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In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

Finally, but by no means least, we unveil the third and concluding volume of this extensive, impeccably curated chronicle of San Francisco's underground rave scene and its unique soundscape. Mirroring the same fervour and meticulous track selection as the first two volumes, 'The Beat By Spun' is nothing less than indispensable for any dedicated music enthusiast, DJ, or dancer. Once again, this collection showcases an outstanding array of tracks, featuring music from talents like Mattski, Bass Kittens, Hawke, and Deep2, all maintaining the high standards set by the previous volumes. It's a blend of rarities, classics, and obscurities, combining to deliver an exhilarating, almost transcendental experience to those who dare to immerse themselves in the sonics!

Maw Records are proud to present the masters At Work Remixes of the Kenlou classic “Moonshine”

Masters At Work are in top form, ready to fill dance floors,clubs & festivals in 2022. Kenny Dope & Louie Vega met at the Kay-Dee headquarters for a few days and jammed together.

Moonshine being one of the tracks they put up in the studio to createnew fresh versionswith a Maw TwistAce beats, programmimng in excellence by Kenny Dope, layered withLouie Vega Keyboards, Synths & Baselines.

The two once again set it off with a bang !!!

Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus. The music ended up in several of her films as well as being performed in her hot live shows.

Discographically at the time only a few tracks were released on 7″ and 12″ singles that are now cult collector’s items for fetishists and weird DJs.

At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP.

This is part two. From the original master tapes. Unmissable!

Known for being part of the INNA DE YARD family for almost 20 years, Jamaican singer extraordinaire DERAJAH is a major figure in Kingston music scene. He is the bridge between the old and new generations, passing the knowledge from the elders to the youths. We are delighted to present his latest effort in collaboration with A-class studio band The 18th Parallel: ‘PROSPERITY’. A showcase album of 6 songs with dub versions produced between Geneva, Switzerland and Kingston, Jamaica. With the expert touch of mixing maestro Westfinga, the 11 tracks of ‘Prosperity’ are sonic masterpieces, timeless and innovative.

In between the raw and brutal sound of 80’s Jamaican rub a dub and today’s sophisticated and polished modern sound. Derajah's raw and emotive vocals paint vivid pictures of struggle and resilience, carrying a profound message of social consciousness and resistance against oppressive forces, while The 18th Parallel's ultra-solid riddims create a rich tapestry of sound that will transport you to the heart of roots reggae. With its impeccable production quality, ‘Prosperity’ captures the essence of reggae's golden era.

This groundbreaking album is a testament to the enduring power of music to inspire, uplift, and ignite change.

The story towards the creation of this album also needs to be shared. As Fruits Records members were in Jamaica on tour and to record their first projects, they crossed Derajah paths a couple times without getting a chance to work together. But this was enough to set a strong foundation to a relationship that goes way beyond the musical side only. A few years after this meeting, one phone call only was enough to start the process. The rest is pure magic! Spontaneity, trust and loyalty became the guidelines for the creation of this gem, which stand out of time and space, and aim to carry on its path anyone seeking for knowledge, love and prosperity.

So This Is Christmas is a compilation of Coloured Vinyl, Limited Edition 13 christmas tracks released as LP on 26 Nov 2021. So This Is Christmas includes a.o. the following tracks: “De Staat - Let It Snow”, “Miss Montreal - Being Alone At Christmas”, “Elske De Wall - Last Christmas, One Last Time”, “Pete Philly - Have Yourself A Merry Little Christmas” and more.

Cogan Has Been Part for Many Years of Parisian Collective House of Underground With Whom He Played Records All Over the French Capital as Well as the Country's Main Cities Clubs and Festivals From North to south.

He Recently Joined the Collective and Label Friendsome as a Resident to Take His Career to Another Level, Releasing His First Solo Wax : Power Source EP.
This Ep Is an Extract of His Live Performance, Which He Has Been Working on for Almost a Year, and Will Be Shown for the First Time at Badaboum on September 9th 2023 as Part of Friendsome's 5th Anniversary Party. We Will All Discover a New Side of Cogan's Work, Being More Known for His High Energy House Music, This Ep Takes Us on a Ride of Acid Techno With 90's Rave Inspirations. a Music That Will Not Let the Dancefloors and Audiences Restful !

Opening Up "Softly" on the Track for the Hackers Will Get You Into the Vibe of the Whole Ep, Before Taking Off on the Banger for the Racers. Track 2 and 3, Being for Gamblers and Farmers, Conclude This Beautiful Ep to Keep It Engraved in Your Mind Until the Next Party! Enjoy the Ride......

