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Das neunte Album der Prog-Metal-Band aus Deutschland, die sich bei den anspruchsvollen Fans des Genres großen Respekt verschafft hat,
unterstreicht das hohe künstlerische Niveau der Kreativität, die sie schon so lange aufrechterhalten. Musikalisch bietet Vanden Plas erneut eine
perfekte Kombination aus hart und melodisch, wobei die orchestralen Arrangements im Vergleich zum letzten Album eher im Hintergrund stehen. Es
finden sich mehr progressive Elemente in den Songs, ähnlich wie man es von früheren Veröffentlichungen kennt. Die sechs, meist langen, Stücke
erzielen eine beeindruckende und faszinierende Wirkung durch ein sehr bandorientiertes Arrangement, so dass die klare und intensive Dringlichkeit
der Songs natürlich und unprätentiös durchscheint und den Hörer von Anfang an in den Bann zieht.

It’s a family affair. One formed almost thirty years ago, back in the mid-nineties, when the pair joined seminal French jazz combo Olympic Grammofon. For twenty-four years they have worked together as Bumcello, each complementing the other, echoing polar opposites. The Boom in Bumcello is none other than Cyril Atef, incisive drummer, relentlessly pushing beats towards new horizons. The Cello is Vincent Ségal, cellist without blinkers and extraordinary musical alchemist. Since 1999, these two die-hard music fans, coming together for mercurial results, have released one record after the other whilst conquering the hearts of their live audiences, old regulars as well as new recruits. We have all been seduced by the way their music leapfrogs categories - these two experts are much more interested in kindred spirits than pigeonholing, and this very spirit is celebrated on more than one track of this ninth record, whose concept is original to say the least.

Everything began with an idea by Cyril Atef - a soundtrack based upon drawings penned by Marin, Vincent’s son, architect and visual artist. The musicians involved then coached their reaction to these images on a score, and the pair were charged with collating and adjusting the results. These thirteen ink drawings, in a heroic fantasy vein, constituted a matrix which was then to serve as a guide, like a roadmap through a singular and multi-faceted labyrinth. The key to this sonic fresco is in Bumcello’s image – an eclectic aesthetic twinned with a great sense of contrast. Herein lies the trademark of this entity animated by the gift of musical ubiquity, gorged on scales and rhythms, capable of a slap as much as a gentle caress. From classical music to electronics, from improvised music to sophisti-pop, everything is allowed with no preconceived ideas. They can even reclaim the traditions of others, all the better to propel them towards new horizons - this is how the very history of music has always panned out.

If you listen between the lines and look at the details, more than one piece bears witness to the moments and individuals that have impacted the criss-crossing lives of Vincent and Cyril. The track Crash is the perfect excuse to create a Jamaican-style jam with New York inflections, and we can see, in capital letters, the name Hilaire Penda, playing alongside Bumcello at the Apollo Theater in the associated drawing. This bass player from Cameroon, who died on 5th November 2018, was more than just a friend for the two Frenchmen. He was one of the family. Similarly, they give a nod to another Cameroonian, and another departed friend - singer of rock band les Têtes brûlées, Zanzibar, through the vocals of fellow countryman Zanzi. The ghost of Rémi Kolpa Kopul, emblematic voice of Radio Nova, haunts the margins of Spark Av, in a vocal sample with a smattering of effects. As for I Remember Tim, it directly honours the memory of Timothy Jerome Parker, aka The Gift Of Gab, another friend who left us in 2021. Tim is depicted in a drawing with the docks of Oakland in the background, and it’s his alter ego within Blackalicious, Chief Xcel, who remotely added his signature to the track, notably by adding the words of Lateef The Truthspeaker to brass and woodwind sounds.

These are the only additions to Bumcello’s original nucleus, all the better to create a genuine musical concoction where Vincent Taurelle is in charge of production and mixing sessions recorded live and direct. He is also invited for a twinkle on the keys (piano, synths, Wurlitzer, organ), on a handful of tracks. Already at the commands of previous opus Monster Talk, always taking care over the slightest detail, the one that makes all the difference, this pianist is now also part of the family. “Everything he brings is perfect, whether added though slight touches or through very important choices”, say the two members of a combo which today, appears to us under the guise of a trio, adding an extra dimension to a far-reaching mix, in the image of the veiled or more explicit tributes making up the cornerstones of this release.

Booker, a drawing where we see the musicians enter a club, honours James Booker, great pianist from New Orleans who has always fascinated Vincent, in a genre that is off-beat and gender defying. Her Story was created by Cyril in support of the Iranian women’s movement. Aysyen Kampe evokes, even in the original drawing, a tradition that remains impactful for Bumcello – Haitian mysticism, and Ouï Khouïette Ouï conjures up the beats of the Allaoui, a war dance from Western Algeria, one they have taken part in in the past with the help of Cheikha Rabia. They deliver a metal version, original and surprising, especially as Marin Ségal’s drawing features the Nicholas Brothers, those iconic dancers of the 30s jazz scene!

Resolutely hard to pin down, Bumcello’s beats can initially take on the structure of disjointed house, though Sangre begins like a film soundtrack, “in a Mexican style” adds Vincent, who was at the origin of this track. A delicate alap on the cello can open up onto afrobeat rhythms, a well-pitched voice can enchant, like on the amazing The City Has Eyes which has everything of a hummable pop hit. Emblematic of this manner of encompassing all music without being exclusive, Le Grand Sommeil, a direct reference to the Howard Hawks movie inspired by Raymond Chandler, a precursor of David Lynch, begins nice and smooth but ends on a wild tempo, on a drum’n’bass tip, as in the good old days of Cithéa, when this Party story began in the other century.

