Since he first emerged at the end of 1999 with instant UK garage classic Re-Rewind, Craig David has scored 25 UK top 40 singles (16 of them top 10), nine UK top 40 albums (five of them top 10) and amassed over 5 billion (!) streams worldwide. In fact, over 1.5 billion of those came via his most recent releases, 2016's chart-topping comeback album, Following My Intuition, and 2018's career consolidating The Time Is Now. If you're more used to the old school metrics, that's 20m global sales. And speaking of global, he's played sold out tours everywhere from America to Australia, Japan to Germany. Across his twenty-plus year career, he's collaborated with the likes of Sting, Kano, Diplo and KSI, while also becoming one of the biggest DJs in Ibiza via his TS5 soundsystem. Award-wise we're talking 14 Brit Award nominations, two Grammy nominations, four MOBO awards and three Ivor Novellos honouring his songwriting. It's impressive, sure, but that's the past. It's ephemera. “I always feel like you need to be more real-time and present in the now,” David confirms.
That present involves an excellent new album, his eighth, in the shape of next year's 22. “It's 22 years since the first album, it will be 2022 when the album drops,” he explains of the title. This month sees the arrival of 22's glorious, MNEK-assisted lead single Who You Are, which cocoons a feel-good pop lyric about being present in a pristine UK garage casing courtesy of producer Digital Farm Animals. Like all Craig David classics it feels both box fresh and warmly nostalgic. “It will live in the world this song,” David says. “It feels so authentic, it has intention. Put on Who You Are to try and talk to someone that needs help.”
The idea of putting a smile on people's faces is at the heart of 22, an album whose title itself reflects myriad different themes. “There's also a spiritualism in the number 22 and what it represents,” he says. “In numerology it's a very powerful number and in terms of angel numbers it's bringing balance and equilibrium to my life. We're in a world where there's a lot of me against you, and so it's bridging the gap.” The title also represents distance; it's a date stamp that marks his career longevity. So what does the album's contents say about Craig David in 2022? “At its core it's still very much everything I've honoured since I was a kid, but in some ways I'm being more playful,” he says. “Loosening up the chains of my history. My debut is probably the most clear expression of who I am because it was my first outing – it's everything you are. So on this album there's that energy mixed with the wisdom and experience I can bring to the world. I've not mastered anything yet, I'm a newcomer still.” Still very much born to do it, just older and wiser.
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Tropical Disco continue to rewrite the disco handbook as they clock up an impressive quarter century of vinyl releases with a sublime Volume 25 of their series.
Featuring four disco cuts laced with jazz, funk, touches of electro and lots of dancefloor swagger it perfectly continues to build and diversify the sound of the series. Getting in on the party are a trio of Italian disco lovers Musta, an artist whose releases regularly set the disco and house charts alight, alongside the highly rated Corrado Alunni and the mysterious Fun Kool both of whom also hail from Italy.
Opening proceedings, and in stellar form, is co-label boss Sartorial whose ‘Hootin N Tootin’ is a real jazz funk gem. Incessant piano riffs, a groove of a bassline which edges towards acidic in places, guitar licks aplenty and choppy drums all combine for a track which could be played anywhere from a jazz inspired pool party to the funkiest of clubs. ‘Hootin N Tootin’ is as musical as it is dance worthy, two very handy traits which will see it survive the ever onwards march of time.
Musta’s ‘El Matador’ meanwhile has a high energy, fun-filled approach to life. It’s a track which very much defies pigeon holing but which comes from the same effusive family of earworms as Samin’s ‘Heater’ and may well prove to be just as big a breakthrough hit if it lands in the right hands over the summer. It’s very much a track with a big mischievous smile on its sun worshiping face.
Corrado Alunni’s ‘Funk Decision (Dub Mix)’ falls very much into the early Soulfuric camp of Soulful house music, a sound which Tropical Disco has regularly flirted with recently with some fantastic results. Divine live sax, guitar loops and ass shakin’ bass all merge perfectly for a very classy six = minutes of shimmering dancefloor groove.
Fun Kool’s ‘Low Tow’ sees out the EP and takes us off on an 80’s inspired electro journey. Stabby synths, subtle cowbell and Vangelis-esque keys all combine for a track which brings Metro Area’s take on the genre immediately to mind. ‘Low Toe’ deserves all the plaudits which undoubtedly come its way, a future classic for sure.
That Tropical Disco keep conjuring up EP’s of this quality is a major cause for celebration in itself. Disco in 2022 is a progressively more and more interesting place to live given the multifarious avenues which it continues to open up and this EP is a perfect example of the depth, diversity and incredible quality of a genre overflowing with passion. We very much hope that the first 25 volumes are only the beginning.
Known as the “Dynamic Duo” Pig&Dan celebrate twenty years by making a long-awaited debut on Crosstown Rebels next month. The two-track Rock You All Night EP draws inspiration from the USA’s heritage house scene, with a slice of Hot Filtered Disco!
The influences of Chicago and New York are heard right from the offset, with rolling homegrown stabs coupled next to heavy and wholesome bassline grooves. There’s an inherent feel-good atmosphere to the piece, reflective of the era’s freedom and openness, before Let Yourself Unwind finishes proceedings on a similarly euphoric close. Disco-esque melodies flitter beneath an upbeat, repeating vocal as choir-like instrumentals build to create the perfect synergy for both dancefloor and radio play.
Pig&Dan have firmly established their presence as one of electronic music’s most esteemed duos. The pair’s releases speak for themselves, be it on Sven Väth’s Cocoon, Adam Beyer’s Drumcode or John Digweed’s Bedrock to name a mere few of the labels they’ve found success on. Their DJ performances are similarly impressive, with recent years marking the launch of a new live show that debuted across some of the biggest global stages, including Fabric (London), Warung (Brazil) and AIM festival (Canada).
Limited Edition - Transparent Blue Vinyl
‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.
Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.
Press:
Gazza Premiere
House Salad Music Premiere
Madoras Premiere
Music Is 4 Lovers Review
Le Visiteur Review
Hot House Picks
Faith In The Defected Basement - Livestream play
DJ Feedback:
FRANCOIS K
Yes! I played the vocal version the other day again.
KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!
GREG WILSON
What's not to like? Love the orig Solange jam!
DANNY KRIVIT
Nice, I like a lot of DJ Oji.
SOUL CLAP/ ELI GOLDSTEIN
Fire right here
DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.
THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!
TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x
HOT TODDY
Simply beautiful.
CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools
CHARLES WEBSTER
Nice soulful groover. Like this.
FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time
FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!
NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)
JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.
FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!
STEVE PARRY / FOR SASHA
Really Smoove love it.
GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!
RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.
QUENTIN HARRIS
I love this package.
GRAME PARK/ THE HACIENDA
This is tremendous
HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.
ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.
DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x
MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!
STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!
TREVOR FING/ GRAFITTI KINGS
Love these remixes.
MAX P/ HELL YEAH
Yeah, full pack is what I needed !
HORSE MEAT DISCO/ SEVERINO
Really into this!
SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work
GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.
NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)
TREVOR FUNG/ GRAFITTI KINGS
Love this !!
QUENTIN HARRIS
Being a fan of the Original I love everything about this.
ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!
DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx
NICK V/ LA MONA
This is a fantastic track!
MAX P/ HELL YEAH
Oh yeaahhhh
RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.
MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!
TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!
RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.
JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it
CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x
DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!
STEVE PARRY/ FOR SASHA
Beautiful super smooth.
LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!
Moxy Muzik are back with the second volume of their Moxy Muzik Editions. Head honcho Darius Syrossian leads the charge with 'Mercy Me', a huge favourite already with Syrossian fans after a video surfaced on the rave footage page of it absolutely booting off at Printworks and deluge of track ID requests followed. Since then, it’s been spun left, right and centre over the tail-end of 2021's festival season. Jordan Masters jumps in on remix duties too - stripping it back for a techier twist.
On the flip, Reelow comes correct with a glitched out roller, 'Daft Prunk' that has been a big hit at Darius Syrossian’s Moxy Muzik residency parties at Manchester’s Joshua brooks. Rominimal royalty Mahony then closes proceedings working his magic on the remix in trademark style.
- A1: Kim English - Treat Me Right (David Morales Club Mix)
- A2: Sandy B - Feel Like Singing (Adelphi Music Factory Remix)
- B1: Byron Stingily - Get Up Everybody (Darius Syrossian Remix)
- B2: Byron Stingily - Get Up Everybody (Parade Mix)
- C1: Pj - Can Ya Tell Me (Gerd Janson Piano Megamix)
- C2: Pj - Can Ya Tell Me (Gerd Janson Bonus Beat)
- C3: Pj - Can Ya Tell Me (Pierre’s Phat Dub)
- D1: Wonderboy - Jerk It (Sorley Street Mix)
- D2: Wonderboy - Jerk It (Felix Da Housecat Original Nooworld Underground Mix)
- E1: Innervision Ft Melonie Daniels - Don’t You Ever Give Up (Ian Friday Libation Vox)
- E2: Innervision Ft Melonie Daniels - Don’t You Ever Give Up (Ricanstruction Vocal)
- F1: Kim English - Learn 2 Luv (Ralf Gum Remix)
- F2: Kim English - Learn 2 Luv (Mood Ii Swing Club Mix)
- G1: Deep Creed - The Anthem (Monki Remix)
- G2: Deep Creed - The Anthem (Armand Van Helden Original Circle Mix)
- H1: Kim English - It Makes A Difference (Danny Howard Remix)
- H2: Danny Krivit & Kyle Smith Present Kim English - It Makes A Difference (Dub)
Black Vinyl[33,57 €]
Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).
Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.
The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.
“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”
The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.
“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”
As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.
“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.
“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”
Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.
2024 Repress
Born in Egypt, bred in Dubai and now situated in the electronic music hub of Barcelona, RAXON makes his SPEICHER debut with this double header that falls into line just past his breakthrough 'Destiny EP' on DIYNAMIC.
THE ANCIENT could be taken as a twisted modern version of YAZOO's 'Superstition' - subtle and bold this track bridges on the sexier side of electro-strasse with a gleaming dagger of nu-wave sophistication. His roots as one of the Middle East's biggest DJs shines through the 'Dark Light'. Mysterious minimal rhythms propelled with a sinister synth hook drives this track to a nowhere that makes you feel that you are somewhere that is right.
Seemingly out of nowhere, a brand-new label and techno project, Cite, drops from a producer you’re not likely to have expected to deliver four warp-speed, techno chest rumblers.
Driving kicks and killer percussion cement themselves as the foundations finished off with deftly sampled vocals and hypnotic synthwork. It’s mesmerising, machinelike and magnetising in equal parts whether you draw for the big room business on the A side or flip it for the twisted rollers on the B. Make space for this in your bag, as once it’s in there, it ain’t going anywhere, anytime soon.
Repress!
This is the debut release on Noir Music from Brazilian K.A.L.I.L.
We have been working quite some time to perfect this first release from him on the label and give it the edge needed to stand out. After tons of road-testing and going back and forth with production ideas I am now happy to have 2 perfect tracks ready from K.A.L.I.L. that really showcase his super solid techno sound and production flair. Involved (co-produced with Any Mello) is a quite simple trip with Any's spoken word in center of industrial elements wobling it and out. This track works really well in the clubs because of its on point minimalism, the high intensity stacatto synths and the catchy vocal line from Any. It's not easy to do big tracks without big basslines - but that's what K.A.L.I.L. and Any Mello truely achieved with this one. Revolved is a track I signed already last year and since then K.A.L.I.L. has been perfecting everything about the track from small details to bigger arrangement improvements. This track has that big bassline that sits right in your face. It also has the right build for those peaktime
moments in the clubs. I have been playing 'Revolved' a lot over the past months and people go crazy for those big bass drops.
We are honored to have another great producer join the Noir Music family and proud to have another belter of a release ready for you.
Red Splatter Viny
Redscale is back! Fantastic news that was hard to keep secret the last few months. After a solid 3 years of working exclusively on building the Greyscale label, owner grad_u felt its the right time to also focus
on his own music. And we all can't be more happy to hear what he's been up to!
Redscale #10 has all the hallmarks of the classic output but the energy is dialed up to 11. 'Siren' is a pure dancefloor packer! It has that ideal combination of underground techno club power and catchy
supporting chords. Think Aril Brikha's 'Groove La Chord' and you get the idea of a true heater.
'Dancefloor is Dangerous' is on the B-side and it was specifically made for a gig where grad_u showcased his live chops warming up the crown for Jeff Mills. That big club dub techno sound made to perform live in China, Iran, France and others.
This vinyl will come with full printed cover and special center label artwork. Pressed with black and orange splatter effect on transparent red vinyl with one side that even plays inside out! Expect to move
the masses with these 2 showstoppers!
We can't say it enough. Redscale is back!
Named "best kept secret of Canadian funk" by the Quebecois newspaper La Presse, The Brooks are a band of accomplished musicians, well-known in the soul/funk scene across the Atlantic. Expert instrumentalists led by Alexandre Lapointe create a dazzling combo with frontman Alan Prater— an incredibly energetic showman who has worked alongside some of the biggest names in the music industry. This passionate and experienced band fan the sacred fire every time they perform! Thanks to a solid realization, their musical message comes across beautifully. The Brooks go beyond mere interpretation and style exercises: they are a powerful groove machine and a driving force in their sector. 50 years of African American music are condensed in the band's aesthetic. In their live shows and in their records, you can hear James Brown's meticulousness, D'Angelo's delightfulness, Fela Kuti's radiance, Herbie Hancock's intergenerational openness, and J. Dilla's innovative spirit. These heroes of music didn't let rules and trends dictate their messages, and neither do The Brooks. Just like these history makers, they built their reputation with sweat and rigor, outside of conventional channels. The Brooks are incredibly hard workers united in a project where pleasure and complete artistic freedom are the only key words. After 8 years of existence, with an EP and two albums, they have already won many awards and nominations (GAMIQ, Independent Music Awards, ADISQ...) and built a solid reputation in the Quebec indie world.