French Psych-JAZZ-Soul-FUNK original soundtrack for initial soft erotic drama from 1973, later re-edited into "Sex Revolution" hardcore! "Jeu de Dames, la libération des femmes" (1973), a film by director Christian Lara, is a vaguely subversive charm flick that won't be remembered for a long time. An amusing detail, however, is that Georges de Caunes, father of Antoine de Caunes, the famous French TV personality, plays the lead role alongside Danielle Palmero. It's just one of a number of naïve films that, without being erotic, is sufficiently olé-olé that it failed to find a place in theaters on the traditional circuit. Faced with this commercial failure, the unscrupulous producer at the time, anxious to save his investments, decided to re-edit the film so that it could be screened in the X-rated circuit. He rechristened the film "Sex Revolution" in a more racy style, inserting more hardcore scenes to appeal to fans of the genre. Although Georges de Caunes is no longer credited on the poster or in the credits of "Sex Revolution", he finds himself, in spite of himself, promoted to lead actor in a porn movie, much to the delight of his son Antoine de Caunes, who is still dreaming 50 years later of finally being able to watch this forgotten masterpiece of the 7th art. The film seems to be a dud (pn: the author haven't seen it), but as for the music, Jean Claudric is particularly inspired and offers us one of the best French jazz funk soundtracks, which would not blush at the comparison with the best of the genre, such as Michel Legrand's "Un homme est mort", or Jean-Pierre Mirouze's "Le mariage collectif", previously released by Born Bad. Four short tracks, one with pyschedelic touches, the secomd more funky, the third a bit soul-jazzy, the fourth a French typical melancholic-melodic one makes a hot 7"-EP.

Even as a little boy, Johnny Cash has a feeling he was going to be famous one day. It wasn’t the kind of premonition he could go about telling people. They’d have thought dreams of fame and riches pretty far removed from the Cash’s barely-productive 40-acre cotton farm in Arkansas. Especially since Johnny had no idea how he was going to make his mark.

Johnny left the farm to go into the Air Force — and in his travels he acquired first, a wife — and secondly, a guitar. Assigned to Germany and forced to leave his wife behind, Johnny found a faithful companion in his guitar. The boys in his barracks seem to like his “pickin’ and singin'” and gradually the plan for a career began to take shape. He would be a singer — a country singer.

When he got back from service, Johnny was not so modest about his plans for the future. He let his Memphis friends know he was going to be a singer — a good singer, a famous singer — a singer who would revolutionize country music. No matter how long it took — he was determined!

As it happened, Lady Luck inclined her face toward Johnny almost immediately. His releases on the Sun label were instantly acclaimed, and in 1956, one year after Johnny Cash launched his recording career, he was named the most promising country and western artist of the year in four separate polls.

After the success of “I Walk the Line” as a simultaneous C & W and popular hit, it was indicated the course Johnny’s career should take. Though always identifying himself as a singer for the country fans — a favorite entertainer on the Grand Ole Opry — Johnny Cash with “Ballad of a Teen-Age Queen” came to be a top selling artist in the pop recording field.

Almost reluctantly, Johnny evolved a pop-county style in arrangement and instrumentation, evident in such hits as “Guess Things Happen That Way” and “The Ways of a Woman in Love” to supply the demand for Cash records by fans of both types of music. It is ironic that Johnny Cash caused more of a revolution in pop music than in country music, as was his aim, by being one of the first C & W artists exposed on national “general entertainment” TV shows; and the first C & W artist to capture the LP market with one great release (Sun 1220).

Johnny Cash — in his voice, looks and demeanor — carries a certain aura of “specialness.” He is a very dramatic figure — tall, muscular, with blue-black hair. He looks the part of a folk singer — a 20th century wandering minstrel. And his fatalistic style, both in composing and singing, has a quality of monotone, but of “emotional monotone” that defies analysis, but which is genuinely powerful.

Johnny Cash is one of those persons endowed with an exceptional talent which has to express itself. And being expressed, his talent has been uniquely recognized and applauded by many loyal fans, who will enjoy this reminiscent album of the songs which to date are landmarks in the career of the one and only Johnny Cash.

Still one of the most highly regarded horror films of all time, F.W. Murnau's unauthorised adaptation of Bram Stoker's Dracula, Nosferatu (1922), is an Expressionist masterpiece of the silent era. Much of the original score by Hans Erdmann (meant to be played live by an orchestra) was lost, leading Nosferatu to inspire several subsequent soundtracks, the best known of which is by Hammer Horror composer James Bernard, written for the Tanis Film video reissue of the film in 1997.
The world premiere of the score was performed by Nic Raine and the City of Prague Philharmonic Orchestra at the London Film Festival the same year and now, almost twenty years later, the score is being pressed on vinyl for the first time.

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

World-renowned Tibetan singer Yungchen Lhamo makes her finest offering yet. A collection of songs, prayers and mantras devoted to spiritual awakening, unconditional love and compassion for all beings, Lhamo's seventh album finds her otherworldly voice framed by an array of western and global instruments. From quiet, shimmering beauty to rhythmic tribal trance, this is sound healing for the world.