Division of Laura Lee emerged in the late '90s and quickly gained recognition for their unique sound, blending elements of post-punk and alternative indie rock. In a landmark celebration of their musical history, Division of Laura Lee proudly announces the 25th-anniversary re-release of their seminal 1999 album, "At the Royal Club." This re-issue features a compilation of tracks from the their first two years, allowing both long-time fans and a new generation of listeners to experience the album's intensity and the band's pioneering spirit. Previously released only on CD, the re-issue of "At the Royal Club" has been meticulously remastered for vinyl to bring a new life to the original recording.

At the Royal Club by Division Of Laura Lee includes the following tracks: "44", "Royal Club", "Chart Music", "Stop! Go!" and more.

“I’ve been wanting to make a record like this for a long time. The band, Franny and I produced it ourselves in my living room with no adults present. It’s all acoustic, not an electric lick on the album…banjos and mandos and string basses and stripped-down drums. I put a ton of work into the tunes and I’m pretty proud of this batch. Had a little help from my old co-writing pal Jaida Dreyer on a couple, also wrote a good one with my screenwriter buddy, Brian Koppelman. Lots of gambling songs and lots of minor keys. And my band guys absolutely killed it too, they’re all badasses. I’m dedicating the record to my old compadre, Ian Tyson, who passed away a few months back. I’ve named the album for him as well. ‘El Viejo’, or ‘the old one’ is what our mutual friend Tom Russell took to calling him in later years. The title track is a pretty special one for us. We had a blast making this thing, and we hope you enjoy it too.” - Corb Lund

The second album by F.K. Raeithel, just after the operetta DIE WURLITZERORGEL DES GEISTES, explores the realms of interlocked rhythm sample and hold music. On 16 tracks different setups of self generating modular synthesizer patches are gathered on this release.

The concept of Dance With Uncertainty is deeply rooted in philosophical, artistic, and cultural traditions. The notion of embracing uncertainty and change has been explored in various forms throughout history, often symbolizing the human experience and the impermanence of life. In the context of music and sound, Dance With Uncertainty could be seen as a reflection of the constant ebb and flow of life‘s uncertainties, captured and conveyed through sonic textures and evolving compositions.

Interlocked Rhythm Sample & Hold Music, this approach to sound creation weaves a mesmerizing tapestry of rhythm, texture, and sonic exploration, captivating listeners and defying traditional musical boundaries. At its core, Interlocked Rhythm Sample & Hold Music is a synthesis of technology, creativity, and a deep understanding of rhythmic intricacies. The foundation lies in the Sample & Hold circuit, a device that captures and freezes incoming voltages, creating distinct musical snapshots that evolve over time or an Linear Feedback Shift Register (eg. Rungler), a circuit used in electronic music synthesis and sound manipulation to create unique and evolving musical textures. The Rungler was created by Rob Hordijk. A more sophisticated use of a 8 bit shift register and by combining this with a typical sequencer design is the Klee Sequencer developed by Scott Stites. A cheap version of this design is the Turing Machine. Another tool is the Analog Shift Register. In the context of creating arabesque melodies, an analog shift register (invented by Fukushi Kawakami and later adapted by Serge Tcherepnin) can be a fascinating tool to generate intricate and ornamented musical patterns. Yet, it‘s the interlocking of these snapshots that sets this genre apart, infusing the compositions with an intricate dance of patterns and pulses. A fourth device is a pendulum or random addressed sequencer, that in the first case moves in a drunken unpredictable manner. Each of these devices for uncertainty becomes a rhythmic sculptor, freezing the dynamic interplay of melodies, beats, and textures. These frozen moments are then interwoven, each snapshot forming a unique thread in a sound tableau that stretches and contracts, pulses and breathes. The result is an auditory experience that challenges preconceptions of rhythm and structure. The interlocked rhythms give rise to complex grooves that ebb and flow in unpredictable ways, evoking a sense of perpetual motion and transformation. The music becomes a living organism, its heartbeats synchronized yet untamed, its evolution both deliberate and free-spirited. The juxtaposition of staccato bursts and fluid flows, of machine-like precision and organic unpredictability. As listeners delve into the world of Interlocked Rhythmic Sample & Hold Music, they embark on a sonic odyssey. The music becomes a companion, guiding them through a labyrinth of rhythmic landscapes that simultaneously challenge and invite them to the dance with uncertainty.

'Kids In Traffic' fasst zehn Stücke, die auf der ganzen Welt geschrieben wurden; an stinkenden Straßenecken in Brooklyn und auf griechischen Inseln voller Katzen. Es ist der Sound von mentalen Zusammenbrüchen und völliger Euphorie und der Dumpfheit dazwischen. Das Album ist eine Trilogie der beeindruckenden Debüt-EPs des Komponist*innenkollektivs, die schon immer zusammengehören wollten und zusammengehören sollen. Geboren aus Glitzer und Selbsthass, erzählen die Songs eine Reise, körperlich wie geistig. Wobei der Titel den Kern der Sache versinnbildlicht - Kinder, die auf einer Straße voller Autos spielen wollen, und früher oder später zwangsläufig zu Schaden kommen werden.

Joyce Harris was born in Kentucky in 1939 and moved to New Orleans with her family when she was 13 years old. Harris learned to play guitar, write songs and was soon performing duets with her younger sister Judy. They released three singles – ‘He’s The One’ / ‘Hey Pretty Baby’, ‘Washboard Sam’ / ‘Nursery Rock (Beedle De Bop)’ and ‘Hey Little Baby’/ ‘Rock And Roll Kittens’ – as Judy and Joyce in 1958. When her sister got married, Harris spent a year singing in restaurants in Mexico and a first solo single ‘It’s You’ / ‘The Boy In School’ was released on New York’s U.T. Records at the end of 1959. A talent spotter saw her in Mexico and was impressed enough to secure her an audition with the Austin, Texas-based Domino label. Harris was soon in the studio with Tommy Kaspar and Don Burch of Domino’s vocal quartet, the Slades, to record ‘I Cheated’ / ‘Do You Know What It’s Like To Be Lonesome?’ (R-903) in October 1960. ‘No Way Out’ / ‘Dreamer’ (R-905) followed in January 1961 and sold strongly enough to be licensed to Infinity Records. On 7 April 1961, Harris performed ‘No Way Out’ live on TV on American Bandstand. Three more singles would be issued on different labels between 1963 and 1966.

