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Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello’s “Liminale” and Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, two astounding electroacoustic gestures of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, they stand among the most striking efforts to appear within the series to date.

Reconfiguring the notion of bridge building on a multitude of terms, it feels fitting that the tenth and final installment of Die Schachtel’s Decay Music series, Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, was co-created by an artist whose work featured in the first suite of LPs issued by Brian Eno’s Obscure Records in 1975, the groundwork toward which Decay Music’s own efforts nod. Since that auspicious debut, “New and Rediscovered Musical Instruments” — his split with Max Eastley — David Toop has been regarded as a pioneer in British experimental and improvised music: a sonic voyager who has continuously challenged the sources and materiality of sound through rigorously thoughtful performances, a vast catalog of recordings, and a steady flow of highly influential texts. Be it as a member of Alterations, his group breaking group with Peter Cusack, Terry Day, and Steve Beresford that ran between 1977 to 1986, or through is noteworthy work with artists like Rie Nakajima, Thurston Moore, Paul Burwell, Rhodri Davies, Lee Patterson, Ryuichi Sakamoto, Akio Suzuki, Elaine Mitchener, and numerous others, collaboration has always played a central role within Toop’s singular practice, but few can claim the sprawling sense of beauty and intimacy that’s achieved by “And I Entered Into Sleep”, his first recorded outing with Sergio Armaroli.

A composer, percussionist, vibraphonist, and multidisciplinary artist, Armaroli has been issuing radical and forward-thinking musical gestures for decades, working as one of Italy’s most noteworthy interpreters of composer’s like Giacinto Scelsi, John Cage, Franco Evangelisti, Giancarlo Schiaffini, and Walter Branchi, as both a solo performer and member of the highly regarded Rib Trio, as well as forging a singular practice as a composer, intertwining his efforts as a painter, concrete percussionist, fragmentary poet and sound artist, within a total art, rooted “within the language of jazz and improvisation” as an “extension of the concept of art”. Like Toop, Armaroli’s career has been populated by many collaborators, notably with Riccardo Sinigaglia, Alvin Curran, and Walter Prati, among others, setting the stage for a remarkable meeting between the pair.

Featuring Armaroli on vibraphone and prepared vibraphone and Toop on electronics, “And I Entered Into Sleep” is “a sonic journey, a Proustian suggestion à la Recherche, into the unconscious between electronic and acoustic sounds”. Using a bell that sounds at the beginning of Proust’s “À la Recherché du Temps Perdu”, which reappears more than 3,000 pages later — signaling a transition of phases, as well an auditory trigger of memory — as a departure point, as an association to the percussive vibraphone pulses that thread the album’s two sides, the pair weave a striking interior world of immersive psychological depth. Feeling almost subaquatic at times, like captured glimpses of rumbling, shadowy ecosystems lost within murky ambiences, before washing ashore in a series of pointillistic, highly detailed alien landscapes of the mind, each artist’s markedly different sound-sources, and treatment of the subsequent material elements, dance in abstract grace, incorporating subtle nods to minimalism, free jazz, and musique concrète within its seamless total form of sparse texture and tone.

Easily one of the most striking and memorable releases by either artist to appear in recent years, Sergio Armaroli and David Toop’s “And I Entered Into Sleep” traverses uncharted realms at the borders of literary reference, sound art, ambience and abstraction through delicately musical sounds, revealing new depths at every turn. Issued as the tenth and final album in Die Schachtel’s Decay Music series, highlighting inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract.

Jessica93, prodigal bastard of our glorious french squat scene, relocated on Born Bad : this is no picnic. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That’s where it gets tricky : every musical posse claims him. Grunge, sure, but Jessica doesn’t indulge in necrophilia. His circuit is punk, he doesn’t dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. The self-confident rock horde saw him playing with hair in his eyes… but he never joined the Party. Metal had something to say but sadly, nobody listened. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called « 666 tours de périph’ » (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again, when it takes us a good week to recover from the bad half of that same evening. Like so many other unknown soldiers during our very own world war of music, he patrols small venues relentlessly.



At the heart of this cultural pentacle painted by french weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO’s gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the 90’s. Geoffroy offers his brilliant analysis : " C’est la police qui nous tire d’ssus / C’est mon trou d’balle qui leur chie d’ssus « (Police shoots us down / my dripping asshole gets the job done).



A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. Two black diamonds peek out of the LP : ’’La colline du crack’’, heartbreak song about the ultimate temptation of violent delights, located on crackhead central in Paris. The brilliant chorus, ‘Take my hand and come with me to Crack Hill’ will put an end to the rumours, almost everything was really false. And Bébé Requin, alternative obituary that’ll make you shiver, where our nice couple states ‘’on kiffe la drogue dure et les ptits chiens’ (‘we love hard drugs and little dogs’). And that is the reason we face the wall of sound jostled by unnecessary shoulder thrusts: those nice fat chunks of charcoal poetry, hidden under light sarcasm.



The rest of the record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There’s your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language : french at last. Worth the wait ! Sing along : « nique sa mère / nique sa grosse mère » (translate that yourself).

a long-awaited reissue of an ultra-rare 7-inch single, originally released as a promo-only item from handsome boy, the 1990 masterpiece by inoue yosui—widely regarded as one of the greatest singer-songwriters in japanese music history.

“pi po pa,” arranged by haruomi hosono and used in a tv commercial at the time, was featured on heisei no oto, a compilation released by music from memory. the album’s standout track, “shonen jidai,” remains one of japan’s most iconic and beloved songs.
also included on this 7-inch is “yume migokochi,” a pinnacle of japanese balearic sound, arranged by yuji kawashima—keyboardist of ep-4, a kyoto-based band essential to the history of japanese new wave.

and exclusive to this release is “kurenai suberi,” an overlooked gem that might best be described as inoue’s take on cold-funk.

remastered from the original master tapes by kuniyuki takahashi, and housed in the ori-ginal artwork.

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources.

As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al.

The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of EP centrepiece 'By The Light Of The Moon'. Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story.

Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalises on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by." Emily A. Sprague's Cloud Time will be released Friday, October 10th in vinyl, Japanese import CD (via Plancha), and digital editions.