Having been deck slaying as near their London headquarters as Germany and as far as Canada, goth techno prodigy Lesser Of is steadily approaching double digit release count. With an established residence at queer x trans focused, revolutionary event series Subverted, their efforts have been welcomed to a formidable list of industrial electronic labels and remixed by a tidy sum of high profile scene icons.

Here at Depth.Request our sonars are attuned to emanant potential, and so we conscript Lesser Of to hammer out our fourth acetate offering to date. To this, harsh noise and drone music inspirations are declared, alongside an artistic secret of the trade: lights-off sessions in live room of a recording studio vibrating with the pulse of a bass guitar ran through a freeze pedal were what begot the tracks, and they are well intent on assaulting your headphones with noise. Reeko on the remix - yes, this record fucks.

Prolonged, ominous intro? Nah. Have a face full of Crude Manifestation Of Power instead, as an insatiable, 10-minute long opener braces your ears for a week of ringing with a sonic equivalent of metallic thrashing one could expect from being a sinful, rave-lusting scoundrel. On title-diverting continuation Within My Fragility the words "strength in fragility" are truly alliterated as the pace, abrasiveness and intensity of pummelling are all ramped up fiercely, with linear open hats thrown against them from time to time for good measure. Having reached 140 BPM and concrete mean, Masked proceeds in a well anticipated ra(n)ge: infernal atmosphere, sandy hats and layered tectonic tremors achieved with increasingly undefined low end consisting of a rumble line and rolling kick morphing into abrasive haze. Winding the tempo back a notch, a halftimearranged contemplation Our Descent grows in direct, hyperborean vector: glassy drones and sharp syncopulsation first - atonal reverberations, distorted arpeggios and punchy stabs endwise. Reeko's analog reinvention of Masked convolves the drum structure by borrowing from breakbeat narratives and authorizes the dystopian ambiance to rise and fall on more gradual, panning, confined terms; adding, however, more disorder to the mix with spectrum slicing, high-range chaos.

As you would have learned to expect from Depth.Request, Within My Fragility EP is not an easy listening five-tracker. If by the end of it you find yourself feeling as if you just stepped out of a pounding warehouse at 3AM and you don't know what day it is, you wouldn't have been experiencing this mindspace alone.

2023 repress as double heavy weight black vinyl , with original artwork & gatefold sleeve. Originally released in 2006,even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlotte for Ever, which was released in 1986 when she was 15), it is her first solo album as an adult and, with the help of a dream team of collaborators, it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it. Air's Jean-Benoit Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's 'Wonder Milky Bitch') wrote 5:55's delicate music, while Jarvis Cocker and the Divine Comedy's Neil Hannon penned its lyrics. This mingling of French and English influences is mirrored in Charlotte Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery.

STUNNA is the 4th studio album from Bay Area Heavyweight and Certified Legend, P-Lo. Known for being one of the main pioneers of the modern West Coast Hip Hop sound, P-Lo assembles an all-star cast to deliver not just an album, but a frequency – an energy. With standout tracks like "Good (feat. Larry June)," "Again (feat. E-40 & LaRussell)," & "Stunna Anthem," STUNNA continues P-Lo's mission in spreading positivity and shining a light on what makes the Bay Area a special place. The album features appearances by Larry June, Michael Sneed, Too $hort, Lucky, Kamaiyah, ALLBLACK, 22nd Jim, E-40, & LaRussell.

Obscure British prog-rock band Mighty Baby evolved from a Mod group called The Action, but moved heavily into experimental psychedelia in 1969, when they cut an incredible debut for the Head label. Glastonbury Fayre Festival 1971 captures the legendary group in live action, ‘A Blanket In My Muesli’ being a free-form jam that remains their best-loved effort; ‘India’ is a similarly hefty instrumental mega-jam with lilting flute amidst the bluesy guitar work, and there are awesome renditions of ‘Virgin Spring,’ ‘Devil’s Whisper’ and ‘Lazy Days.’ If you like your prog thoughtful, complex, and multi-layered, this one’s for you!

I feel a deep sense of loss listening to this music, but at the same time the possibility of going beyond it through sound. It doesn't want to illustrate anything, but I would like it to be transformative, even of a feeling that sounds like death. It is an elegy." — Furtherset

The Infinite Hour is a shattered elegy synthesized in electronics. Furtherset's music does not explain, settle or justify, it rather simply manifests the grip of anguish. As a whole, the album's six compositions resemble the labored breathing of one who mourns a disappearance and fears oblivion. A feeling like having one's chest weighed down by a stone, while still being attentive to one's breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.