Harris’ cover version of ‘I Got My Mojo Working’ – backed by Sonny Rhodes’ group the Daylighters –was recorded at the ‘No Way Out’ session and remained unissued until Ace put it out on our “The Domino Records Story” in 1997 (CDCHD 506). With renewed interest in Harris we are delighted to pair this ‘Trailer’ version of ‘I Got My Mojo Working’ with ‘No Way Out’ as a 7” single.

Drop the needle and shake your stuff.

Watch Out! Here comes the third strike from Bremen's noise post-punkers. Bulky here, catchy there... and then another weird surprise comes around the corner and smashes into your ear canals...11 tracks & the record spins at 45 RPM! Defekt Defekt are a UK/DE trio that play music influenced by early 80s british punk rock or post punk. They have released 3 LPs and have toured the U.K., France, Belgium ,Holland and Germany. They have been requested (by the bands) as a supporting act for Jello biafra a.t.g.s.m, Slime, The Briefs and the Subhumans. Band members have played in many other bands as founder members or stand in players including The Smart Pils , Zygote ,The Moorat Fingers ,Chung ,Cross Stitched Eyes,M.O.T.O and The Sonny Vincent band and various other acts aswell as working with members of The Circle jerks,Hawkwind,Amebix, and various others.

Während sich das letztjährige Album von den etwas düsteren Synthie-Landschaften der 70er-Jahre inspirieren ließ, spielt dieses Nachfolgealbum des Sugarfoot-Sängers wahrscheinlich eher auf Holms Faszination für die Popmusik der späten 60er-Jahre an, oft mit leicht psychedelischen Untertönen. Einige dieser neuen Songs haben ein eher akustisches Fundament, aber die Arrangements sind durch den umfangreichen Einsatz von Streichern, Hintergrundstimmen und exotischen Instrumenten umso großartiger. Die physische Veröffentlichung des Albums wird Vinyl-Enthusiasten sicherlich erfreuen. Die LP erscheint als Deluxe-Edition auf grünem Vinyl und einem sehr aufwendigen "Split Opening"-Cover. Design und Layout stammen von Håvard Gjelseth, während das Cover vom deutschen Künstler Marco Wagner stammt. Das alles verleiht dem Album eine visuelle Verpackung, die perfekt mit dem harmoniert, was Holm sowohl durch den Titel des Albums als auch durch seine zehn Songs vermitteln möchte. Mit 'Paradox Of Laughing' hat Holm ein Album abgeliefert, das ein bedeutendes Kapitel in seinem beeindruckenden Musikkatalog darstellen wird.

We're happy to offer "As Bold As Brass" by Booze & Glory as a 10 Years anniversary Edition. This album was sold out for more than 5 years. The refreshed Artwork comes as Gatefold Cover with UV Print, glossy artwork with matte background. Also the Music got a new mastering By Rafal aka "Teddy Bear" z STone Studios. Strap on your suspenders, grab a pint of beer and a fistful of friends and sing along as loud as you'd like. This is Oi! the way it was meant to be played.

Gently Down Your Stream marked a creative zenith within the Columbus, Ohio, soul scene, at the juncture of the 1960s and '70s. The Four Mints were one of the most influential local group harmony outfits of their era and - with assistance from Columbus doyen and Capsoul purveyor Bill Moss - among the few to release a full length LP. The roster of backing musicians hired to provide aural landscaping reads like a Midwest super-group, with surprising appearances from Indianapolis-based vibraphonist Billy Wooten and drummer Bobby Allen of the Fabulous Originals from Dayton, Ohio. And though most of the material on 1973's Gently had been previously released as 45s, the collection - five singles and one priceless track saved from the scrap heap - gives witness to a world-class vocal quartet at its professional and intuitive peak. Under the watchful eye of arranger and mega-talent Dean Francis, the Four Mints pour forth from your speakers soulful, faithful and clear, but perhaps more importantly, intrinsically homegrown and utterly honest.

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

On Everything Harmony, the fourth full-length studio release from New York's The Lemon Twigs, the prodigiously talented brothers Brian and Michael D'Addario offer 13 original servings of beauty that showcase an emotional depth and musical sophistication far beyond their years as a band, let alone as young men. Everything Harmony successfully blends the brothers' distinct personalities while giving voice to their eclectic influences. Opening the album with the unassuming acoustic folk of plaintive "When Winter Comes Around," which echoes the sophisticated grandeur of classic Simon & Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of "In My Head." "Corner of My Eye" channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson. While they had no grand concept for Everything Harmony, both the D'Addarios felt a "palpable mood of defeat" prevailed while writing and recording it. "New To Me" was inspired by their shared experience with loved ones suffering from Alzheimer's, "What You Were Doing" is dressed in the tortured jangle of vintage Big Star, while "Born To Be Lonely," written after watching John Cassavetes' Opening Night, deals with what Brian calls "the fragility that often comes with age." Everything Harmony is a unified song cycle born of shared blood and common purpose. With two musical heads being better than one, there's no shortage of ideas to draw on. Their only impediments are time and the challenge of keeping up with their own prolific musical inspiration. "We share an intuition and tend to be influenced by one another," says Brian, "so the lyrical ideas on this record tend to complement each other. Writing has never been the issue for us. It's completing, editing and compiling that takes the time. We're trapped in a web of songs!"

