quête:cafe

Actress delivered his mix for RA in June and it wassuprisingly all new and exclusive Actress music. Whenasked if this was a new album, Actress aka Darren S.Cunningham simply answered that "it's a collage -Braque". Whatever you call this, a mix, a mixtape, acollage/braque, a new album , what it is, is anotherActress statement. Actress grows music. Completelyunconcerned with what it is, with what format it is orwhat it's defined as.

Welcome to Pfefferkorn: a countryside studio hidden inside a former 1950s café. The stylish interior stayed, the cake display is gone, but the mountain panorama is still very much in place. Out of this unlikely combination came Obsolescence, Feater's new album and a record that wasn't supposed to happen, but insisted on doing so anyway.

Originally, Pfefferkorn hosted a merry-go-round of guests and genres: jazz, kraut, pop, experiments, even the occasional field recording. Among the many, Mara Oldofredi aka Mietze Conte became the most frequent and inspiring visitor. Their sessions set sparks, and one of them, "Trio," landed directly on the album.
The method? Call it instant archaeology: live jams on two-track tape, then pushed through edits, resampling, Fairlight IIX sorcery, and endless tape-laptop relays. Quick, raw, and without too much overthinking, more sketch than sculpture, more instinct than intent.
The result is Obsolescence, a record born out of detours, made for personal delight, and proof that side products can be main courses if you let them.

Auf ihrem zweiten Album begibt sich die singapurische Dreampop-Band BLUSH auf die Mission, makellosen Pop zu kreieren, der die bittersüßen Momente des Lebens erkundet. Mit komplex komponierten Stücken, die zwischen Traumlandschaften und unberechenbaren Klängen schweben, verwandelt das Quartett Herzschmerz in etwas trügerisch Befriedigendes. Dieses neue Album ist das erste der Band seit ihrem Debüt ,Supercrush" aus dem Jahr 2023 und präsentiert eine verjüngte BLUSH-Besetzung, wobei die Stammmitglieder Soffi Peters (Gesang) und Daniel Pei (Bass) Darell Laser an der Gitarre mit ins Boot holen. Der langjährige vertraute Kollaborateur Jared Lim kehrt als Produzent und Gitarrist zurück.

Born from a chance encounter in a Villejuif squat over a decade ago, Ciccio & 2mo have cultivated a singular musical language through spontaneous and genre-defying collaborations — notably around cult French band Cheveu.
The duo brings together two key figures from the fringes of the European underground: Olivier Demeaux (aka 2mo), a pioneer of France’s electronic avant-garde, leading projects like Heimat and Accident du Travail (Teenage Menopause, Bruit Direct), known for his explorations across lo-fi synthwave, spectral post-punk, and drone-infused textures; and Francesco Pastacaldi (Ciccio), a jazz-punk drummer and member of the explosive trio Jean-Louis and the angular groove unit Abacaxi (Carton Records), also a longtime collaborator of the maverick performer Fantazio.
Their debut album 24 96 (The Trilogy Tapes, 2021), born from a series of abrasive studio improvisations, was followed by a sold-out show at London’s Café OTO. That performance, released as Maremoto, captured the duo’s raw, physical energy in its purest form.
Since then, Ciccio & 2mo have brought their visceral live act to stages across Europe — from Sonic Protest in France to the Meakusma Festival in Belgium, where their live set was released as Live at Meakusma Festival 2024.
Now, the duo returns with Bouc & Rouages, a bold and hallucinatory second album commissioned by Hublotone. This new opus introduces three singular voices into the mix: operatic singers Léa Trommenschlager and Bianca Iannuzzi, and genre- blurring rapper Pauline Sampler (aka Frizzy P, known for her work with M. Cole). The result is a soundscape in constant tension — pulsing drum machines, organic percussion, saturated synth layers, and hypnotic, looping riffs.
Equal parts physical and disenchanted, the music of Ciccio & 2mo traces a thrilling, unstable path through noise psychedelia, industrial memory, and experimental pop.
Imagine Cosey Fanni Tutti rubbing up against pop, with Charles Hayward (This Heat) on drums — and you’re getting close.

WRWTFWW Records is extremely happy to present the official reissue of Safari's self-titled album from 1984. The Japanese jazz-fusion super gem is available now as a limited-edition transparent vinyl LP housed in a heavyweight sleeve with obi.

Originally released on fabled label VAP, Safari is a one-of-a-kind city pop-adjacent summer blend of AOR, smooth jazz, and sun-drenched boogie. The sole album from the all-star outfit was the brainchild of keyboardist Toshiyuki Daitoku and Japan-based Californian jazz-funk-latin-fusion bassist Gregg Lee. Together with a large team of experienced musicians, they created a lush, immaculately-arranged 8-track cruise filled with poolside grooves, breezy rhythms, and feel-good vocal harmonies.

Safari features the well-known title track which acted as the theme song for an 80s sports program on Fuji Television, the night-swim chill music tune "All Right in The Night", and the fan-favorite buoyant vacation hit "The Morning After".

The official reissue is fully licensed and sourced from the original masters, with an audiophile cut by Sidney Meyer at Emil Berliner Studios, ensuring the warm, pristine sound this lost treasure deserves.

Safari is the second release from WRWTFWW's City Pop Series, following Momoko Kikuchi's beach classic Ocean Side, also available on transparent vinyl LP. The series, complete with a visual identity designed by Lopetz/Büro Destruct, also comes with a limited merch capsule, and more sun-soaked gems lined up for the future.

First time reissue of this French cold-wave / minimal-synth treasure.



November 1981 – In the heart of autumn, we set off in two cars along the Nationale 1 (!) to reach Choisy-le-Roi, where a 16-track studio was waiting for us—a place where, over the course of a weekend, we would finally be able to carve our own grooves into vinyl. We were quite nervous, as Guerre Froide had already been around for a year and a half. Our elders in Kas Product had already released two EPs—one with four tracks, the other with three—in 1980, even though they’d started only a few months before us. Admittedly, there wasn’t really a sense of urgency—some of us came from the punk movement, where the prevailing mood was still very much No Future, even if we’d long since stopped believing in it... And yet others had truly lost everything, like those from the generation before us. The reasons, ironically, were often the same: heroin and/or love—hard drugs, in both cases.

Speaking of which, I had a terrible stomach ache—due to nerves or some form of tension—which forced us to make a pit stop in the Oise region so I could rush to the toilet of a local café. That same stomach discomfort would hit me again once we arrived at the studio—whose name, incidentally, I’ve since forgotten...

We had gotten there thanks to the generous initiative of a friend, Sylvain S., known as “Perlin” (what a phonetic coincidence!?), who had specifically created the Stechak Products label to produce our record. Stechak because it was consistent with his earlier association called Tchernoziom, and Products as a plural tribute to the trailblazers from Nancy.

Guerre Froide originally consisted of four members: Fabrice Fruchart on guitar-synth (Korg MS-20), Patrick Mallet on bass, and Gilbert Deffais, known as “Bébert”, on Korg drum machine. At the time, I was already singing in a rock/post-punk band called Stress, and that’s how Guerre Froide picked up the bad habit of rehearsing in the same basement in Amiens as Stress. Within a month or two, we had half a dozen songs. We then had the opportunity to record a 4-track demo with a friend from Radio France Picardie, and to perform in October at a festival held at the Amiens municipal circus. Then came the now-legendary concert on November 11 at B.J.’s Club. After that, we self-produced and released 50 completely DIY copies of a cassette titled Cicatrice. A few concerts later—after Jean-Michel Bailleux had joined us on bass and Patrick had switched to guitar, which felt more natural to him—and with more concrete plans starting to take shape, we had to find a new rehearsal space and start renting a room.

Then came the moment when Fabrice told us he was leaving to go study in Lille... After the June 19, 1981 concert, which was naturally dubbed “Farewell to 2F,” Marie-José, Bébert’s wife, offered to take over on synth.

That’s when Perlin, who was a close friend of the Deffais couple and a great fan of our music, offered to fully finance the production of a 4-track 12-inch EP—covering the studio time, mastering, pressing, and artwork. What up-and-coming band would have turned that down? An improvised contract was signed with each member of Guerre Froide. The first step was choosing which four songs we would record. Berlin 81 was an obvious pick, having already become the group’s flagship track. We wanted to avoid reusing songs from Cicatrice, so the focus shifted to new material—some written before, some after Fabrice’s departure. Ersatz, for example, was his composition, but Mauve and Peine Perdue, which were also selected, were both written by Patrick.

We celebrate our 10th anniversary with the 3rd and brand new deluxe version of the 'Family Matters' series. No anniversary release would be complete without a signature track from Innershades. He has been a cornerstone of the label since day one. Betonkust embodies our Dutch-Belgian connection in many ways and with Breezeway Cafe he delivers yet another melodic gem. Brussels Based dj and producer DC Salas is the new kid on the 9300 block. He delivers a New Beat infused banger that nails our labels distinctive sound: raw, melodic, and steeped in what Legowelt once called 'Flemish greyness'. To top it all off, there's a timeless piano-driven masterpiece by After Club, a heartfelt tribute to the legendary Belgian nightclub Carat. Limited to 300 copies!

We are excited to announce the return of the iconic Totally Wired series with a brand new collection on LP and CD. The first 50 orders will include a special art print of the artwork. We are also doing a limited edition T-shirt to celebrate this milestone!

In 1988 Acid Jazz released its first compilation album ‘Totally Wired: A Collection From Acid Jazz Records’. Compiled by Eddie Piller and Gilles Peterson it collated 11 tracks that summed up the early days of our scene, mixing new label signings, cool new records being played in our clubs and a couple of oldies. It sold well to the then small scene and set the template for a series, that in the wake of the international success of The Brand New Heavies, Jamiroquai, The James Taylor Quartet and others exploded. By the time that Volume 5 appeared, we were selling tens of thousands of copies, with major label artists vying for inclusion.

By that point ‘Totally Wired’ was a phenomenon, that sign-posted changes in both the directions of new music, but of the oldies that were played on the scene. It gave DJs new tunes to play and soundtracked 1000s of Cafés and bars the world over in the age of the CD. It was largely retired at the end of the 90s and as times changed.

Over the years we have been asked to return to the scene of the crime, but it has never quite felt right, until now. With vinyl back, and the need for easy to digest compilations becoming neccessary in the chaos of streaming’s ‘I can listen to anything I want, but can’t think what that might be’ is evident, but also we are feeling excited about where Acid Jazz is right now. New artists on the label are making great records, Matt Berry has a Top thirty album, and The Brand New Heavies are headlining the Royal Albert Hall. It’s easy to make an exciting album when that is happening.

So we are releasing “Totally Wired: A New Collection From Acid Jazz” and treating it like the important milestone that it is. From the Acid Jazz sid we have new and exclusive recordings by Matt Berry, Chris Bangs and new signings Earth-o-Naut and Quiet Fire, there is also a recent white label only 45 cut by the Soul Revivers – released ahead of their new album due this Autumn and featuring Kokoroko’s Shiela Maurice-Grey and Anoushka Nanguy. For the oldies we have dug deep into our own archives to bring you the Acid Jazz Orchestra’s version of Corduroy’s ‘Something In My Eye’ and The Brand New Heavies astounding funk take of Aretha Franklin’s ‘Rock Steady’. These are all joined by recent scene records by Carmy Love – one of the greatest voices in the UK – The Romero Brothers, and BDQ, carrying the series onwards at last.