Victor Démé loved life, music, friends, his hometown of Bobo Dioulasso, and above all, his family — by blood and by heart. Jovial and generous, he would have been delighted to see his world gathered once again in celebration: with concerts, unreleased tracks, live recordings, and a podcast retracing his finest musical years. Ten years after his sudden passing, this album carries the simple ambition of honoring his music and memory.

Victor passed away on September 21, 2015, in Bobo Dioulasso, during the coup d’État in Burkina Faso. The hospital he rushed to for malaria treatment was closed… His third album was due to be released just days later, but he never had the chance to sing it on stage.

A prolific and unique songwriter, Victor often revived songs he had composed in his youth during sessions at the OuagaJungle studio. With his guitar, he would breathe new life into them, refining them with his musicians — making the final choices sometimes difficult. Among the previously unreleased tracks on this record are Djilon, a reggae piece from Abidjan; Sira, a radiant yet solitary blues; Ambideu, a crooner-style ballad reimagined as an elegant cello-and-voice duet; Mousso mina mousso, a love song meant for a djandjoba celebration; and Bara, a heartfelt choral tribute to the workers of Burkina Faso.

These songs remained in the studio after Victor’s passing and have now been brought to life by the talented musicians Clément Petit, Alex Finkin, and Max “Blundetto” Guiguet. On Side B, the album captures the energy and sincerity of Victor and his band live on stage, with recordings from the May 19, 2009 concert at Théâtre de la Ville in Rouen. The performance opens with Labanko — a song never recorded in studio — followed by several classics, including the iconic Djon Maya, delivered here in its most blues-infused version, carried by Issouf Diabaté’s magical guitar.

Unforgettable memories for his musicians and for all who had the chance to applaud him live. We can only hope that, wherever he is, Victor is smiling and dancing as we celebrate him once more through music.

Erik K Skodvin's feature-length score to Thomas Roth's thriller "Schächten" feels like the epitome of all his musical projects, conjuring a dark cinematic trip through 1960's post-WWII Vienna in a film that touches on topics such as law, justice & revenge.

Releasing a soundtrack as a stand-alone album can be challenging; and "Schächten" is by no means a typical listening experience. The record contains 24 more or less short pieces evolving through dramatic movements, underlaying menace and deep emotive scenes. One thing that stands out is the linear atmosphere throughout the story which creates a wholeness that keeps your attention to the very end. Set in wintery Austrian landscapes in dimly saturated colours, the film's dramatic events with dark political undertones feels like a perfect situation for Skodvin's atmospheric collages - perhaps sounding closer than ever to his early works as Svarte Greiner or Deaf Center. Cello, violin, piano, analogue synth and plenty of hardly recognizable instrumentation come together in a record that feels very organic in its subdued tones. The score also features percussion by Andrea Belfi as well as a Chopin piano interpretation by Kelly Wyse to the bizarrely schizophrenic piece "Judenfreund".

With the contemporary world sliding into darkness again, listening to the soundtrack feels like coming to terms with ones own anxieties - something that in the end comes through as a cleansing experience. As quoted in the film "Everyone is their own devil. And we make this world our hell".

Short synopsis : "Vienna 1960s - The young Jewish business man Victor has to witness how the prosecution of a Nazi crime against his family fails. The political and legal system is still virtually run by former Nazis with large parts of society being entangled in the past. When Victor also loses his grief ridden father and his girlfriend’s family opposes their relationship and his identity, Victor begins to loose faith in formal justice and takes matters in his own hands."

Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello’s “Liminale” and Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, two astounding electroacoustic gestures of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, they stand among the most striking efforts to appear within the series to date.

An aural bridge between two distinct generations of Italian experimental musicians, “Liminale” is the debut collaborative outing from the creative partnership of Luigi Turra and Elio Martusciello. Active within the context for roughly two decades, Turra (b. 1975) is a reductionist/electroacoustic composer, noted from his tense deployment of concrete and acoustic sources — particularly small sounds and noises — whose work threads the balance between silence, tactile auditory perception, and aleatoric music. Martusciello (b. 1959), on the other hand, is a musician and composer working across the fields of acousmatic and electroacoustic composition, sound installation, multi-media and audiovisual art, and computer music improvisation, who is widely celebrated for both his solo efforts and his collaborations with Eugene Chadbourne, Mike Cooper, Alvin Curran, Chris Cutler, Rhodri Davies, Iancu Dumitrescu, Michel Godard, Tim Hodgkinson, Lawrence D. "Butch" Morris, Jérôme Noetinger, Tony Oxley, Evan Parker, Z'EV, and others.

A single, nearly 40 minute work, extending across the two sides of the LP, “Liminale” — as its title eludes — is an exploration of the liminal through sonic means: “places that exist on the threshold, transitional spaces suspended between a before and an after, between the real and the evanescent” conceiving the soundscape as “a liminal place, a space to be inhabited without the certainty of where it leads.” Unfurling like a labyrinth navigated in darkness, the piece’s first half is marked by sparseness and restraint, as slow-paced guitar tones and harmonics thread silences and resonant ambience within a sprawling sense of space, delicately populated by tiny sounds, fleeting punctuations drawn from undeterminable sources, vocal utterances, and the unexpected appearance of intoxicating piano tones.

As “Liminale” progresses into its second half, Turra and Martusciello enter a more densely populated notion of the in between. No less defined by the presence of space and mystery, discreet textures rustle and writhe within passages of pure concrete abstraction and a fragmented, stretched sense of musicality: long-tones, metallic pulses, minimal vibrations, processed vocalizations, guitar harmonics, and deconstructed piano melodies, buried in spectral, gauzy hazes drifting from beyond arm’s reach within an imagistic and immersive landscape of profoundly meditative scope, where each sonic element flirts the line between emergence and disappearance.

Intimate, fragile, and achingly beautiful, “Liminale”, Luigi Turra and Elio Martusciello’s debut collaboration, is a masterstroke in sound-craft and composition, revealing the potency of meaning locked within transitional spaces and the undefined, and imbuing silence with monumental gravity and weight. Mastered for vinyl by Giuseppe Ielasi, and taking electroacoustic minimalism to an etherial extreme, “Liminale” is issued as the ninth entry in Die Schachtel’s Decay Music series, highlighting inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract.