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognizable worlds of sound all their own that defy any traditional categorizations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou. Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to avant production, from being a member of Tianzhuo Chen’s performance-art series TRANCE to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make “heavy music”. Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats and a soaring voice clawing its way towards absolution.

Orchards of a Futile Heaven’s walls of sputtering texture and tectonic booms are soaked in the reverence and melancholy of sacred spaces brought to life by palpable intensity by Chen’s voice. Crafted during a time of personal fragility, the album’s devastating force lies beyond any of the expected noise and abrasive textures typically associated with both The Body & Dis Fig. Suffused with a raw vulnerability and a longing for catharsis, Chen’s voice searches for escape in the midst of oppressive atmospheres as if determined to find relief from guilt. “Eternal Hours” patiently unfurls waves of surprising sounds, whispered undulations that are punctuated by sudden crashes, all beneath Chen’s haunting harmonies. “Dissent, Shame” evokes grief and shame with a minimalist drone dirge that gradually builds to an enchanting choral passage. King’s guitar on “Holy Lance” matches the uncanny drone of Chen’s accordion in an all-consuming blast, Chen’s voice transforming the moment from anguish to defiance and empowerment. The album’s arc finishes with “Coils of Kaa” acting as a kind of propulsive exorcism, breaking through a suffocating air before the funeral procession of “Back to the Water” lays the album to rest.

While sampling has long been essential to each, The Body & Dis Fig deftly meld their differing approaches to sampling and creating extreme sounds until the boundaries are entirely blurred. The two found kinship in their desire to find new avenues to make heavy music that looked beyond tropes of metal and electronic music by merging the two. “I always wanted the heavier stuff but I also didn’t really like heavier guitar music,” says Buford. “None of it really felt quite heavy enough to me. A human can’t be as heavy as a machine.” Chen counters, “I love the balance. You could never connect to just a machine as well as you could a human. Which is why the combination is so potent for me. I don’t want to hide. I think nothing connects you more empathetically than another human's voice.”

Orchards of a Futile Heaven affirms The Body & Dis Fig as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. Together, the two have harnessed their expansive artistry to make music that is profoundly emotional, and staggering in its beauty.

A new name in the Dutch rock scene. Old acquaintances, new songs, a new album, a new adventure... the past ten years have been dominated by 4 full albums in a row, numerous performances (see selection below), rave reviews in the (inter)national press and all under the name BYT (aka BloYaTop).

The switch to a new band name was obvious when the band entered into collaboration with producer MARIO GOOSSENS (Triggerfinger) and the choice was made to return to the roots of rock music, resulting in a week of live and analog recordings in the already
legendary TRYPOUL RECORDING STUDIOS, allowing the band to capture the live energy for which they are known. Mastering took place in New York by none other than Fred Kevorkian, where greats such as Iggy Pop, Maroon 5 and many others had already found
their way.

Complete Album + 3 Bonus Tracks (*) - Ray Charles has been described universally as the "The Genius" and "Father of Soul Music". He made his first recordings in 1947 and over the following years his career was in a continuous state of evolution. Encompassing many different genres, mostly blues, jazz, gospel and soul, Ray Charles developed a unique style, and his personal touch became evident in all the different projects he undertook. This was his first LP and includes such classics as "I Got a Woman", "Drown in My Own Tears" and "Hallelujah, I Love Her So", among others.

Boys Like Girls have enjoyed a meteoric rise after forming as teenagers in 2004. The b& was forged from the very beginning in the damp basements, garages, & VFW halls of the Massachusetts coastline over tattered lyric books, guitars, drums, & a collective dream. A half-billion Spotify streams later it‘s clear this was a fairy tale in its first act. Their self-titled debut album 2006 is nearing Multi-Platinum RIAA certification, while its chart-topping successor Love Drunk 2009 bowed at #1 on the Top Rock Albums Chart & Top 10 on the Billboard 200. A slew of successful singles abounded, including Platinum-certified hits “The Great Escape” & “Love Drunk,” as well as Gold-certified hits “Hero/Heroine” & “Thunder.” There was the Platinum-certified, BMI award-winning Hot 100 duet with Taylor Swift: “Two Is Better Than One.""""
By 2012 lead singer & songwriter Martin Johnson was beginning to feel the universe pulling him into a new arena, where he crafted hits for Swift, Ariana Grande, Pentatonix, & more. That led to a years-long hiatus for Boys Like Girls. But in 2016, the b& would return to the road for the 10th Anniversary tour of their debut record. While fans across America were ecstatic for the reunion they’d been waiting for, internally it felt more like a farewell. But it wasn't. In 2019, Boys Like Girls plotted another return to the road Down Under. Those plans were delayed due to the global events of 2020. After making good on their promise to return in 2022 & punctuating the tour by playing both weekends at the lauded Las Vegas When We Were Young Festival, Boys Like Girls meant more than ever not only to the band’s members, but to the fans as well.
Rock Sound Cover band / confirmed for Slam Dunk UK Festival 2024 / support from Kerrang! and NME "