In South London members Alan Lancaster (bass) and Francis Rossi (guitar) were the original members and founders of Status Quo. _x000d__x000a_Formerly known as The Spectres and later renamed to Traffic or Traffic Jam they settled for Status Quo as their band name in 1967. _x000d__x000a_The following years they were joined by John Coghlan (drums), Roy Lynes (keyboard) and Rick Parfitt (guitar)._x000d__x000a_Status Quo’s first hit record "Pictures of Matchstick Men" was released in 1968 .The single reached #7 in the UK, and remains the band's only major hit single in the US, where it reached #12. Their debut Picturesque Matchstickable Messages from the Status Quo soon followed. It features several covers, including "Green Tambourine" by The Lemon Pipers and "Spicks and Specks” by The Bee Gees. _x000d__x000a_Another highlight from the album is their second single, "Ice in the Sun." Even if this is not the most representative album from Status Quo, it is a good psychedelic pop exercise ._x000d__x000a__x000d__x000a_Picturesque Matchstickable Messages from the Status Quo is now available as a numbered limited edition of 1000 copies on turquoise coloured vinyl_x0009_

Black Vinyl LP with insert (including the story behind the album and lyrics with English translation)

After their first LP, in 1987, Pedro gathered his usual band, Carlos Sousa on keyboard, Bulimundo on drums, Nuno Santos and Zézé on lead and rhythm guitars, Augusto Rasta on bass, Daló on sax and finally Dalú on percussions, for yet another project, one that carried both their names: Jacinta Sanches - Pedro Ramos. Eight days, no more, that’s all Pedro Ramos and Jacinta Sanches needed inside the Estúdios Musicorde. The process was natural, as with all their music, memories recollected and arranged by Pedro on café napkins, rehearsed and perfected at home with Jacinta. Together they imagined music where Cape Verdean saudade could dance together with Kingston’s skank, two island hearts beating inside European concrete.

His name is Pedro Correia Ramos Varela, born in Praia, Santiago, Cabo Verde on April 6th 1954; her name is Jacinta Lopes Veiga Varela, born in Cidade Velha, Santiago, Cabo Verde on January 22nd 1959. The two met in Praia, where a few exchanged words turned into long evening conversations; conversations into friendship; friendship into love; and love into six wonderful children. After the independence of Cabo Verde, they got married in 1978 and moved to Portugal, where Pedro started working as a welder for Lisnave and playing the guitar in a band in Ramada. Trading shipyard sparks by day for the after-hours pulse of Cova da Moura, his love for music proved harder than steel. And in 1982, after seeing Bob Marley and Peter Tosh in Rotterdam, he opened his own Dancing Bar just below their house, a pioneering space for the promotion of reggae music in Portugal.

Their Dancing Bar kept its doors open from 1982 to 1994, seeing the release of two albums and more singles. To this day, Pedro and Jacinta are still making music, one the inspiration of the other. They define themselves as simple people, living happy without prejudice, friends with the world.

Linda Smith and The Smashing Times are the best of friends. They are both currently based in Baltimore, USA. This split 7” EP celebrates that friendship with two new tracks by each act; united by DIY spirit, a bedroom-pop sensibility and now a puddle of black vinyl.

Songwriter Linda Smith has a gentle but unconventional experimental style that continues to evolve as she adds new entries to her storied catalogue. Smith’s pioneering work with four-track production in the '80s found her at the beginning of a home-recording movement that would set the pace for the decades of indie rock that followed. During this most active period, Smith's music was limited mostly to obscure cassette and 7" releases. This trailblazing time was recently revisited on Captured Tracks’ compilation ‘Till Another Time: 1988-1996’. Shortly after Smith’s retrospective, she teamed up with like-mind and collaborator Nancy Andrews to release an album of beguiling pop entitled ‘A Passing Cloud’ (2023). The duo performed songs from that record at Upset The Rhythm’s 20th anniversary party at Café OTO that same year. 2024 saw further reissues of Smith’s music including Nothing Else Matters (1995) and I So Liked Spring (1996).

The Smashing Times are a premier East Coast Pop Experimental Group. They have also gleefully performed in London for Upset The Rhythm twice in quick succession. Known for their dogtooth style, waggish mod attitude and tumbledown sound, The Smashing Times have holes in their socks and sit idly between The Kinks and Tori Kudo. Their previous albums on K Records, Perennial and Meritorio are a cherished commodity steeped in Paisley psyche and slapdash panache.

Eines wollen die Forth Wanderers vor der Veröffentlichung ihres dritten Albums "The Longer This Goes On" klarstellen: "Wir sind nicht zurück", sagt Gitarrist Ben Guterl mit Nachdruck. Das ist vielleicht eine unerwartete Aussage für das erste Album der Band seit ihrer Trennung vor sieben Jahren, aber die Band besteht darauf, dass es eine ehrliche Antwort ist - sie haben sich zusammengefunden, um die zehn kompliziert konstruierten Perlen aufzunehmen, die dieses neue Album ausmachen, und sie sind immer noch dabei herauszufinden, was es für sie bedeutet, in Forth Wanderers zu sein. Wenn man sich diese Songs anhört, von denen jeder einzelne ein glitzerndes Fest der eindringlichen und intuitiven Texte von Sängerin Ava Trilling und der natürlichen musikalischen Chemie der Band ist, hat man allerdings kaum das Gefühl, dass irgendetwas ungesagt bleibt. Das Album ist voller glänzender Melodien, klingender Gesangsharmonien und schlüpfriger, schräger Rhythmen und ist mehr als nur eine Rückkehr zur alten Form. Die Band scheut sich nicht, den Umweg über eine Hook zu gehen, indem sie instrumentale Schnörkel übereinander legt, um die leeren Stellen zu füllen, Raum für Trillings eindringliche Stimme zu schaffen oder ein Riff oder einen Text zu wiederholen, bis er zu einem Zen-Koan wird. Auf "The Longer This Goes On" klingen Forth Wanderers selbstbewusster und selbstsicherer als je zuvor. Man sollte es nur nicht als Comeback bezeichnen. Der Weg zu "The Longer This Goes On" begann im Sommer 2021 in einem Café in Brooklyn. Dort trafen sich Guterl und Trilling zum ersten Mal seit der Auflösung der Forth Wanderers im Jahr 2018. Die drei Jahre, die sie voneinander getrennt waren, hatten den Druck, den die Band während der Tourneen mit ihrer früheren Musik verspürte, teilweise abgebaut: "Wir fühlten uns alle frei, herumzualbern und Spaß zu haben", sagt Guterl. Die Wiedervereinigung mit dem Bassisten Noah Schifrin, dem Gitarristen Duke Greene und dem Schlagzeuger Zach Lorelli führte dazu, dass sich das Spielen so gut anfühlte, wie seit der Gründung der Band nicht mehr. "Es fühlte sich an, als wären wir wieder in der High School". Die Band hat die Art und Weise, wie sie bisher gearbeitet hat, neu definiert. "Dies ist das erste Mal, dass ein Großteil der Musik organisch entstanden ist", erklärt Schifrin. "Alle fünf von uns haben wirklich auf eine Art und Weise zum Schreibprozess beigetragen, wie wir es in der Vergangenheit nicht getan haben", fügte Guterl hinzu. Das daraus resultierende Album, das unter dem wachsamen Auge von Dan Howard produziert wurde, zeigt die Band so präsent und unbelastet, wie sie ihren Sound zum ersten Mal in Echtzeit geschaffen hat. Die Texte sind vollgepackt mit Bekenntnissen, die so breit gefächert sind, dass sich jeder, der sich in den Wirren einer unsicheren romantischen Vorhölle verirrt hat, verstanden fühlt, und doch so präzise geschrieben, dass sie eindeutig aus eigener Erfahrung stammen müssen. Das ist genau das, was Forth Wanderers sowohl so universell nachvollziehbar als auch so speziell macht. Auf "The Longer This Goes On" haben sie diese Fähigkeit, mit minimalistischen Texten und üppiger Instrumentierung an den starken Fäden der romantischen Langeweile zu ziehen, noch vertieft. Forth Wanderers sind sich nicht sicher, was als Nächstes kommt - sie wissen nicht, ob sie weiterhin neue Musik aufnehmen werden oder ob sie diese Songs jemals live aufführen werden. Diese Aufnahmen sind also zehn flüchtige, aber unschätzbare Eindrücke aus der Zeit, die sie als Band verbracht haben; das Wiederaufleben von Freundschaften zwischen Highschool-Kumpels, deren Träume sie ins Rampenlicht katapultiert haben, bevor sie alt genug waren, um Auto zu fahren; Songs, die die Ungewissheit der Zukunft ebenso einfangen wie ihre Musik ihr eigenes Selbstvertrauen in der Gegenwart zementiert. Auf "The Longer This Goes On" machen die Forth Wanderers Musik zu ihren eigenen Bedingungen.

Hot summer rain hits the cracked pavement in uneven rhythms. A neon sign flickers above a café that never seems to close, its warm white light reflected in the wet ground like a fever dream. The air smells of summer and the world hums with an easy tone, as if the city itself is holding its breath. A light flooded film noir-ish scene, that needs a soundtrack like "POOL JAMS", the new album of INIT, the Berlin based duo, that already caused quite a stir with their albums for Hivern Discs and Optimo Music. This time, they bring their latest creations out on R.i.O. - a label, with whom they are deeply associated. Their fourth longplayer is a playful one. One that brings trip hopping feelings. That has r'n'b grace, without catering regular trademarks of the genre. Dub, trance, drone, is all there too. Yet, nothing is present in pure definition. Rather suggested, interwoven, or newly twisted in a songwriting style, that haunts and seduces. On top the voice of Nadia D'Alò dances, steps and hums tempting to the grooves she created with her partner in crime Benedikt Frey. Together they fashioned a record, that, as INIT puts it, is "some kind of old photo from an old dry empty pool that got faded by sunlight ". A dreamy, sunny piece of song art, made for endless smoky LA freeway drives, and other adventures that seek for infinite riddance. You can dream it. You can trance it. You can't escape it, as soon as it rotates in your dream device for sound and vision.

Discover the Sound of IBIZA with our new vinyl collection ! One double vinyl focussing on Techno with gems from Laurent Garnier, Stve Bug, Chrstopher Just... One double vinyl dedicated to House Music with perls from Ultra Naté, Kings of Tomorrow, Bob Sinclar...

J Mahon lässt sich von Künstlern wie Sparklehorse und Daniel Johnston inspirieren und erschafft eine erbauliche und zugängliche "Chamber-Pop"-Klanglandschaft, die an Bands wie Spiritualized und Sigur Ros erinnert, während seine gefühlvolle Stimme und seine Lyrik an andere Koryphäen wie Jeff Buckley, Townes Van Zandt und Joanna Newsome erinnern.
2023 machte sich J Mahon daran, ein Album zu kreieren, das sich wie ein "echtes" Album anfühlt. Ein Album, das Erinnerungen an die Stunden weckt, die man als Teenager mit Kopfhörern im Bett verbracht hat, während man an die Decke starrte und sich Gedanken über die Zukunft machte.
"Begin Again, Again" wird begleitet von Callum Brown (Ulrika Spacek) am Schlagzeug, Victoria RH am Gesang, Geige und Bratsche von Clementine Brown (The Penguin Cafe), wobei alle anderen Instrumente und Streicherarrangements von Jarrod geschrieben und gespielt wurden. Co-produziert und gemischt mit Syd Kemp und gemastert von Jason Mitchell (PJ Harvey, XTC, Aldous Harding).

After the explosive Comme à la radio, infused with the free jazz energy of the Art Ensemble of Chicago, Brigitte Fontaine and Areski Belkacem released six albums together or separately between 1972 and 1977. Their music, often stripped down to voice, guitar, and percussion-or performed a cappella-stood in stark contrast to the orchestrated French pop of the time. This minimalist and spontaneous approach highlighted the poetic power of the lyrics and the intimacy of the melodies, earning them recognition in the counterculture and underground scenes. By the end of the 1970s, Fontaine sought to make her work more visible without losing its originality. The Baraka album marked this transitional moment, initially recorded in a home studio without external musicians. Its title (meaning "blessing" in Arabic) hinted at a desire for success. Mixing introspection, absurd humor, and bold stylistic choices, the album was technically ambitious, featuring stereo duets and layered vocals, and lyrically rich, tackling everything from metaphysical themes to playful nonsense. However, the project ultimately veered off course. After moving the recordings to the massive Studio Davout and bringing in producer and guitarist Martial "Mimi" Lorenzini, the album lost its original intimacy. Overproduced arrangements clashed with the simplicity of Fontaine and Belkacem's initial intent, resulting in an album-renamed Les églantines sont peut-être formidables-that the artists later disowned, refusing to allow its commercial release. Recently rediscovered demo tapes, stripped of their bombastic layers, reveal the raw, emotional core of the songs-showcasing the duo's voices with a rare authenticity. These recordings bridge a missing link in their discography, between their experimental lo-fi years and their later, more accessible work. Decades on, Fontaine and Belkacem remain defiant originals, never settling into a formula, always evolving, and continuing to shake the foundations of French chanson.