Followed by the first release last year Chinese label Motivation, curated by B.ai, comes back with its second V.A. featuring Ilkay Yeler, J6, SMEV and NAE. The vinyl attributes in progressive house, electro house and electro.

Opening track “Destiny” ‘s morphing main motif gets kept in check by a steady pulse of snappy bass. Enigmatical vocal samples add to the ambiguous atmosphere, so the sets of twinkling mallets J6 sleekly includes, bring a touch of subtle lightness.

A-2 Ilkay Yeler’s sound is fueled by endless nights of groove, and on “Frontliner” this translates to a hypnotic trip into the deep end. Underneath its dreamlike current of silky chords a steady bass riff propels everything forward, allowing a restless arp to zone in and out.

Flipping to the side B, Sev’s Miami-inspired 808 patterns have “Clearing The Fog” come out of the gates swinging. Bright flutes and big basslines provide this slab of machine funk with a tapestry of melody, and fluorescent synth solos top it off.

Nay ends affairs on a melancholic note with “Silent River”. The leads sound like they ran through an eighties wave pedal chain, and as pondering chords and choirs work their way in, a Juno 6 bass adds extra depth. Still firmly directed at the club, the track escapes easy classification - and suitably closes a diverse yet coherent EP.

Wewantsounds is delighted to reissue French pop icon Brigitte Fontaine"s landmark 1968 album Brigitte Fontaine Est Folle, originally released on the cult label Saravah and arranged by Jean-Claude Vannier. This special 2-LP edition, approved by the artist, features the original album, newly remastered from the original tapes, along with a second LP of demos, instrumentals, and a live rendition of "Il Pleut" recorded for France Inter/ORTF. The release also includes a 20-page bilingual booklet with introductions by journalist Jeremy Allen and Stereolab"s Laetitia Sadier, essays by Brigitte Fontaine"s biographer Benoît Mouchart and Benjamin Barouh, plus full lyrics and rare archival photos.

MONKEY MAJIK, who have released numerous albums with striking themes of "sea," "surf," and "travel," and have celebrated their 25th anniversary with
numerous collaborations and stunning live performances, are making their first appearance on "Sea of ​​Love"! This work is a collaboration with DJ HASEBE,
a unique artist with a 35-year DJ career who led the hip-hop/R&B scene in the '90s and '00s while recently incorporating surf music and city pop into his music!

The entire track, "Pink Skies," was produced by DJ HASEBE and MONKEY MAJIK, with lyrics and music co-written by Maynard, Blaise, and DJ HASEBE.
The all-English lyrics, set against the backdrop of a pink sunrise, are a love song about a summer love that you hope never ends.

The cutting guitar, evocative of the start of the day, and the emotional track, reminiscent of the '90s and '00s, create a finishing touch that will liven up your
never-ending summer love.

This single is from the surf music compilation "SALT... meets ISLAND CAFE -Sea of ​​Love 3-," produced by the magazine "SALT...," which proposes new values ​​
for beach lifestyle and surf culture. The cover photo is an artistic surf photo by surf photographer Zack Balang, who also works for "SALT...."

Battle Scars by American blues rock musician Walter Trout is a studio album originally released in 2015. The album is a deeply personal one, as it chronicles Trout's battle with a life-threatening liver disease and transplant. It serves as a reflection on his illness, hospitalization, and survival, including lyrics that document key moments during this period. Battle Scars was produced by Grammy-nominated producer Eric Corne and features the tracks "Almost Gone", "Playin' Hideaway", "Omaha" and "Gonna Live Again", amongst others._x000d__x000a_Battle Scars is available as a 10th anniversary edition of 1000 individually numbered copies on aquamarine coloured vinyl and is housed in a gatefold sleeve.

“Is all that we see or seem but a dream within a dream?” This quote from a poem by Edgar Allan Poe sums up the lamenting, primal work that is "All That We See or Seem"; a project conceived between Finland, England and Brazil. The self-titled album consists of two long-form pieces of droning mysticism hailing from the trio of Gruth (concept, production, electronics), Ellen Southern (vocals, field recordings, percussion) and Johanna Puuperä (violin, modular synthesizer, additional vocals).

The album opens straight into a thousand yard stare with “Myrskymielellä", adapted from a 1891 poem by the Finnish national poet, Eino Leino, who wrote it at the tender age of 13. Here a blank distant droning of synths and the sounds of flowing water hover underneath like a dark river observed from the air. This is a sound and feeling that will stay constant for the entirety of the piece´s thirty minute duration. It is a trance-inducing composition that slowly unfolds elements of pagan ancestry into its own life. At first, faint female vocals are introduced as distant spatial elements, which gradually advance into waves of cries and anguish as the piece progresses and moves further into the storm. The tranquility of the first half is slowly morphed into a full blown ceremony as driving ritualistic percussion and a foreboding witch-like presence shifts the piece into a Dead Can Dance-like territory. Here a constant enveloping mixture of violins, modular synths, field recordings and vocal screams creates the feeling of a grande finale. It is an astounding piece of music that develops like a drone symphony for the beginning of time.

With the second piece, “A Dream Within A Dream”, from Edgar Allan Poe´s 1849 poem, you are transported to the shores of an undisclosed island; a place where it´s only you, your thoughts and the endless emptiness. The continual sound of waves is soon brought together with a cloud of synths and mourning violins that will keep a steady dreamlike state during most of the piece´s duration. This time the wordless vocals feel almost angelic in their pageantry. The composition flows like a slow caress of the soul and feels like the spirit twin of Gavin Bryars' “The Sinking of the Titanic” with its lamenting slow movements towards the unknown.

Truly a ghost of a record, “All That We See or Seem” is an experience hard to shake and feels like entering sacred ground. We are in a place surrounded by earth, both ancient and present. "Let loose, Vanha, the rage of an earthly storm! Detach the elements, completely open the sky! In the Earth, let an incessant storm prevail, so that in my chest I would not feel the miserable pain” - Eino Leino

“Oh damn I got fired suddenly, replaced by a hydraulic pump with life long guarantee”.