Boys Like Girls have enjoyed a meteoric rise after forming as teenagers in 2004. The b& was forged from the very beginning in the damp basements, garages, & VFW halls of the Massachusetts coastline over tattered lyric books, guitars, drums, & a collective dream. A half-billion Spotify streams later it‘s clear this was a fairy tale in its first act. Their self-titled debut album 2006 is nearing Multi-Platinum RIAA certification, while its chart-topping successor Love Drunk 2009 bowed at #1 on the Top Rock Albums Chart & Top 10 on the Billboard 200. A slew of successful singles abounded, including Platinum-certified hits “The Great Escape” & “Love Drunk,” as well as Gold-certified hits “Hero/Heroine” & “Thunder.” There was the Platinum-certified, BMI award-winning Hot 100 duet with Taylor Swift: “Two Is Better Than One.""""
By 2012 lead singer & songwriter Martin Johnson was beginning to feel the universe pulling him into a new arena, where he crafted hits for Swift, Ariana Grande, Pentatonix, & more. That led to a years-long hiatus for Boys Like Girls. But in 2016, the b& would return to the road for the 10th Anniversary tour of their debut record. While fans across America were ecstatic for the reunion they’d been waiting for, internally it felt more like a farewell. But it wasn't. In 2019, Boys Like Girls plotted another return to the road Down Under. Those plans were delayed due to the global events of 2020. After making good on their promise to return in 2022 & punctuating the tour by playing both weekends at the lauded Las Vegas When We Were Young Festival, Boys Like Girls meant more than ever not only to the band’s members, but to the fans as well.
Rock Sound Cover band / confirmed for Slam Dunk UK Festival 2024 / support from Kerrang! and NME "

Considered the creator of Impressionism in music, Debussy’s beautiful piano music has been captivating listeners for over a hundred years. This album includes his most enchanting piano work of all, ‘Claire De Lune’, Or ‘Moonlight’. A must for any collection. French compose Claude Debussy has influenced many composers around the world with his elegant and enchanting impressionism, including Bartók, Messiaen, George Benjamin and many others.

I am thrilled to share with you the upcoming release of Live Life and Tell Stories, the new album by Figub Brazlevic & John Robinson set to release in the spring of 2023. This album is a celebration of John Robinson's love for storytelling, which has been evident since he was a young child, and his passion for hearing epic storytelling from many of his favorite emcees of the golden era of hip hop.

The connection between Figub Brazlevic and John Robinson is far from a fly-by-night or simply another international internet collaboration. The two met in 2009 during Robinson’s first time touring in Germany, and shortly after, Figub remixed J.R.’s group Scienz Of Life’s Leviathan album for the love and respect of the music. The remixes, which have yet to be released, impressed J.R. and his SOL crew, and he knew he would work together in the future with Figub. That time has come, and the message is clear: Live Life and Tell Stories is a seamless blend of Robinson’s thought-provoking narratives and Brazlevic’s abstract jazzy boombap soundscapes.

This album promises to take listeners on a sonic journey of dope grooves and ill storytelling, where Robinson's unique storytelling abilities are masterfully interwoven with Brazlevic's jazzy, boombap beats. From start to finish, Live Life and Tell Stories is sure to captivate audiences and keep them grooving to its infectious beats.

In an era where the music industry is dominated by short-lived trends, it is refreshing to see two seasoned artists come together to create music that is both timeless and meaningful. This album is a perfect example of what can happen when artists come together to create something truly unique, and I can't wait for its release in the spring of 2023.

So mark your calendars, because Live Life and Tell Stories is set to release in the spring of 2023. This is an album you won't want to miss, so be sure to push play and let Figub Brazlevic & John Robinson take you on a sonic journey of dope grooves and ill storytelling. Let's go!

The Cherry Boppers are back with six fiery artifacts of promiscuous funk recorded in collaboration with the vocalist, also from Bilbao, Patricia Reckless, in this mini-album in 10-inch vinyl format. Pure rhythm from head to toes. As is well known, funk fuses what has historically been labelled soul, rhythm and blues, jazz and rock, and The Cherry Boppers (TCB) have undoubtedly created their own promiscuous formula based on a fine selection of styles that predate hip-hop. Active since 2004 and convinced advocates of jazz-funk and instrumental funk, there are very few examples of vocal tracks in their discography. However, in 2014 they released the EP "TCB meet Dr. Baltz" (Brixton Records-Soul Series) in which they successfully covered three classic rhythm and blues standards with lyrics in Spanish. Now, after five years of publishing drought, they repeat the experience with the stellar collaboration of the vocalist, also from Bilbao, Patricia Reckless, musically formed in the band "Bohemian Soul". The powerful and educated voice of Patricia Reckless blends perfectly, as one more instrument, into the compact rhythmic machinery of TCB, giving the 6 tracks of this mini-album (the 6-track EP thing doesn't quite fit) a structure, perhaps, more familiar to a non-specialized audience. But let's not get carried away, the textures, the silences, the "on the one!" beat, the breaks, the stately Hammond organ, the brilliant brass, the forceful bass lines, the precise percussion, the wah wah... are all 100% Cherry Boppers. "The Cherry Boppers meet Patricia Reckless" remains faithful to that analogue funk sound that makes the band proud of a long and vocational career in the genre. And it is also an album full of details, of paths and instrumental lines to be discovered on multiple listens.

Thee Alcoholics are the brainchild of Rhys Llewellyn, a longtime Rocket Recordings alumnus whose background leans as heavily into the bassbin-shaking realms of electronic music as it does the tinnitus-inducing world of howling, cranked-up ampstacks. Not content with hammering drumskins for numerous floor-shaking records on the Rocket discography from the likes of Hey Colossus and The Notorious Hi-Fi Killers, he’s also been responsible for brain-rearranging electronic works under the Drmcnt and Acidliner monikers. Thee Alcoholics, however - which initially gestated as a result of Rhys himself wanting to pursue the somewhat hostile sound in his own head during lockdown - maps out a collision course between all of the above. Cranky and cantankerous yet lysergically aligned, Feedback is mesmeric rock with swagger, warped into sci-fi shapes by the spirit and sonics of bass and soundsystem culture. The psychedelic shapes here are redolent of the ur-klang of The Fall and the monolithic lurch of The Heads, the motorik malevolence less an uplifting trip to the heavens than a drill down to the earth’s core. Discernible in these jackhammer beats, grimly murmured vocals and delirious dirges to certain heads may be the trash futurism of Chrome, the decomposed stomp of unsung legends Earl Brutus and the electro-punk attack of Six Finger Satellite, yet all of the above co-ordinates are waylaid effortlessly by a balls-out intensity and a 6 fearsome intent on aural oblivion at all costs. Feedback may be elemental and primal, yet this is no psych comfort-blanket nor retrofetishism, rather a repetition-driven journey headlong into intimidating territory unknown. Get on board and strap yourselves in for a bumpy ride.