[o] B8 Back In The Highlife; Producer, Engineer – Paul Q. Kolderie, Sean Slade; Written-By [Uncredited] – Steve Winwood, Will Jennings

A l’occasion des 20 ans de cet album devenu culte, Record Makers réédite une version spéciale anniversaire limitée (vinyles transparents – 500 exemplaires) qui ravivera la flamme des fans de la première heure, des nouveaux fans et des collectionneurs. "Vive la Vie" est aujourd’hui un album référent pour les amateurs de rap, reconnu par ses pairs lyricistes, c’est un de ses albums qui marquent à jamais une époque, celle des années 2000 et de son rap aux rimes fines et puissantes.



Le 15 novembre 2004 sortait "Vive la Vie" le premier album du Klub des Loosers.



On ne présente plus le Klub des Loosers et son unique membre Fuzati. Pourquoi ? parce qu'on en a un peu honte quand même. Imaginez un jeune versaillais que tout prédestinait à devenir écrivain maudit ou chanteur d'un groupe de pop répétant dans le garage parental le dimanche de 16h à 20h. Le genre de type qui passait ses samedis après-midi à la bibliothèque municipale, ses samedi soir à boire de la bière dans les squats de jeunes où on recense une fille pour dix mecs et où la phrase qui revient le plus souvent est "qui roule un joint ?"

Imaginez maintenant que ce type ait une illumination, au milieu de ces jeunes que tout prédestine à la réussite (HEC, science-po) et qui lorsqu'ils se retrouvent ensemble ne savent pas faire autre chose que de se défoncer. "Nous sommes un klub de loosers".



Comme il n'aime pas trop les gens, Fuzati fondera un klub dont il sera le seul membre. Comme il n'a pas de guitare que le hip hop est son seul ami il se dit qu'il fera ça comme musique. Bah oui c'est sympa le hip hop. Comme on lui a dit qu'il n'avait pas une tête de rappeur et que les casquettes à l'envers lui vont mal il ne montrera jamais son visage et portera un chapeau. S'en suivra un parcours classique de MC underground qui rappe pour la rue (mais aussi les avenues) et représente ses refrés illégalement enfermés derrière les murs des prépas t'as vu. Mixtapes, nombreux freestyles dans l'émission Greckfrite diffusée sur la chaine internet Canalweb, concert à la MJC de Versailles mais aussi dans un entrepôt désinfecté à Dunkerque.



En 2003 Il signe sur le label parisien Record Makers parce qu'on lui a appris qu'il ne fallait pas trop se mélanger avec les gens d'autres milieux. Sortiront deux EP, "Baise les Gens" et "La Femme de Fer" qui sont déjà des classiques pour au moins 32 personnes. La même année sort également l'album de l'atelier "Buffet des Anciens Elèves" auquel il participe avec Tékilatex du groupe TTC, James Delleck, Cyanure et deux producteurs de talent, Tacteel (Lex Records) et ParaOne (Institubes). En juillet 2004 sort le maxi du Klub des Loosers où collaborent MF DOOM, légende hip hop, et Jean-Benoit Dunckel, moitié du groupe AIR.

Nach 25 Jahren Herman Dune und 15 Alben freut sich BB*ISLAND, Odysseús zu präsentieren, eine neue Sammlung von Songs, die den Hörer auf eine Reise durch das turbulente Leben von David Ivar mitnimmt, eine Reise voller Sehnsucht, Schmerz, Liebe, Tod, Glaube und Erlösung. Es ist das erste Mal, dass Herman Dune mit einem externen Produzenten, David Garza, zusammenarbeitet. Das Set-up besteht fast ausschließlich aus akustischen Instrumenten, die live mit der Band in einem Raum aufgenommen wurden. Es ist Folk-Musik im typischen Stil von Herman Dune mit Anklängen an Americana, Country, jüdische und hispanische Traditionen, aber mit einer ganz neuen Wendung in Sound und Arrangements, vor allem im Vergleich zu seiner letzten rein akustischen Trilogie The Portable Herman Dune. David Herman Dune über die Produktion: "...David Garza getroffen zu haben war reiner Zufall. Ich mühte mich gerade mit einem Geigenarrangement für einen der Songs ab, als er sich in einem überfüllten Café in der Innenstadt von San Pedro an meinen Tisch setzte und mich fragte, woran ich gerade arbeitete. David, ein mit einem Grammy ausgezeichneter Produzent und Musiker, hatte mit Fiona Apple, Iron & Wine, John C. Reilly und den Milk Carton Kids gearbeitet und mit einigen meiner musikalischen Helden wie Lucinda Williams und Townes Van Zandt gespielt. Wir verstanden uns auf Anhieb, und er bot mir an, meine Songs zu produzieren. Wir begannen, die Stücke jeden Abend bei mir zu Hause zu spielen, und einmal pro Woche in einem französischen Restaurant namens Le Compagnon. David kannte die besten Musiker in L.A. - Leute wie Sebastian Steinberg am Kontrabass (Fiona Apple), Richard Edson (Schlagzeuger von Sonic Youth, Schauspieler in Jim Jarmuschs Stranger Than Paradise und Spike Lees Do The Right Thing), Odessa (violin, Edward Sharpe and the Magnetic Zeros) und Paul J. Cartwright (violin, Olivia Rodrigo). Als wir uns bereit fühlten, versammelten wir alle in meinem Haus für drei Tage Live-Sessions. Es war ein chaotischer, schöner Prozess, bei dem alle in einem Raum zusammen spielten, keine Kopfhörer, keine Overdubs - nur rohe, echte Musik. Aufgenommen und gemischt wurden die Sessions von Chris Sorem (ebenso Grammy-prämiert für seine Arbeit mit den mit den LA-Legenden Los Lobos). Chris brachte eine Wagenladung alter Mikrofone mit und konzentrierte sich auf "Raummikrofone" - djene, die die Atmosphäre des Raums einfangen. Er sagte, dies sei eine Technik, die auf Alben wie Buena Vista Social Club verwendet wurde, und es erzeugte eine Magie im Raum, die spürbar war. Sogar die traurigsten Lieder wurden lebendig mit so viel Freude, Energie und Elektrizität. Die Aufnahmen waren ungefiltert, organisch und hatten Seele. Als wir mit dem Abmischen begannen, waren wir alle vom Ergebnis erstaunt, wir hörten einen Moment in der Zeit, der sich gleichsam zeitlos anfühlte"

Robyn is doing brilliant and important work - the world needs more music like this. Just one word: listen!" Giles Peterson “Even aside from her skills on her instruments and unique approach to music, Robyn devoted an immense quantity of emotional resources to the delivery of this record, and seemed to take its challenges on as a chance for personal growth. It was consistently clear that the personal input of the players was welcome in a fundamental way, and we all responded to Robyn’s efforts that went to the limits of her capacity and her love for bringing her project to you, the listener” Alabaster DePlume “It has been such a joy to work with Robyn, especially when entering the fascinating world of Robyn’s Rocket and Avant Garde jazz. We had our fun moments, like when the fire alarm went off during our recording session of Mystery Man, and we just rolled with it and kept it in. It’s like nothing matters. It’s such an honour to be part of the world of Robyn’s Rocket and to listen to the many stories, expressions and colours that shine throughout the album.”Sebastian Golgiri What happens when you bring together familiar faces at London experimental music venue Café OTO, Charles Hayward (drummer Abstract Concrete, This Heat) and John Edwards (double bass), and the Total Refreshment Centre (hub of new london jazz scene recording studio ) like Alabaster DePlume (singer and saxophonist) and Danalogue (synths from Soccer96, The Comet is Coming), and the learning disability autism art scene like singers/spoken word artists Sebastian Golgiri and Dean Rodney Jnr (Fish Police), on a magic carpet with space trumpeter Robyn Rocket? The answer materialises in the groundbreaking collaboration 'Robyn Rocket and People You May of Heard of'. Recorded across three days in three different studios connected to the three communities Robyn Rocket calls home, each session brought together musicians from these diverse backgrounds—many meeting for the first time. Together, they improvised and created a musical journey that transcends conventional boundaries.

This cosmic voyage features more than 20 musicians and a dog ( Taz from lost socks), gliding through free jazz, danceable tunes, loopy vistas and spoken word doors into different ways of seeing the world. At its heart lies a profound message about community as a vital part of existence and difference as something to embrace and value. The project culminates in the final single and focus track 'We Are All Human', featuring a poignant speech by Rocket from her night 'Robyn's Rocket - a residency at cafe OTO featuring experimental music and live visuals by artists with and without Learning Disabilities/ autistic and non autistic artists ' in the speech rocket talks about supporting each other—words she actively lives by and encourages others to embrace. Like many autistic people, Rocket has experienced abuse, bullying, isolation and feeling unwelcome in the world. “This project is like my nights but you can carry it around with you”, she explains. “I started my own night to share my work. I also recognised, it was a privilege to have my own night, I wanted to help other artists share their work too, and create an environment where people with and without learning Disabilities/Autistic and non autistic people as audience and performers could come together and get to know each other”. Historical Context

Fall in love with the sound of Paris on Valentine’s Day through Parisian Romance, a romantic lofi collection that captures the city’s timeless charm and bittersweet beauty.



On this special day of celebrating love and appreciating loved ones, each track transports you to quiet Parisian streets beneath soft, evening skies, where love and loss intertwine. With the heartbeat of the city echoing through cozy cafes and twinkling lights, this collection offers the perfect soundtrack for embracing the delicate emotions that define the City of Lights.

A limited double-LP collection of artists who've been on either Fourth Dimension Records or Lumberton Trading Company (or both). The title, based on the name of a childhood '50s sci-fi film favourite, also not only reflects the bringing together of these two labels but also the fact that most of the artists they are concerned with tend to navigate a wide range of ideas and approaches in their sound. The 2LP also began as a reflection of the two labels coming together on 18 May 2024 at London's Cafe OTO for an event featuring Alternative TV, Splintered, Edward Ka-Spel and Bass Communion.The 2LP, beautifully packaged in a Puppy38 designed sleeve.

Earthly Measures are proud to present the release of ‘El Búho - Cumbias Imaquinarias’, this time on wax with some added remixes.

'Cumbias Imaquinarias' is an EP that flows full circle with one of El Búho’s earliest inspirations for making electronic music; digital Cumbia. It was a scene that exploded out of Buenos Aires around 2008 and went global. The scene soon saturated and fell out of fashion, but gave birth to artists like Chancha Via Circuito, Frikstailers, El Remolon and was a big inspiration for him as a young producer.

For El Búho there was always something there; the entrancing magic of the Cumbia rhythm reimagined for the electronic dancefloor. Cumbia is a music that is globally connected but also so diverse, evolving and growing into many subshoots of this one simple rhythm. This EP presents three Cumbia’s and one Porro rhythm (a derivation of the Cumbia rhythm from the Colombian Caribbean which evolved into its own style).