The undefinable Kaboom Karavan returns to the dusty Belgian roads with a total Fiasko! - or a full blown disaster if you will (seen from a minimalist perspective), although one that might be the antidote to the sterilised and scattered world that increasingly surrounds us. Fiasko! represents a musical chaos that feels both ecstatic, fun, as well as deeply melancholic. Like an overwhelming moment where the world seems to touch you on all senses. This is music for a new underground of black tie workers raising up to the dullness of societal norms by connecting to their inner child. It’s protest music towards the new normal, where the rules are thrown out of the window and unpredictable sense of joy prevails. Shortly said, Fiasko! Is contemporary exotica made by a madman with too much time on his hands.

As usual, Kaboom Karavan releases contains a conglomerate of strange, mostly home made instrumentation, which will be too long to list here. To shorten it down… Bram Bosteels himself, the captain of the ship, plays all kinds of acoustic instruments, guitars, electronics and uses his voice. Additionally we have Bart Maris on trumpet, tuba and trombone. Stefaan Smagghe plays violin and sarangi. Lastly we have Raphael de Cock on such typical instruments as igir, jadagan and uillean pipes. All that remains to be said is: Bring your neighbour, let yourself loose and have some fun. Listen to Fiasko!

The Complete Piano Etudes of Philip Glass available for the first time on vinyl, housed in a 4LP Box set (also available as a 2CD format).



After more than thirty years of working with and performing the great repertoire, the music of Philip Glass has, in a way, almost revolutionized my life as a musician,” confides Vanessa Wagner.

An emblematic artist on the French music scene, winner of a Victoire de la musique award and director of the Chambord and Giverny festivals, Vanessa Wagner is as inspired in her interpretation of Mozart, Debussy, Tchaikovsky and Dusapin as she is alongside Murcof and Rone.

With her innovative and daring approach, she has established herself as a major influence on the classical music landscape, crossing boundaries and blazing inspiring trails.

A tireless pioneer of new repertoires, she has been exploring the repertoire of minimalist composers for several years. For InFiné, she has dedicated 4 albums to the major figures of this movement, John Adams, Meredith Monk, Brian Eno, Ryūichi Sakamoto, as well as to the new generation Caroline Shaw, Bryce Dessner and Nico Muhly.

After giving numerous concerts based on these works, she felt the need to record in their entirety this essential monument in the history of music, which bridges the gap between the 20th and 21st centuries: Philip Glass's 20 Etudes for piano
by Philip Glass.
His approach helps to place these two books in the great repertoire, alongside the great cycles of studies by Ligeti, Debussy, Dusapin, and before them, Chopin and Liszt.

Philip Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Dissatisfied with much of what was then considered modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with sitar virtuoso and composer Ravi Shankar.

The thread linking Philip Glass to Vanessa Wagner may be as simple as a detail: a moment, a pedagogy, a way of looking at the piano. In Words Without Music, Glass recalls his apprenticeship with Nadia Boulanger in Paris - a lesson in rigorous received just as the Nouvelle Vague was about to shatter the conventions of cinema the conventions of cinema, just as the composers of the minimalist movement had done with with the language of music. Nurtured by Ravel and Debussy, the great French pedagogue disciplined yet inquisitive minds, capable of embracing modernity without denying modernity without denying their heritage.

LIMITED ITALIAN IMPORT. 500 ONLY.

Introducing "BLACK WAVES", a cinematic soul journey rooted in social justice, love, and introspection.

From the vibrant streets of Rome, Luca Sapio crafts an evocative musical landscape that echoes the soulful activism of Marvin Gaye’s "What’s Going On", Curtis Mayfield’s "There’s No Place Like America Today", and Eugene Mac Daniels’ "Headless Heroes of the Apocalypse".

Infused with the timeless sounds of Italian vintage soundtracks—Piero Piccioni, Ennio Morricone, and their cinematic grandeur—this album is a powerful blend of social awareness and heartfelt emotion.

Among the guests legitimising the sound of the album are the legendary Dennis Coffey (Original Motown Funk Brother) Rob Harris (Jamiroquai) and the veteran Boston rapper Ed O.G. along with the same strings used by Ennio Morricone.

Record mastered by grammy winner Mike Bozzi

Hailing from Roma, Italy, Luca Sapio is a celebrated singer-songwriter and record producer, known for his soulful contributions to the music industry.

With a career spanning over a decade, in 2012, Luca released his debut solo album, "Who Knows", which achieved notable success on the German and French charts and was recognized as the best independent record by SIAE, Italy's copyright collecting agency.

In 2014, he solidified his partnership with producer Thomas Brenneck and released his sophomore album, "Everyday Is Gonna Be The Day” once more backed with members of the Dap-Kings and the Budos Band.

A hill repeating its own name.

Ben Beinn — mountain mountain — an imagined summit, recursive and unstable.

Poole’s new album Ben Beinn follows 2024’s In a River Shadow, and deepens his exploration of environment, voice, and abstraction. If the previous record moved with flowing water and submerged hymns, Ben Beinn climbs into elemental instability: passing storms, coded skies, and sodden ground.

Across ten tracks, Poole entangles the Celtic New Age sound world — traditional instrumentation (flute, low whistle, bagpipe, piano, strings) — with synthesis, environmental recordings, and abstracted voice. The sound palette is tactile — marked by microtonal harmony, swelling dissonance, and a breathy naïvety. Voices in Gaelic, Norwegian, and English surface and dissolve, stretched beyond recognition — more weather than word.

The album’s title refers to a tautological hill — Ben Beinn, or “mountain mountain” — a recursive site where motifs surface, fracture, and re-emerge. On 365 Days of Rain, rainfall data becomes a rhythmic lattice that slips from metrical order. 1000 opens the record in cinematic emergence: mountain icicles and frozen streams swell into strings and breathy melodic weight. Pulling from the connective folktales of hill and mountain trolls — “Dance for a thousand years,” Poole writes, “for jeg har sovet tidlig så lenge.”

Recorded in Scotland between 2024–2025, Ben Beinn draws from environmental recordings of frozen hill passes, storm drains, and peat bogs using contact mics and hydrophones. Rather than simply reflecting place, these recordings press against it — layering the sonic materiality of landscape with synthesis and song. An inflection point between fabrication — folk music as performed identity, a carrier of story — and its obfuscation through digital networks, where tradition is refracted into plural forms.

