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Released on Limited Edition Black Vinyl with a replica of the original sleeve and insert (300 Copies only). The beginning of the 1980s wasn't a great time to be young. Between 1979 and 1981 youth unemployment more than doubled to over 900,000. Many approaches were tried to tackle the problem and one of the more innovative was the Arts Opportunity Theatre a charity founded in Bristol by Reynold Duncan and Yvonne Deutschman. Financed by assorted public bodies, it aimed to train young people in a range of performing arts as well as the multiple skills needed to produce, organise and put on shows. Over a seven year period the Arts Opportunity Theatre put on a succession of shows not only locally, but travelling as far as the Continent and trained hundreds of young people in everything from music to book keeping. People who passed through the collective would go on to form the core of many local bands and be involved in a large proportion of Bristol music releases, especially reggae. The first show put on in 1981 and 1982 was "Freedom City" which prominently featured Zion Band. In May 1982 the Zion Band musicians from the show went into Right Track Studio in Bristol and recorded four vocals and two dubs that would be released the following January on a 12" single. Back in 2011 Bristol Archive Records included "Twelve Tribes" on a compilation and would later also compile "Babylon Fire/Babylon Dub", but the other three tracks could only be found on the scarce original 12" which in recent years has rocketed in price fetching in excess of £150. We believe music should be affordable and available so 2026 will see Bristol Archive Records reissue the Zion Band "Freedom City" 12" in it's entirety, complete with its original picture sleeve and insert with a limited pressing of 300 copies on black vinyl. This release is dedicated to the late Reynold Duncan RIP.

The duo’s debut album sets off on an airy, groovy odyssey.

Recorded at the legendary La Frette studio (Parcels, Fontaines D.C.), the album follows an extensive period of demo development.

Immersed alongside outstanding musicians, the team worked in a relaxed, old-school spirit: a handful of takes, tape recording, and analog gear. Plenty of space was left for ideas to emerge organically in the studio. The arrangements—synthesizers, flute, backing vocals, percussion—were then carefully refined over many months.



"Idésia" stands out for its delicate production, brought to life by Maxime Kosinetz on recording (Oracle Sisters, Bon Voyage Organisation), Stan Neff on mixing (Andrea Laszlo de Simone, Polo & Pan), and Chab on mastering (Daft Punk, La Femme).



The record unfolds across changing sonic landscapes, with Will’s voice gliding over melodies rooted in a bright, warm groove. A subtle blend of pop and Californian warmth runs throughout the album.

The album explores themes of childhood (Sur le Chemin de l’École, L’Île Perdue), ecstatic escapes (Holiday(s), Pas de Côté, Escalier), and simple pleasures (Le Bal, Cavalière de l’Aube). It also casts a poetic eye on the evolution of the world (Dernier Vol, Robot Rêveur, Balayeur de l’Espace). Will & Paul play with contrasts, shifting perspectives along the way.



"Idésia" is the imaginary world in which Will & Paul gracefully lose themselves - a suspended place between nostalgia and science fiction, as if their silhouettes were drifting from a bright, carefree past toward a place suspended in time.

Tape

Around the Songster's Commune was made quite quickly and purposefully without a lot of fuss -- made to preserve the spirit of its making -- at Diana Duta's generous Jambes studio in Brussels. It's a collection of meditations: compositional fragments, whimsy ditties, field recordings and (live/d) experiments with troubadour song-making methodologies. It's a sonic drift -- sonically drifts. Here, Bergur seems to be exploring the looseness of world-making. Or, maybe better said, exploring how loose he can get with world-making and the realization of sonic realities. Exploring how unconscious, how trusting of himself, as an artist/composer/sound-maker/human, he can be.

2026 Repress

Rhythm by Nature is back with Somefink Old, Somefink New, a three-tracker from seasoned producer Grant Dell that bridges past and present: sketches first laid down in the mid-2000s rediscovered and reworked alongside a brand-new cut, forming a dialogue between memory and renewal.