Joining El Búho on remix duties for this release are ARN4L2, Lagartijeando, Auntie Flo, La Jungla, Earthly Measures x Dreems, La Forasteria and Sun Sone. Each artist offering a completely unique approach and their own magic touch to this El Búho masterpiece.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

2025 marks the 10th anniversary of world-famous DJ Pete Tong, conductor Jules Buckley, and The Heritage and The Essential Orchestra coming together to create orchestral versions of some of the greatest electronic dance songs as you’ve never heard them before. Alongside his Royal Albert Hall shows in May Pete has curated a special 2LP neon coloured vinyl, featuring hits from all four albums such as ‘Pjanoo’, ‘Lola’s Theme’ ‘Killer’, ‘Insomnia’, ‘9PM (Till I Come)’, ‘Your Love’ & many more. The releases also feature new Mark Ralph 2025 edits of fan favourites ‘Finally’, ‘Man With A Red Face’, ‘Yeke Yeke’ & ‘Cafe Del Mar’ which all previously featured on medleys and a new 2025 single. This limited edition release features brand new artwork and notes from Pete.

Based in São Paulo and formed in 2017, TaguaTaguais lead by songwriter and producer FelipePuperi. Felipe, having fronted space groove rock band WannabeJalvafor several years, has an extensive indie resume. Having played at Lollapalooza Brazil, supported shows for Pearl Jam and Jack White. He's also been featured on KCRW, NY Times, Stereogum, Brooklyn Vegan and WFUV.

Tagua Tagua's 3rd full length LP and 3rd release on Wonderwheel following 2024's Todo Tempo EP and 2023's Tanto LP

Upcoming tour plans include SXSW and Lollapalooza Brasil in March 2025

Lead singleLado a Ladofeatures James Petralli frontman of the Austin, TX based rock band White Denim

White Denim were founded in 2008 and have shifted through genres like post-punk, soul, garage, and psychedelic rock and have released music on labels such as Bella Union, City Slang, and Downtown

2024 was a big year at radio as Tagua Tagua filmed and recorded a live sessions for NPR's World Cafe (US) and Gilles Peterson's Brownswood Basement on Worldwide FM (UK)

Embarked on a 10 date Brazilian tour in Spring of 2024 playing to capacity crowds each night in 400-500 cap rooms

Recent tour history includes two stints in the US for New Colossus Festival in NYC and SXSW March 2024 and November of 2024 in Miami, New York, and Philadelphia as well as a headline tour throughout Europe in September and October of 2024

Significant press coverage from publications like NPR Alt Latino, Remezcla, FIP, Bandcamp, and Sounds & Colours to name a few

Huge worldwide radio support from stations like KEXP, KCRW, KUTX (US) Inter, FIP, Nova (FR), RinseFM, Soho Radio, Worldwide FM (UK), 3RRR, 2SER, RTR (AU), RTP Antena 3, TSF Rádio Notícias, Rádio Oxigénio (PT) iCat, Radio 3 (ES) RBB Radioeins (DE) and many more

For RSD 2025 the influential band will be releasing a new double LP edition of their Nine Sevens box set of 7" records first released in 2018. Combining the run of early singles with more obscure later period tracks underlines the strength in depth that Wire had. This is pop art as art/pop and an exploration of the blank canvas of pop culture and how far that canvas can be stretched going from three minute constructs to ambient washes. The 7" single was always the ultimate artefact and statement with the A side being the band momentarily paused in time and distilled and freeze-framed into the forever with less than three minutes of electric sound. These "sevens" released from 1977 to the end of that decade, signpost the band's remarkable development from their brilliantly monochromatic early phase to the textured complexity of the almost psychedelic unzipping of their sound and vision. In some ways the compilation of Nine Sevens onto a double album makes for quite a weird documentation of the band in this period. The first disc, to some extent, follows the script of a singles / greatest hits collection but the second one goes wildly off-piste and ends up somewhere quite far from where the collection started. A conventional Greatest Hits collection, besides being conceptually a bit naff would, if strictly based on charting singles, consist of only one song! A Best Of is subjective and somewhat pointless in the age of the Spotify playlist that anyone can make. The only thing really that these tracks have in common (besides being by Wire) is that they were released or destined to be released on 7" by Wire in the period 1977-1980. - Nine Sevens is both title & elevator pitch!' Wire always understood the language of pop and also the artfulness of playing with it, deconstructing it and reassembling it into new and thrilling shapes. Decades later, these adventures into sound are like slices of delicious, perfect pop/noise and hits from a parallel universe. Track list:Side A1 Mannequin 2 Feeling Called Love 3 12XU 4 I Am the Fly5 Ex-Lion Tamer 6 Dot Dash *7 Options R * Side B 8 Outdoor Miner (single version) * 9 Practice Makes Perfect 10 A Question Of Degree * 11 Former Airline *12 Map Ref. 41ºN 93ºW Side C 1 Go Ahead * 2 Our Swimmer * 3 Midnight Bahnhof Café * 4 Second Length (Our Swimmer) **5 Catapult 30 ** Side D (154 EP) 6 Song 1 * 7 Get Down 1 + 2 * 8 Let's Panic Later *9 Small Electric Piece * * previously unreleased on vinyl album ** recorded in 1980 but not released until 2014

Surrender to the calming essence of summer with Saturday Chillin’! Allow yourself to unwind and cherish the weekend with the soft rhythms and soulful harmonies of our latest compilation. Transport yourself to a place where time seems to slow down, enveloped by warm sunlight and fragrant flowers, escaping the bustle of city life. Let these soothing melodies set the perfect tone for your ideal summer days.

2025 Repress

Johnny's Disk Record Ist Ein Unabhängiges Jazz-label, Das Vom Inhaber Des Jazz-cafés Kaiunbashi In Der Stadt Rikuzentakata In Der Präfektur Iwate, Japan, Betrieben Wird.
Das Legendäre Label Veröffentlichte Eine Reihe Von Alben Mit Hochwertiger, Aber Bodenständiger Musik, Die Von Modernem, Avantgardistischem Jazz Bis Hin Zum Leftfield-pop Reicht. Alben Wie "johnny / Left Alone" Und "aya's Samba" Haben Bei Den Fans Kultstatus Erreicht Und Gehören Zu Den Besten Werken Der Japanischen Jazzszene.
Dieses Debutalbum Des Drummers Und Schauspielers Mitsuaki Katayama Ist Ein Japanisches Jazz Meisterwerk.
Bestehend Aus Fünf Eigenkompositionen, Enthält Das No-filler-album Die Tracks "unknown Point", Einen Tanzbaren Jazz-samba Mit Engem Und Kraftvollem Schlagzeug, Den Melancholischen "arizona High Way", Ein Stück, Das Perfekt Verkörpert, Worum Es Beim Japanischen Jazz Geht, "it's Over", Mit Wunderschönem Klavierwerk Von Kichiro Sugino - Einem Vielversprechenden Pianisten, Der Tragischerweise Einer Chronischen Krankheit Erlag Und Sein Potenzial Nicht Voll Ausschöpfen Konnte, "louis" Und "first Flight", Ein Jazziger Dance-schnitt Mit Einer Funky Bassline.

On their second record as The Convenience, Like Cartoon Vampires, New Orleans multi-instrumentalists Nick Corson and Duncan Troast embrace a hypnotic physicality and collage-y, spur-of-the-moment approach to composition. The result is an avant-rock soundworld, peppered with spidery, atonal guitar work, pointy rhythms, and strident feedback, which may strike as a total reinvention following the sugary funk-pop of their 2021 debut album Accelerator. With their second LP, following their inspiration meant creating with their hands much more than buttons or switches. Sessions were characterized by gnarly, improvisational jams as they tinkered with everything from cassette loops, found sounds, and 808s. Tracks like "Target Offer" and "Fake the Feeling" quake with ear-splitting guitar feedback, while "Pray'r" and "Rats" eschew their groove worship in favor of haunting minimalism. Song after song, Accelerator's pop influences are traded in for more eccentric frontiers, with the clear common denominators of their first two records being the duo's spellbinding, funky instincts and a mastery of texture. Lyrically, Like Cartoon Vampires collects dispatches from a dying empire-characters are devoured by alienation and vanity, though society doesn't bat an eye. But make no mistake, these songs are not merely disaffected ennui-music-making and collaboration are intensely emotional practices for The Convenience, and they reflect a shrieking lust for life.

On their second record as The Convenience, Like Cartoon Vampires, New Orleans multi-instrumentalists Nick Corson and Duncan Troast embrace a hypnotic physicality and collage-y, spur-of-the-moment approach to composition. The result is an avant-rock soundworld, peppered with spidery, atonal guitar work, pointy rhythms, and strident feedback, which may strike as a total reinvention following the sugary funk-pop of their 2021 debut album Accelerator. With their second LP, following their inspiration meant creating with their hands much more than buttons or switches. Sessions were characterized by gnarly, improvisational jams as they tinkered with everything from cassette loops, found sounds, and 808s. Tracks like "Target Offer" and "Fake the Feeling" quake with ear-splitting guitar feedback, while "Pray'r" and "Rats" eschew their groove worship in favor of haunting minimalism. Song after song, Accelerator's pop influences are traded in for more eccentric frontiers, with the clear common denominators of their first two records being the duo's spellbinding, funky instincts and a mastery of texture. Lyrically, Like Cartoon Vampires collects dispatches from a dying empire-characters are devoured by alienation and vanity, though society doesn't bat an eye. But make no mistake, these songs are not merely disaffected ennui-music-making and collaboration are intensely emotional practices for The Convenience, and they reflect a shrieking lust for life.

On their second record as The Convenience, Like Cartoon Vampires, New Orleans multi-instrumentalists Nick Corson and Duncan Troast embrace a hypnotic physicality and collage-y, spur-of-the-moment approach to composition. The result is an avant-rock soundworld, peppered with spidery, atonal guitar work, pointy rhythms, and strident feedback, which may strike as a total reinvention following the sugary funk-pop of their 2021 debut album Accelerator. With their second LP, following their inspiration meant creating with their hands much more than buttons or switches. Sessions were characterized by gnarly, improvisational jams as they tinkered with everything from cassette loops, found sounds, and 808s. Tracks like "Target Offer" and "Fake the Feeling" quake with ear-splitting guitar feedback, while "Pray'r" and "Rats" eschew their groove worship in favor of haunting minimalism. Song after song, Accelerator's pop influences are traded in for more eccentric frontiers, with the clear common denominators of their first two records being the duo's spellbinding, funky instincts and a mastery of texture. Lyrically, Like Cartoon Vampires collects dispatches from a dying empire-characters are devoured by alienation and vanity, though society doesn't bat an eye. But make no mistake, these songs are not merely disaffected ennui-music-making and collaboration are intensely emotional practices for The Convenience, and they reflect a shrieking lust for life.

Limited repress of 2024 critically acclaimed album ‘A Firmer Hand’ on Canary Yellow Vinyl

“Writing this album, I opened up my closet, and a skeleton came out.” In a café just around the corner from his Edinburgh flat, Hamish Hawk is contemplating his extraordinary new record, A Firmer Hand. “The thing that links all of the songs is a sense of the unsaid, whether out of guilt, shame, repression, embarrassment, coyness, whatever it might have been. I realised: I am going to say these things, and not all of them are going to make me look good. The album made so many demands, and I just gave myself over to it.”

H.D. Reliquary is the first eponymous release from Ben Shirken a.k.a. Ex Wiish, and finds him returning home to his own label, 29 Speedway. The songs sparked during sessions with close collaborators - across 11 pieces, artists such as Pavel Milyakov, MIZU, Dorothy Carlos, Kevin Eichenberger and Muein breathe personality into the record. H.D.R. coaxes beauty from a serrated, raw, yet subdued palette drawn from improvised recordings of trumpet, violin, upright bass, cello, and modular synthesis.

The title references the hard drive as a sacred container for relics, contemplating how digitally archived fragments of one’s existence can burn eternally after death. Archives, and in this case recordings, splinter and warp. Some distort what they contain. Some vanish, and others are eternally preserved, immune to deletion. Your information on these digital drives becomes archival shrapnel, the music that survives the remnants of collaboration. Pieces of recordings were fed into a series of proprietary neural networks, generating MIDI information and audio that reacted to on-the-fly soloing, imaginary sessions between players and algorithms invented posthumously (in post).