Musical reference points include the emotionally saturated textures of Inoyama Land, the folk-electronic hybrids of Eli Storbekken, the hyperrealist collage practices of Noah Creshevsky, and the disquieting sonic simulations of James Ferraro. While Ferraro captures the uncanny surfaces of networked life, Ben Beinn turns inward — toward a located listening, shaped by weather, memory, and terrain.

The second in a triptych that began with In a River Shadow, Ben Beinn continues Poole’s excavation of environmental and folk material through contemporary methods. If the first record submerged itself in flowing water and submerged hymns, this one is shaped by the slow pressures of land and sky — a music of erosion, recurrence, and elemental presence.

Here to dazzle you by the power of the disco ball, Lack of Afro is your friendly neighbourhood ‘Love Dealer’. Two years on from the funk & soul rebirth of ‘Square One’, powered by the ubiquitous ‘Loving Arms’ featuring Greg Blackman, Lack of Afro aka Adam Gibbons is now close to two decades deep in the game with soundtrack credits galore and online streams doing calculator-busting numbers. With extensive touring taking ‘Love Dealer’ up and down the country this Autumn, Gibbons’ ninth studio album is all for "the thrill of seeing people on a dancefloor, all collectively locked into a track that you've produced - there’s nothing like it!”.


‘Love Dealer’ is the authentic modern disco experience, packing a stacked sole’s worth of club beats full of stardusted sing-alongs, style-outs and French touch-style cool. Despite being “written during one of the longest winters in living memory”, ‘Love Dealer’, featuring some co-production from fellow South Coast dancefloor scholar Flevans (and influenced by producer du jour Barry Can’t Swim), exudes warmth and will make you sweat when its highs take effect.


Entering the scene with the radiance of ‘Make It Shine’ featuring Greg Blackman, washing over the airwaves of BBC 6 Music and Radio 2 and taking up a 10-week residency on the Jazz FM playlist, Gibbons and his crack line-up of discotheque players are your go-to team when you can’t wait for the weekend to begin, as subtle as they are straight down to business. ‘Love Dealer’ offers you nothing but the best in sparkling string symphonies, the hippest guitar licks, samples of those invited beyond the velvet rope and struts soaked in night fever.


Double A-side ‘Walls Start Rockin’ and ‘Heart & Soul’ guide the album’s glamour-and-groove, while ‘Love Saves The Day’ and ‘Plain to See’ dramatically take to the podium in a shimmer of pure peak 70s theatre. ‘Keeping Me Strong’ is the synergy of disco chic and the sound of a global advertising tie-in with Dyson, ahead of Gibbons taking a slightly Moroder/Cerrone-ish detour on ‘Idolising People Like Madlib’. “'Love Dealer' is aimed unequivocally at the dancefloor" says Adam. "As an artist, I wanted to push myself in a slightly new direction - more into the land of disco and a four to the floor sound. 'Love Dealer' is quintessentially an upbeat record, full of joy, optimism and hope for the future”. Seek your inner ‘Love Dealer’, kink your ‘fro and let your funk flag fly.
















n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]

First official vinyl showcase from Untamed Sounds Studio featuring Lucadread on vocals. Digi Killer style.

Untamed Sounds Studio was established in 2015 in Northeast Italy as a sound system, hosting regular events for several years. In 2019, the physical system was sold, and the project moved to the UK, shifting its focus to music production. Since then, Untamed Sounds has collaborated with a wide range of sound systems, DJs, and singers, particularly in the dubplate field, providing exclusive tracks to sounds across the globe. Whether it's roots, dub, digital, or year 3000 style, Untamed Sounds continues to staying true to its foundation, rooted in Jamaican music.

Produced and Arranged by Untamed Sounds.
Mixed by Dougie Conscious at Conscious Sounds Studio, UK.
Mastered by Dubfiles.

Yellow Vinyl. Playing it cool like it's 1974 - but sounding like 2025. Prepare to step into a parallel universe of groove-soaked funk and cinematic flair: Seoi Nage will release their debut album No Retreat, No Surrender on October 10th. Named after a classic judo throw and shaped by their shared martial arts background, the four-piece outfit from Münster- Jakob Hersch, Anton Zimmermann, Pascal Schaumburg, and Pogo McCartney - deliver an eleven-track tour-de-force that feels like the soundtrack to a cult film that never existed. Imagine Eastern martial arts cinema colliding with Italian giallo, sleazy car chases, and psychedelic noir-an instrumental crime thriller steeped in color, swagger, and funk. Mixed by McCartney, mastered by Alexander von Hörsten, and wrapped in the cinematic artwork of Benni Demmer, No Retreat, No Surrender is more than just retro-it's retro-futurism with a punch. Think MF Doom's crate-digging spirit meets the analog grit of 1970s detective flicks. This is Fan Art Music at its most vivid.

The Blue Moods of Spain is the 1995 debut album by the band Spain, led by Josh Haden. It features tracks such as Untitled #1, and World of Blue. The band included Evan Hartzell on drums, Merlo Podlewski and Ken Boudakian on guitar. The album was released by Restless Records and marked the beginning of the band’s recording career.

Blues for the Modern Daze is an album by American blues rock musician Walter Trout, focussing more on the "traditional" blues, and taking a more straightforward approach to songwriting. The album reached #1 on the UK Jazz & Blues Chart and #4 on the Billboard Blues Chart.

It was produced by Trout himself together with Grammy-nominated producer Eric Corne. Some of the highlights on this album include the tracks "Saw My Mama Cryin'", "The Sky Is Fallin' Down" and "Pray For Rain"._x000d__x000a_Blues for the Modern Daze is available as a limited edition of 1000 numbered copies of translucent pink & blue marbled vinyl. It is housed in a gatefold sleeve and includes a 4-page booklet with lyrics.
LINKS

★Japanese obi-strip
★First time reissued on vinyl

Turning Into Small, the second album by shoegaze band All Natural Lemon & Lime Flavors from New Jersey, originally released in 1998 on local label Gern Blandsten,
is now being reissued on both CD and vinyl.

Formed in the mid-90s, All Natural Lemon & Lime Flavors were deeply influenced by UK shoegaze and alternative rock—most notably My Bloody Valentine—while
pursuing a uniquely experimental sound within the US emo and indie scenes. Their innovative spirit reached full bloom on Turning Into Small, which remains their
final album to date.