The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, Auras. The compositions found their final form during the mixing process carried out together with composer & sound artist Bienoise (Mille Plateaux). They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, manifests itself to the listener as a possible variant of a path that is never definitive. Their live performance, an increasingly distinctive moment within Furtherset's work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.

The Infinite Hour is one possible manifestation of an ever-changing musical landscape, a universe with unmistakable sounds but always on the verge of disintegrating, collapsing, and opening up spaces, times, infinities.

Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions' distinctive traits are stratifications and recursive shifting modulations, synthetic clusters and sampling, alongside rhythmic and embracing harmonies. The project is envisaged as formal research that follows a path towards saturation and layering, but is always capable of generating voids in which the listener can take their place and fill them according to their own focus.

No Future, No Past – Svart Records set to release a compilation of the lost treasures of Finnish speed and thrash metal in October The roots of speeding thrash metal stretch out to the early and mid 80’s. It did not take long for the waves arising from the shores of California, central Europe and the United Kingdom hit Finland hard as well. The guiding light of Finnish thrash metal from that era was Stone from Kerava, but the entire scene that was bubbling beneath the surface was surprisingly vivid for such a small country. As the old saying goes, in the late 80’s there was not a single town in Finland without a speed metal band. These dozens – or hundreds, to be more precise – of vivacious bands formed by the long-haired youth didn’t just stay in the basements of their parents’ houses. Soon the youth centres of every county and open-minded venues such as the legendary Lepakko in Helsinki would arrange wild speed and thrash metal gigs. Studios run by more experienced musicians such as Timo Tolkki from Stratovarius were fully booked by hungry young bands eager to record their future metal classics. Many bands released 7” singles and demo tapes by themselves or with support from a record company, yet most of them permanently stayed at the demo stage through the golden era of the eighties. Svart Records is set to release a compilation of the absolute top tunes culled from these sought-after, long-lost demo tapes and singles on vinyl and CD in October. No Future, No Past – Finnish Speed & Thrash Metal Explosion combines the strongest, rarest, and most obscure Finnish metal tracks from the years 1986-1992. Backgrounds of the bands presented on the compilation differ a lot from one another. Vendetta and Damage were born from the ashes of the members’ previous hardcore and punk bands. A.R.G. and Catalepsy got their feet in the door fast of record companies such as Poko Records and Megamania, while other metal acts from that time simply faded away. After a few decades passed, some bands saw it fit to restart their careers, Sacred Crucifix and The Hirvi being examples of such comeback artists. No Future, No Past – Finnish Speed & Thrash Metal Explosion 1986–1992 will be released on October 13th on a limited 2LP vinyl edition and CD version. The compilation is packed with 18 remastered tracks of pure Finnish metal mayhem and accompanied by a booklet that contains band histories, photos, and song details. The compilation’s predecessor Real Delusions: Finnish Speed & Thrash Metal Explosion 1987-1991 was released in 2018 and its limited vinyl edition was sold out in a heartbeat, so get this rare gem now before it’s too late!

Danny Davis knows the galvanizing power of an anthemic, hair-raising song. As the co-founding songwriter behind the long-running Oklahoma City indie rock outfit Husbands, he’s been meticulously crafting breezy and emotionally potent tunes about finding your place in the world. His writing always strives to break free from monotony and routine, aiming for meaning and clarity through massive choruses and colorful arrangements. Cuatro, Husbands’ adventurous and triumphant fourth album out Oct. 13 via Thirty Tigers, marks a turning point for Davis. It’s the first LP he’s released without his longtime bandmate, collaborator, and close friend Wil Norton. It’s also an album that Davis made during a time of relative personal stability after quitting his nine-to-five and moving with his wife to Costa Rica. Across 11 arena-filling and richly-produced tracks, the full-length is a document of his growth as a human being and a testament to finding peace in relationships evolving.

It's a pertinent start-point because, in many ways, God Is Luck exists firmly within that realm, many of the songs pulled directly from improvisation before being twisted into the mysterious shapes we find here on the finished record.

Recorded between the summer of 2020 and the summer of 2022, God Is Luck is an exercise in artistic freedom. The songs came quickly and easily by design, the whole point of the record and the approach to simply let go.

The third Bad History Month LP - following the Pitchfork-championed Old Blues (2020) - where aspects of the new album mirror the shape of Sprecher's previous work, its creation was an altogether different experience for the Philadelphia-viaBoston songwriter. He describes it as a collaboration with 'luck', the freeform nature of the recording resulting in a process that felt "fun and easy and fearless in a way that recording had never been."

"God is Luck means you can control reality by choosing your perspective to always see the luck, which makes you the god of your own reality," Sean Sprecher says of his latest record. With that notion at its core, Bad History Month's latest adventure finds twisted new ways to tell age-old tales. Even in its most fearless compositions, buried within dense fog, it strives for goodness; freedom from fear, love for friends, surrounding yourself with those who inspire.