The EP opens with Feel Me?, a deep tech construction driven by a heavy low-end, its groove unfolding patiently while flashes of disco glimmer through the framework. On Light of Day, Dell shifts into full deep house territory — spacey pads and floating strings suspended across open structures until acidic stabs break through, twisting the track into brighter, playful directions. Closing with Death Disco in Dub, Dell channels the hallmarks of his Tribalation project: dub-infused atmospherics, light percussion and echo-drenched fragments circling around a hypnotic core, equally suited to open or dissolve a night.

With Somefink Old, Somefink New, Rhythm by Nature traces the arc of an artist deeply embedded in the underground, reuniting past forms with present gestures in a release that reaffirms the label’s consistency in quality and commitment to timeless club music.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Als Justin Morris 2019 nach einem Leben in North Carolina nach New York City zog, hatte er vor, das Gegenteil von dem zu machen, wofür die Leute normalerweise in die Stadt ziehen: seinen Traum aufzugeben. Seit seiner Kindheit war dieser Traum einfach: Songs schreiben, in Bands spielen, im ,Indie-Rock" leben. Aber als er für einen der größten Indie-Stars der Zeit Merchandise verkaufte, geriet diese Überzeugung ins Wanken. Von seinem Platz im Bus aus betrachtet, schien der Alltag auf Tournee nicht zu den faszinierenden Shows zu passen; Zugaben wichen einer Arbeitsrealität, die ihm die berufliche Seite von etwas zeigte, das er immer nur romantisiert hatte, und ihn fragen ließ, wo der Glanz geblieben war. Für seine naive Weltanschauung war die Kluft zwischen der Fantasie, ,es zu schaffen", und der Realität erschütternd. Wenn das ,der Traum" war, dachte er, musste er vielleicht überdacht werden. New York sollte ein Neuanfang sein, vielleicht sogar der Ort, an dem er einen anderen Beruf erlernen und die Musik hinter sich lassen würde. Doch weniger als einen Tag nach seinem Einzug in die Untermiete in Bushwick trat ein Mann mit einer Waffe seine Schlafzimmertür ein, zwang ihn auf den Boden und fesselte seine Hände mit Fernsehkabeln. In den Tagen nach dem Raubüberfall, in denen er nur noch durch Songs einen Sinn in den Dingen erkennen konnte, begann er wieder zu schreiben. Diese Songs wurden zum Beginn eines neuen Projekts, das er Sluice nannte. Sluice ist jetzt eine vierköpfige Band aus Durham, North Carolina - mit Morris an der Gitarre und am Gesang, Oliver Child-Lanning am Bass und verschiedenen Instrumenten, Avery Sullivan am Schlagzeug und Libby Rodenbough an der Geige - mit Companion, ihrem dritten Album und Debüt bei Mtn Laurel Recording Co. Es folgt auf Radial Gate aus dem Jahr 2023, das still geliebte Album, das Morris aufgenommen hatte, nachdem er aus New York geflohen war und sich mit dem damals noch unbekannten Child-Lanning in einem Haus in Hillsborough niedergelassen hatte, das er über Craigslist gefunden hatte. Dort nahm er Songs im Sylvan Essos Studio Bettys auf, während er als Zimmermann arbeitete. ,Companion" ist ein Album über das Dating, über das Verlieben zu den weitläufigen Refrains von Kenny Chesney und Alan Jackson. Der ,Begleiter" ändert seine Form: Manchmal hat er einen Namen (Sara, Bluey, Of Doe Eyes), manchmal ist er ein Hund, der morgens aus der Tür schlüpft, manchmal ist es Morris selbst, der sein Spiegelbild im Badezimmerspiegel sieht und murmelt: ,Junge, ich liebe dich." Manchmal sind es die Tischler, die Stadtbewohner, die Bandkollegen, die alten Tourkollegen, die wieder in sein Leben treten. In seinem sachlichen, ironiefreien lyrischen Stil, den Pitchfork einmal als ,eine Umerziehung in Aufrichtigkeit" beschrieb, wirken diese Menschen real, weil sie es sind. Und immer in greifbarer Nähe ist die Musik selbst, die Begleiterin, die fast verloren gegangen wäre.