Who are The Brooks? First, there's the icon, Alan Prater! This Florida-born musician can boast that he shared the stage with the Jacksons! Thanks to his many trips and experiences, he became a key member of Montreal jazz. He is the band's biggest asset: if The Brooks were a sports team, Alan Prater would be captain. Then, at the drums: Maxime Bellavance, one half of the Beat Market duo, whose "dancy and retro futurist" groove can be heard in several major and underground projects in Canada. Philippe Look aces guitar and vocals. His experience as a session musician working with famous bands for 20 years allowed him to take part in different projects: rock, downtempo, trip hop, electro… As one of the founding members of The Brooks, he also wrote many of the band's songs. Keyboardist Daniel Thouin is an integral part of the Montreal jazz scene. He is both an accomplished acoustic piano player and synthesizer player, well versed in writing as well as in improvising, in organic sounds as well as in the latest technologies. Thouin possesses a double vision, which allows him to both exalt and lead productions. Composer Sébastien Grenier wows us with his saxophone. Thanks to his theoretical knowledge and his 20 years of experience, acquired through continuous training all around the world, he is a true guiding force. French trumpetist Hichem Khalfa begun learning the instrument at 7 years old. He attended a musical conservatory before going to the Haute École de Musique and finally pursuing his studies at McGill University. He won prizes at Rimouski International Jazz Festival and received the François Marcaurelle prize at Montreal Off Festival. His successful jazz projects allowed him to work with famous musicians like Blitz the Ambassador, Nomadic Massive, Rhonda Ross and Kalmunity. Philippe Beaudin can be considered an apostle of Afro-Latin percussions, which he teaches and practices with great passion. Thanks to his participation in several projects, you can discover his talent both on stage and onscreen. The Brooks' philosophy is based on art in its rawest form, on perfectionism in musical practice. The choices they make and the directions they take are motivated mostly by instinctive feelings. This is how The Brooks recently crossed the path of Underdog Records during a trip in France. It was love at first sight for the two groups who share a passion for soul. Their chemistry allows them to be completely free in their creative process and natural as ever in their conception-creation-communication approach.
Driving anywhere in Texas can cost you half a day, easy. For example, it'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. "Big sky country, that's what they call Texas," Khruangbin bassist Laura Lee says. "The horizon line goes all the way from one side to another without interruption. There's something really comforting about that." On Texas Sun, these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future-a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys boot-scooting at Billy Bob's in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state's rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you're going-especially if you're in no particular hurry to get there.
Swedish titan, Eric Prydz, drops two brand new tracks, ‘Valborg’ and ‘The Raid’ under his highly acclaimed techno-focussed moniker Cirez D, via his own Mouseville Records.
Having teased new material at the likes of Tomorrowland and Creamfields last year, many have been eagerly awaiting this 12” and quite rightly too. A double header of big room, synth heavy Cirez D slammers, that take listeners on a hard-hitting techno exploration.
- A1: Love Is All We Have Left
- A2: Lights Of Home
- A3: You're The Best Thing About Me
- A4: Get Out Of Your Own Way
- A5: American Soul
- B1: Summer Of Love
- B2: Red Flag Day
- B3: The Showman (Little More Better) (Little More Better)
- B4: The Little Things That Give You Away
- C1: Landlady
- C2: The Blackout
- C3: Love Is Bigger Than Anything In Its Way
- C4: 13 (There Is A Light) (There Is A Light)
- D1: Ordinary Love (Extraordinary Mix)
- D2: Book Of Your Heart
- D3: Lights Of Home (St Peter's String Version)
2x blue LP[33,57 €]
U2 return with their hotly anticipated new studio album 'Songs of Experience'. The Island Records priority release completes a stellar year for the Dublin band, following their return to stadiums with the critically acclaimed, sold out 'The Joshua Tree Tour 2017' playing to 2.4 million fans in just 51 shows across Europe and North and South America, as well as the successful 30th Anniversary re-issue of 'The Joshua Tree'.
Recorded in Dublin, New York and Los Angeles, Songs of Experience was completed earlier this year with its subject matter influenced by Brendan Kennelly's* advice to Bono, to ...write as if you're dead'.
The result is a collection of songs in the form of intimate letters to places and people close to the singer's heart: family, friends, fans and indeed himself.
Songs Of Experience is the companion release to 2014's 'Songs Of Innocence', the two titles drawing inspiration from a collection of poems, Songs of Innocence and Experience, by the 18th century English mystic and poet William Blake.
Produced by Jacknife Lee and Ryan Tedder, with Steve Lillywhite, Andy Barlow and Jolyon Thomas, the album features a cover image by Anton Corbijn of band-members' teenage children Eli Hewson and Sian Evans.
'The Blackout' and 'You're The Best Thing About Me' were the first songs to be made available from the album. 'You're The Best Thing About Me' is the band's first UK Top 20 airplay record in a decade and has also been remixed by Norwegian superstar DJ and producer Kygo.
*Brendan Kennelly - Irish poet, novelist and Professor Emeritus at Trinity College, Dublin.
12' x 12' rigid box (numbered).
- 2LP gatefold vinyl - cyan blue vinyl, 16 tracks.
- Deluxe CD, 17 tracks.
- Fold-out poster.
- Songs of Experience Newspaper.
- Download voucher.
It’s been a year since I released originals and since then I also gave my studio a big make-over. I have gone back to being more analog/hardware based in my production methods again and I guess in some ways you can hear that in this release. For “Damage Control” i chose 3 tracks I felt had different vibes to them. Psychosis carries a familiar Noir Music sound and if you know my
“Eruption” track I think you can hear similarities in the production and overall vibe. Damage Control is a more groovy track build around modular synths and a filthy bass that hits right in the gut.
Autophagy is a fast-paced monster with percussive intensity and FM synthesis filtering in and out through the entire journey.
The tracks have off-course been roadtested and believe me even the smaller details changed a lot over time to fit my personal taste 100% After a long process I am finally happy with the tracks and ready to present “Damage Control”.
- A1: 20Th Century Fox Fanfare
- A2: Somebody To Love
- A3: Doing All Right... Revisited (Performed By Smile)
- A4: Keep Yourself Alive (Live At The Rainbow)
- A5: Killer Queen
- A6: Fat Bottomed Girls (Live In Paris)
- B1: Bohemian Rhapsody
- B2: Now I'm Here (Live At Hammersmith Odeon)
- B3: Crazy Little Thing Called Love
- B4: Love Of My Life (Rock In Rio)
- C1: We Will Rock You (Movie Mix)
- C2: Another One Bites The Dust
- C3: I Want To Break Free
- C4: Under Pressure (Performed By Queen & David Bowie)
- C5: Who Wants To Live Forever
- D1: Bohemian Rhapsody (Live Aid)
- D2: Radio Ga Ga (Live Aid)
- D3: Ay-Oh (Live Aid)
- D4: Hammer To Fall (Live Aid)
- D5: We Are The Champions (Live Aid)
- D6: Don't Stop Me Now... Revisited
- D7: The Show Must Go On
'Bohemian Rhapsody' Original Film Soundtrack
featuring previously unavailable QUEEN performances at Live Aid
and new versions of band classics heads for October 19 release.
Available on Virgin EMI (Universal) /Hollywood Records (USA)
For the first time ever audio tracks from Queen's legendary performance at Live Aid are being released as part of the soundtrack album to "Bohemian Rhapsody", 20th Century Fox and Regency Enterprises' forthcoming feature film celebrating the band, their music and their extraordinary lead singer Freddie Mercury. Recorded at the historic Wembley concert in July 1985, these Live Aid songs are among the rare gems and unheard versions from the band's rich catalogue.
Alongside the show-stopping Live Aid performances of Bohemian Rhapsody, Radio Ga Ga, Hammer To Fall and We Are The Champions, the album features other rare live tracks spanning Queen's entire career, new versions of old favourites, and a choice selection of the band's finest studio recordings. Among them are some of Queen's biggest hits, including eleven all-time anthems that reached Number One around the world. The track listing is being announced on 5 September 2018, which would have been Freddie's 72nd birthday.
