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Liam Gallagher is not the kind of artist who was going to be stopped by the sizeable problem of not being able to play to an audience during lockdown. So when the idea of playing a playing and filming a live stream show came up, he looked at the precedent set by the Sex Pistols and The Clash and decided to hit the River Thames, armed with a boatload of attitude, a phenomenal live band (including Bonehead) and an arsenal of classic songs.



The show has been captured in full on the new live album ‘Down By The River Thames’, which will be released on May 27th via Warner Records.



Originally streamed on December 5th 2020, the show became one of the most memorable performances of the lockdown era. From iconic Oasis favourites (‘Supersonic’, ‘Cigarettes & Alcohol’) to big hitters from his two all-conquering #1 solo albums (‘Wall of Glass’, ‘Once’), Liam’s inimitable snarl boomed across the Thames and dominated London’s gloomy winter skyline. There were plenty of welcome surprises too: debut solo performances of the Oasis songs ‘Hello’, ‘Fade Away’ and ‘Headshrinker’, and the first live version of ‘All You’re Dreaming Of’. Liam’s voice is absolutely on point throughout, with a full-throttle snarl of anger and attitude that doesn’t compromise any of the finesse of the studio recordings.



Liam commented, “So here it is, the gig they said we could never pull off! As we were in lockdown, bored and depressed, rock ‘n’ roll came to save the day once again. It was a top night and a top gig and it’s captured here on record for you to all enjoy.”



‘Down By The River Thames’ is now available to pre-order now. It will be released on orange double-vinyl, CD and digital formats. The CD and download formats will be available at a special price of £5.



‘Down By The River Thomas’ provides a timely reminder of Liam’s live experience, which returns this month when he headlines a Royal Albert Hall show for the Teenage Cancer Trust. It will be followed by his summer UK headline tour, which includes two nights at Knebworth Park – all 160,000 tickets sold-out in a matter of moments – as well as other mammoth outdoor shows in Manchester, Belfast, Glasgow and Dublin. Please see his website for a full list of his international tour dates.



Liam will also release his eagerly anticipated third studio album ‘C’MON YOU KNOW’ on May 27th. Previewed by ‘Everything’s Electric’, the biggest solo hit of his career so far after hitting the Top 20, the album is available to pre-order now.

Demon Music is proud to bring together a selection of popular and exciting classic Northern Soul Anthems on a new 2LP thirty-three track collection. These are the original recordings by some familiar names and one or two that may have passed you by.

As the Sixties came to a close and the initial success of labels like Atlantic and Motown began to wane, there remained a dedicated fanbase of Soul devotees who would rather be out on the floor than wearing flowers in their hair. They continued to seek out new and previously overlooked releases, many on small labels that had never enjoyed chart success, making surprise hits of a few in the process.

Northern Soul could easily have passed into music history as a fad, something on the fringes of mainstream popular music; instead its popularity has remained and even grown. It is no longer the preserve of venues in the north of England (who had always attracted coachloads of devotees from across the nation), with Soul clubs opening in Europe, Asia, Australia and even - in perhaps the ultimate example of "coals to Newcastle" – America

Every few years Northern Soul enjoys a resurgence in popularity and welcomes a new generation of younger fans, keepers of the faith. This collection is for those with a passing interest and fans both old and
new - music fashions may change but the quality, the infectious excitement and the urge to get up and dance has endured in these fantastic records.

In the years since their formation, WhoMadeWho have established themselves as one of the most important underground bands of their generation. The Danish group, consisting of Tomas Høffding, Tomas Barfod and Jeppe Kjellberg, has an exceptional sense of emotional depth, heartbreaking melodies and brilliant songwriting, boasting an expansive discography currently spanning a total of six albums and a plethora of EPs, singles and remixes released on labels such as Kompakt, Innervisions and Life & Death. On the road, they are internationally renowned for their professionalism and outstanding live performances and have become regular fixtures at some of the world’s most notable musical festivals, including Roskilde, Sonar, Melt! and Burning Man to name just a few.
The in-demand Scandinavian outfit now confirm details of their upcoming long player, UUUU. Set for worldwide release on Friday, May 27, via long standing German record label Embassy One, UUUU is the seventh full-length studio album from WhoMadeWho. A beautifully crafted record featuring thirteen original productions.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Running Wild were formed in Hamburg in 1976 and have become one of the most vital and influential heavy metal bands to come out of Germany. They are also credited with inventing the now infamous sub-genre, ‘Pirate Metal’ which is so popular today. The band still command a rabid, global fanbase too, the recent Noise reissue series saw all nine chart in the German album charts. To this day they still headline huge indoor shows and headline festivals.

Tell All Your Friends is the groundbreaking debut album from Long Island’s Taking Back Sunday. Boasting the hit singles “Cute Without The ‘E’ (Cut From The Team),” “Great Romances of the 20th Century” and “You’re So Last Summer,” the album is highly acclaimed and has influenced artists of all sizes and genres over the last 20 years.