As one of Britain's finest songsmiths of the 1960s and 1970s, Peter's voice continues to convey magic and emotion with a lustre of lysergic lyrical lacquer.

His brilliant 60's group Kaleidoscope were one of the great psychedelic groups to emerge from the U.K. during those heady days.

With infectious pop tunes laced with folk- rock jingle- jangle goodness and anapaestic lyrics that set them apart from many of their contemporaries, Kaleidoscope were vital as was too their more progressive folk early '70s incarnation as Fairfield Parlour. The band has often been spoken about with the same reverence reserved for Pink Floyd's Syd Barrett era, despite their lack of mainstream success.

This is a 50-50 collaboration with Mark Mortimer, formerly of DC Fontana and The Sorrows, who has always been a fan of Peter's work. Chelsea is more sonic expressionism from the two musicians; the songs are "psychedelic" in a sense without ever falling into the trap of being shoddy xeroxes of past glories. As Spill Magazine put it:"This is not a retro or throwback album. This is an album that may be ahead of its time." This is modern, forward-looking music that longtime Kaleidoscope fans will enjoy.

The album is produced by Julian Cope producer Donald Ross Skinner in London and Rick Reil in New York.

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

A live recording from 1977! First time on vinyl! Previously only available on CD as part of the Past & Future Landslide 3CD box set! LIVE AT THE QUEENS HOTEL MARGATE 1977 It was 1977 and things were progressing extremely well. We had signed to Beggars Banquet and our first single ‘Shadow’ b/w ‘Love Story’ had been released. John Peel had been playing both sides of the single most nights on his radio show, so we were getting heard by a lot of people. But we didn’t yet have a "proper" tour bus, so we all piled into a transit for the trip down to Margate with our tour manager Mike Stone in the driving seat. The Queens Hotel turned out to be a pretty good venue. There was a nice high stage which we much preferred over the low-slung platforms of some of the places we played. It meant that the crowd wasn’t totally swamping us the whole time, although there would still be a constant stream of people jumping on and off stage, bumping us, knocking equipment over and so forth. We weren’t sure if many people would turn up on a cold and windy night so close to Christmas, but it was a good turnout, and they were out for a good time too. There was none of the aggro stuff which would become a problem later on at our shows. The actual gig was typical of a Lurkers show at that time, being fairly chaotic with a lot of crowd "interaction". There is a recklessly fast version of ‘Pills’ on the recording, and I think we were playing ‘It’s Quiet Here’ for the first time live. Howard was on good form too; it would be his birthday on Christmas Day. My favourite quip from him is towards the end of the show when he says "eat your heart out Hank Marvin" after one of my more eccentric Shadows guitar intros. PETE STRIDE 2022

Jaheim H. Hoagland, known professionally just as Jaheim, is best described as an R&B singer, but as all his releases are post millennium, the term has a different usage now to the style of the 50s/60s/70s that once used the genre. A resident of Hillsborough Township, New Jersey, and the grandson of 1960s soul singer Hoagy Lands which gives him Cuban, African and Native American blood, plus a fine musical heritage.

His recording career started with Divine Mill Records (a division of Warner Bros. Records) and his debut album “Ghetto Love” was released in 2001 to great acclaim. His follow-up album “Still Ghetto” (2002) spawned two hit singles, “Put That Woman First” and “Fabulous”, that both went platinum, and his third album “Ghetto Classics” (2006) topped the US Billboard chart selling over 153,000 copies in its first week. He then was signed to Atlantic Records in 2007 and his success continued with another three albums, and his final album to date, “Struggle Love” (2016) was released through BMG on his own label Julie’s Dream. To date he has received three Grammy nominations and sold over 5 million records worldwide.

The tracks selected for their 7” debuts are “Just In Case”, which was from the 20-track album “Ghetto Love” and did actually get released on a 12” being a massive favourite at the more progressive soul events, and “Diamond In Da Ruff” from “Still Ghetto”, which was also released on 12” vinyl.