"Bohemian Rhapsody" is scheduled to have its World Premiere in the UK on 23 October before opening across the world in early November. It stars Rami Malek as Freddie, Gwilym Lee as Brian May, Ben Hardy as Roger Taylor, Joe Mazzello as John Deacon, and Lucy Boynton as Freddie's lifelong companion Mary Austin. The soundtrack, featuring all-original Queen recordings and vocals, is released on CD and digital formats on 19 October.
- A1: Get The Balance Right! (Combination Mix - Get The Balance Right!)
- B1: The Great Outdoors!
- B2: Tora! Tora! Tora! (Live)
- C1: Get The Balance Right!
- D1: My Secret Garden (Live)
- D2: See You (Live)
- D3: Satellite (Live)
- D4: Tora! Tora! Tora! (Live)
- E1: Everything Counts (In Lager Amounts) (Everything Counts)
- F1: Work Hard (East End Remix)
- G1: Everything Counts (Original 7" Mix)
- H1: New Life (Live)
- H2: Boys Say Go! (Live)
- H3: Nothing To Fear (Live)
- H4: The Meaning Of Love (Live)
- I1: Love In Itself 3 (Love In Itself)
- J1: Fools (Bigger)
- J2: Love In Itself 4
- K1: Love In Itself 2
- L1: Just Can't Get Enough (Live)
- L2: A Photograph Of You (Live)
- L3: Shout (Live)
- L4: Photographic (Live)
Patrick Weblin gives us this very special EP. 2 Original tracks named after his 2 sons, so a lot of time and heart has gone into making this Ep with a superb remix from IULY.B. "Tadhg's Groove" give us solid house drums,percs and hats but its the pads and bassline that gives it the movement throughout the track, taking you to another level of space and conscious. IULY.B's remix is down right tasty. It takes you on a little trip and makes you loose track of time all while grooving to this great remix. "Ollie's groove is something a bit special, big 909 kick combined with 808 tops but this time some melodic synths add a very soulful and elegant sound.
Having been a fan of Reelow for, well, as long as we care to remember, we are really proud to present you his new outstanding EP on Cellaa Music. Now residing on Ibiza, Reelow has enjoyed yet another successful year. With the talent taking a back seat, its the music hogging the spotlight and rightly so. Two new Tracks and two massive Remixes that look to the past whilst sitting firmly in the present.
- Leave Me Alone' riding on massive percussion and a tough house beat, with this tough Drums and drunken, wubby Sounds it is running right through its core. Plenty of sonic details flesh out the languorous but slightly groove and you'd imagine this Track is to be the sort of many Artits will love.
- Your Crowd' is again about little tiny details and how they evolve with time. This one take you on a voyage of natural rhythms and big Drums. Developing from harmonic FX Sounds and a infectious groove, the track is full of surprises as it twists and turns into different sounds that come and go to take it further than the dancefloor.
The first of the remixes comes from the in form, Massimo Cassini. He team up with a hypnotic rework of - Leave Me Alone' that demonstrates just why he is one to keep a close eye on as he gears up on the production front. Massimo is delivering a muscular house bomb, carefully placed FXs and a nice and catchy line to make this a dancefloor mover.
Next we have Cellaa Music Co Founder Martin Heyder providing a soulful tech house surrogate to the original of - Your Crowd'. His remix has a deeper houseier twist with a smooth 303 pad sound and a concrete percussive arrangement to convey a fantastic production.
We'll meet you on the Dance Floor!!!
Tim Maia’s self-titled 1973 album is one of those records that hits you from the very first groove and doesn’t let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim’s self-titled albums and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers.If you’re new to Tim Maia, here’s the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before “fusion” was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own, gritty, passionate, and full of groove.
He didn’t just introduce soul to Brazil; he made it Brazilian.On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment ‘Réu Confesso’ opens the album, you know you’re in for something special—smooth, funky, and heartfelt in all the right ways. The bittersweet ‘Gostava Tanto de Você’ remains one of his most beloved classics, while ‘O Balanço’ bursts with Brazilian flavor that practically dares you not to move. And with tracks like ‘Do Your Thing, Behave Yourself’ and ‘Over Again,’ Tim shows just how naturally the soul idiom fit him, even when he switched to English.This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It’s a front-to-back winner—one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves.If you’re a longtime fan, it’s a reminder of why Tim Maia is legendary. If you’re discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing.
- A1: Big Dumb
- A2: Stowaway
- A3: Throwin' Stones
- A4: Sex With Your Own Shadow
- A5: Too On (Feat. Anderson .Paak)
- A6: I'd Rather Be Me
- B1: Full Flavored Vibrations
- B2: Strange Is My Name
- B3: Change The Vibration
- B4: Gunsmoke & Mirrors
- B5: Drive Me Home
- B6: Bound To Bloom
Few artists can make chaos sound this fun. Steel Beans, the self-titled album from the genre-bending one-man band, is a wild ride through rock, funk, jazz, and whatever else happens to cross the radar of Everett, WA’s Jeremy DeBardi — the multi-instrumentalist and mad scientist behind it all. Known for his jaw-dropping live performances where he sings, shreds guitar, and drums at the same time, Steel Beans brings that same unfiltered energy to tape, capturing the spirit of a garage jam gone cosmic.
The album moves effortlessly from fuzzed-out psych-rock to greasy funk breakdowns and tongue-in-cheek lyricism, mixing humor and virtuosity in equal measure. It’s unpredictable, unpolished in all the right ways, and full of personality — the kind of record that feels alive because it’s never trying to be perfect. Steel Beans isn’t just an album; it’s a reminder that music can still be weird, raw, fun, and ridiculously entertaining. Whether you’re hearing him for the first time or you’ve already seen the madness live, this album is the perfect introduction to the wild world of Steel Beans.
Crackazat returns to Freerange for his latest EP entitled Shine, and sees the artist in his finest form to date! An absolute anthem in the making the title track appears here in Club Mix and Mana’s Dub form, plus an amazing flip of Crouching Tiger from Baltimore legend Karizma Shine is a soulful, jazz-inflicted epic which will have any dance floor worth it’s salt fully locked in. Crackazat’s own vocals bring hints of Jamiroquai whilst his production calls golden era MAW and Blaze to mind. Add an incredible arrangement, live horns, bass and drums to this already heady concoction and you get an idea of why we’re so excited about this release. These kind of club tracks are few and far between these days! Next up we have one of Crackazat’s own Mana’s Dubs of Shine.
A chance for Ben to strip things back, loop things up and dub things out. Keeping the funk intact, we’re treated to a feelgood party-starting house track which has a classic sound that can’t fail to warm the cockles! Flip over for a proper curve-ball from everyone’s favourite Baltimore house hero Karizma who turns Crouching Tiger into the kind of twisted, rolling, jazzy and leftfield workout we love him for. A driving force of the city’s underground, he always comes with the raw energy and fearless creativity. A staple of the dance floor and a leader beyond it, Karizma represents the past, present, and future of Baltimore House and once again proves why he’s such a don.