Simon comes from Belfast in Northern Ireland, a place that resonates of the best music traditions like Gary Moore, and Stiff Little Fingers. His biography tells the story of his band touring with no sound engineer, driver, roadie, playing 30 shows in 35 days and catching the attention of the record label. By the way, Ian Gillan from Deep Purple thinks he is one of the best guitar players in the world! And he also was the main guitarist on Don Airey’s solo tour. Recorded at the legendary Chameleon Studios in Hamburg, this album has everything a good rock album needs. The songs on “The Fighter” boast big riffs, they’re catchy, multifaceted AND are full of energy where needed. This album is in a class of its own – serious.

Paradise Garage pilgrims, Loveface, are back and it sounds like there’s something for everyone on this 4 track EP!

The A side continues their De-Mix series with another 80’s boogie refit of an early 90’s house classic vocal and an Italo House mix using a classic disco vocal getting strong support from Horse Meat Disco.

The B side has another 80’s inspired italo disco/proto house heater that has summertime written all over it and a deeper 80s fused house affair with a disco tinged vocal as the centrepiece.

4 tracks designed for every club, festival, boat and beach near you this summer...


DJ Feedback:

Louise Chen (NTS Radio / Rinse FM) – That Italo House mix is just TOO GOOD!

Severino Panzetta (Horse Meat Disco) – LOVE FANTASY for me

Jim Stanton (Horse Meat Disco) – I like these will be great in NYC sets

Damian Harris (Skint Records) Great…again. Consistently good and interesting series. Pablo’s Theme and Give It To You my favourites.

Gino Grasso – Topppp

Bill Brewster – Yeah like it

Alinka – Nice one

Patrick Vidal – Uplifting and happy, great dancefloor release

Carly Foxx – Loveface that you are is the one for me…

Joshua James – Dreamy

Ben Davis – FAB EP x

La Mano – Class

Nu Azeite - Lovely

Effervescent Space Farm Fertilizer

Als eine der spannendsten, neuen Stimmen im Alternative-Bereich haben Porridge Radio sich innerhalb von nur einem Jahr mit ihrem Album Every Bad (2020) von den DIY-Lieblingen hin zur Mercury Prize nominierten Band gewandelt. Mit Waterslide, Diving Board, Ladder To The Sky kündigen Porridge Radio heute ihr drittes Studioalbum für den 20. Mai via Secretly Canadian an. Während Every Bad die scharfsinnige und offenherzige Ehrlichkeit von Frontfrau Dana Margolin offenbarte, befördert Waterslide, Diving Board, Ladder To The Sky dies auf ein neues hymnisches Level. Dies ist der Sound einer Person Ende Zwanzig, die sich den Enttäuschungen der Liebe und des Lebens stellt und herausfindet, wie man in dieser Welt existiert - ohne dabei so zu tun, als wüsste sie alle Antworten. Ganz nebenbei ist das Ganze höllisch eingängig. Das Album beginnt mit "Back To The Radio" als kraftvoller Aufruf, der einen Kontrast zu Margolins Lyriks um Panik und Abgeschiedenheit zeigt ("lock all the windows and march up the stairs"), bis sich ein stürmischer Chorus aufbauscht, der einen sofort all seine Freund*innen fest umklammern lassen möchte. Waterslide, Diving Board, Ladder To The Sky ist wie ein surreales Gemälde, das teilweise durch eine Collage der Künstlerin Eileen Agar inspiriert ist und an das Unter- und Eintauchen, heikle Lagen und existentielle Lebensängste der letzten Zeit erinnert und gleichzeitig aus der Erzählung der Jakobsleiter aus dem Alten Testament schöpft, die wiederum "symbolizes the ups and downs of human life, of virtue and transgression", erklärt Margolin. Die Vorstellung, dass ein emotionaler Zustand nicht ausschließlich binär ist, ist dabei wesentlich für das neue Album. "With this album, the feelings of joy, fear and endlessness coexist together", fügt Margolin hinzu.

AOW is a new collaborative project from Dan Ghenacia and Tolga Fidan emerging from a new period of creativity and inspiration for the Lisbon-based artists.

Long time friends and fellow lynchpins of the European house and techno scene, Ghenacia and Fidan started working closely together through 2020 and 2021 while sharing studio space at Boa Lab. They found themselves at the heart of an artistic community of musicians, designers and engineers, which took shape around Ghenacia’s experiments with alpha wave generation, inspired by Bryon Gysin’s Dream Machine.