Shirken will release H.D. Reliquary alongside a sound installation on April 11. Where his prior work was geared towards dissociation, H.D. Reliquary invites us to contemplate how our tools for understanding and containing the world fundamentally alter our relationship with it. He has performed in spaces such as The New Museum, Pioneer Works, Public Records and Nowadays in New York City; Dripping Music And Arts Festival in New Jersey; La Station in Paris; and Cafe Oto in London.

Limited first run of 7” Vinyls

The two tracks feature a different sound to most of James’ other solo releases, with production employing a more sample-based approach, rather than the electronic-based productions James is usually heard on.

James Massiah is a well known, and loved poet & musician from South London. He is known for his poetry works over the past ten years, prolifically writing and performing poetry both in London and around the world.

In addition to this he is a member of Dean Blunt’s enigmatic group ‘Babyfather’ (under the name ‘DJ Escrow’) with which James has performed around the world, and been part of many recordings/ albums, such as the seminal ‘"BBF" Hosted By DJ Escrow’, which featured credits from Mica Levi & Arca.

‘Holland Park’ features production by London-based artist/ producer Shimz343 & ‘Hot Winter’ features production by aloisius, founder of life is beautiful records (a london-based gesamtkunstwerk/ label & collective that regularly curate shows at venues such as Cafe OTO & Ormside Projects).

James Massiah was special guest at the first ever show life is beautiful hosted, in early 2023 at Ormside Projects (which was the start of a busy two years of live shows and releases by life is beautiful records, who’ve since hosted shows including: DJ Spanish Fly (UK Debut), Novelist, Lord Tusk, Lolina, Slauson Malone 1, John Glacier, Pretty V & Jadasea.

Footshooter is the moniker of Barney Whittaker, a south London-based producer and DJ. His production style takes in influences from broken beat, jazz, house and more, working with rappers, poets and vocalists to create a soulful sound referencing the past while being firmly future-facing in its approach. His records as Footshooter and SAUL have earned airplay and support on BBC Radio 1 & 1xtra, BBC 6 Music, NTS Radio, Jazz FM and Rinse FM, from the likes of Gilles Peterson, Bradley Zero, Errol (Touching Bass), Alex Nut (Eglo Records) Shy One, Virgil Abloh, Zakia, Jyoti, Nabihah Iqbal, Bonobo, Jamz Supernova, Maryanne Hobbs, Mr Scruff and more.

His musically diverse live band sets and DJ sets over the past seven years have taken him to Boiler Room London, Tate Modern, Alexandra Palace, The Jazz Cafe and the Barbican Centre, as well as performances at Brainchild, We Out Here and Love Supreme Festivals. A Balamii Radio resident for the past 5 years with his monthly show 'Sonic Fruits', Footshooter's DJ sets are as versatile and wide ranging as his production credits, spanning the finest soulful house, broken beat, UK Rap, soul, jazz and beyond.

"This is the sound of London right now, and it is fantastic" - Juno Records

Edinburgh-based three-piece funk band High Fade are set to release their debut album 'Life’s Too Fast'.

Capturing the raw, on-stage energy that has been the driving force behind High Fade’s meteoric rise was never going to be easy, but that’s exactly what Harry, Oli and Calvin set out to do with a clear creative vision to record their album live at the iconic RAK Studios in London.

'We recorded in RAK Studios, with the desk built for the Rolling Stones in ‘76, with the same cigarette burns still on the faders. It instantly had a vibe of raw energy and liveliness to it that matched the way we wanted to record - live.' – Calvin

The result? 'Life’s Too Fast' – a blistering 10-track debut from one of the UK’s most exciting bands that manages to deliver the same tight, groove-laden funk rock that has put the group on the radars of Jack Black, Cypress Hill and Rage Against the Machine’s Brad Wilk, has seen them tour with The Cat Empire, and tick off iconic venues including Glastonbury, Jazz Cafe, and Boomtown Festival.

'We decided to record the album live rather than through the normal single track overdubbed method – we felt this would help to fully convey the band’s power, sound and energy across to the listener! More like we’re playing a gig and having it recorded – it was a tough process, but we went about it in the best way for both us and the audience, to ensure they’re getting the most authentic High Fade sound and experience possible.' – Oli

Having spent much of the last three years on the road seeing to a punishing tour schedule, 'Life’s Too Fast' is a chance for the band to stop and take stock, to reflect on their whirlwind success, and create an artistic milestone that demonstrates who High Fade are today. 'It’s the most accurate representation of what High Fade is, what we sound like, and who we are' explains Harry. Telling a clear story that matches their own experiences over the last few years, the album is a snapshot taken by a band who are accelerating towards real success and recognition.

'I’m glad we finally have a body of work that we’re proud of and feels like a collection of songs that nicely represents where we are right now. It’s organised chaos and shows that we like to play, but can also write a catchy tune.' – Calvin

Launching into proceedings with the effortlessly uplifting 'Take Me To The Floor', every track is a demonstration of the band’s technical prowess and broad sonic palette. A forward-facing selection of completely original material, the album also gave the band the opportunity to re-imagine fan-favourite 'Sharpen Up' as a stripped-back cut that reflects the band’s current lineup.

'Honestly, I kinda feel like I could explode with excitement about getting it out for everyone in the world to hear because it has been a long time in the making! A culmination of what all the singles have been working towards! I guess the album represents us and the direction we’re taking the music, it represents us as a trio and the gel that is High Fade.' – Oli

“On course towards future raucous, beer-soaked headline festival
sets.” - NME
“Screw-you power, relentless motorik rhythms and impressively large
choruses.” - The Guardian
“Unrelenting, gritty energy” - Daily Star
Sprints unearth their frenzied new EP, ‘Manifesto’, out via Nice Swan
Records.
Produced by Daniel Fox of Girl Band - Dublin’s answer to Steve Albini
- the four tracks make for a hard-hitting gloom-punk journey you
can’t miss. Like the Irish guitar acts who have paved the way for
them - Fontaines D.C., Silverbacks and Girl Band - Sprints sound
urgent and vital at every turn.
‘Swimming’ is a confluence of rabble-rousing stadium rock, sleazy
garage rock and Sonic Youth experimentation. Lyrically, there’s a lot
to hang on to too, which is unsurprising given how topical the band
are: ‘Drones’ took on imposter syndrome; ‘Manifesto’ tackled
homophobia.
‘Swimming’ scorns on the increasing lack of opportunity after
following prescribed paths to become society’s idea of a ‘success’.
Sprints singer Karla Chubb explains: “While the homeless crisis
worsens, the city is sinking in debt and everyone can barely keep
their heads above water, you see an article stating that a new €25
million white water rafting centre is being developed after approval
by Dublin City Council. Sometimes you’d just rather drown.”
Sprints have hit a nerve. The velocity of this argument comes from
personal anguish but will chime with a generation. And with such
honesty running through their core it’s no wonder The Guardian,
NME and BBC Radio 1 and 6Music have tipped them for big things.
Tourdates - October 7 Roisin Dubh Galway, 8 Kasbah Limerick, 9 The
Grand Social Dublin, 21 The Waiting Room London, 23 Heartbreakers
Southampton, 26 Sneaky Pete’s Edinburgh, 27 The Attic Glasgow, 28 The
Castle Manchester, 30 The Sunflower Lounge Birmingham, 31 Bootleg Social
Blackpool, November 2 Surf Cafe Newcastle, 3 Sidney & Matilda Sheffield, 6
Mutations Festival Brighton, 7 Festival of Voice Cardiff, 9 The Shipping
Forecast Liverpool, 10 Oporto Leeds.

MACROCOSM is BALTHVS' first LP.

The name implies the diverse nature of the music, the substantial genre blending throughout, and the general psychedelic vibe of the songs.

It's a cross-continental trip across time, styles, languages, and rhythms.

In just five years, BALTHVS has carved out a unique space in the global music scene, emerging as Colombia’s most prominent alternative international act. Blending psychedelic grooves with hypnotic funk, the band has captivated audiences across three continents, performing in 56 cities throughout 19 countries. Their ever-expanding reach is backed by over 45 million streams, 10,000 vinyl records sold, and a relentless touring schedule that has seen them grace stages at premier festivals such as Austin City Limits, Outside Lands, Electric Forest, and SXSW Sydney. As three-time SXSW alumni, they’ve cemented their presence in Austin’s thriving music circuit while remaining a staple at Colombia’s top festivals, including Rock al Parque and Estéreo Picnic. With critically acclaimed releases and appearances on influential platforms like KEXP, Gilles Peterson’s Worldwide Café, and the BBC, BALTHVS continues to redefine modern psychedelic music with a sound that is both immersive and irresistibly groovy.

Von 1974 ("Autobahn") bis 1986 ("Electric Cafe") war Flür Mitglied von Kraftwerk, um sich danach als äußerst kreativer Electro-Pop Künstler zu etablieren. Sein viertes Album unter eigenem Namen enthält 13 hochmelodische, erzählerisch geführte Tracks, die inspirieren, unterhalten und zugleich die Grenzen seines einzigartigen Oeuvres ständig verschieben. Seine Musik ist eindringlich, mit einem feierlichen Optimismus und einer unermüdlichen, ansteckenden Hoffnung für die Menschheit.

Madronas’ debut LP Erogenous Biome is an amorphous, murky, cathartic offering. A duet of modular synthesizer and winds that’s equal parts doom and ecstasy, it’s the sound of a majestic butterfly emerging from it’s slimy chrysalis just in time to catch the sun setting on the end of days, a bewitching, heavy ceremony, a power-wash of both mind and spirit.

Tracked in one continuous take at Brooklyn’s Heavy Meadow studio, individual tracks were gleaned from the purge and eschew predictable structures, making for a dense, fluid suite of improvisation, like dancing smoke ribbons in the dark. The duo's chosen sound sources are seemingly opposite - Ry Fyan’s modular’s coming from electronic oscillators, Isaiah Barr’s saxophone and various flutes originating with the breath - but the visceral, imprecise, alive quality to the sound of both lends the record a thrilling combination of rapturous harmony and gritty, intense friction.

Opening the session in ritualistic, foreboding fashion, Voluntary lurches to life with rattles and wandering, bassy arpeggios before a suona’s cry signals the seance has officially begun. Ostraca Loam spits explosive modular rhythms and eerie shrieks for the flute to float above, while Detritus Harp smudges mechanical whirring, pensive horn and wind chimes for an untethered drift. Petrified Microdot swells with menacing sci-fi sequences and breathtaking sax runs until they both run out of breath, and Negative Lingam starts out in a panic of breathy riffing before exhaling into one of the most sublime passages on the record. Rhythmic pounding and undulating flutes punctuate Lenticular Shroud, before The Preparation Of The Novel sets the winds aside for a synthesized dual fit for electric dreams. The title track dominates the B-side, it's shimmering levity slowly unfurling to reveal itself as a kind of post-apocalyptic devotional music, deep space drifting grounded by earthly flutes, and Vale Of Cashmere offers an ascetic, contemplative closure, sparse flute and chiming rhythms organic or electronic - by this time it’s hard to know, it doesn’t matter either way.

Erogenous Biome is a world of it’s own, and one Impatience is honored to offer a window into.

RIYL - Senyawa, witchcraft, Colin Stetson , Civilistjavel, Mars (the planet), Finis Africae, raga, Stephen O’Malley, modular synthesizer, Anthony Braxton, Shabaka.

Madronas is Ry Fyan and Isaiah Barr. Fyan is a painter and tattoo artist, this is his first release. Barr is a prolific instigator of the downtown New York scene, producing and playing saxophone in jazz circles with his group Onyx Collective, as a player and/or producer on records by Nick Hakim, David Byrne and Wiki, performing live with William Parker and as part of his projects Universal Space Jam and Cafe Dewanee.

Erogenous Biome was recorded and mastered by Griffin Jennings at Heavy Meadow, Brooklyn.

Vinyl was cut by Beau Thomas at Ten Eight Seven Mastering, Berlin.

Artwork is by Ry Fyan, typography and layout by Nicolas Turek.