Drop this one and run for cover whilst the dancers throw crazy shapes! Closing out the EP we have Crackazat’s Mana’s Dub take on previous single Watchu Say. Looping up the killer piano hook and his live bass line, Ben manages to craft the kind of warm, uplifting slice of house music which simply works. And for those who love a big drop, this one should fit the bill with a trademark Mana’s Dub seratonin-boosting build that hits all the right buttons.
- A1: Fatboy Slim - Retox - Tino Remix
- A2: Fatboy Slim - Retox - Sweely Remix
- B1: Fatboy Slim - Gangster Trippin - Make A Dance Remix (Jackin Mix)
- B2: Fatboy Slim - Gangster Trippin - Lockey Remix
One of the UK’s most iconic DJs Fatboy Slim celebrates 40 years in the industry with a blockbuster tour - Acid Ballroom. Alongside the tour comes the 12” single squarely aimed at what’s actually happening in the clubs right now. Enlisting the talents of Tino, Sweely, Make A Dance and Lockey (all with great vinyl culture followings and making big waves in the house music scene). This 12” will has light up dance floors in iconic venues and festivals around the world.
Creaked out of an eck with two heads and no brain - just fracking around. Juli Zimmer and Sayizan Stange are Blowjobs Are Real Jobs, crawling right under your skin. Armed with guitar, MS-20 and a trashy drum machine, they bark about dogs, ostriches, stolen bodies, heads buried in sand, plastic spoons in freezer pops, and the big question of where the hell this whole loving-living thing is going anyway. The songs build up expectations like a delicious drink, which then, oops, gets taken away and never delivered. That’s how it is sometimes, you little puffball!
End of 2025, Blowjobs Are RealJobs dropped their first DIY tape, Bloody Situation Menstruation Masturbation. Their notorious sets, somewhere between performance art and riot gig, pop up almost monthly: gallery openings, summer garden chaos, or grimy St. Pauli basement bars. Now the duo’s first 7-inch vinyl brings 5 songs at 45 rpm with a fold-out cover, limited to 200 copies.
2026 Repress
Turbotito and Ragz's electrifying Naya Beat label has curated a cultured list of remixers to add their spin to the work of legendary Indian vocalist Asha Puthli. This essential remix album features Yuksek, Maurice Fulton, Psychemagik, Kraak & Smaak, Jitwam, and Turbotito & Ragz.
Naya Beat, which translates from Hindi as 'new beat', is focused on uncovering foundational electronic sounds from the subcontinent and South Asian diaspora through reissues, remixes and compilations. It found quick success with its first release, 'Naya Beat Volume 1: South Asian Dance and Electronic Music 1983 - 1992', followed by a rare 1985 Hindi New Wave album by Pinky Ann Rihal and more recently a ground-breaking compilation ‘Awaaz’ uncovering Bollywood electro and leftfield 80s original soundtrack recordings.
Hot off their highly sought after EP of Dimitri From Paris’ seminal remixes of Asha Puthli’s iconic track ‘Space Talk’, the label now offers up the first of two full-length releases based around her music. Cosmic disco pioneer, Studio 54 icon and jazz improviser Asha Puthli has recorded, sung or shared the stage with the likes of Roy Ayers, Alice Coltrane, Grace Jones, Barry White, Andy Warhol and many more. From David Mancuso's The Loft, to Giorgio Moroder's early work with Donna Summer, to hip-hop where she has been sampled extensively, Asha's musical influence and impact is profound. She was the first artist of South Asian descent to successfully crossover and make a mark on dance, jazz and pop culture in the West.
For this LP, Naya Beat tracked down the long mythologised original stems and recordings of Puthli's most seminal albums, including ‘The Devil is Loose’, and working closely with Asha, they have tasked a series of producers inspired by her work to remix her music.
Yuksek opens up with a pumping disco remix of 'I Am Song (Sing Me)' awash with uplifting synths and big claps next to the original vocals, which soar to the heavens. The seminal 'Space Talk' is remixed by Maurice Fulton into super steamy and late-night territory. The live drums and jumbled percussion are lit up with soulful chords as Puthli's carefully delivered vocals seduce up top. 'Lies' (Kraak & Smaak Remix) rides on fat-bottomed drums and bass that unfold with a dub swagger beneath a nebulous eco-system of cosmic synths and dramatic vocals. Label heads Turbotito & Ragz flip 'One Night Affair' into a leggy disco celebration with sweeping synths and bright effects, and Psychemagik's 'Right Down Here' is a pulsating mix of dark, snaking bass and drums with deep space ambience and raw hits making for a turbulent and tense atmosphere. Lastly, Jitwam closes out with a smooth disco sound laced with dynamic drums and cruising chords next to another sensuous top line from Asha Puthli.
A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.
Jesper Lindell and his band have come a long way in a short time.
Since the release of the acclaimed 2022 album “Twilights”, they played well over 100 shows all over Europe to an ever growing number of fans.
The new album “Before the Sun” will establish Jesper Lindell as a major Swedish and international artist. Ten brilliant songs steeped in a classic, timeless sound!
Press quotes “Twilights”;
“soulful Americana… a roots sensation” - PopMatters
“Can a Swedish ex-soccer player sing soulful roots music with as much warmth, heart and feeling as Van Morrison or The Band? The answer, which will be obvious as soon as you hit play on Jesper Lindell’s second album, is a resounding “oh yeah”.” - Holler
“it’s clear that Lindell is destined for big things” - Glide Magazine
“a near-perfect wedding of deeply affecting, imaginatively arranged Americana/rock material, soulful, raspy vocals, and consummate performances” - BlogCritics
There’s an alternate reality where everyone makes a living wage and the cleanest buses you’ve ever seen arrive every other minute. Where the most intense songs are about confessing your love to a crush at the apple orchard, and where gentle feelings and chaotic energy are inseparable best friends. This is the timeline where Cootie Catcher is right at home. This Toronto based four-piece exudes both vulnerability and unbridled excitement, creating a sound that hypercharges the open-hearted tenderness of twee pop with spiraling synths and giddy electronics. New album Something We All Got is the clearest and most vibrant reading of Cootie Catcher’s vision yet, with songs of sweetness, nervousness, and expectancy that beam out unguarded.
After releasing music made primarily in basement recording environments, Something We All Got is the band’s first flirtation with studio recording. The edges are still sharp, however, with some parts assembled from time-honored lo-fi methods and fun, personally-sourced samples seeping into the production. The sound is explosive and upbeat, with euphoric guitars, bubbly synth lines, speedy drums both played and programmed, and all other manner of sound constantly colliding. Cootie Catcher has three songwriters, Sophia Chavez, Anita Fowl, and Nolan Jakupovski, all of whom have distinctive voices but still manage to overlap in their writing on shared concerns like navigating the lines of romantic and platonic relationships, their city’s social scenes, and struggles in both the microcosmic experience of playing in a band and the zoomed-out challenges of living through late-stage capitalism.
Joy still touches every surface of Something We All Got. “Quarter Note Rock” bounces around the room in a fit of jangling guitar chords, scratched samples, and interplay between breakbeat loops and somersaulting live drums. It’s a blast of positivity even with lyrics about how disappointing it can be to meet your heroes. A smiling electro pop instrumental supports lyrics about having to step painfully away from an almost realized love on “Gingham Dress,” a song that subverts themes of domesticity as a backdrop for the dashed wilt of hopeless devotion.