Schmitz is a cool guy. He dreams of meeting the ruler of the universe. One day, his dream comes true: he meets the electro goddess Irma. The compilation is a kind of audiobook in 13 acts, danceable and cool, fast and loud, an homage to all space cats. The LP comes with a booklet introducing the bands and telling the story.

Backyard Babies was formed in 1987 in Nässjö and can by rights be called Sweden’s most influential glam punk act. Between 1994 and 2019 they released eight studio albums of which Stockholm Syndrome is their fifth. Here we have another collection of bangers brought to you by the babies with reckless abandon. This time they invited a whole slew of guest musicians such as the Ramones, Danko Jones, The Cardigans, Turbonegro, and The Hellacopters, elevating the whole affair to another level with no signs of stopping. This is the first time the album is available again on vinyl since ten years and features the songs "Minus Celsius", "A Song for the Outcast", and "Everybody Ready?!". Stockholm Syndrome is available as a limited edition of 1000 individually numbered copies on crystal clear & black marbled vinyl and includes a 4-page booklet with lyrics.

Yeun Elez opens a breach: that of a forgotten threshold, a gateway to Hell concealed beneath the peat and legends of the Breton marshes, from which Hoel Moce borrows the name for this project.

Born from Celtic tales passed down in hushed tones, it summons wandering souls, suspended spirits, and those who have already reached the end of their journey. Having escaped from Techno Thriller, Hoel founded Yeun Elez in 2022, as an autonomous and haunting sonic territory.

Surrounded by talented collaborators (Maria: NaturaMorta, Lou Savary de Reymour), he weaves a ritualistic and visceral music, traversed by dreamlike landscapes, misty battlefields, and a fantastical medieval Brittany.

Between pagan symbolism and spectral visions, the project explores the murky depths of the human condition. Thus, birth, love, decline, death: the themes emerge as archaic truths. Betrayal and revenge exist alongside devotion and the quest for an ideal that transcends us.

Mixed by Luc Bersier (Reymour) and then mastered by Tioma Tchoulanov (UVB76, Nze Nze), this album by Yeun Elez doesn't reconstruct the past: it invents it to better haunt it.

Music like a rite of passage, both rooted and timeless, like an inner journey, dark and necessary, to a place where myths refuse to die.

Taï Phong is a French progressive rock band formed by two Vietnamese brothers, Khanh Maï (guitar, voice) and Taï Sinh (bass, guitar, voice, keyboards), in 1975.1 They were joined by Jean-Alain Gardet (keyboards), Stephan Caussarieu (drums, percussion), and Jean-Jacques Goldman (guitar, voice, violin). They released three albums between 1975 and 1979: Taï Phong (1975), Windows (1976), and Last Flight (1979). "Sister Jane" (1975), the first single from their first album, was a radio hit.

Good As True (2026), the 12th studio album from Yonder Mountain String Band, leans into a warm, expressive sound — bluegrass shaped with an indie edge, rock undertones, and a hint of country. Recorded live in the studio, its eight original tracks trace romantic, personal, and societal relationships and the work it takes to stay connected. The lead single “Brand New Heartache” pairs rock-driven verses with a bluegrass-lifted chorus as it follows the fallout of a breakup and the uneasy hope of starting again, while “Blind” opens with a striking instrumental riff that lingers long after the song ends, while its lyrics confront regret, mental health struggles, and the pull to become something better. “Long Ride” delivers a sharp, sarcastic look at life in a touring band; “Nothing New” and “The Lie” confront political rigidity and division; “One to One Another” and “Always Almost” pull toward quieter emotional corners; and “Barroom Feather” drifts into indie-folk terrain with one of the album’s most atmospheric jams. Across Good As True, Yonder moves between high-tempo runs, layered harmonies, and moments that breathe — a reminder that nearly three decades in, they’re still charting new ground.