Lucky number 17? You better believe it. We here at Brown Acid have been scouring the highways and byways of America for even more hidden stashes of psych/garage/proto-punk madness from the so-called Aquarian Age. There’s no flower power here, though—just acid casualties, rock stompers and major freakouts. As always, the songs have been officially licensed, and all the artists get paid. Kicking off this trip, Grapple’s “Ethereal Genesis” is a heavy psych gem from 1969 written by J. Bruce Svoboda, a.k.a. Jay Bruce, formerly of The Hangmen and The Five Canadians (who were actually the same San Antonio band). The latter’s 1966 garage favorite “Writing on the Wall” has been endlessly covered, but Grapple were never heard from again. With a guitar riff that blatantly rips off Sabbath’s “Black Sabbath,” Image’s mostly instrumental lysergic obscurity “Witchcraft ’71” (originally unveiled that very year) also boasts a horror-movie organ intro, a voodoo drum break and some championship chanting. Private press heads might recall late Image drummer John Beke from his ’80s reemergence with country rockers Crossfyre. Stone Hedge were a seven-piece rock band out of Michigan with a penchant for Creedence and anthropomorphism. “Smokey Bear” is their 1972 tribute to the official mascot of the U.S. Forest Services—not to mention the A side of their sole single—and it recalls the kind of organ-drenched swamp jam that soundtracked many a Burt Reynolds flick back in the day. If you think being a Southern rock band from Milwaukee doesn’t make much sense, that’s probably why Crossfire changed their sound along with their name—to Bad Boy—after signing with United Artists. Bad Boy’s severely underappreciated second album, Back To Back, is a 1978 hard rock jewel, but you can hear their boogie-woogie roots on this rare 1975 single. With a band name like Primevil and song title like “Too Dead To Live,” you probably expect some gnarly proto-metal riffage. Instead, you a get a harmonica-drenched, soul-infused rock rave-up from 1972. Primevil would release their sole LP two years later: Entitled Smokin’ Bats at Campton’s, it’s a reference to their trusty singer, harp player (and bat smoker?), Dave Campton. Brown Acid regulars already know Pegasus from their appearance with “The Sorcerer” on our Seventh Trip. “Ready to Rave” is the flipside to that 1972 single, in which they explain how they like their whiskey cold and their women hot. It’s another killer glimpse of what might have been if these one-and-done Baltimore hard rockers had been able to keep it together. One of two obscure singles released by Texas musician Bobby Mabe in 1969 (the other appears under the name The Outcasts), “I’m Lonely” delivers a heavy dose of vocal soul to the otherwise psych-garage presentation. Fans of fellow Houstonians the Moving Sidewalks—whom Bobby and his Outcasts may well have gigged with—will especially dig this one. Cedar Rapids, Iowa, may not be known as a cultural mecca, but they did give us Truth & Janey. This deadly hard rock trio delivered their holy grail full-length, No Rest for the Wicked, back in 1976. “Around and Around” is a Chuck Berry cover that originally appeared on a 1973 single the band released under the earlier name Truth. Originally released in 1973, “High School Letter” is the debut single from San Diego rock squad Glory. This infectious bonehead cruncher features future Beat Farmer Jerry Raney and the original rhythm section of Iron Butterfly in bassist Greg Willis and drummer Jack Pinney. Glory is what they got up to after their former bandmates left for L.A.’s garden of Eden. “Jack the Ripper” is a mercilessly bootlegged Cleveland classic from 1978 with a serrated punk edge and vocals that recall Mick Blood of Aussie savages the Lime Spiders. Or maybe it’s the other way around—the Lime Spiders formed the year after Strychnine carved off this lethal paean to the infamous Whitechapel slasher of olde.

Tube Alloys have made a type of record that is in short supply these days. A record that is untethered to prevailing musical trends, punk or otherwise, in either their native Los Angeles or further afield. It's in keeping with a tradition, sure, one pioneered by bands like Wire, Swell Maps and This Heat, who sought to combine the vitality of punk music with an omnivorous ear for the avant-garde. But Tube Alloys honour this tradition with their disinterest in nostalgia and their ability to cast an irreverent eye towards our present and - crucially - our future, rather than endlessly rehashing our past. In short, Tube Alloys are adventurous where many of their contemporaries are content to play it safe. In doing so they tick a lot of boxes for those with open minds and open ears, while simultaneously making sense of the innate contradictions found in any great work of art. Their songs are muscular without being boneheaded, clever without being nerdy. A dry Australian humour is barked with an American sense of self-assuredness. Songs end before you've had a chance to digest their brilliance, or they explode right when you think they've already peaked. And just when you think you're comfortably along for the ride, the songs disappear altogether, and the record's centrepiece abruptly takes shape as an oblique spoken riff on Time. And Time it is, for something a little different. Finally! If you are in need of refreshment, then look no further, you have found your Oasis!

2023 Repress

Artefakt dives deeper into their electronic universe with a worthy follow-up on their Days Bygone LP on the Delsin Interstellar series from early 2021. 'Brain Dripper' EP explores adventurous paths in dreamy electronics, experimenting with emotive melodies and floating chords rendered into immersive idm and ambient pieces. On the flip the pair fuses their trademark deep techno jams with stepping electro brain workouts.

Returning fresh off of his last project 'Goes On EP', Darone is back with another 12". This time, his project pays homage to two places which he calls home. A juxtaposition of his birthplace, Los Angeles, and where he feels a strong connection, Armenia. The A-Side features 'Dance of the Sun Worshipers', which was written with the petroglyphs of Ughtasar and the Armenian Stonehenges of Syunik in mind. The henges in question were set as an astronomical observation tool to view the Milky Way Galaxy by the ancient natives of the land.