Ghenacia and engineer Anine Kirsten developed a modern update on Gysin’s 1950s design, which has been installed at exhibitions in London, Lisbon and Paris. At its heart, the project explores the natural hallucinatory effects of alpha wave projections on the eyelids, and the therapeutic benefits of the experience. Out of this spirit of psychedelically-charged experimentation, Ghenacia and Fidan have been working beyond the confines of their typical club-oriented material, creating ambient soundtracks to artist exhibitions in Boa and auditory backdrops to Alpha Wave Experience installations.

AOW bridges the gap between this new period of creativity and Ghenacia and Fidan’s life-long passion for electronic dance music. Compared to the strictures of house and techno they’re best known for, the three tracks on Hear the Light explore a more open, inquisitive sound with roots in UK electronica and West Coast psychedelic breaks (a seminal scene when Ghenacia was in the Bay Area in the 90s). Crucially though, it’s not a pointedly retro sound, but rather a result of rich streams of inspiration meeting and passing through crisp, modernist production techniques to offer something
genuinely fresh on the ears.

Working outside of their comfort zones and guided by creative philosophies springing from research, shared experience and community, Hear the Light marks a new step forward for Ghenacia and Fidan, with many more developments promised for the future.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

PRESSED ON RED SMOKE-COLORED VINYL!

When it comes to authentic, ride-or-die hip-hop, few crews have as much resonance as Mobb Deep. Featuring two double-threat MCs who also produced – Havoc and the sadly-departed Prodigy – the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop for the second half of the 90s and well into the 2000s. After multiple Mobb Deep platters in the ‘90s, Prodigy entered the 2000s as a solo artist with force, rolling over a stomping, piano-freaked backdrop laced by producer The Alchemist, with “Keep It Thoro.” It has held up over time, proving itself as an anthemic classic that the streets and clubs still respect. Flaunting a smooth-but-menacing flow, Prodigy’s no-nonsense lyricism on “Keep It Thoro” is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. The song is short and sweet, clocking in at just over 3 minutes. There are no wasted verses, just hardcore rhymes that stay with you. But “Thoro” was the tip of the iceberg on what proved to be one of the more coveted rap full-lengths of the era. The album boasted other charting singles, including “Rock Dat Shit” and “Y.B.E.” (featuring B.G.), but it can be argued that the album’s real gems are buried deeper. “Genesis,” “What U Rep” (featuring Noreaga) and “Three” are all sinister yet pensive. “Wanna Be Thugs” and “Delt With The Bullshit” are strong and evocative Mobb Deep cuts, featuring production and vocals by Havoc. And alongside other standouts, perhaps the deepest cut of all – especially in light of Prodigy’s recent and way-too-soon passing due to complica- tions from Sickle Cell Anemia – is “You Can Never Feel My Pain,” which details the health issues and challenges this talented MC and producer had been facing his whole life. H.N.I.C. was Prodigy’s first solo album, but it is perhaps his best. Among fans he will never be forgotten, for his skills, his storytelling and his no-B.S. approach to the art of MCing.

Mit seinem neuen Album „Glücklich Unzufrieden“ schlägt Bozza einen Bogen von seinem Karrierebeginn bis ins Jetzt. Er nimmt seine Hörer mit auf seine ganz eigene emotionale Reise, indem er auch den Kampf
mit den inneren Dämonen über all die Jahre thematisiert. „Es fühlt sich an, als würde mit jedem Song eine riesengroße Last von meinen Schultern fallen. Ich musste mir ein letztes Mal das Leid von der Seele
schreiben“. Dabei holte er sich großartige Feature Gäste wie Sido, Bausa, Clueso, Montez, Selmon, Azet und auch Gini an Board. Gänsehaut garantiert.

Bestellt euch jetzt die Vinyl zu „Glücklich Unzufrieden“ vor.

Athens’ CHAIN CULT return with their first full length following a great Demo and 7” from last year. Recorded at Ignite Music by George Christoforidis during May and July of 2019, Shallow Grave shows the progression of a band who have played non-stop for two years, covering pretty much all of Europe. CHAIN CULT’s post punk is anthemic, militant and idealistic, putting music to a very dark and bleak time and place. You can hear echoes of early THE CURE, THE SOUND, Second Empire Justice era BLITZ or WIPERS in their music but also the passion and conviction of locals METRO DECAY, STRESS or ANTI… Very much a perfect reflection of what springs to mind thinking about the current Athens scene. Shallow Grave comes housed in a reverse board sleeve including a printed inner sleeve with lyrics, all designed by CHAIN CULT’s collaborator Aris Panagopoulos of A.D.