One of the standout tracks is the nearly eight-minute-long “Your Imagination,” a spacious sonic landscape that draws listeners into deep immersion.
It has become a signature song for the band, heralding a new wave of shoegaze that emerged in the late '90s and beyond. Even more noteworthy, however, are
tracks like “Puzzled Into Pieces” and “In Between And After,” which showcase the band's layered, synth-driven electronic textures, dynamic collage-like structures,
and occasionally buoyant melodies. These elements come together to create a strange and otherworldly sense of weightlessness—something rarely found even
within the shoegaze genre.

While resonating with the likes of My Bloody Valentine, Stereolab, and The Flaming Lips, the band's mutant-like blend of styles also draws parallels with acts like
Swirlies, Serena-Maneesh, and contemporary shoegaze innovators such as They Are Gutting a Body of Water.

This is a groundbreaking album in US shoegaze—one that still feels fresh and vital thanks to its timeless experimental spirit and originality. Now is the perfect time
to (re)discover it.

After its original release in 2010, Walter Trout's Common Ground is back on vinyl, for the first time as a 2LP. The critically acclaimed album by the American blues guitarist, singer and songwriter reached #6 on the Billboard Blues chart and made waves in the UK charts as well. The album showcases a collection of powerful, emotionally charged songs including, amongst other, the tracks "Maybe A Fool", "Common Ground", and "Her Other Man"._x000d__x000a_Common Ground is produced by legendary producer and Grammy Award-winner John Porter, who is known for his work with blues icons B.B. King and Buddy Guy. The record features top-tier musicians Kenny Aronoff, James "Hutch" Hutchinson and Jon Cleary, all adding depth and expertise to the dynamic arrangements._x000d__x000a_Common Ground is available as a 15th anniversary edition of 1000 individually numbered copies on green, white & black marbled vinyl and includes an insert with lyrics.

"Prudência / Praga", or "Prudence / Plague", is a double single with these two songs that I composed and which were originally recorded by two of my heroes: Maria Bethânia and Alaíde Costa. Curiously, they are two sambas: although I come from the rock and roll scene in Sao Paulo, I wound up writing a samba as if it were the 50s. At the time of my first heartbreak, at the age of 17, I had the record Jamelao canta Lupicínio with the Orquestra Tabajara on my iPod, and I identified with those dramatic sorrows, almost a hundred years old. In a way, I felt that Lupicínio Rodrigues was bloody and direct, like Tarantino, and Nelson Cavaquinho, heavy metal like Black Sabbath. So, I feel it's a compact 45 of sambas but it's also very Rock n Roll to me. Raw and coming from hell. "Prudência" is that internal battle between the passionate side and the controlling side in the head of the former romantic bohemian. I wrote it for Bethânia to record on her album Noturno. Her version turned into a moving bolero. When I saw her singing it live and the audience singing along with her, I couldn't believe it. I cried, hidden in the audience. She said that when she showed the record to her brother, Caetano Veloso, he thought that "Prudência" was some old classic that she had dug up to bring back to light. Nothing could be a greater compliment than this mistake on Caetano's part. "Praga" also has to do with MPB heroes of mine that I never imagined I'd see up close or have any relationship with or any connection with. I was asked to write these lyrics in partnership with the main man Erasmo Carlos for Alaíde Costa's album! Surreal. Like many people, I got acquainted with Alaíde listening to "Clube da Esquina," her singing with Milton Nascimento. And the idea was to do a poisonous cabaret song samba. The curse of a woman who has dumped a drunk. I love it when Alaíde sings "BIBIDA" in her recording of the song_a total legend. I wanted to produce a kind of horror samba recording, because if it wasn't rock and roll, it wouldn't be much fun for me. I went over to Bielzinho's, and we recorded this chorus that explodes with the percussion and the choir of my friends Tulipa, Maria Beraldo, and Luiza Lian. This take of "Prudência" came from the unpretentiousness of recording two live sessions of the song with Fred Joseph with the cameras of the 70s' program "Ensaio" (MPB Especial) by the great Fernando Faro. The video take ended up being so unexpected and raw that it unseated the studio version, and that's what you hear on the single. The idea behind the video is a sort of this temporal mindfuck; like found lost tapes of the MPB Especial from the early the 70s. Same microphones, same cameras, that zoom_time travel. Between Mil Coisas Invisíveis, the end of the cycle with O Terno, and starting the new album process, I decided to take advantage of the respite to release this rock and roll 45 of sambas, without thinking too much or over-producing the thing. "Prudence? Don't talk to me about prudence!" ;) Tim Bernardes, 2025

Zurück zu den Anfängen. Sharp Pins' Nummer-1-Hit und Wendepunkt in der Jugendrevolution-Propaganda. Ein klarer Aufruf an alle Mods, die noch zu jung waren, um sich in der Quadrophenia Alley die Knie aufzuschürfen: Robinsons Garten auf dem Weg der neuen Welle.

Reggaedancehall icons Skarra Mucci and Manudigital are announcing the release of their joint EP Ragga Blasta, which will be followed by a European tour (France, Germany, Switzerland, Austria...) starting
in September 2025.

Skarra Mucci, the globally renowned Jamaican MC known as the Dancehall President, joins forces with Manudigital, one of Europe’s top digital reggae producers.

The duo will present six tracks oscillating between reggae-dancehall, dub and
hip-hop.

One of the songs will feature a guest appearance by acclaimed singer Queen Omega.

“Electronic / Funk Yacht Rock testament to the carefree teen spirit of the 80s”

In 1985, a young and ambitious Britt Cobble, fresh out of school, ventured to Florida to have his debut solo album Maiden Voyage mastered by none other than reggae legend Touter Harvey, known for his work with Bob Marley. The result is Spinnaker – Maiden Voyage, an Electronic / Funk Yacht Rock album infused with the carefree teen spirit of the 80s.

Anchored by its central motto, “Love the coast, it’s there for you,” the album captures the essence of youthful exploration and the allure of the open sea. With slick production and an undeniable air of nostalgia, Spinnaker invites listeners to escape into a world of sun-soaked coastlines and endless horizons. Britt elevates yacht rock to new heights, serving as both a testament to youthful ambition and a celebration of the era’s smooth, coastal vibes.