RUSSELL HASWELL is an artist, record producer, free improvisor, computer musician, noise aficionado and curator.
Trained at Coventry School of Art, graduating in 1992, Russell’s extraordinary conceptual oeuvre resists easy summarisation, focused on the site-specific, performance and methodology of large-scale sound works, sometimes in surround sound. Russell has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls, clubs, rock venues, and even squats in 30 countries, and counting. Most recently he has performed at SONIC ACTS, SONAR, Pirelli Hangar Bicocca and Coventry Cathedral.

As a curator, Russell has delivered projects for PS1/MoMa, All Tomorrows Parties, Aldeburgh Music, Thyssen-Bornemisza Art Contemporary, and Cafe Oto. He now lives and works in Glasgow.

Recorded in real-time (ADDAC System, ALM/Busy Circuits, Cwejman, Epoch Modular, FANCYYYYY Synthesis, Flight of Harmony, Instruo...)

It is a huge honour to announce the publication of Peter Brotzmann’s final concerts on OTOROKU. When we invited Peter to do a residency at Cafe OTO back in February 2023 we had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again.

Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, (released as The Worse The Better kick starting our in-house record label) so it feels fitting that the last shows he ever played here should also have that trio at its core.

The quartet last played together at OTO back in 2013, (released as Mental Shake on OTOROKU), and Brotzmann humbly opened the return of the group saying, "it's a pleasure to be back” before launching straight into a long blast on the alto sax, swiftly met by the relentless energy and engagement of Adasiewicz, Edwards and Noble.

There are moments of tenderness to Brotzmann’s playing that feels specific to this small group - one that cuts across three generations - and in a space that’s come to feel like home. Of course, there is dizzying, forceful, singleminded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savoured and held onto. As he remarked at the end of the group's first visit to OTO, “the Quartet is, for us, a great adventure.”

Peter clearly wanted to play to the end. Did he know these might be his last shows? We will never know. What is clear is he wanted to go out in style and on his terms. For anyone in the room at the time or listening to these recordings it’s clear he achieved that.

It was Peter’s wish that these recordings should be made public and he was due to finalise the cover design on the week he passed away. We would like to thank Peter’s family for working with us to fulfil Peter’s wishes to release this material but more than anything we would like to thank Peter himself for all the extraordinary memories, his generosity and all he has given the music. On a personal level for us, like so many, he meant a huge amount and we miss him deeply.

The Quartet will be released as a complete recording on 2CD and as a special edit version on 2LP. Both feature artwork by Peter Brotzmann and UNTIET and are complete with photographs by Dawid Laskowski.
OTOROKU will also release a special 4LP boxset edition, limited to 250 copies and only available direct from us. Pre-orders are on the website now and Cafe OTO members will receive a 20% discount.

From the deepest trenches of deadstock 45s and the unsung annals of soft rock infamy, we present SR4HT02: (Till You're) Back In My Arms.

Universal Cave and the Street Road Band cover Dan Strimer with Insured Sound's cult anthem (Till You're) Back In My Arms which was originally released as a 45 in 1977 on Lost Nation Records out of Guysville, Ohio. When Universal Cave featured Back in My Arms on Soft Rock for Hard Times Vol 8 in 2023, we reached out to Dan Strimer to tell him how much we loved his record, and quickly made a friend who helped us release a cover of his song 47 years after it first came out. Dan is still making music to this day and there are even rumors of some unreleased recordings making their way out in the near future.

On vacation in Hawaii when we released Soft Rock for Hard Times Vol 8, Alex Tebbs Mitchell of Universal Cave kept coming back to Dan's catchy, rural classic rock tune. When Alex returned to Philadelphia, he assembled the Street Road Band to record a laid back, 'southwestern Balearic' cover version with André Ethier on vocals, Charles Simon on guitar, Jesse Spearhawk on Pedal Steel, Alex Tebbs Mitchell on Rhodes and bass, Ryan M. Todd on synthesizers, and Shawn Ryan and Brian Cassidy on additional programming and arrangement. The result is a blissful soft rock ballad inspired by the likes of Chris Rea and Mark Knopfler.

After recording the cover, we called in the UK's finest Balearic maestro's Coyote to take the multitracks to the White Isle and back for a remix worthy of Cafe Del Mar. Coyote send the song into a dreamy, dubby, deep house groove, confirming that the record is, in fact, Balearic.

Mixed by Alex Tebbs Mitchell
Mastered by Mat Leffler-Schulman

TC.KYLIE x The Hourglass brings dynamic jazz fusion music from her debut album, integrating Hong Kong, Japanese and British cultures. Kylie leads her band dynamically on stage playing keyboard and synth keytar, iconic in Japanese jazz rock & highly memorable to watch.TC.KYLIE, a jazz fusion pianist, performs regularly in both Hong Kong and London. Inspired by the likes of Shaun Martin and Robert Glasper, she also continues to write songs in the areas of Japanese acid jazz, following Fox Capture Plan, Jabberloop, Toconoma, Jizue and Bohemianvoodoo. Prior to becoming a performing artist, Kylie previously worked as a news documentary journalist for radio and TV networks in Hong Kong, She spent much of her time connecting human stories and investigating the connections between people and society which was inspiring and enlightening but also often heavy and difficult within increasingly tricky political landscapes unfolding around her.

Under the changing social environment in her hometown and with the hit of the pandemic, she decided to take an indefinite well-earned break in 2020 to take care of her own well-being & passions. During a stay at a jazz cafe and hostel in Lake Towada in Aomori, Japan, encouraged by the hostel owner as a jazz enthusiast; Kylie sat in front of the piano, contemplated and played scattered notes to express what she had been enduring during her time as a political/social reporter.

Finding herself joyfully picking up music in her life again after years of leaving it behind, she wrote the song "The Last Grief" a tribute to one of her deepest sorrows and in remembrance of her best friend in childhood who battled heavily with depression. This song went on to be an official selection for the International Toronto Music Video Festival as well as the Toronto Asian Independent Film Festival in 2023.

Four years after the release of his critically acclaimed third album, 'Out of the Darkness', Gizmo has been releasing new music in the run up to a fourth album due on March 21st 2025. This new music presents a compelling new chapter in Gizmo's career and reflect on a time of significant transformation both personal and professional. Gizmo has recently completed a UK/EU tour - 29 dates, across Balkan, Scandanavia, France, Germany, Switzerland, Spain, and UK and will go on another tour in Spring, with dates already announced for Edinburgh, Manchester, Cardiff and London (Jazz Café) in May 2025. Since Gizmo started releasing singles for the new album, his streaming has more than doubled. Going from 5 million streams a month to currently 11 million streams a month. His social media following has grown tenfold in the past 12 months. Gizmo has previously collaborated with artists such as Jack Savoretti, Pahua & more.

Anoushka Shankar, die gefeierte Sitarspielerin, Produzentin und Komponistin mit dem dritten Teil. Drei Kapitel, drei Geografien", kritzelte Shankar am Neujahrstag vor zwei Jahren in einem Café in Goa in ihr Tagebuch und manifestierte damit eine ehrgeizige Trilogie, von der sie hoffte, dass sie sich über mehrere Geografien erstrecken würde, mit Verweisen auf ihre Wurzeln, über Kontinente und Kollaborateure hinweg. Rückblickend kann man sagen, dass die 11-fache GRAMMY Award-Nominierte sich selbst übertroffen hat. Kapitel I wurde in Berlin aufgenommen, um Shankars europäisches Erbe zu würdigen (sie wurde in London geboren und lebt dort), während Kapitel II in Kalifornien aufgenommen wurde, wohin sie im Alter von 11 Jahren zog und über 15 Jahre lang lebte. Im Mittelpunkt von Kapitel III steht die indische Achtsamkeit, die all ihrer Musik zugrunde liegt.

Sun Ra was a master of misdirection. Tape boxes wrongly labeled—whether by accident or design—are legendary among Ra archivists. One can speculate about the artist's intent or carelessness, but source misinformation abounds on Ra tape cases, album jackets, cassettes, ephemera—as well as in interviews. It's as if Ra, in furtherance of his own mythmaking, wanted to keep historians guessing.

This project began as a misidentified tape discovered by Michael D. Anderson of the Sun Ra Music Archive. The 7-inch reel, which contained a live Ra solo piano performance of 11 works—some recognizable, others not—was of stellar quality, and was marked as a 1979 Carnegie Hall date. But the program on the tape did not align with known facts (e.g., titles played, concert duration) which were chronicled in a Newsday review of Ra's appearance at Carnegie in September of that year. With a prod from writer/historian Ted Gioia and further research by myself, the tape was eventually identified as a mostly unreleased July 1977 performance by Ra at a downtown NYC "jazz café" called The Axis-in-Soho.

The complete LP + 4 bonus tracks - limited edition pressing on 180g vinyl

As one of the most sensual singers in the history of jazz, Julie London's risque album covers were as much a part of her legend as her sultry and husky vocals.

Like many of her albums, London by Night brings together songs that form a narrative of a lovelorn woman finding true love, getting dumped, and wandering around sadly until finding romantic redemption in the final song.

As highlighted in the AllMusic review by Nick Dedina -"It also shows how 1950s audiences were dealing with the same issues of self-worth and esteem that modern ones are grappling with, and why classic albums such as 'London By Night' still have a place in music collections".

Actual Earth Music - Volume 1 & 2’ presents two caustic, yet alluringly unreal live sets from Canadian noise-rock entropy hunters Earth Ball. Following on from the group’s critically appraised ‘It’s Yours’ LP (released 2024 on Upset The Rhythm - UTR164) this release captures the band at the peak of their powers, playing live, composing spontaneously.
Side A features Earth Ball live at The Fox Cabaret in Vancouver, supporting Wolf Eyes on August 4, 2023. Jeremy Van Wyck from the band considers this “the gig that sent us into orbit, really. Causing Olson & Young to wax poetic about our interstellar jams to a fine bloke across the big sea. Upsetting our casual rhythm and forcing our hand. All that talk led to an LP, ‘It’s Yours’, and a full UK tour the following spring”.
Now, with the birth of this live series ‘Actual Earth Music’, it seems only fitting that Volume 1 should be this gig. It’s a doozy. Listening back is a pure revelation. Earth Ball whip up a vortex of thrashing wild energy, the ecstatic release is off the charts. “You don’t always catch every nuance of the jams as they come down. I mean, this one felt good, but upon listening back to the tapes, it sounded very good” confides Jeremy. “It reminded me of Von Trier’s Melancholia: the sound of a large sphere coming toward you to bring doom. However, this one reverses course, heading away to some other shore, bathing you in reflective bliss before saying goodbye—instead of ending humanity as we know it”.
Volume 2 occupies Side B of this LP, showcasing a collaborative summit from the second night of their recent Café OTO residency on May 21, 2024. This event featured Earth Ball laying down three separate sets—all collaborations. This second recording presents their opening performance and features pivotal UK improv luminary Steve Beresford on piano and free-jazz phenomenon Chris Corsano on drums.
Running Time: 42 mins

Recorded in 1964 during two concerts in the venerable Greenwich Village venue, the Café Au Go Go, two months after Astrud Gilberto's "Girl From Ipanema" became a Top Five pop single. However, the focus of these sets moved away from the Brazilian flavoured fare, bringing Gilberto into the realm of a decidedly more North American style. The band features a young Gary Burton (vibraphone), Kenny Burrell (guitar), Gene Cherico (bass), and Joe Hunt (drums). There are a few personnel substitutions, with Helcio Milito (drums) and Chuck Israels (bass), respectively, filling in. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

"Shybits are releasing in November their second album to date with their new label, Anomic Records. "What's That?" is reflecting on the musical and personal growth of the band - a more mature sound inspired by this of the colder 80s, without abandoning the 90s nostalgia. Shybits have played notable shows including WDR Rockpalast, NPR Word Cafe & Reeperbahn, as well as supports for Yard Act, Art Brut, Pabst, Gurr, WWPJ & more. For the album release they will be touring in EU later this year."