RATA NEGRA from Madrid deliver twelve songs of dark, crude and moody punk on their debut LP. Formed of members from JUANITA Y LOS FEOS and LA URSS this power trio have distilled the negativity and uncertainly of the young Spanish generation and transformed it into perfectly crafted punk songs. Sharply turning snaps of daily life into melodic anthems for a doomed generation, musically RATA NEGRA fence between dark melodic OC punk a la RIKK AGNEW solo debut album and Spanish Punk ’83 via KGB/ VULPESS. Imagine the non keyboard tracks of Yugoslavian KAOS mixed with LA’S X melody, add to it a layer of distortion and a dose of vital desperation and you get close to RATA NEGRA’s sound. Oído Absoluto comes housed in a reverse board sleeve with printed inner. Both designed by guitarist Fa of Croke Studio and it is released as a collaboration between Beat Generation in Madrid and La Vida Es Un Mus Discos in Hackney.

a gatefold heavy card board sleeve and heavy vinyl !! remastered and recut from original masters !!! the artwork will be true to the original (including textured covers and embosses where appropriate) and will feature lyrics, and additional sleeve notes and artwork !!!

The cosmic journey continues! Finally the fourth volume of the Cosmic Disco Machine series is out. As always pressed in limited number of copies , this volume is served in marbled white vinyl.The musical selection includes classic songs like "Time Actor" by Richard Wanhfried, as long as more underground and exclusive tracks such as "La Edad Del Broce" by Mecanica Popular, "Polaroid / Roman / Photo" By Ruth just to mention two from the rich traclkist.

The selection of these tunes is, as always, treated in any detail, artistic and musical, all tracks being gently mastered keeping the original and characteristic mood of each song. Just get it and you will discover the rest by listening to this new unmissable volume.Have a good listening and stay tuned for the next chapter of our cosmic journey.

Pachakuti is a musician and producer with family roots in Colombia. He plays keys, tenor saxophone and clarinet. While living and working in Berlin, he draws inspiration from the natural world, investigative travels, and ancestral traditions of Latin America and beyond. His expressive and rhythmical playing and his instantaneous compositions are directed at the human core, arousing subtle experiences. While not being conformed to one style, it always invokes a sense of liveliness and depth to be delved in. young.vishnu is a producer and DJ. He has studied philosophy and music in Hildesheim, Germany, which heavily influenced his views on meaning and mythology in music. In his DJ sets he selects and plays classic and contemporary Funk, Soul and Afrobeat. His practice as a DJ informs his work behind the boards directly, adding also more organic grooves and broader spectrum of musical styles to his in Hip-Hop based production. If you had to put one single tag on their forthcoming album Dédalo, the best choice would be Jazz. That being said, Pachakuti and young.vishnu's sound worlds might be better described in their own words: "We just make music and try to incorporate what we love about it". They are musical freethinkers with shared interests in eastern philosophy and botany who interweave Hip-Hop, Latin and Funk with musical storytelling and world mythology. Undoubtedly, their most ambitious work to date, Dédalo (Spanish synonym for labyrinth), recorded and produced over the course of a year, shows Pachakuti & young.vishnu's ambitions and growth. Where their debut work Semilla (2020) centered around the image of the seed, Dédalo takes on the entire garden. Besides playing multiple instruments by themselves, Pachakuti & young.vishnu invited a growing group of befriended musicians into the studio, including percussionist maestro Eric Owusu (Pat Thomas, Ebo Taylor, Jembaa Groove) and drummer Leon Raum (Bokoya, Wyl), as well as Brazilian newcomer vocalist Laíz, and members of their former band project Soularkestra. The 16 recorded songs, ranging from 1:19 to 14:58 minutes, take you on an emotionally honest, metaphoric journey through the maze of human existence, of modern society and mythic poetry. The mostly instrumental tracks build on expressive melodies, layered rhythms, and a wide range of musical instruments, merging the sounds of Jazz with the classical word of orchestras and choirs, and urban soundscapes with traditional instruments such as the Andean Kena and Charango, the Colombian Gaita and Marimba de Chonta, and an Indian harmonium. The Album thus weaves together past and future, and diverse cultural threads, sounds and ideas in an act of cultural appreciation and global conscience. Mixed and mastered by Roe Beardie at The Brewery Studios, Berlin. The album artwork itself merges the visionary art of Mexican painter Sergio Chávez Hollar with an original artwork-inlay of Brazilian artist Laíz and the work of Carsten Pölking of the Nima Compositions Archive.

Dédalo will be available digitally and on double-vinyl with inside-out print cover and colored inlay with credits and painting by Laís De Mello Barbero.

7" Black Vinyl in Kraft Board Company Sleeve (300 made). Broadside Hacks release their brand new single “Barbry Allen”, a fresh take on the traditional folk ballad which has its earliest recorded reference in a 17th century diary entry. Broadside Hacks means many different things. It is a sprawling collective of young musicians who meet regularly for casual, open-to-all jam sessions at a South London pub. It is their live iteration, a more fixed – but nevertheless still flexible group of players who have been performing acclaimed shows across Britain for the last year, bringing in local musicians as they go. There is also the Broadside Hacks record label, which put out the compilation ‘Songs Without Authors Vol. 1’ last September: a diverse array of left field artists injecting fresh life into songs whose original authors have been lost in time. Beyond even that, there is the film ‘The Broadside Hack’, exploring a wider network of London musicians employing traditional folk influences in vastly different ways, from caroline’s multi-genre experimentalism to Shovel Dance Collective’s forthright politics, of which Broadside Hacks are just one crucial part.