Parts of the petroglyphs have carvings of beings dancing around a wheel of fire. A representation of the Sun or early signs of the Armenian Eternity Wheel. The B-Side features 'Far Away' by Sassounian and a remix of the same track by Byron The Aquarius. Far Away was written at the height of lockdown, with a local collective of the same name in mind.

Operating as a cassette label, mixtape series, and party, Far Away was based in Los Angeles, run by Cooper Saver and Jen Ferrer. Darone would frequently attend their events in Los Angeles and find comfort in a community that he can call home. On remix duties, Byron The Aquarius delivers a raw and chuggy tip to Darone's track, 'Far Away'. A dub of the original, Byron programs this one into a full and thick driving force for the dance floor and the heads. This is Rocky Hill.

2023 Repress

First time on vinyl. 'Environments' is generally regarded as 'the great lost album' by The Future Sound Of London. It has taken on almost mythical status with the group's fan base. 'Environments' was due for release much sooner after the 1993 release of the UK Top 10 album hit 'Lifeforms', and only now is it being released - back on the group's original home, Jumpin' and Pumpin' Records.
This release also comes after the recent success of the Archive series which has so far sold over 20,000 units across the different volumes and still climbing.

To re-cap, Brian Dougans and Garry Cobain began their musical partnership and friendship in Manchester, England in the mid 1980s whilst the two were studying at Manchester University. Dougans had already been making electronic music for some time when they first began working in various local clubs. In 1988, Brian embarked on a project for the Stakker graphics company. The result was Stakker Humanoid.
In the following three years the pair produced music under a variety of aliases, followed by the breakthrough classic ambient dub track Papua New Guinea in 1992, which was also the first release under the Future Sound of London moniker.

Rogér Fakhr is a musician from Lebanon. He recorded these songs in the late 1970s in Beirut (and some during a brief exile in Paris). Some were circulated on hand copied cassettes among friends, others like "Had To Come Back Wet" were never released. His music effortlessly combines folk with touches of jazz and soul. He wrote, composed and arranged all songs. While working on his own music he also played for Ziad Rahbani, Fairouz and other musicians.

When we first heard Roger's music we were blown away! The music was a mixture of folk with touches of other genres. Maybe one could also refer to it as "singer-songwriter", since all of the songs were Roger's own compositions. Songs of unique beauty both musically as well as lyrically. At the same time they gave me the feeling of them being somehow time and space isolated capsules. Nothing really revealed, where they could've been recorded and without knowing it was Beirut, my first guess maybe would have rather been California, sometime in the 1970s. The immersive effect of his compositions and voice are just incredible. I was stunned and proposed Roger to work on a re-release, which he politely declined, saying he had no interest in this music being reissued.

The vinyl version comes with a 8 page booklet and a DL code. CD digipak version comes with a 16 page booklet.

Prog Rock band from Bergen, Norway, formed in late 1969 , and disbanded in the spring of 1974.
They had several reunions since then. Saft was among the first rock bands to sing in Nynorsk
("Fjovisere" in 1971), also made history when they won the European summit with "People In Motion"
in November 1971. The members of the first Saft incarnation came from other established Bergen
bands: Ove Thue (vocals, guitar), Tom Harry Halvorsen (keyboards, vocals) and Trygve Thue (guitar,
vocals) from Neither Nor, Magne Lunde (drums) from Human Beings, and Rolf Skogstrand (bass)
from various - including Human Beings. The band had ample opportunity to play in the hippie musical
Hair on the National Stage in Bergen in the autumn of 1970. A recording from the performance was
released on LP by Polydor just before Christmas 1970. Saft made a demo recording of their
self-composed material at about the same time, and a contract deal with Polydor. In summer of 1971
they released "People In Motion" / "Albertine Hall", which was a big success and critical aclaimed. The
record was chosen as Norway's contribution to the European Summit on November 20, 1971. “Horn”
was their second album released in 1971 an experimental record with diverse styles, and
improvisations with all members contribute in songwriting. Available on vinyl again for the first time
since 1971

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his
first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

On October 15th & 16th 2020, drummed Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they"d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from the sessions made it onto Villarreal"s critically-acclaimed 2022 album Panamá 77, bust most of the music remained unreleased. Lados B is a deep dive into the high-level spontaneous music made by Villarreal, Parker and Butterss across those two days in 2020. Villarreal is heard leading the group through various rhythmic modes and structures for improvisation - flow as informed by the Latin soul of Fania Records as it is by the otherworldly trance of Brain Records - while Parker and Butterss draw on their extensive experience playing free together (as heard on Parker"s recently-released Mondays at the Enfield Tennis Academy, and the LA side of Makaya McCraven"s 2018 LP Universal Beings) to build harmonic buoys for their spontaneous melodicism. The result is a beautifully vivid illustration of context, creativity, and collective composition from a particularly rich moment in history.

