both at home in SE London and in the iconic Total Refreshment Centre Studios in Dalston.

This experience adds unavoidable dimensions to his toolbox - resulting in something more akin to a miniature-magnum-opus than a simple beat-tape.

Yes, we hear the influences of Pete Rock, Mad Lib, J Dilla and Al Dobson Jr but we also hear the musicality of D’Aneglo, James Blake and live contributions from an ever growing army of young graduates of the Orii School.

Here we go with another release on the Mokum label.

No Static / Automatic top off 2024 with ‘Are Hands Waterproof’ a vinyl EP from sci-fi electro futurist Second Storey. One of the first artists to release on fabric’s Houndstooth, he’s also released on respected electro labels Trust, Mechatronica and Frustrated Funk and is resident at London’s bastion of underground-grade techno and electro - Natural Selection. Storey takes his foundational love for electro and blends it with advanced level sound design, dropping 5 new intelligent and effective sound system tracks on this record.

Mark Barrott’s 2024 album, 'Everything Changes, Nothing Ends', is a profound and deeply personal exploration of life, love, and loss. Released on Anjunadeep Reflections, this album is a follow-up to his critically acclaimed 2023 release, Jōhatsu (蒸発). Unlike his previous works, this album chronicles a more intimate and emotional journey, reflecting the life Mark had with his late wife, and the harrowing experience of her illness and eventual passing. It stands as both a tribute to her memory and a reflection on the profound impact she had on his life and music. Mark has been a constant innovator throughout his nearly four-decade-long career. He’s best known to some as Future Loop Foundation, the alias under which he created ambient drum and bass in the mid-90s. Others know him for his ‘Sketches From an Island’ series, released under his own name, which played a significant role in the revival of the Balearic music scene. He’s also the founder of International Feel, a label that was instrumental in the bespoke vinyl movement of the 2010s and played a role in bringing DJ Harvey back into the spotlight. Barrott’s work has always pushed the boundaries of genre, and 'Everything Changes, Nothing Ends' is no exception. However, this album is perhaps his most personal and emotionally charged work to date. The album’s creation was born out of tragedy. Barrott began writing music for the album during the eleven weeks of his wife’s illness, using it as a form of therapy to cope with the overwhelming grief and loneliness that followed her passing on January 25, 2023. “I actually started writing music most nights throughout this process—it was therapy to mitigate the loneliness of coming back to a cold, dark winter home after spending the day with her at the hospital,” Barrott explains. What began as a way to process his emotions evolved into a project that would ultimately become 'Everything Changes, Nothing Ends'. The album traverses genres, blending orchestral, ambient, and jazz elements to create a rich and varied soundscape. Each track on the album serves as an audio diary, capturing specific moments from the eleven weeks of his wife’s illness. The music oscillates between intense emotional peaks and more soothing, delicate moods, reflecting the rollercoaster of emotions that come with facing such a profound loss. Ultimately, this album is about acceptance and gratitude for what was, not grief for what could have been. It addresses the fundamental issue that confronts all human beings: life and death. ‘Everything Changes, Nothing Ends’ is out on 29th November on Reflections.

2026 Repress

DJ Support: Danny Howard, Annie Mac, Mistajam,Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne,Todd Terry, Alex Preston, Full Intention, GW Harrison,DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos,Johan S, David Penn, Sam Divine, Riva Starr, Claptone,Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KCLights, Friend Within, Dombresky, Gorgon City, ChrisLake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, LowSteppa, Mat.Joe, Raumakustik, Eskuche

Coming out the traps strong, our next 4-track vinylsampler series kicks things off with Toolroom’s very own Mark Knight who continues his impressive string of collaborations with Darius Syrossian appearing alongside him for the first time on the label. Mark and Darius, along with studio maestro James Hurr,stumbled on this classic ‘Let’s All Chant’ sample and together proceeded to write a peak-time, tech house slammer around it. With relentless energy and lush vocal licks and that all-familiar 90’s sample, this one works a treat on the dancefloor.International House don Low Steppa is next for a special release with Malta’s finest, Jewel Kid. Their track ‘Big Busta’ oozes ATTITUDE! Slamming tech house drums, an insatiable groove and a tongue-in-cheek vocal that will raise many a smile on the dancefloor. Another certified club weapon for sure! CASSIMM kicks off the flipside on the vinyl with another peak-time club weapon as he returns with ‘Say Yeah’ alongside vocalist Mahalia Fontaine. The Italian born House music maestro is on fine form as always here, hot on the heels of his ‘Love Desire’ record that went stratospheric in late 2023 on Claptone’s ‘Golden Recordings’ label. With a big bassline and oodles of dance floor energy alongside Mahalia’s rasping, diva style vocal adding that classic house vibe to proceedings! Finally, we round things off with the once mysterious but now ‘unmasked’ house duo ‘Wh0’ with a rip-roaring club banger! Remixing for the likes of The Prodigy, Basement Jaxx, Calvin Harris and Meduza whilst collaborating with Armand van Helden, Nile Rodgers and David Guetta under his Jack Back alias.This track is a heads down, no-nonsense, tongue-in-cheek club weapon! Seriously powerful drums, aplayful acid line and a very cheeky vocal that will cause a stir on many a dance floor!

Countless radio plays on Radio 1 from Danny Howard,Sarah Storie, Pete TongOther notable radio plays – Kiss FM, Toolroom Radio,Sirius XM, Data Transmission Radio, Radio 1 DanceAnthems, Radio 1 Party Anthems, Rinse FM, SelectRadio, Tomorrowland Radio

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

Bass music OG Jeremy Sylvester returns to Shall Not Fade sister label Time Is Now for his second full EP on the label.

Jeremy again shows on The Lights EP why is highly regarded as one of the OG's of bass music, having been a producer of non stop consistent releases for the last 20+ years. The Lights EP has everything from dreamy synths, bass warpers, choppy breaks and infectious vocals, all merging together to create a truly unique take on bass music. All topped off with a weighty remix from artist of the moment Soul Mass Transit System on the B-SIDE. BIG TIP!

The Lights EP drops December 6th via Time Is Now.

In 1967, in the midst of Franco's dictatorship, a group of seminarians created a rock band: Enarak. They played pop, rock and psychedelia, styles that were strange in the society of the time and, only in Basque. Faced with a society that found these rhythms strange, they had the courage to play blues, psychedelia and progressive rock in Basque. In 1969 they recorded and released three songs and, over the next four years, they gave hundreds of concerts all over the Basque Country. The last one, in Larraitz, in the shadow of Mount Txindoki, on 31 October 1971. On a cold, misty night lit by a full moon, they brought together some 5,000 young people with the intention of enjoying modern music. After that night, they disappeared forever. Their only traces are the three songs you will find on this album. With the aim of recovering and making the history of the group known, the Bira Produkzioak cooperative has produced a documentary entitled 'Enarak'. Using the power of cinema for social transformation, we are organizing a concert on 21 May 2023. Again in Larraitz, Amorante, Rüdiger and Liher covered the three songs of Enarak. This is not just an album or a concert in the usual way. It is an exorcism, a ritual for the resurrection of Enarak, a historical piece and, at the same time, an object of memory that encapsulates the soul of the late 60s Basque group. In 1969 they recorded the original EP consisting of three songs including a version of the popular song "Solferinoko istua" and "Ama" and "Bañan ez", band's own compositions. The B side songs of this release are performed live in 2023 by Amorante, Rüdiger and Liher.