This vinyl re-pressing of Martin Carthy's Debut album is released to commemorate Topic's 85th anniversary in 2024 - Limited edition of 1000 copies - Black vinyl, standard weight with black, polylined inner sleeves. In the early 1960s, the approach Martin Carthy took to folk music was nothing short of revolutionary, albeit a relatively quiet revolution befitting of his humble nature. You wouldn't find Carthy's music clambering up the singles charts; his was not a face adorning the teen magazines. Instead, his influence was felt at a grass-roots level. He plied his trade in the folk clubs, which is where the likes of Bob Dylan and Paul Simon sought him out, enamoured of his traditional repertoire and keen to learn songs like 'Scarborough Fair' and 'Lord Franklin' directly from him before adapting them for their own purposes.

His debut eponymous album, re-released here, on vinyl by Topic Records as part of their ongoing Topic Treasures series, is a snapshot of the work he was doing at the time.

Originally finding its way into the world in 1965, courtesy of Fontana Records, Martin Carthy pulled together 14 songs from his burgeoning repertoire. Produced by Terry at the Philips Recording Studios in Marble Arch, the album was a must-learn checklist for budding guitarists and folk club orgas, and, to this day, remains an essential listen for anyone attempting to find their way into traditional English folk music. Most people turn up for 'Scarborough Fair', very few leave without getting hooked on 'High Germany', 'Sovay' and 'Ye Mariners All'.

The album also introduces Carthy's earliest collaborations with Dave Swarbrick, an enduring and much-copied partnership that lasted, off and on, until Swarbs death in 2016, and became a blueprint for how guitar and fiddle duos ought to sound. While Carthy had been building up his solo repertoire over the previous five or six years, several of the duo arrangements on this album ('Lovely Joan', 'A Begging I Will Go', 'Broomfield Hill') were thrown together in the studio, adding a fizz and freshness to the recordings. This became the pair's standard way of working. "We used to rehearse on stage, in front of the audience," he explains today.

In the years since, Martin Carthy has become the veteran of over 40 studio albums and a veritable beacon for musicians and music lovers seeking "the real stuff." Pressed to name his favourite, he needs no time to think it over. "I always stand by the first album," he says of his 1965 debut. "I love it. There are some things on it I think I couldn't have done better. There was a clarity of purpose."

And, with this re-release, we can be sure that newcomers get to hear that sense of purpose in the best possible quality, as clearly as Bob Dylan, Paul Simon and a generation of folk lovers did six decades ago.

Das erste Live-Album von Van Halen - das Doppel-Platin-Album Live von 1993: Right Here, Right Now - feierte sein Vinyl-Debüt am Record Store Day als 4-LP-Set in limitierter Auflage. Aufgenommen im Mai 1992, als die Band ihre große Welttournee zur Unterstützung ihres klassischen, mit dreifachem Platin ausgezeichneten Albums For Unlawful Carnal Knowledge beendete, liefern Sänger Sammy Hagar, Gitarrist Eddie Van Halen, Schlagzeuger Alex Van Halen und Bassist Michael Anthony über zwei Stunden lang die typischen Van Halen-Hits.

Klasse Wrecks continues its expedition through the wilderness of early 2024 with a release from your favourite producers' favourite producer. Bufo Bufo continues his golden run after sterling records for the likes of Cabaret with a unique 4 tracker for Wrecks. Distilling all styles and influences into one record, 'Beelzebufo' sees the producer capture rare species of electro, breakbeat and mangled rave together...resulting in a supernatural sonic hybrid. Play with caution...the sounds you hear maybe devastating to your ear.

Nur wenige Beatgruppen der Mitte der sechziger Jahre konnten es mit den Liverpooler The Searchers aufnehmen, deren erste vier Singles auf dem Pye-Label drei Nummer-eins-Hits einbrachten - Sweets For My Sweet, Needles And Pins und Dont Throw Your Love Away - sowie Sugar And Spice, ein Nummer-2-Hit, an den man sich heute noch gerne erinnert. Diese neue 1LP-Kollektion enthält 20 der glorreichen Hits und wichtigen Albumtracks auf rotem Vinyl.

Perifaerye is a multi-part work of art comprising of 18 soundscapes, 36 digital drawings and 24 writings. Perifaerye is at once a record release, a book, a website; in the autumn of 2023 a series of playlists were published on billboards, linking the online soundscapes to the real-life physical realm. This publication is an artistic hybrid: a vinyl record / book combining sound, image and text.

The 18 audio works condense the sounds of the urban periphery into a sonic cartography. In Hamburg-Eidelstedt, people live in smaller detached houses and in larger apartment blocks. New housing estates have been developed recently in direct neighbourhood to the motorway, and currently in the district centre; a district where post-war housing estates and architectural remnants from a village past co-exist. Even meadows and fields, surrounded by the noise of motorways and other traffic, aeroplanes (the airport is close by) and railways (passenger and und freight trains, long distance, regional and local services). This collection of soundscapes – each a short composition on its own – presents a sonic portrait of a contemporary urban area.

In spring 2023, Jorn Ebner recorded the urban spaces of the Hamburg district of Eidelstedt. For each audio piece there is an image. The artist’s writings reflect and accompany the creative process.