South-London, British-Bengali musician Tara Lily shares her debut album 'Speak In The Dark'. The LP is about "speaking your truth" and combines alternative R&B, jazz, electronica and traditional Indian sounds into a unique fusion. The record, produced by Dom Valentino, features American jazz trumpeter Theo Croker, UK rapper Surya Sen, and Archy Marshall (aka King Krule) on guitar.

Growing up in Peckham as part of a British Bengali family has given Tara Lily a unique perspective on music and global culture. She has spent her life absorbing a multitude of sounds and genres from her surroundings, ranging from electronica to jazz and RnB to traditional Bengali folk music. From training at the Trinity Laban Conservatoire of Music (where she studied jazz piano and voice) to learning Indian classical music and being the first act signed to Motown Records UK. Tara is a musical anomaly.

Debut album from South-London, British-Bengali musician and rising star Tara Lily, featuring American trumpeter Theo Croker & UK rapper Surya Sen
LP produced by Dom Valentino with additional contributions from Bad Sounds, Jaz Lee, Archy Marshall, Chiranjeeb Chakraborty, Akash Parekar, Mei Kerby, Ian Stratford
European Tour supporting JP Cooper (1st week of October, 2024)
UK Tour w/ Juabi - Manchester, Barbican (London) - Sept 2024
Artwork by Jay Vaz (Dreaming Vinyl)
"No Way Out" video shot in association with The North Face in the Himalayas, Nepal. Directed by Siddanth Ghosh
Press support - The Guardian, Evening Standard - "One to watch", Wonderland, ID, Notion, Clash
Radio support - 'Double Time' was track of the week on BBC Radio 1, other spots plays - BBC 6Music, Jazz FM (playlisting), BBC Asian Network, NTS
Recipient of the FAC x Amazon Music - Step Up Fund
Tours - UK, India (Echos Of Earth / Vh1 Supersonic festival / Jazz
Weekender), Nepal, Bangkok, Hong Kong, EU
Festivals - Glastonbury (3 sets - BBC introducing - Televised / Leftfield B2B Billy Bragg / PRS), We Out Here, Shambala, Daytimer Dialled In, Wilderness, Cross The Tracks
Career highlights - SHAKTI JAZZ NTS show, joined King Krule on stage at Apollo Theatre and supported RAYE at the Royal Albert Hall, Jazz Cafe w/ Mahalia, playing live on TV on BBC2 (The Kia Oval)

Bonding over their disillusionment with exhausting world tours and the relentlessness of the music industry, David Bardon, Oscar Robertson and Olivier Huband formed Sunglasses For Jaws in 2017.

Over the course of their albums, they have collaborated with Clementine Brown (Penguin Café Orchestra), Miles Kane (Last Shadow Puppets) & Rosetta Carr (Alabaster Deplume). Hailing from London, this band takes you on a unique musical journey, skilfully blending the lounge, experimental and groovy influences of the 70s with a contemporary twist that leaves plenty to the imagination.

Im Rahmen der limitierten Emscherkurve 77-Vinyl Collectors Reissue-Serie, jetzt erstmals überhaupt auf LP erhältlich: "Zweite Wahl" beinhaltet gesuchte Songs von teils längst vergriffenen Releases wie bspw. "Religion" vom beschlagnahmten "Tribute to Slime"-Sampler, die Dritte Wahl Cover-Version "Zeit bleib stehen" und unveröffentlichte Demo-Versionen und Outtakes, die oftmals punkig-rauher eingespielt wurden ("Dreck und Lügen"), einen ganz anderen Charme wie die "finished Version" haben ("Vergangenheit") oder nie erschienen sind wie "Sterne". Die gewohnt sich nicht in den Vordergrund drängenden Gentlemen aus dem Ruhrpott nennen das ganz bescheiden "Demos und anderer Kram". Wir nennen das eine der besten Zusammenstellungen von inoffiziellen Aufnahmen und alles andere als "Auschussware", die oftmals lieblos von Bands unters Volk geschmissen werden, 13 Songs aus der "Dat soll Punkrock sein?!" und "Buch des Lebens"-Ära, inkl einer fetten Live-Aufnahme von "Genug zu tun" in Paderborn mitgeschnitten! Vinyl kommt wie alle Teile der Serie limitiert auf je 77 Stück in verschiedenen Farben.

Im Rahmen der limitierten Emscherkurve 77-Vinyl Collectors Reissue-Serie, jetzt erstmals überhaupt auf LP erhältlich: "Zweite Wahl" beinhaltet gesuchte Songs von teils längst vergriffenen Releases wie bspw. "Religion" vom beschlagnahmten "Tribute to Slime"-Sampler, die Dritte Wahl Cover-Version "Zeit bleib stehen" und unveröffentlichte Demo-Versionen und Outtakes, die oftmals punkig-rauher eingespielt wurden ("Dreck und Lügen"), einen ganz anderen Charme wie die "finished Version" haben ("Vergangenheit") oder nie erschienen sind wie "Sterne". Die gewohnt sich nicht in den Vordergrund drängenden Gentlemen aus dem Ruhrpott nennen das ganz bescheiden "Demos und anderer Kram". Wir nennen das eine der besten Zusammenstellungen von inoffiziellen Aufnahmen und alles andere als "Auschussware", die oftmals lieblos von Bands unters Volk geschmissen werden, 13 Songs aus der "Dat soll Punkrock sein?!" und "Buch des Lebens"-Ära, inkl einer fetten Live-Aufnahme von "Genug zu tun" in Paderborn mitgeschnitten! Vinyl kommt wie alle Teile der Serie limitiert auf je 77 Stück in verschiedenen Farben.

Im Rahmen der limitierten Emscherkurve 77-Vinyl Collectors Reissue-Serie, jetzt erstmals überhaupt auf LP erhältlich: "Zweite Wahl" beinhaltet gesuchte Songs von teils längst vergriffenen Releases wie bspw. "Religion" vom beschlagnahmten "Tribute to Slime"-Sampler, die Dritte Wahl Cover-Version "Zeit bleib stehen" und unveröffentlichte Demo-Versionen und Outtakes, die oftmals punkig-rauher eingespielt wurden ("Dreck und Lügen"), einen ganz anderen Charme wie die "finished Version" haben ("Vergangenheit") oder nie erschienen sind wie "Sterne". Die gewohnt sich nicht in den Vordergrund drängenden Gentlemen aus dem Ruhrpott nennen das ganz bescheiden "Demos und anderer Kram". Wir nennen das eine der besten Zusammenstellungen von inoffiziellen Aufnahmen und alles andere als "Auschussware", die oftmals lieblos von Bands unters Volk geschmissen werden, 13 Songs aus der "Dat soll Punkrock sein?!" und "Buch des Lebens"-Ära, inkl einer fetten Live-Aufnahme von "Genug zu tun" in Paderborn mitgeschnitten! Vinyl kommt wie alle Teile der Serie limitiert auf je 77 Stück in verschiedenen Farben.

The Durutti Column, Linda Perhacs, Penguin Cafe Orchestra, Judee Sill. Hello and welcome to Decide Which Way The Eyes Are Looking, the new record by Lina Tullgren. It is a deeply gorgeous intervention, a carefully ornamented dilemma, the most inviting crisis. Made with a host of Los Angeles musicians, Decide exposes Tullgren's daring and trust. Each song is a ring of curious sound: the skip of harp strings, the flutter of woodwinds, the ratchet of percussion, the euphonium's sigh. And at the center of each wreath, Tullgren sings, finding this space between Judee Sill and Sam Jayne. It's a tone that signals weariness, but a weariness hand-in-hand with tenacity. There's a clarity, a kind of immovability. Lina Tullgren's first record came in 2016, a homemade, under-the-skin set of laments. Subsequent LPs and constant touring cemented Tullgren's reputation as a composer of "wide-eyed wonder paired with a resonant despair." 2019's Free Cell showed Tullgren lingering in the margins of their songs, finding places both aloof and spare. Floodgates opened; Tullgren spent the subsequent years exploring deep listening, improvised music, and extended technique. They developed a patience and faith in cooperation that ranged at the far edge of song. Collaborations with Mayo Thompson and Claire Rousay furthered this development. This was not a break with the past for Tullgren, rather it was an opportunity to see how far a song could go. And from that distance, deep in a landscape of drone and tension, Tullgren returned to the bright vulnerability of a lyric and a hook. Weaving together the affective and the radical, Tullgren took the quiet isolation of a shoreline cabin to write the songs that would become Decide Which Way The Eyes Are Looking. For Tullgren, Decide is a culmination of all the work they've done throughout their life: the melodic, the dense, the confessional, the unknowable. It's also a tribute to collaboration. Describing the sessions as having "a lot of space and a lot of ease,"" Tullgren invited musicians from a vast field of songmaking to play on the recording: Leng Bian, Zach Burba, Luke Csehak, Corey Fogel, Jenny Hirons, Tara Milch, Tim Ramsey, Michael Sachs, Jude Tedaldi, Marta Tiesenga and Ben Varian. Jonny Kosmo's backhouse was offered as a cozy, easygoing space for the players to create their parts together, and the record was completed by Tullgren and Luke Csehak together at their Los Angeles home. In Tullgren's words: "I feel really strongly that this album is a portrait of the community I found in Los Angeles." Decide Which Way The Eyes Are Looking is a quiet masterpiece: a generous, memorable journey. It is the result of five years of labor, the product of abandoning the pop song entirely and starting over. Whatever wanderings or doubt fueled it, Decide is also entirely at ease: a record on which Tullgren sings "and I know/what to do now" and "I know exactly what to do" in subsequent songs, clear in the revelations this path has given the

Vintage-Pariser Jazz. Vintage-Pariser Ambiente. Paris hat schon immer Jazzmusiker aus aller Welt in seine Clubs & Cafés gelockt. Paris ist insbesondere die spirituelle Heimat des Gypsy-Jazz, wo viele Jazzmusiker in der ersten Hälfte des 20. Jahrhunderts in den Bals-Musettes der Stadt spielten. Django Reinhardt machte sich in den 1930/40ern mit dem Geiger Stéphane Grappelli und seinem Quintette du Hot Club de France einen Namen, ebenso wie mit den Bands von Alex Renard, Alix Combelle, Ray Ventura, Claude Bolling und Jerry Mango. Dieser LP-Sampler gibt einen hervorragenden Überblick über die damalige Szene, als kurz nach dem Krieg die Viertel Saint-Germain des Prés und Latin zahlreiche berühmte Jazzclubs beherbergten. Alle Tracks wurden remastert.

‘Dynamic Movements - Music for Exercise & Relaxation’ is the new album by the Swedish electronic music producer/remix duo of Johan Agebjörn and Mikael Ögren, lovingly released on Ltd. cassette via Lo Recordings.

Back in the 1980’s there was an exercise craze, people wore lycra bodysuits and headbands. All over the world people were making ‘Dynamic Movements’, determined to change the flow, turn their lives around and step into a bright new future. At the same time the New Age movement was blossoming and meditation was the way forward. Meditation and deep relaxation with maybe some crystals and Unicorns, just for fun.

Inspired by these exercise tapes of the 70s/80s and in tribute to those times and movements, Johan and Mikael worked with producers from around the world to create an album of diverse interpretations, bringing us an album of deep sonic nourishment. Sometimes throbbing and at other times gently lapping at your toes, the result is a lavish cassette contrasting ‘music for exercise’ on side A and ‘music for relaxation’ on side B.

Kicking off side one is the duo’s own ‘Dynamo Dance’, a resonant, pulsating slice of electronic pleasure, which gives way to tracks by acclaimed collaborators like the crisp, cruise control groove of Causeway, the dub chug delight of Jarle Brathen and the irrepressible majesty of ‘Lovelock’ (Steve Moore), before Johan and Mikael return with a tribute to the late great Florian Schneider of Kraftwerk.