Cootie Catcher rolls down hills and jumps through flaming hoops throughout Something We All Got without ever dumbing down the visceral emotions that drive these songs. There’s a palpable tension between the band’s exhilarating sonics and the raw, often uneasy sentiments expressed, but it’s an integral part of what makes them unique. Rather than hide behind the kind of calculated vagueness that plagues so much of the indie rock landscape in the time of cursed algorithms, Cootie Catcher runs full-speed toward every confusion and excitement, fearlessly direct and embracing the reality they’re in.
- 1: O.c. Life
- 2: 10
- 3: Yur 2 Late
- 4: Everyday
- 5: One Shot
- 6: Falling Out
- 7: Surfside
- 8: It's Doing Something
- 9: Fast
- 10: Section 8
Rikk Agnew's All by Myself is one of those records that feels like a secret you're lucky to stumble upon -- a raw, weird, totally personal snapshot of a restless artist at a pivotal moment. Originally released in 1982 on Frontier Records, the album stands apart from most of what was coming out of Southern California at the time, even though it was born right in the middle of the exploding hardcore punk scene. By 1982, Rikk Agnew was already a big deal underground. As the guitarist for Adolescents, he helped shape the sound of Orange County hardcore with sharp riffs, surf-inflected melodies, and a sense of urgency that became hugely influential. He also played in bands like D.I. and later Christian Death, moving fluidly between hardcore punk, post-punk, and darker, more experimental territory. Agnew wasn't just a fast, aggressive guitarist -- he was a songwriter with range, curiosity, and a strong DIY instinct. All by Myself lives up to its title in the most literal way. Agnew recorded the album largely on his own, playing all the instruments and handling vocals himself. Instead of delivering another straight-up hardcore record, he went inward. The result is a lo-fi, home-recorded collection of songs that blend punk energy with new wave, post-punk, psychedelic touches, and even moments of pop sensitivity. It's rough around the edges, but that's exactly the point -- the album feels intimate, unfiltered, and honest. In the early '80s, Southern California punk was loud, fast, and often confrontational. Bands were pushing against the mainstream and even against each other, racing toward more extreme sounds. While All by Myself shares that DIY spirit, it doesn't fully play by hardcore rules. The tempos shift, the moods wander, and the songs feel more like personal experiments than scene anthems. That made the record a bit of an outlier at the time -- but also what gives it lasting appeal. Frontier Records was the perfect home for a release like this. The label was known for supporting artists who didn't quite fit into neat categories, and All by Myself captured that ethos perfectly. Today, All by Myself is often seen as a cult classic. For fans of early punk, post-punk, or anyone interested in the roots of DIY recording culture, this album is essential listening
- A1: Aiwa - 04:56
- A2: Hypercube - 04:52
- A3: Yucon - 02:49
- A4: Bialystok - 04:29
- A5: The Ice House - 01:24
- A6: Sunlight On Saturn - 03:13
- B1: You’ll Find A Way - 03:18
- B2: Baltasound Feat. Dextro - 04:37
- B3: Orbiting Meadows Feat. Clark - 02:05
- B4: Slow Yamaha - 09:00
- B5: Black Drift (Outro) - 01:11
As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.
The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.
Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.
The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.
‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.
- 1: And In 02:50
- 2: Pouring Elixir 08:0
- 3: Imbrication 04:41
- 4: Skin Contact 08:21
- 5: Unwitches 09:42
- 6: Everything I Never Asked Him Ft. Nikita Gill 08:29
- 7: Incandescent Strings 0:00
- 8: Icarus And Lucifer 03:31
- 9: Matthias' Wajd 04:55
- 10: Circles 05:12
- 11: Soaring Above The Nave 06:45
- 12: And Out 01:50
FRQNCY LDN, the new project from Alex Lavery and James Ford (producer du jour and one half of Simian Mobile Disco), are releasing their debut album ‘The White Edition’ on 5 September via PRAH Recordings. Alongside the news of their debut album, the duo are sharing the first taste in ‘Matthias’ Wajd’, which they describe as “a rousing, instrumental piece from the middle of the set where the whole ensemble became balanced providing moments where Raven played violin with haunting yet uplifting melodies within the cavernous reverb of the church. Interestingly, at this moment, most of the audience who had been laying down rose to watch the performance like a gig, like an awakening.”
Initially conceived as a live project with earlier performances at churches in London and at Glastonbury, FRQNCY LDN’s music is a mix of strings, gongs, oscillators, FX, and spoken word, and the result is a musical experience unlike any other. Now that immersive magic has been captured on their debut release through Prah Recordings.
The music that FRQNCY LDN are releasing as their debut album is from an extraordinary live take from a performance at St Matthias Church in Stoke Newington last year, and thanks in no small part to the serendipitous bunch of musicians they assembled: composer and violinist Raven Bush, clarinettist Arun Ghosh, cellist Satin Beige Chousmer, and harpist Chloe Chousmer-Kerr. Alongside Lavery and Ford and assisted by engineer Animesh Ravel, they were able to capture the music to a world class level.
FRQNCY LDN has its roots in a supermoon that occurred three summers ago, after the hottest day of the year. Two of Lavery’s friends gave a sound bath that evening. “I’m not overly into astronomy or anything but the experience was nuts,” he says. “I had to find out what had just happened. What felt like forty minutes was actually two and a half hours. We were all out. It was so profound that I was hooked.”
He immediately signed up for a sound therapy course where he learned about what he calls a “brain hack” to meditation. “The thing about sound therapy is there’s a lot that’s meditation-based, and I find meditation really difficult. I’ve got a very busy brain. What was alluring about this process of sound immersion, a sound bath, whatever you want to call it, is it’s basically a hack to making your brain get into a meditative state.”
FRQNCY LDN’s early shows crystallised their ideas into a project, and Lavery brought poet Nikita Gill on board as a vocalist. “One of the first poems she gave to me, ‘Unwitches’ was in response to me explaining that I’d love this project to be perceived as something anyone could access. It’s not just for the sound meditation or the yoga, or the mushroom crowd. No one should be turned off by connotations from where the music comes from, I love music but I’d never be into that because it’s too woo-woo. Nikita said she’d had this poem for a long time but she’d never found the right home for it.”
And in an increasingly busy and fraught world, the need to tune out for an hour or so, and maybe tune in to something more profound, is only going to get bigger.
Macclesfield 3-piece Cassia make their extremely welcome return with the announcement of their most ambitious release yet in new studio album everyone, outside - out April 11th.
The album marks a bold new chapter, and recently served up a tropical-tinged first offering in ‘heat’ - with today serving a superb Round Two with the stomping, insatiable, hook-laden new single ‘friends’.
everyone, outside takes Cassia’s sound to new heights. Written fresh off the back of two years of relentless touring, the band channelled every ounce of their renowned live energy into the album, returning to a studio they built themselves in Macclesfield, after creating their previous album in Berlin. The journey provided an added twist, recording the majority of tracks live on TikTok, giving fans a unique, inclusive experience to be part of the process.
The album’s title is a metaphor for embracing your truest self and reflection of a band who are at their happiest outside. It’s a message that speaks to the idea of reconnecting with nature and Britain’s finest summers. As frontman Rob explains, “That title, ‘everyone, outside’ started as a song about how weird it is that we stay inside all the time when being out in nature always makes us feel better. Over time, it came to mean more than that - like a metaphor for being your truest, most natural self, unburdened, like when no one’s watching.”