Following the lush listening LP outing by KAMM, the EG team is back in fine floorrocking form, this time with both label operatives on the dials as Rodney joins Dave Aju for his debut co-production. And what a debut it is: Highly-potent, raw, swinging house music of the highest order, complete with knocking 909 kicks, thick slapping snares, and a hypnotic melodic call-and-response tonal section that keeps things properly lifted and moving throughout. The vox evoke label boss Aju’s earlier catalog work, and he’s in particularly pointed mode here, spitting fire spoken word lines calling out various questionable corners of the dance music scene and humanity on the whole. A bold light-shining display during notably dark times, defending the once-sacred underground dance space against runaway trends of ego-driven capitalism, online image over actual skill sets, and the beyond low-ball barrier of entry into the arena. But by the time the soulful chorus lines hit and rise us up and onward toward the blissful musical finish, it is clear that this is in fact a unifying floor anthem and that indeed despite our differences amidst disheartening global chaos, at least “We Still Dancin". As always with the seasoned DJ-focussed three-piece Elbow Grease EP offerings, here we have the full A-side OG Vocal Mix cut at a crispy and tight 45rpm, a deliciously stripped and leveled-up EG Dub Mix on the B1, and finally the uplifting B2 Vibe Mix which doubles-down as half ambient instrumental builder and essential acapellacapella

Wrong Filament embodies Robert Piotrowicz's creation of fictional traditional music - not studied but invented, a utopian and oniric construct that becomes tangible in sound. These imagined traditions act as communal forces of music-making, resisting dominant structures of power.

The album unfolds in six dense compositions built on rhythm, repetition and minimal melodic gestures that draw on archetypal patterns of Eastern European traditions. Entirely synthetic yet strikingly instrumental in character, they develop as autonomous sound events, expanding into multi-part forms that evoke the physicality of ensemble performance - as if played by an imagined community of musicians.

Rather than reconstruction, Piotrowicz invents forged dances - a pre-techno of sorts, where complex meters and dense textures point to a parallel history of collective sound beyond industrial uniformity. They imagine a utopian and fictional genealogy of collective sound: one where industrial modernity yields to more unstable, communal energies.

This is celebratory music with invocatory charge: calls to dance, echoes of ceremony, microtonal melodies shaped by emotional weight, and traces of Eastern ornamentation stretched through synthetic means. Wrong Filament sacralises performance through sound alone, spinning a world where spectres of collective experience vibrate against the limits of rupture and resistance.

These pieces confront the traces of violence inscribed in body and memory, yet also affirm freedom, emancipation and integration. They manifest celebration, identity and resistance while opening a path toward liberation and shared needs that exceed social, private and intimate categories.

A mythical tune for all serious digital reggae collectors, finally reissued. The obscure Junior Khadaffy (various spellings!) released only a handful of tunes in the mid-late '80s, but all are fantastic. This one was cut for E&F Studios in the Bronx, ran by the late artist I-Plee. Stereo Fletcher happens to be family to I-Plee, producing several records by the artist for his own labels. But the works went both ways, and Stereo produced this one for release on E&F's in-house label. Slick but killer digital reggae, this one has always reminded us of the production style of Little Kirk's "Weed Them Out", a fantastic arrangement, great vocals and a complex head-nodding rhythm. The original press is extremely rare and the tune is simply too good to remain that way, so here it is, top top top shelf '80s digital, now available for all.

Critics and authors have described Revolution Dub as one of Perry's most important and exemplary albums.
Limited edition of 1000 individually numbered copies on orange coloured vinyl
Revolution Dub is a studio album by Jamaican's legendary dub producer Lee Perry and his studio band the Upsetters, and was originally released in 1975 .

Critics have described Revolution Dub as one of Perry's most important and exemplary albums, although some consider
it one of his more overlooked productions. The use of sampled television dialogue has been highlighted by several writers as innovative
for predating the sampler and for its unusual context, while the album was later influential on artists including Stevie Wonder and Holger Czukay.
Revolution Dub is now available as a numbered limited edition of 1000 copies on orange coloured vinyl.

An extremely rare Northern Soul 45 RPM single originally released in 1965 on the Holly label, Billy Arnell And The Sparkles "Tough Girl" was the product of two childhood friends that lived less than a block apart in suburban Fairlawn, New Jersey in the early 1960s - Billy Smith and Lou Hemsey.

Billy played guitar and sang; Lou played guitar and wrote songs, so they decided to form a band. They added friends Eddie Hoffman on organ and Jack Gullone on drums and began playing lots of gigs locally as Little Willie & The Sparkles. They were young, ambitious, and imagined themselves as the next Beatles. By a stroke of fate, they met Joe Martin of Apex-Martin Distributors in Newark, NJ, who caught the band's live show and was duly impressed. That meeting led to the recording session for the "Tough Girl" single. When they recorded the first version of the song, the producer wasn't happy, nor was Joe Martin - so he fired that producer and brought in the young, up and coming producer, George Kerr. Kerr didn't care much for the band, so they redid the entire thing without Hoffman and Guilone - with just Billy singing and Lou playing guitar.

The pair of old friends were buoyed by session aces Eric Gale on guitar, Bernard Purdie on drums, Bobbie Banks on organ, as well as a bass player whose name has been lost to time. In addition to those changes, they used the studio horn section that Hemsey arranged for, plus two trumpets, two saxes and two vibes players. The resulting single was an infectious amalgamation of rock and soul. Billy changed his surname to Arnell for the 45 release (because he thought it sounded more "show-biz") and the rest is pop history. Arnell later started a record company (Fire Sign Records) and purchased a recording studio (112 Greene Street Recording) in the trendy SoHo section of Manhattan with Steve Loeb.

As for the rest of The Sparkles, Hoffman became a teacher somewhere on Long Island, Guilone graduated from the Culinary Institute of America in Massachusetts and ended up living in Northern New Jersey. Hemsey became a well-known recording engineer, composer (Lou was the one who wrote "Tough Girl"), guitarist, arranger, orchestrator, editor, film director and producer for records and commercials.