After the Bend is the second album from Louisville based Flanger Magazine, and the follow up to FM’s 2018 debut, Breslin. Whereas Breslin was the solo creation of Christopher Bush, an album noted for “an astute synthesis of ‘library music’ and solo acoustic guitar,” and “a seamless blend into the uncluttered and airier side of classic 1970’s giallo,” After the Bend is an ensemble affair. An ecosystem, a perfect mutualism bodies forth—of strings, outdoor recordings, electronics, reeds, and percussion—featuring new FM players Anna Krippenstapel (Frekons (Freakwater + Mekons), The Other Years), Jim Marlowe (Equipment Pointed Ankh, Tropical Trash, Sapat), Eric Lanham and Benjamin Zoeller (both from Caboladies). The various combos perform with both a distinguished efficacy and unhurried Sunday drift—charged and beautiful, pulsating and pleasing. The production is subtle and tasteful. Mutating past the old saws of bounded individualism, a strange form of tentacular life accrues, cyborgian-fungral-tangles of the more-than-human variety.

Robert Beatty’s cover art of otherworldly and interconnected river-scape gradients, coupled with song titles like “Reservoir,” “Falls Fountain Removed,” and “Sympathies for the River,” cue and clue the listener toward a river as a singular multitude analogue for the album. Interstitial gaps, clearings and openings give rise and merge into an accumulated flow from the tributaries of spirited improvisational performance, palimpsestic song cycles, and high fidelity studio production. The composite sound-image of After the Bend refuses to put both oars down into any one of the eddies of the folk, sound, chamber, electronic, or jazz idioms, and instead glides along the currents found within the slipstreams between.

Gathering samples, a River Doctor Limnologist inspecting the properties of After the Bend might note the specter of Leroy Jenkin’s free-violin heat-light deepin the water’s thermal stratification. Or mortgage the late-Maestro’s time with Gruppo di Improvvisazione Nuova Consonanza to pay down the growing river heat budget. Or take one’s dirty buckets to the banks of the 19th laundromat where Walt Dickerson plays his vibraphone parts from Divine Gemini with dowsing rods. Or excavate the bedrock in the drainage basin, noting skeletal remains of a Shostakovich string quartet attempting to tune up a Kentucky Fiddle’s subsequent influence on the chemical composition of the water. Or consult the historical revisionist reenactment troupe’s episode of Fishing with John (Fahey) in which Codona, The Sea Ensemble and Nuno Canavarro guest host as their fleet of paddle boats churn river water into a regal lager, and all the fish get drunk in their quest for the leaner enamel Hosianna Mantra GPS coordinates of the Fattened Herb.

Bush and Marlowe recorded and produced the album at End of an Ear Studios, located in the Portland neighborhood, in the west end of the city of Louisville, bordering the Ohio River, between Kentucky’s Upper South and the Indiana’s Midwest, during the first year of the global pandemic, amidst the planet’s sixth great extinction event. As good a time to be alive as any other. (by Kris Abplanalp)

From mimicking drum sounds with their mouths and then processing the result to create a world of intricate, intimate sound; to recording a short EP’s worth of work at the snail’s pace of a minimum 12 months, the Sydney based duo Thomas Gray & Liam Ebbs approach their work with a fascinating blend of impulse and consideration. Sounds can be carefully sulptured, massaged, edited and reworked, only to be thrown out the window and replaced with a whole new set of material at a moment’s notice. The pair pay acute attention to mood, space and atmosphere; they are not afraid to take their time. Listening to their compositions is like travelling through the countryside on a train, downriver on a boat, or rising into clouds through the windows of a commercial airliner. Gray and Ebbs’ music, it feels, is an accompaniment to thought and feeling, a personal soundtrack to carry in one’s head. As Eno said when famously coining the term ‘ambient’ - “Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.” In 2022, the pair will return with a new EP, ‘Blue’, their first for the Bedroom Suck Records label. The five tracks on Blue continue to explore the world that lies somewhere between organic and electronic, between natural sound and manufactured signal. Acoustic instruments make a notable appearance, as does a strong lead vocal in ‘It’s Alright’. The music is evocative, nostalgic and inspirational; It leaves one feeling hopeful.

Retro-Future beats for stubborn ravers.
Phase O'Matic is a London based promising producer.
Philoxenia is delighted to have him on board.