Drawing influences from a host of genres and cultures, everyone, outside reveals Cassia’s venn diagram of global sounds and intimate storytelling. A trip to Mexico during the writing process injected the record with a new energy, while their time spent in their new space back home gave the band a freedom to try new instruments, new sounds, acquire new tools to hone their production skills - and to simply have fun and explore. “The time we spent in Berlin taught us so much, but coming back home to Macclesfield allowed us to really focus on making something that felt like it came from us. No distractions, just pure creativity,” says drummer Jacob Leff.
Cassia’s rise has been impressive. From their early days busking the streets of Cornwall to playing major festivals, touring the world and receiving critical acclaim from BBC Radio 1, Radio X, The Independent, Rolling Stone UK, Clash & many more, the band has carved out a unique niche. Their sound, influenced by the African music Rob’s father introduced him to, combined with the indie heritage of nearby Manchester, combines the positivity of bands like Foals and Vampire Weekend, with the jazz-tinged afrobeats of Fela Kuti and Ebo Taylor.
After signing to Distiller Records in 2018, the band gave up their full-time jobs and ventured to Bath to record their debut album, Replica. Tracks such as ‘Right There’, ‘Drifting’ & ‘100 Times Over’ have amassed millions of streams, seeing the band sell out multiple headline Tours both in the UK and Europe. Playing to a homecoming capacity crowd at Manchester’s O2 Ritz, as well as sold out headline shows at London’s KOKO & The Garage, the band have accrued a huge, loyal following and their live shows earned them a nomination for Best Live Act at the AIM Awards alongside Idles and DMA’s, as well as making them the winners of Reeperbahn’s Anchor Award in 2022.
Cassia will tour the UK in May 2025, playing songs from the new album and some of their biggest tracks - headlining Leeds, Bristol, a newly added night in Southampton, a special Manchester homecoming, Glasgow, Birmingham, & a huge show at London’s HERE @ Outernet - dates below & Tickets Here. The band will also take things Stateside this year for their first ever run of headline shows in the US & Mexico.
Macclesfield 3-piece Cassia make their extremely welcome return with the announcement of their most ambitious release yet in new studio album everyone, outside - out April 11th.
The album marks a bold new chapter, and recently served up a tropical-tinged first offering in ‘heat’ - with today serving a superb Round Two with the stomping, insatiable, hook-laden new single ‘friends’.
everyone, outside takes Cassia’s sound to new heights. Written fresh off the back of two years of relentless touring, the band channelled every ounce of their renowned live energy into the album, returning to a studio they built themselves in Macclesfield, after creating their previous album in Berlin. The journey provided an added twist, recording the majority of tracks live on TikTok, giving fans a unique, inclusive experience to be part of the process.
The album’s title is a metaphor for embracing your truest self and reflection of a band who are at their happiest outside. It’s a message that speaks to the idea of reconnecting with nature and Britain’s finest summers. As frontman Rob explains, “That title, ‘everyone, outside’ started as a song about how weird it is that we stay inside all the time when being out in nature always makes us feel better. Over time, it came to mean more than that - like a metaphor for being your truest, most natural self, unburdened, like when no one’s watching.”
Drawing influences from a host of genres and cultures, everyone, outside reveals Cassia’s venn diagram of global sounds and intimate storytelling. A trip to Mexico during the writing process injected the record with a new energy, while their time spent in their new space back home gave the band a freedom to try new instruments, new sounds, acquire new tools to hone their production skills - and to simply have fun and explore. “The time we spent in Berlin taught us so much, but coming back home to Macclesfield allowed us to really focus on making something that felt like it came from us. No distractions, just pure creativity,” says drummer Jacob Leff.
Cassia’s rise has been impressive. From their early days busking the streets of Cornwall to playing major festivals, touring the world and receiving critical acclaim from BBC Radio 1, Radio X, The Independent, Rolling Stone UK, Clash & many more, the band has carved out a unique niche. Their sound, influenced by the African music Rob’s father introduced him to, combined with the indie heritage of nearby Manchester, combines the positivity of bands like Foals and Vampire Weekend, with the jazz-tinged afrobeats of Fela Kuti and Ebo Taylor.
After signing to Distiller Records in 2018, the band gave up their full-time jobs and ventured to Bath to record their debut album, Replica. Tracks such as ‘Right There’, ‘Drifting’ & ‘100 Times Over’ have amassed millions of streams, seeing the band sell out multiple headline Tours both in the UK and Europe. Playing to a homecoming capacity crowd at Manchester’s O2 Ritz, as well as sold out headline shows at London’s KOKO & The Garage, the band have accrued a huge, loyal following and their live shows earned them a nomination for Best Live Act at the AIM Awards alongside Idles and DMA’s, as well as making them the winners of Reeperbahn’s Anchor Award in 2022.
Cassia will tour the UK in May 2025, playing songs from the new album and some of their biggest tracks - headlining Leeds, Bristol, a newly added night in Southampton, a special Manchester homecoming, Glasgow, Birmingham, & a huge show at London’s HERE @ Outernet - dates below & Tickets Here. The band will also take things Stateside this year for their first ever run of headline shows in the US & Mexico.
- Only Love
- Big Red Sun
- Stormy Sunday
- Where The Water Meets The Land
- Not On The Radar
- Daybreak
- Where Would I Be
- Jamais A L'heure
- Rainbow Days
- If I Could
Includes demos of every track from the original album, stripped back to (mainly) guitar and voice. Originally a Norman Records exclusive, these are the last few copies available from a limited pressing of just 300. Mark Fry is a France- based, English singer- songwriter/ artist whose debut album, 'Dreaming With Alice,' released in Italy in 1971, became a much-bootlegged "acid-folk" classic three decades later. Fry returned to recording in 2008 and has since released 4 more acclaimed studio albums. These days, far less "acid" than in his youth, Fry still knows his way around a beautiful melody. This album of sketches is resplendent with love songs, the beauty of nature and the passing of time Fry is certainly no stranger to the preparatory sketch. An artist in the truest sense of the word, renowned equally for his decades- long career as a painter of vibrant abstracts and as a cult psychedelic minstrel turned intimate, evocative singersongwriter, his atelier, housed in a converted stable building at his Normandy home, literally doubles as his music studio. It was in this space that Mark's fifth solo album, 'Not On The Radar,' released back in May, was recorded in the summer of 2024, with the singer pushing back his easels to accommodate a four-piece live band and vanloads of miscellaneous accompanying paraphernalia.
Before that, the studio had been a considerably emptier space in which working versions of the album's ten languidly bucolic compositions were first demoed by the solitary songwriter (although some emergent tracks were also captured at Balintore - the home studio of Mark's regular guitarist, Iain Ross, housed on the latter's London-moored canal barge). With those sketches presented here in the same running order as on the mothership longplayer, this new album stands as a document of process - offering the opportunity for track- by- track comparison for those already familiar with Not On The Radar. Crucially, it also makes for a very fine standalone album in its own right, which, if nothing else, bears testament to the inherent robustness of Mark Fry's songwriting.
- Look Into My Eyes
- Dead And Gone
- Revival
- Been A Minute
- Goodbye Goodmorning
- Burning Up
- Most Wanted Ft Valiant X Rvssian
- Best Version Of Me
- Me Minus U
- Sunrise
- You Are A Star - Interlude
- Free
- Tight Up Skirt
- Talk To Me Nice
- Heaven
White Vinyl[22,65 €]
Leigh-Anne Pinnock is ready to reintroduce herself. After conquering the pop world with one of the biggest groups on the planet and stepping out as a solo artist, she has reached a new clarity: no more compromises, no more limits.