For this book and record, Sebastian Kokus and Thomas Korf created a very haptic design. Each part of the whole can be experienced as a single piece: the A2-sized poster is part of the outer sleeve; the booklet presents image and text (German only); the record is visible through the holes in the inner and outer sleeves and forms part of the cover.

Der in den USA aufgewachsene Christian Kjellvander (sprich: "Schjellwander") kam schon als Jugendlicher mit der texanischen Alt-Country-Szene in Berührung, die ihn nachhaltig beeinflusste. Als einer der bekanntesten Singer/Songwriter Schwedens veröffentlichte Kjellvander neben mehreren CDs mit seinen Bands Loosegoats und Songs of Soil auch zahlreiche Soloalben.

The Three of Us is a name you might not know even if you are something of a jazz lover. It was the name that jazz keyboardist Hilton Felton - who will be much more well known to those with an ear for rare groove - used for this one groovy soul-jazz album. It arrived in super limited quantities back in 1971 and is now hugely sought after and therefore also rather expensive on the second-hand market. Joining Felton for these sessions were bassist Joe Harris and stickman Johnathan Setell, but it is Hilton's touch that really elevates the music - his free melodies and deep grooves really make their mark. This one has never been reissued before.

Having been lost in the Discogs realms for many years, the elusive Piroman returns to re-release another one of his old gems. This time coming in the form of his 'Sweat Songs' EP, previously released on Fragments at the end of the 90’s.

The A side consists of a different approach to normal, stripped back, down tempo breaks/electro accompanied by a classic vocal. The B side however is more like the normal Piroman - US inspired, crazy harmonic breaks ready to be played in parties all around.

Thanks to Mr Piroman for letting this EP resurface again.

Another sure shot from the 5 Boroughs with Rakim and DJ Premier's staple "It's Been a Long Time" alongside the original sample source on the flip. Don't hang around, cos these never do!

Having been part of the family for quite some time now, Lauren Bush aka re:ni joins the Timedance roster with an incredibly potent quartet of Techno infused bass-bin weaponry.

« BeautySick » sees re:ni plunging into a world of intoxicating serpentine grooves. Spectral vocal slabs chime like echoes of a distant hallucinatory trance, while industrial drumworks find a mesmerizing counterpoint in eerie dubwise atmospheres.

These four compositions not only showcase re:ni's sonic evolution but also explore the transient moments where darkness converges with light. They stand as a testament to the sonic prowess of one or favorite dancefloor sorceress.

Picture Hakime Sorayama’s ‘Sexy Robot’ in front of an unreasonably large stack of speakers at a dimly lit sound-system dance; this is the soundtrack.

Press + Tour highlights :
DJ Mag, Resident Advisor, XLR8R, BBC6 Music (Sweatbox Mix for Sherelle), First Floor, The Quietus, Phonographe Corp + more TBA

Upcoming tour dates for Q1-Q2:UK, Switzerland, Netherlands, Germany, Sweden, Belgium, Slovenia, Ireland, Australia, Croatia, USA

World Of Echo are proud to announce the long-awaited reissue, on 17th February, of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993. Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups.

Movietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.

By the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups.

The vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies. Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” – point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.

Movietone would go on to make three fantastic albums for Domino – Night & Day (1997), The Blossom Filled Streets (2000) and The Sand & The Stars (2003) – and their Peel Sessions were released early in 2022 by Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious.

LP black vinyl repress, standard single sleeve printed inner but note no download card. The Time Has Come’ is an absolute master class on words and guitar twisting into one another - the poetry goes beyond simple observation into deeply personal and profound lore. A timeless document of sweet and haunting melodies. My favourite record of all time.’ Ryley Walker. // "I've never written songs, regularly, because I never considered myself a songwriter. I've only ever really considered myself a ballad singer, which is what is most important to me. The stories... the ancient nature of the situations and the human condition. And obviously, it's changed so much over the centuries that those songs have been sung, but it always retains that essence of something that's universal... to humanity, and I've always wanted to touch that. I think I wanted to understand people; I think I wanted to understand myself. It's a way of finding the truth. I felt I belonged to that music.” Anne Briggs // Offering some of her first original compositions, ‘The Time Has Come’ was a break from tradition in more ways than one for Anne Briggs. Where previous recordings displayed the unaccompanied melodies of her voice, this album - originally released by CBS in 1971 - brings additional instrumentation in the form of guitar and bouzouki. The result is that her vocals are not submerged but heightened - the plucked strings providing the perfect foil for her crystalline inflection. ‘The Time Has Come’ is a mix of Anne’s own songs alongside some notable covers (Lal Waterson, Steve Ashley, Stan Ellison, Henry McCulloch). All are graced with the quietly self-assured elegance of Anne’s playing, with sounds ranging from the breezy ‘Clea Caught A Rabbit’ to the terrible beauty of ‘Wishing Well’ - each song typifying the bouzouki or guitar style. To say that Anne was an accomplished picker is to do her something of an disservice - the intricacy of her finger-work rivals - and more often than not eclipses - any number of her contemporaries.