Comprising Marco Simioni, Mattero Mazreku, and Francesco Pio Nitti, Qualia are a group of Italian producers who have never met in person. Due to the covid pandemic, they had to colaborate in the cloud, yet the results are impressively coherent.

Having previously released records on Detroit Underground and fellow Utrecht label 030303 between them, they arrive on U-Trax in April 2022 with their eponymous EP of four deep tracks taking influence from a range of genres, including acid-techno, ambient, noise, and beyond.

Leading the release, 'Perception' brings beautiful strings, funky 808 drums and acid tones for a deep and moving opener. The track clearly reveals the inspiration Qualia got for this release from the early Gescom releases. Stretched across the A2 is the ambient bliss of 'VV Cephei A', which brings Boards of Canada-esque drones and tones.
On the flip, the title track 'Qualia' brings a headsy dose of braindance to the mix, recalling the early experiments of Aphex Twin with merciless 303 squelches and distant reverberations. Closing track 'Until I Break Apart' leads with dark, moody strings before a pounding kick introduces a stark tempo shift before deep ambient atmospheres engulf the final minutes.

“Nice EP. Need a proper listen in a dark room with only the speakers and me ;)”
Minus Magnus — Mhost Likely

“Beautiful Ambient soundscapes!”
IDA — Ectotherm, Boiler Room Glasgow

“Excellent release from U-Trax. Perception and Until I break apart are my fav's.”
Drox — Nightimedrama, Crobot Muzik, Analog Cabin, Southern Outpost

“Interview & Premiere”
— Parkett Channel

“The best part is “VV Cephei A”, where a floral intro leads to colliding drone pulses.”
— Terminal 313

Die Neuauflage des Solo Debütalbums von Matt Deighton, dem Mother Earth Sänger und Noel Gallagher Nachfolger bei Oasis.

Limited edition 180g premium vinyl for super fidelity, presented in a
deluxe gatefold sleeve
'Porgy & Bess' was the third and final album collaboration between Ella Fitzgerald,
Louis Armstrong and producer Norman Granz. Featuring songs from the George
& Ira Gershwins opera, which was inspired by the DuBose Heyward play 'Porgy', it
received both critical acclaim and commercial success internationally.
"As the tracks progress, you think she is cutting Armstrong - only to turn around
and believe that Armstrong is cutting her. The truth, of course, is that they are
outdoing themselves. This is a Porgy performance you would be ill- advised to
miss." - Gene Lees, DownBeat

Back in 1998, RZA had already cemented his status as Wu-Tang Clan's man behind the boards, producing the entirety of the group's respective solo albums - When it came to his own breakout moment, the producer opted to introduce the world to Bobby Digital, a cartoonish, hedonistic mad-rapping alter ego and grew so fond of the character that he released another album under the moniker before finally delivering 2003's Birth of a Prince as the RZA.

Now it seems Bobby Digital is back in the picture and potentially set to square up with his host New album RZA vs. Bobby Digital features the hard- hitting single, Saturday Afternoon Kung Fu Theater. According to a press release, DJ Scratch handles production on the album. "Giving Scratch the reins as a producer and me taking the reins as an MC, that's what frees me up creatively and lets me play more with lyrical gags and lyrical flows because I don't have to be focused on everything", RZA explained in a statement.

»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion.

»The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once.

What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens.

As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

It’s been more than a year since our last release on Suction Records, and we’re excited to be back with the introduction of a new artist to the label’s roster. In fact, this split 12” serves as an introduction to both Useless Idea, and Seven Nights Alone, two aliases from the same Italian artist and producer, Cesare Bignotti. The split also serves as a taster for two forthcoming Suction Records full-length LPs, coming soon from both aliases.

Useless Idea, with previous under-the-radar cassette album releases on WéMè Records (2018’s “Acid Hologram”) and EVES Music (2020’s “Xa Peh”), has been quietly recording his own brand of inventive, playful, and melodic IDM/braindance for more than 20 years. We’ve been slowly compiling Useless Idea’s debut vinyl full-length for several years now, and the resulting “Glitch In The Colors” will be released later this year on 2LP vinyl, covering the span of his 20+ years of recording. From “Glitch…” we’ve included standout cut “Mello Tron” alongside two tracks that are exclusive to this split 12”.

Seven Nights Alone is a more recent alias, and outside of 1 track released on a compilation, this marks the new alias’ debut release. There is an undeniable Boards Of Canada influence here, but this is a unique and sophisticated take on BOC’s woozy and melancholy electronica. Both “Soft Where” (a menacing, futuristic instrumental hip hop killer) and “Walkman” (like a BoC “Campfire Headphase” outtake but on an optimistic tip) are taken from Seven Nights Alone’s debut 2LP vinyl full-length “Another Place”, to be released on Suction Records in 2023, alongside a 3rd track that’s exclusive to this split 12”.



Vinyl is limited to 200 copies, and comes with a Bandcamp download card.