With the introduction of her debut album ‘My Ego Told Me To’, Leigh-Anne isn’t reinventing herself, she’s restoring the woman she always was. Bold, unapologetic and free, this album is the purest expression of her artistry to date and musically reflects every facet of Leigh-Anne Pinnock - unfiltered, independent and finally on her own terms. “Everything that has been in my heart, everything I’ve wanted to do, I’m doing now. It feels like freedom. It feels right.”
Leigh-Anne Pinnock is ready to reintroduce herself. After conquering the pop world with one of the biggest groups on the planet and stepping out as a solo artist, she has reached a new clarity: no more compromises, no more limits.
With the introduction of her debut album ‘My Ego Told Me To’, Leigh-Anne isn’t reinventing herself, she’s restoring the woman she always was. Bold, unapologetic and free, this album is the purest expression of her artistry to date and musically reflects every facet of Leigh-Anne Pinnock - unfiltered, independent and finally on her own terms. “Everything that has been in my heart, everything I’ve wanted to do, I’m doing now. It feels like freedom. It feels right.”
- 1: Timeless
- 2: Peony Garden
- 3: Marrow
- 4: Moonflower
- 5: Linen
- 6: Boy Beneath
- 7: Mirrors
Intricate structures with an intertwining of spontaneity and randomness, meeting the diverse genre influences of the band members from mediaeval music to shoegaze to noise. That is Unravel, the new album, and first in six years, from Czech band Manon Meurt.
"Unravel reflects the different stages of dissociation, a person's thoughts, observations - whether of the environment or of oneself - and admiration for the beauty and cruelty that nature mirrors," multi-instrumentalist and lyricist Kateřina Elznicová says of the album.
Produced by Eddie Stevens (Freakpower, Zero 7, Moloko, Roisin Murphy) the album was pieced together from recorded fragments, meticulously pieced together. The title Unravel refers to the development of the band, unravelling what they are to find the full potential of their music as well as uncovering the layered nature of the songs and emotions.
"Eddie Stevens’ approach to recording was a big surprise. We understood that there was no one right version of the songs. Each of our themes carries a certain energy that can manifest and blossom in many ways. Compared to previous records, the vision of each member was much more evident, while we learned not to cling to our individual ideas of a signifying break or a nu-metal bounce at the end of an ambient song. The main thing was a common concept," adds keyboardist David Tichý on creating the seven songs on the record.
Abum producer Eddie Stevens describes the collaboration, “Each album is an adventure. You do some preparation, check the route over and over, prepare for any eventuality that your packing space and imagination will allow, plan some places to stop and rest en route, places to eat, sleep, then consider the challenges - the ice wall, the summit, even just finding your way in foreign land. But despite all that planning, you can never really say for sure what’s going to happen, what unexpected path you might take, what strangers might invite you in for a cup of tea and to what ends. So it was making Unravel with Manon Meurt and engineer and studio owner Lukas Martinek at Svárov studios and of course back home in the relative safety of my studio. Musicians who quickly became friends showed me more than I showed them, people with ideas, with creativity seeping from their pores. Music making the right way: no blinkers, no walls, no preconceptions, no barriers, no rules. What a pleasure, and what a magical, technicoloured,
kaleidoscopic album we’ve made together, “
The combination of industrial material with plant motifs in the work Untitled_1 by Ukrainian artist Liza Libenko, which adorns the cover of Unravel, strongly attracted the band. After all, floral motifs have always been close to Manon Meurt's music. Libenko, a student of the Academy of Fine Arts and a finalist of the prestigious Austrian Strabag Artaward International Prize, has recently been working on overcoming the narrative boundaries of the canvas, the paintings "attack"the viewer. Sunflowers are a powerful symbol of life and the sun; in Libenko's paintings they are black and burnt, serving as an allegory for contemporary conditions. The work was photographed by photographer and artist Marcel Rozhoň, and the final processing of the Unravel album was done by graphic artist Zuzana Malá.
'Flowers', the new EP from Elizabeth Davis, finds itself at the cross-section of many factors. In part, it’s the result of Davis’ obsession with a seminal folk song. But it also coincides with her rediscovery of the voice and language as an instrument. It was recorded during an autumn residency at Sternhagen Gut, the cultural refuge run by Gudrun Gut and Thomas Fehlmann, located deep in the Uckermark countryside halfway between Berlin and the Baltic coast.
The six tracks on 'Flowers' all take Pete Seeger’s ‘60s protest-folk song 'Where Have All The Flowers Gone' as their starting point. However, they veer off in different directions, from vocal loops and deconstructed lyrics, to instrumental drones and glitchy, manipulated rhythm tracks. Like many musicians, Davis has learnt composition by a process of disassembly, analyzing musical works piece by piece, and 'Flowers' began as one such forensic exercise. “But sometimes,” says Davis, “a source is so loaded up on meaning that the studies and experiments can become worthwhile and meaningful works in their own right.” 'Flowers' began to take on a life of its own, raising renewed questions about age-old themes such as war, authorship, translation and historical structures.
Davis is no stranger to cover versions. From studying violin to playing in free jazz and punk bands, interpreting other artists’ works has long been a key part of her musical approach. And since her radio show 'Deep Puddle' recently drew to a close after seven years, her experiments with narration and sound collage have found their way into her musical work once again. For 'Flowers', she cut up the source material (with a nod to Gysin and Burroughs), and reassembled the lyrics, the musical notes, and recordings by different performers, to create uncanny new forms.
But perhaps the biggest influence on 'Flowers' was conversations about music, art and pop subcultures with Gut. These dialogues helped Davis find a balance between far-out sound design experiments and catchy melodies, combining a certain avant-garde element and modern day songcraft. And it’s this sense of conversation, this revisiting of topics and renewal of ideas, that will keep us coming back to 'Flowers' long into the future.
- 1: Downtown
- 2: Felicia
- 3: Rescue You Too
- 4: Not Proud Of The Usa
- 5: Pharaoh
- 6: Down In The Catacombs
Originally released in 1985, the debut EP by The Mice still stands as one of the finer song-oriented rock records of that era. Drawing inspiration from both mid 1960s British Invasion groups and the energy of punk, For Almost Ever is about as scorching as an essentially pop record can be. Although vocalist / guitarist Bill Fox would go on to release several much-loved mostly acoustic solo records, here he is joined by his younger brother Tommy, a veritable monster on the drum kit, bashing away with both finesse and the manic energy of a high school kid. And let’s talk about the song “Not Proud of the USA.” Conceived as an answer to The Clash’s “I’m So Bored with the USA,” this track is packed with such overwhelming hooks, righteousness, and adrenaline that it’s irresistible. During the war in Iraq, it took on a new life on college radio and online when it was reissued on CD. And with this vinyl reissue, it would seem the timing is sadly spot-on once again. Mastered by John Golden, this new pressing crackles with The Mice’s spirit, reproduced in big 45 rpm sound for deeper low end and greater definition than the original, which has been commanding a steep price for quite a while now. We’ve also been able to restore the colors of the handcolored cover photograph to their original vibrancy.








