Black vinyl LP. Debut album by striking experimental duo featuring Aboriginal songman Fred Leone. Mixed by Jake Miller (Björk, Arca), mastered by Alex Wharton (The Beatles, MBV). RIYL: Autechre, Arca, Björk. Yirinda means 'Now' in Butchulla language. Australian duo Yirinda combine ancient Aboriginal language with sublime modern production. Fred Leone and Samuel Pankhurst's music invokes thousands of generations of story and culture, while emerging as something entirely new. Fred is one of three Butchulla songmen - a song and language custodian for the Butchulla people from the Fraser Coast region of Queensland, including K’gari (formerly known as Fraser Island). He sings the songs on this album in the endangered Butchulla language, now spoken by only a handful of people. Samuel is an internationally acclaimed contrabassist / producer known for his kaleidoscopic harmonies and polyrhythmic mastery. Their self-titled debut album was recorded in Brisbane by Samuel, then mixed in London by Jake Miller (Björk, Arca, Yves Tumor) and mastered at Abbey Road by Alex Wharton (The Beatles, My Bloody Valentine). The album sets Fred’s powerful vocals against striking experimental soundscapes, rich with strings, horns, double bass, synthesizer, piano and percussion. Every arrangement began with Fred's voice alone and from there sounds and systems were constructed. The result is otherworldly, a timeless art music outside Western convention. Yirinda have performed at the Australian Art Music Awards, Vivid Festival, Golden Plains, Dark Mofo, Supersense and elsewhere, and been covered by ABC Radio and NME Australia. Fred has toured Europe as a member of The Black Arm Band, and as a solo artist supporting Ash Grunwald. He founded Australia’s first Aboriginal hip hop label Impossible Odds in the late 2000s. Samuel has performed with the Brodsky Quartet and is a member of the Australian Art Orchestra. He has scored extensively for contemporary dance, and his studio work covers everything from the Bluey TV show to Hiatus Kaiyote

‘Elusive Truth’ was the second full-length record by D.C.-area doom rock Spirit Caravan led by the all time heavy lifer Scott ‘Wino’ Weinrich (The Obsessed, St. Vitus, Shrinebuilder, Probot). Originally released in 2001 and now remastered. “On this, Spirit Caravan's second foray into the long-player format, the band has collectively slowed down the tempo, and dropped the mood into even more contemplative territory. As the grandfather of modern stoner rock, Wino has certainly dipped his guitar picks in LSD this time around. Even though the engineering and production is bone dry and bottom heavy, Wino's psychedelic guitar work -- especially his stinging, busy leads -- has been ratcheted up a few clicks, even if the overall aesthetic is darker, and the superb musicianship from the trio simplified. The listener may be reminded of Hawkwind powered by an enormous diesel engine. As a title, Elusive Truth may indicate Wino's searching nature as a musician, and his attempt to continue down the sonic path through darkness, and through light. With this album, the listener is most certainly in darker territory.”

Warehouse find!

Since emerging in the early 2000s with releases on the seminal Merck label, Proswell (Joseph Misra) has proven to be one of the most original voices in IDM. People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS), his debut on Sheffield's Central Processing Unit, is another Proswell record which overflows with creative energy. Containing five widescreen electronic epics, PAGARTAIS showcases some of the most ambitious work in the discographies of both artist and label.

The core sonic palette of PAGARTAIS is one schooled in the IDM and electronica sounds of imprints like Rephlex Records, B12 and Skam. These tracks are helmed by thick washes of keys, an array of playful synth tones and drums so deft it's sometimes hard to tell whether they have been programmed or played live. However, across almost forty minutes of music here Proswell explodes preconceptions about genre and form, his music gleefully jumping from one new sound to the next while assimilating electro, prog, computer game music, post-jazz and pretty much everything in between.

Opener 'PAGARTAIS I' sets the tone for the rest of the record. This is a track which never sits still - beginning with a distorted melee of drums that comes off like a strange new version of breakbeat, 'PAGARTAIS I' moves through some thrillingly idiosyncratic takes on Rephlex-school IDM, stargazing Detroit electro and The Comet Is Coming's futurist electronic jazz across its near-ten-minute runtime. Following number 'PAGARTAIS II' is no less impressive, referencing the hyper-modern computer sounds of Iglooghost and Kai Whiston while containing a driving opening section which could have soundtracked one of the legendary Wipeout games.

Although this fabulously unpredictable record often zips along at high speeds, Proswell is also able to dial things back when he needs to. Indeed, the second half of PAGARTAIS finds him slowing down a tad in order to deliver some of the album's most atmospheric material - 'PAGARTAIS III' blends cutting-edge electronics with sonorous jazz harmonies and fizzing improvised lead lines, the mysterious 'PAGARTAIS IV' is a sort of freeform variation on the maximalist, colourful electronica of Galaxy Garden-era Lone, and the slinking computerised Braindance number 'PAGARTAIS V' recalls Calum Gunn's recent CPU drop Addenda.

Really, though, none of these comparisons quite do justice to the inventive capacity of this music - Proswell's in a lane of his own here. An incredibly innovative fusion record that takes in IDM, prog, computer music, electro and plenty more besides, People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS) is the sound of a unique musical mind in full flight.

RIYL: Calum Gunn, Kai Whiston, Iglooghost, Rustie, Bogdan Raczynski

Hot Creations recruits Italian duo ItaloBros as the pair deliver three vibrant tracks across their latest EP, ‘Gosadera’

Hailing from Scalea, Italy, ItaloBros have been riding the wave of success, captivating dancefloors worldwide at venues like Ushuaia Ibiza, Motion Bristol, and PM Open Air in Buenos Aires and boasting releases on Circus, Material and Knee Deep In Sound, amongst others. With 2022 seeing the pair team up with Jerëmie for the release of their single 'Attention' on Hot Creations sister label' Hottrax, February now sees the duo step into the limelight as they drop their solo debut EP on the renowned Hot Creations with a trio of blazing tracks across 'Gosadera’.

Already becoming a mainstay in Marco Carola’s sets, ‘Gosadera’ kicks off with an orchestra of vibrant
trumpets and lively bongos layered on top of a relentless, grooving bassline. Next, ‘Story’ takes on their old-school roots, teasing lush piano chords complete with vibrant, punchy drums. Closing out the EP, ‘Amira’ showcases a deeper, sultry vibe with alluring male vocals at the core.