ZentaSkai unveils stunning, high-concept house album on Mask Records.


ZentaSkai undertook a period of research into the underlying structure and organisation of the human brain before writing ‘The Architecture Of The Mind’. The Berlin-based artist then took what had been learned and kept it in mind when writing the music that marks Mask's first album release. It comes with extensive background notes on each track, and an operational manual of sorts - notes from the artists as to the effects each piece will have on those who hear them.
"The message conveyed by this album is that life itself is filled with music, but our egos often prevent us from being in harmony with this symphony. Inner chaos and silence can be challenging to bear, leading us to seek solace in external noise. We have constructed a barrier between our inner and outer worlds, causing us to lose touch with the rhythm of harmony. However, by embracing the illusion of separation and dancing to good music, we can rediscover harmony with ourselves and our environment. To fully experience the essence of the album, it should be played loudly on a proper sound system or high-quality headphones. By immersing themselves in the music, individuals can engage with its transformative power and potentially find a deeper connection with their own minds and surroundings." - ZentaSkai.

The gorgeous 'Mind Mapping' opens up with deep and dubby drums and lush harmonies that soothe you to your core, '030' then has more raw, heavy drums with many layers of glowing synths, glassy melodies and organic found sounds. 'Fügung' keeps the deep and introspective moods coming before the crisp tech of 'Flow Dreaming' ups the ante with more drive and layers of vocal whispers, hi-hats and smeared dub chords.


Elsewhere the likes of 'Quiet Reflection' lean into the groove with swirling pads and one-word vocal sounds drifting through the air over propulsive drum loops, and 'Boiling Range' suspends you in deft synth loops amongst the stars over a prickly house beat.
The superb synth craft and well-designed grooves continue through the dusty deep house of 'Karl-Marx-Allee' and minimal dub of 'Dynamic System' before the elegant melodic techno of 'Apeiron' and dreamy synthscapes of 'Parallel 30' close the album in a reflective fashion.


This is a deeply evocative album with a fully realised concept that is as thought-provoking as it is immersive.

By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become syn - onymous with the genres of horror, suspense, and science fiction. His innate talent for composition and his deep understanding of how music can elevate storytelling have left an indelible mark on the world of cinema, and a haunt - ing presence in people's record collections. Anthology II continues the celebration of his compositional genius via an ex - cellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter . The compilation opens with "Chariots of Pumpkins" from Halloween III that perfectly captures the eerie essence of the cult classic film with its pulsating synths and haunting melodies. The listener is engulfed by a sense of unease and anticipation, before being thrust into "69th St. Bridge" from Escape From New York , a dynamic track that encapsulates the futuristic and gritty nature of the film via the use of throbbing bass lines, driving rhythms, and electronic textures. The record has also an isolating tone as it skulks through ambient leaning tracks such as "Fuchs" and "To Mac's Shack" from The Thing, and "Walk to the Lighthouse" from The Fog, all of which display a slower tempo, foreboding undertones and an ethereal atmosphere that feels like a distant whisper. All of which has been cautiously laid in preparation to the grand finale. The iconic and instantly recognizable "Laurie's Theme" from the original Halloween . Its simple yet menacing piano melody which has become synonymous with the horror genre, concludes the album by striking fear into the hearts of listeners. These tracks represent just a fraction of John Carpenter 's impressive musical repertoire. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history.

By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become syn - onymous with the genres of horror, suspense, and science fiction. His innate talent for composition and his deep understanding of how music can elevate storytelling have left an indelible mark on the world of cinema, and a haunt - ing presence in people's record collections. Anthology II continues the celebration of his compositional genius via an ex - cellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter . The compilation opens with "Chariots of Pumpkins" from Halloween III that perfectly captures the eerie essence of the cult classic film with its pulsating synths and haunting melodies. The listener is engulfed by a sense of unease and anticipation, before being thrust into "69th St. Bridge" from Escape From New York , a dynamic track that encapsulates the futuristic and gritty nature of the film via the use of throbbing bass lines, driving rhythms, and electronic textures. The record has also an isolating tone as it skulks through ambient leaning tracks such as "Fuchs" and "To Mac's Shack" from The Thing, and "Walk to the Lighthouse" from The Fog, all of which display a slower tempo, foreboding undertones and an ethereal atmosphere that feels like a distant whisper. All of which has been cautiously laid in preparation to the grand finale. The iconic and instantly recognizable "Laurie's Theme" from the original Halloween . Its simple yet menacing piano melody which has become synonymous with the horror genre, concludes the album by striking fear into the hearts of listeners. These tracks represent just a fraction of John Carpenter 's impressive musical repertoire. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history.