British rock singer Chez Kane is back with her third studio album, “Reckless” — an explosive blend of arena-ready hooks, slick guitar work, and unapologetic 80s-style swagger. Following the success of her first two records, Chez levels up with a collection that’s bigger in sound, richer in emotion, and packed with pure melodic firepower. Once again written and produced by Danny Rexon, frontman of Swedish hard rockers Crazy Lixx, “Reckless” channels the golden age of melodic rock while injecting it with fresh energy and modern production. The chemistry between Chez and Danny continues to shine, resulting in a record that blends 80s-inspired anthems, infectious hooks, and soaring vocals into a modern rock statement with attitude.

From glam-infused bangers to emotional slow-burners, “Reckless” showcases Chez’s growing confidence and undeniable charisma, proving she’s not just riding the revival wave — she’s leading it. If you’re craving fist-pumping choruses, soaring vocals, and a no-holds-barred throwback to the glory days of rock, look no further. Chez Kane’s “Reckless” is melodic rock done right — bold, catchy, and undeniably alive. Turn it up loud. This one’s recklessly unforgettable.

British rock singer Chez Kane is back with her third studio album, “Reckless” — an explosive blend of arena-ready hooks, slick guitar work, and unapologetic 80s-style swagger. Following the success of her first two records, Chez levels up with a collection that’s bigger in sound, richer in emotion, and packed with pure melodic firepower. Once again written and produced by Danny Rexon, frontman of Swedish hard rockers Crazy Lixx, “Reckless” channels the golden age of melodic rock while injecting it with fresh energy and modern production. The chemistry between Chez and Danny continues to shine, resulting in a record that blends 80s-inspired anthems, infectious hooks, and soaring vocals into a modern rock statement with attitude.

From glam-infused bangers to emotional slow-burners, “Reckless” showcases Chez’s growing confidence and undeniable charisma, proving she’s not just riding the revival wave — she’s leading it. If you’re craving fist-pumping choruses, soaring vocals, and a no-holds-barred throwback to the glory days of rock, look no further. Chez Kane’s “Reckless” is melodic rock done right — bold, catchy, and undeniably alive. Turn it up loud. This one’s recklessly unforgettable.

DYING VICTIMS PRODUCTIONS is proud to present MIDYRASI’S KULT’s highly anticipated debut album, Italian Dark Sound, on CD and vinyl LP formats. MIDRYASI'S KULT are revolutionary and uncompromised. Featuring veterans from such Italian doom stalwarts as Doomsword, Midryasi, Agarthi, and Fiurach, their unique blend of elements from the NWOBHM, doom metal, and early black metal – all fused in their distinctive national dark-sound tradition, which includes such cult legends as Black Hole and Death SS – results in an obscure, hypnotic, and exciting formula. In March 2025, after just one week on Bandcamp, MIDYRASI’S KULT were intercepted by Caligari Records, who released on cassette their debut demo, Mountain Devil. Featuring three songs in a concise 15 minutes, this demo reaped international acclaim for its originality and attitude. But that was but a foretaste of darker delights to come. Witness the first full-length of MIDRYASI’S KULT, Italian Dark Sound.

Truly titled, Italian Dark Sound is an intoxicating spelunk into catacombs both idiosyncratic and indefinable. Totaling 32 time-/mind-expanding minutes, the eight primary tracks here – the outro is titled “The Lost Son of Sylvester Anfang,” which should offer an obvious clue to the black-metal-minded out there – each offer something different from the next, and yet all add up into a shadowy experience that’s both rocking and atmospheric. In fact, if one were to single out an aspect between the demo and album, it’s that MIDYRASI’S KULT exude more energy on this full-length without sacrificing any of their occult aura. But, just like that demo, Italian Dark Sound features supremely pro production – gritty, earthy, and yet kaleidoscopic in texture – under the guidance of Gabry "The Way" Strada, head of RDF Studio and who’s now collaborating on the upcoming Doomsword new album. In the vein of an open artistic project, all the artwork is made by vocalist / bassist Geilt himself, and up to 11 musicians have been involved in these recordings