Produced by longtime collaborator Simon Dine, MKII captures a band reinvigorated, delivering their most confident and dynamic work to date. Sullivan"s sharp, incisive lyrics drivethe album"s freshsound and renewed energy. Frontman and founder Billy Sullivan sets the scene for the album by saying: "It sounds refreshed and confident, ballsy but doesn"t mind showing a softer side and being reflective too. For me it"s not a continuation of The Spitfires back catalogue, it"s very much the start of a new chapter. I"m incredibly proud, after all these years, to be talking about a new body of work which excitesme and inspires me more than ever." From the high-octane political pop of "The Great Divide!" to the moody intensity of "I"ll Never" and the reflective, Parisian- tinged "Grateful", MKII is a bold statement: The Spitfires are back-and stronger than ever.

Produced by longtime collaborator Simon Dine, MKII captures a band reinvigorated, delivering their most confident and dynamic work to date. Sullivan"s sharp, incisive lyrics drivethe album"s freshsound and renewed energy. Frontman and founder Billy Sullivan sets the scene for the album by saying: "It sounds refreshed and confident, ballsy but doesn"t mind showing a softer side and being reflective too. For me it"s not a continuation of The Spitfires back catalogue, it"s very much the start of a new chapter. I"m incredibly proud, after all these years, to be talking about a new body of work which excitesme and inspires me more than ever." From the high-octane political pop of "The Great Divide!" to the moody intensity of "I"ll Never" and the reflective, Parisian- tinged "Grateful", MKII is a bold statement: The Spitfires are back-and stronger than ever.

This is the first collaboration between singer-songwriter Leola, who has released numerous ocean-themed works and is considered a bridge between Japan's
surf music scene and J-pop, and GIRA MUNDO, a Brazilian-based artist who has worked with Kimaguren, Aimyon, Ketsumeishi, and other J-pop artists.

The lyrics are by Leola, a love song set against the backdrop of a sunset beach, depicting feelings for a lover. Leola's vocals, which are both sad and pure,
evoke the gentleness of the setting sun reflected on the water's surface. GIRA MUNDO's sound production features a city pop-inspired beat, 90s-inspired rhythms,
and an excellent arrangement with beautiful piano and acoustic guitar sounds that add a natural feel. Be sure to listen to this as the perfect soundtrack for a
late-summer sunset.

This single is from "SALT... meets ISLAND CAFE -Sea of ​​Love 3-," a surf music compilation curated by "SALT...," a magazine that proposes new values ​​in
beach lifestyle and surf culture.

Building their own bizarre universe out of Portland, Oregon, The Macks announce their new album "Bonanza" (DevilDuck Records). The news of the album rolls out in the form of two new singles and videos: "Dually of Man" and "The Modern Grape". Described by the band as "a collection of miscellaneous rock that could only have been crafted by this dedicated and bull-headedly sincere troupe of desperate artists," The Macks are coming unglued but are fully in their pocket. Founded in 2015 in Portland, Oregon, The Macks are brothers Josef (drums) and Ben Windheim (guitar), Sam Fulwiler (vocals), Jacob Michael Perris (keys) and Aidan Harrison (bass).

At the end of 2024, Elder looked back on an unusual period in their now near 20-year career. A few years ago, the band had dropped their most progressive record yet, 2022"s highly acclaimed Innate Passage, followed by the usual heavy touring schedule (including a 24-show arena tour supporting Tool). The band had then taken a year long sabbatical to recharge their creative batteries, which instead of rest culminated in the release of multiple albums by side-projects. Convening in winter of that year for a 2 week songwriting session at Big Snuff Studio in Berlin, the band set a goal of knocking off the rust and putting together some ideas for the next record. While combing through an archive of old sketches, they hit upon an outline of a song from somewhere between 2020"s Omens and its successor Innate Passage, abandoned then for reasons now inscrutable. Picking up the pieces with fresh ears, Elder fleshed out a new version of the track, which is firmly rooted between those two albums but with an identity of its own. Building on the song"s ending, a swirling tower of synthesizers, chugging guitars and almost tribal drumming was constructed in the course of lengthy in-studio jams. Liminality/Dream State Return can be seen as a bridge between eras in Elder"s creative universe; one foot is planted in the highly melodic and sometimes alternative/grunge tinged riffing of Omens, the other in Innate Passage"s dreamy prog soundscapes, and its head in the clouds looking toward Elder"s upcoming LP 7. The vinyl version comes as a one-sided, 180 gr. translucent LP with etching on the B side (including download).

Originally released in 1992 via Tesco, »Cancer« was recorded one year earlier by Thymme Jones, Dan Burke, Mark Klein, Mitch Enderle, Chris Block, and Jim O'Rourke.

This one was mostly a group effort focused on a dark ambient atmospheric environment and experimental minimalism that crawls under your skin. Mark & Thymme’s heavy synth is omnipresent, Mitch & Chris scraping every piece of scrap metal they could find, Jim’s extended piano & tabletop guitar is apparent, the abstract sampling techniques of founding member Daniel Burke appear throughout, & the beautiful solo minimalist piano composition of Thymme’s closes the LP. Soundtrack like in its scope the album is another in the ongoing concept of music without a film providing a dark soundtrack to the nightmares or realities we wish we could forget. The 2025 edit & remaster removes the excess and hones the meat down to 7 essential tracks that show the projects oeuvre at that point in their lengthy history sounding clear & fresh with the newly mastered version by Andrew Weathers.

Walk into Light“, gemeinsam geschrieben und aufgenommen mit Keyboarder Peter-John Vettese (ebenfalls ein Jethro-Tull-Kollaborateur), orientierte sich stärker am aufkommenden Synthie-Pop-Stil der 80er Jahre. Introspektiver und persönlicher im Ton, spiegelten Stücke wie „Fly by Night“ und „Made in England“ Andersons wachsende Faszination für das moderne Leben, Technologie und Isolation wider.

Die elektronischen Texturen des Albums beeinflussten Tulls nächste Veröffentlichung „Under Wraps“ (1984) – das synthielastigste und polarisierendste Werk der Band. Rückblickend diente „Walk into Light“ als kreatives Testfeld und bereitete den Weg für ein neues Kapitel in Andersons Solokarriere und Jethro Tulls sich entwickelndem Sound.

Diese Single-Sleeve-LP-Edition von „Walk into Light“ auf schwarzem Vinyl enthält Audiomaterial, das von John Webber in den Londoner AIR Studios mit halber Geschwindigkeit neu gemastert wurde.