House and techno purveyor Ejeca delivers with a high-octane release, ‘Keep Climbing EP’ on Needwant Records, which celebrates 100 releases. The four-tracker is available on a limited run of vinyl.

From its inception, Needwant has focussed on pioneering the sounds of tomorrow, developing exciting artists in the world of crossover dance and electronic music including lau.ra, Kiwi, and Ejeca, who first released on the label in 2013.

The title track kicks off the EP with serious force; heavy kicks and a glitchy melody loops hypnotically before making way for the track’s commanding vocal which is equally entrancing. Like its title, ‘Keep Climbing’ builds and builds, generating full-throttle energy that is finally erupted after a euphoric piano breakdown. ‘Vader’ reduces the pace and deepens the mood with a deep humming bassline, twinkling chords, and eerie strings. A breakdown follows with Ejaca’s signature ravey piano-lines in combination with hooky top-line vocals that seamlessly takes the track into peak-time party territory. The track is dynamic, enthralling, and highlights the depth to Ejeca’s production.

‘Won’t Beat Me’ is colourfully uplifting from the offset with bright piano and arpeggiating pads shimmering in tandem. The vocal is contagiously catchy, topping the instrumentation with positive energy which is present throughout the track’s duration. ‘Won’t Beat Me’ is a peak-time club big-hitter. Rounding off the EP is ‘Zyfer’ which boasts uncompromisingly chunky kicks and raw industrial echoes, before cleverly switching to a contrasting sonic soundscape in true Ejeca style. 8-bit arpeggiating chords bubble before warping into a driving club melody which dances on top of the heavy-hitting kicks and groovy percussion.

The EP perfectly captures the ethos of Needwant; forward-thinking music with innovative ideas from an artist who contributed to the label in its early stages. 100 releases on and Needwant continues to push the sounds of tomorrow in slick style.

Benoit B aka Terra Utopia breaks out into another auspicious alias for Step Ball Chain, Blu:sh - metamorphosed; coming in hot and heavy, sexy and sophisticated. Bass down, *ss up! The ambitious 6 tracker “Lovebite” fuses forms of dance; reworking elements from niche corners of the Step stratosphere that can result in freaky combustion. Breathing life and lust into every phrase, we are fortunate to be offered an intimate glimpse into a complex world of sound, filled with bold and brash inspired statements, rhythmically rolling the dice with snap lock precision. The cherry on top is served via a vocal collusion from fellow associate noff, the web expanding as the label delves deeper into futuristic tech territory, the prolific producer pushing their own boundaries and desires for new meticulous audio spectrum and ethereal realms.

The trio of flirtatious tracks laid bare on the A side read as a love letter to 4/4 naughty nocturnal testimonies. Opening auspiciously; Tighten Up dips into nasty grit, a sub centered excursion into the technological domain, sleazy and stripped back with modest tenacity. Candy Land sugarcoats the status quo of pumped up prog, playfully in the driver's seat and revving 100 miles per hour toward Hush highway; narrated by Greek cyber enigma noff.. An atmospheric deep trance kissed club chant. Opposites attract and find points of connection on the flip of Lovebite, the B side boasting a mutually slick sharpness permeating the record; blending sparse bass focused broken beat expeditions with liquid dnb; genially abstract mood boards of sampling mayhem; cut and spliced in addictive fashion. Flushes of gorgeous esoteric harmonic soundscapes fill out the rhythmical chaos, grounding and expanding the mind through a lush & plush tint woven in Recess and Heaven Spot alike.

A perfect prophecy destined for Step Ball Chain, Blu:sh’s first, yet expertly curated EP sets the bar high as hell. Divine dance music that can’t help but push boundaries; confronting and challenging our archival references and perceptions of genres and classifications, arguably the best kind of auditory statement.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Charles Tolliver / Music Inc ‘Live In Tokyo 1973’ 180g Vinyl (Pure Pleasure) 5/5

It’s incredible to witness this resurgence of Strata-East’s recordings over the last few years – an appreciation for the label’s ground-breaking approach to music-making, backed by a phenomenal catalogue, continues to attract listeners both new as well as its devoted faithful once again giving rise to its revered and cult-like status. The label’s return to prominence and its subsequent reintroduction to new audiences has been aided, in no small part, by reissues like these – Pure Pleasure as a prime example of a label that lovingly curates these treasured releases, repackaging them for vinyl enthusiasts the world over.

There’s certainly a keen eye that goes into the joyous task of plunging through the Strata-East vaults and although Charles Tolliver and Music Inc’s ‘Live in Tokyo 1973’ isn’t as forgotten a treasure as previous Pure Pleasure reissues of projects like Stanley Cowell’s ‘Such Great Friends’ may be, it’s no less of an incredible project to revisit in this way.