April Records proudly presents the new album from Stockholm Stockholm-based bassist and composer Jon Henriksson - a confident and flexible statement that deepens his place within contemporary Scandinavian jazz. Following the success of his 2023 debut Harmonia which placed second in Orkesterjournalen s Golden Album " readers " poll, Henriksson returns with music that foregrounds collective interplay, shifting forms, and a strong compositional voice. Born in Gothenburg and now active across Sweden and Europe, Henriksson has collaborated and toured with artists including Lars Jansson, Hakan Broström, Erik Söderlind, Klas Lindquist, Jonas Kullhammar and Christina von Bülow. Alongside leading his own ensembles, he remains a soughtsought-after bassist in a wide range of projects, balancing a deep connection to the jazz tradition with a modern, exploratory approach. Shapeshifter is built around a core quartet of tenor saxophone, piano, double bass and drums, expanded with guitar on three tracks and trombone on two. The album moves fluidly between contrasting moods, from forceful and driving to reflective and restrained, with each piece shaped by the musicians " intuition and responsiveness. The title reflects Henriksson s compositional philosophy: allowing roles, textures, and forms to evolve as the music unfolds.The ensemble brings together long long-standing musical relationships. Pianist Rasmus Sorensen and Henriksson have collaborated since their studies at Skurups Folkhögskola (Henriksson is a longstanding member of Sorensen s own trio), while drummer Jonas Bäckman forms part of a well well-established rhythm section partnership with the bassist across numerous projects including the Britta Virves Trio. Saxophonist Karl Karl-Martin Almqvist, a member of the Danish Radio Big Band, completes the quartet, with guitarist Pelle von Bülow and trombonist Rasmus Holm joining the session shortly before recording to expand the album s sonic palette where the music called for it. Originally conceived as a quartet album, Shapeshifter took its final shape in the lead lead-up to recording as additional instrumental colours were introduced organically. The piece Toninho , a tribute to Brazilian guitarist and composer Toninho Horta, features acoustic guitar and subtle wordless vocals, reflecting melodic influences that sit naturally within the album s contemporary jazz framework. Across the record, space, pacing, and interaction remain central. Rather than forcing constant motion, the music allows ideas to develop with clarity and intent, resulting in an album that highlights Henriksson s growing assurance as a composer and bandleader, while keeping the collective at its core.

Expanded Edition Double Cassette Box Set including main album and Bonus Cassette with unique download cards


AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

On her new album, Two Whole Summers, Half A Life, Lisa Bassenge is once again accompanied by her trusted fellow musicians, pianist Jacob Karlzon and bassist Andreas Lang, with whom she has already realised numerous projects. Typical of Bassenge, the repertoire comprises a seemingly wild yet harmoniously connected mix of pop, singer-songwriter and jazz elements. The spectrum ranges from Elliott Smith to Duran Duran, from Billie Holiday to Björk. ‘It's always about the expressiveness of the songs – that's the common thread for us,’ emphasises the Berlin-based artist. The album features a track by Hank Williams as well as Madonna's ‘Frozen’ and “Catch” by The Cure. Two original compositions are also part of the recording: the title track ‘Two Whole Summers, Half a Life,’ a tribute to the power of friendship and youth, and the neo-folk ballad ‘I'm Getting Old.’ Both works impressively underline Lisa Bassenge's own artistic signature. For over two decades, Lisa Bassenge has stood for stylistic openness and a characteristic voice that lends new nuances to every song. Despite all the diversity, jazz remains the tonal basis. The Scandinavian-style relaxed sound of Karlzon and Lang lends the interpretations a soft, atmospheric depth.