Side two’s sumptuous drift into a world of soft pads, rippling arpeggios and sultry saxophone (all the saxophone on the album is by the aforementioned Steve Moore) is initiated by Seahawks, with their lysergic ‘Phase Induction’ leading to the extended Cafe Del Mar beach bar ambience of the legendary Fax records maestro Dr Atmo, continuing with the impossibly lush shimmer of Mary Yalex, the gravity defying drift of One Million Eyes and the divine dream world of Patricia Wolf.

Eagles Their Greatest Hits Volumes 1 and 2 is brand new bundle of two of the best-selling albums of all times. The collection combines the Eagles Their Greatest Hits (1971 -1975) and Eagles Greatest Hits Volume 2. They are packaged in a slip case, showing the covers on the outside, with a sticker on the front explaining the contents and a backer card with the track listings. Greatest hits Volume 1 is one of the biggest selling records of all time with over 40million sales.

Following that heavyweight debut release, we're thrilled to load up the second Upgrade weapons pack !!

Three cuts from Leeds DJ and label boss Buckley and one from  Pikes and Cafe Del Mar resident S/A/M...

All different in their own right from the bass heavy peak time action of 'I like', to the the more old school vibes of 'Nude Night' on the A Side.
Side two see's a cheeky upgrade with 'Daft Sandwich' and finishes with the heads down breaky affair of 'Real Man' from S/A/M.

Das Bristoler Trio Waldo's Gift, eine elektrisierende frische Kraft in der neuen Welle britischer Experimentalmusik, veröffentlicht über das Ishmael Ensemble-Label Severn Songs sein Debüt. "Malcolm's Law" ist eine knisternde, maximalistische, unglaublich komplexe Gitarrenplatte. Während die Band aufgrund ihres Fokus auf Improvisation mit der aktuellen UK-Jazz-Explosion in Verbindung gebracht wird, gibt es hier Anklänge von Prog-Metal, Math-Rock und den intensiveren Enden von Squarepusher und Aphex Twin. "Wir schmuggeln Metal wie ein Trojanisches Pferd in Jazz-Lokale", lacht Vine. Es ist unglaublich, aber jeder Track ist ein einzelner Live-Auftritt, aufgenommen ohne Overdubs oder Extras. "So zu klingen wie wir, ist wie ein verschwitztes, chaotisches Durcheinander, kurz davor auseinanderzufallen. Wir sind alle am Limit dessen, was wir körperlich spielen können, und genau daraus entsteht der Spass."

This collection features sixteen of the most renowned salsa and Latin soul singles released on Fania Records, and its subsidiaries, between 1964-1978, making it the perfect introduction to the legendary catalog. It celebrates the trailblazing label’s 60th anniversary, and iconic artists Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, Celia Cruz and more. Archival images and new liner notes, in English and Spanish, by New York-based music historian Aurora Flores are also included.

For this fifth album, the musical frequencies emitted by Vaudou Game have spread beyond the confines of the city and country, crossed the Atlantic, and reached Colombia. Drawn like magnets, tropical waves traveled along the equator from Latin America to Togo, arriving at the doors of the OTODI studio. They, too, wanted to join in and take advantage of its legendary analog equipment. Welcomed by Peter Solo, they weren’t the only contributors to the band’s renowned hypnotic groove.

The sedans parked outside tell their own story. From Lomé’s bustling market, the Nana Benz of Togo arrived to weave the delicacy of their beguiling vocal harmonies into call-and-response exchanges with Peter Solo. Meanwhile, Lomé Vio, a youth group whose instruments were provided by Peter during turbulent times, lent the strength of their trio of voice, guitar, and accordion.

Still operating under the supreme authority of funk guided by the esoteric and mystical essence of the Vaudou scale, Vaudou Game brings together the hands of highlife and cumbia in perfect unison. With guitars, percussion, horns, and future-vintage keyboards setting hips in motion or creating the most intriguing atmosphere, Peter delivers his messages hidden behind his iconic, inextricable mask. Whether political, human, or environmental, these messages are always wrapped in thick layers of sarcasm and humor, cleverly disguised to serve the exclusive purpose of joyful, dance-driven trance.

With the subliminal mantra to repay Africa—its people, its land—Vaudou Game calls out: FINTOU!

Brooklyn Sounds legendary second album from 1972, full of heavy Nuyorican underground salsa dura propelled by raw trombones, off-kilter piano and in-your-face percussion. A perfect blend of barrio attitude and Caribbean swing, the album proves Brooklyn has sabor y salsa! Pressed on 180 g vinyl, our reissue includes liner notes featuring never-before seen photos. “Libre – Free” is the now legendary second album by the short-lived Brooklyn Sounds and is arguably even better than their self-titled debut, displaying a more mature and practiced sound, no doubt honed by their experiences playing more gigs in support of their first record. Brooklyn Sounds were one of a handful of garage salsa bands from the independent scene that was gathering steam in the early 1970s in the New York boroughs, despite little support or exposure in the mainstream Latin music industry from more dominant labels like Fania, Mericana, Cotique and Alegre. As with many others, Brooklyn Sounds briefly fluoresced in a burst of creativity and defiance, yet flamed out shortly thereafter, dying like a flower among the ruins of burned-out apartment blocks in the barrios of its home city. Though the band only cut two LPs and a couple singles in their brief half-decade of existence, and never really broke out of the cuchifrito circuit in the tri-state area of New York, New Jersey and Connecticut, their music gradually spread far and wide, eventually becoming a sought-after global commodity by the late 1990s. In contrast to the first album “Libre – Free” is uptempo and ebullient, with fewer slow songs and more confident, creative arrangements, full of heavy Nuyorican underground salsa dura propelled by raw trombones, off-kilter piano and in-your-face percussion. Standout tracks include the uplifting, anthemic ‘Libre soy’, and ‘Ha llegado el momento’, with its minor key ‘Moliendo café’ quote at the
beginning—both of which have become dance floor anthems over the years. Another mid-tempo killer is ‘Guaguancó tropical’, a favorite in Colombia since the 1970s. A perfect blend of barrio attitude and Caribbean swing, the album proves Brooklyn has sabor y salsa!

Der dritte Teil der Albumreihe "Trance Legacy" von Armada Music erinnert an die goldene Ära der Trance-Musik und vermittelt gekonnt die anhaltende Anziehungskraft des Genres durch die Produktionen, die den Sound geprägt haben. Diese exzellente 24-Track-Auswahl enthält Klassiker wie "Burned With Desire" von Armin van Buuren feat. Justine Suissa, den legendären Three 'N One Remix von Energy 52s "Café Del Mar", "Strange World" von Push, Tiëstos Remix von Paul Oakenfolds "Southern Sun" und viele, viele andere. Die Melodien von früher werden in Erinnerungen wachgerufen und füllen die Dancefloors von heute.

On (ii), London & Vienna-based duo Bara & Isa present their singular version of devotional music. After meeting at an experimental choir in Café OTO, the duo started collaborating, mostly by exchanging files (initially during the pandemic and now between London and Vienna). (ii) is their debut album which follows a handful of self-released singles and an EP.

Described by the duo as a "sort of document of personal development, and also the struggles of everyday motions", this is music which embraces contradictions. Themes of reflection, acceptance and care sit side by side with notions of spiralling and falling, as Bara & Isa explore the nuances and complexities of quotidian life. Working with a rich sound palette of organ pipes, electric organ, voice notes, field recordings, vocals, harp, chimes, tuning forks, singing bowls, bells and flute, the duo slow-cooked and composed these beautiful songs between 2021 and 2024, mostly by exchanging files. And that's exactly what this music sounds like: a digital call with a loved one, glitching, slowed down, disembodied, yet heartwarming and comforting. Mesmerizing, inviting and bewildering all at once.

“Their music toys with proximity and intimacy, it carries a romanticism which feels forged from a struggle for connection in an isolating world. Tender, precarious folk ballads for a time which struggles to stay in sync.”
Daryl Worthington — The Quietus

“Late Junction 3 airplay”
Jennifer Lucy Allan — BBC Radio 3

“Writing this album, I opened up my closet, and a skeleton came out.” In a café just around the corner from his Edinburgh flat, Hamish Hawk is contemplating his extraordinary new record, A Firmer Hand. “The thing that links all of the songs is a sense of the unsaid, whether out of guilt, shame, repression, embarrassment, coyness, whatever it might have been. I realised: I am going to say these things, and not all of them are going to make me look good. The album made so many demands, and I just gave myself over to it.”

At this stage, where only a handful of close associates have heard the finished album, Hawk is still unsure of what the reaction might be from fans, critics, even family. He jokes that A Firmer Hand is the first of his records that his parents might not enjoy. “But the fact that it makes me nervous tells me it was the right thing to do.”

The first vinyl release by the Melbourne Soul / Funk trailblazers The Bamboos in over a year since their 'This Is How You Do It' album and UK / EU tour (which included two sold out nights at London's iconic Jazz Café) is something that guitarist / bandleader Lance Ferguson has wanted to do for many years: a Christmas EP!

This limited edition 7" comes in custom printed knitted Christmas sleeve that will rival even the most garish seasonal woollen jumper.

A side "Wrapt In A Beau" is classic Sweet Soul Bamboos style, recalling fan favourites such as "I Don't Wanna Stop" and "Golden Ticket", with a perfect vocal by The Antipodean Queen Of Soul, Kylie Auldist.

On the flip is the string drenched Funk instrumental "The Bells Of Holly Hill", which kicks off with a crisp breakbeat plus sleigh bells intro.

Paid promo service to Soul / Funk DJs w/wide for radio, club and online incl presenters on key radio stations such as BBC6, FIP France, KCRW.

LANCE FERGUSON "I'm never going to make an Xmas track without putting some sleigh bells in the mix, and you should see some of my yuletide knitwear...but for everyone who celebrates Christmas in the Southern Hemisphere it's something that falls right in the middle of Summer, flying in the face of much of that iconic festive imagery.

With these songs we thought we'd lean into some of those unique things that make a sun-drenched, snow-less festive season special."

Previous Bamboos seven inch pressings sold out straight away, so don't sleep on this.

Prepare for Another Groundbreaking Release From the Proteges of Skylax Records, the Maestros Behind the Acclaimed "Sting the Floor" and "Love Is Growing" EPs. Already Making Waves Among International DJs, Their Third Installment, "Madness Operator," Takes a Bold Detour While Maintaining the Signature Style That Has Captivated Audiences Worldwide. the Ep Kicks Off With the Monumental "Under Track," a Minimalist Masterpiece That Harkens Back to the Glory Days of Early '90s Chicago. Its Simplicity Is a Stroke of Genius, Resonating With the Raw Energy That Defined the Chicago Sound. "The Wanderer" on A2 Delves Deeper Into the Same Chicagoan Style but With Added Intricacies, Showcasing the Versatility and Maturity of Madness Operator's Sonic Palette. Flipping to the B-Side, "Café Barge at 7 Am" Emerges as a Masterpiece of Silky Deep House, Effortlessly Weaving a Sonic Tapestry That Immerses the Listener in a Serene, Early-Morning Atmosphere. Closing the Ep With a Flourish, "Baby Baby" Effortlessly Melds Disco and Jackin' House, Delivering a Hybrid Sound That Is Both Nostalgic and Forward-thinking."Madness Operator" Ep Is a Monumental Offering That Solidifies the Status of These Proteges as Pioneers in the Electronic Music Realm. From the Sheer Genius of "Undertrack" to the Captivating Diversity of the B-Side, This Ep Is a Testament to the Evolving Brilliance of Skylax Records' Rising Stars. Dive Into the Madness &Ndash; It's an Experience You Won't Forget. Available Now, Exclusively on Skylax Records....

Andrew Macari's next offering comes on the small but already well-formed Vessel Recordings label and it delves into some super deep house sounds. 'U Hold Me Tight' is a shuffling, gently percussive number with swaying drums and the sort of groove to lock you in. 'Don't Make Me Wait' is a slower groove with drums that drag their heels in an intriguing way then 'Hana's Jazz Cafe' gets more funky with some playful swing. 'Curiously' shuts down with a nice raw and dusty sound topped with some freaky vocals.