Recorded 7th December 1973, the fifth album by trumpeter Charles Tolliver and his quartet of musicians comprising Music Inc performed a 50-minute set in Tokyo’s Yubinchokin Hall. The performance was initially released through Strata-East the following year and would even be revisited a further time by Mosaic Records in 2005 as part of a three-disc box set – all of this a true testament to the masters of the craft gracing the stage on this night.

Despite the slew of releases with Music Inc, Tolliver boasts an incredible resume that has seen him perform alongside luminaries including Horace Silver, Andrew Hill, Roy Ayers, Gary Bartz amongst others. Born in Jacksonville, Florida, and raised in New York from the age of 10 years old, Tolliver’s inspired contributions to jazz couldn’t be celebrated enough – from his innumerable successes as a musician in his own right to his achievements as co-founder of Strata along with Stanley Cowell. Despite neither having any formal or business training, Tolliver and Cowell’s pioneering efforts positioned them as beacons for being an independent, black-owned success story.

With the Music Inc quartet comprised of bassist Clint Houston, drummer Clifford Barbaro and Stanley Cowell on piano, Tolliver and company present a set of five compositions including tracks from the pen of the trumpeter himself (‘Drought’ and ‘Stretch’) as well as a heralded rendition of ‘Round Midnight’ initially composed by Thelonious Monk. Kicking the project off with the exquisite slow build of ‘Drought’ which starts with Tolliver’s trumpet holding court on centre stage while the glorious crescendo builds around him. ‘Stretch’ eschews in another high-energy number before making way to the sublime lament of ‘Truth’.

‘Live in Tokyo 1973’ is certainly a project that has been afforded its due reverence over the years but once again, an exceptional performance from Charles Tolliver and Music Inc benefits from an unrivalled presentation at the hands of Pure Pleasure. By Imran Mirza/ukvibe.org - est.1993

A supergroup comprising Deerhoof + Juana Molina + Kasai Allstars + Konono No.1 + Skeletons + Wildbirds & Peacedrums. It all started when the music of Konono No.1 and Kasai Allstars was first released in the US and Europe, in the later part of the '00s. With its blend of ritual music, traditional percussion, thumb pianos, electric guitars, and makeshift instruments made from junkyard scrap, their out-of-this-world sound now also known as Congotronics, a word coined to title the series in which their albums appeared on Crammed Discs - deeply struck the imagination of musicians and fans worldwide. Leading rock media enthused about this newly rediscovered brand of "primal rock", while an impressive string of avant-rock, electronic & hip hop artists (from Dirty Projectors, Andrew Bird, Animal Collective and Deerhoof to Beck, Björk, Wilco, Radiohead, Saul Williams, Questlove and many more) repeatedly quoted the Congotronics bands as major sources of inspiration.

Samo DJs Label Sattaoja is back with an unbelievable dancefloor-weapon by Toke!

Welcoming Joe Koshin to the Time Is Now family with a release of two halves. Time Is Now White Vol.15 takes us on a whiplash journey through the contemporary iterations of breakbeat hardcore before slowing down the pace and stationing in UKG's shadier corners.

With previous releases on Planetaria Music and Gimme A Break Records, Joe Koshin has been making some serious waves with his no-prisoner approach to breaks and jungle. Time Is Now White Vol.15sees the London producer continue in this vein with two raucous breakbeat hardcore tracks, and two dark garage tracks which boast the style's potential to be at once introspective and club-ready.

"Chunk" slams things into action. And if you thought the clattering drum breaks and growling low-ends couldn't do more to rip open a dancefloor, just wait for the switch-up. Stutters that Sully would be proud of. The title track grounds itself firmly in the genre's antecedents: breakbeat which is at once gloriously old-skool and fiercely forward-facing.

Flip to the B side and it is configurations of dark garage that take to the fore: first adorned with a hypnotic melody that floats above pitched-up vocals ("T4LK 2 M3"), and later energised by a buoyant swing which implores you to move ("Spectra Don").

Time Is Now White Vol.15 drops 29th April via Time Is Now.

Der Hamburger Synthesist Richard von der Schulenburg kehrt mit dem Nachfolger von "Moods & Dances 2021" aus dem letzten Jahr zu Bureau B zuruck. Mit Hardware-Crunch, kryptischen Klangfundstucken und FieldRecordings macht er sich auf die Suche nach "Cosmic Diversity". Inspiriert von der eindringlichen Elektronica von Boards of Canada und Plaid, die hier durch die Linse eines Zeiss-Objektivs gebrochen wird, navigiert RVDS durch das musikalische Multiversum und spannt in acht experimentellen Kompositionen den Bogen zwischen Electro, IDM, Cosmic und Dub. Das wahrend des Lockdowns als Flucht aus der Isolation entstandene Album wirft einen Blick nach außen, erreicht mit gefuhlvollen Melodien aber auch stets das Innere.