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Cocoon Recordings presents: Cocoon Compilation T

Limited Vinyl Box Set including 6x blue vinyl & download code

Another year, another expertly curated compilation touches down courtesy of Cocoon Recordings. Somehow, the world keeps turning and with it the Cocoon universe keeps expanding, causing subtle yet persuasive shifts in the sonic soundscape that continue to
capture and captivate the imagination. In time-honored tradition the old guard and the new combine with devastating effect, to define the current state of play…
Veteran Techno producer Stephen Brown makes it clear the compilation series is back with a bang, opening things up in epic fashion with the lucid dreamscape ‘Level Steps’ - a true work of art. Another heavy-weight hitter steps straight up in the form of Claude von Stroke, who adds his own unique swagger to proceedings with those trademark shuffling beats and freaky, hypnotic bleeps scuffling for dominance on ‘Moody Fuse’. Denis Horvat then slows things down on ‘Monomono’, with post-raveNew Release Information
abstractions and disobedient synth-patches causing mayhem before the track finally unfolds in all its terrifying beauty.
Motoring on, the collection wastes no time reaching that familiar tipping point as we enter the techno phase of the journey. A very special appearance from Daniel Avery makes it all the more worthwhile amid a dense forest of chiming melodies and blistering electrical surges on ‘Your Future Looks Different In The Light’, before Jeroen Search’s aptly titled ‘Subversive Elements’ lead us deeper and
deeper, into the matrix.
Marco Bailey then kicks off a triptych of trance with some massive filtered piano action on ‘Kanai’ that’s destined to trigger a serotonin smile with everyone it touches. Revisiting the huge,
ever-growing pulsating brain of planet Orb, Damiano van Erckert continues the loved-up vibe on the gorgeously titled ‘500 People 500 Hearts 1 Love’, expertly complimenting the classic ambience with
some slick 909 snare and cymbal interplay. The melodic pull of ‘Vision99’ then signifies that the party is peaking at just the right moment as YOKTO concocts a glistening, psychedelic groove. The
emotional resonance climbs ever higher with brittle melodies endlessly circling a lush, throbbing bass drone to create the sense of something stirring out of reach.
Just when you think the acid sound is done and dusted, up pops a track like Jonathan Kaspar’s ‘CCC’ that somehow manages to offer an entirely new perspective. Riding in on a wave of expectant
arpeggios, the squelching bass and noise filter go toe to toe before Kaspar gets busy with a freaky tempo excursion that’ll be destroying dance floors all year long. ‘The Art of Electronics’ is, as the title
suggests, another superlative example of pure analogue fire, served up by UK legend, Andrew Meecham aka The Emperor Machine. The funk starts to flow as the bass drops, the machines cut loose and a swarm of cascading bleeps ride the trans-europa express to oblivion.
Electro overlord Carl Finlow, has come to define the UK take on the genre over the last couple of decades. Here, he makes his long overdue label debut, taking us into the closing straight with a
nervous sliver of dystopian futurism, complete with molten basslines and a fuzzy logic that underpins the tight, laser-guided groove on ‘Surface Control’. DeFeKT then draws this great adventure to a close
with the deliciously dark robo-disco overtones of ‘Terraform’ creating a dusky landscape that skillfully seduces the listener before the tension finally breaks in a wash of ecstatic chords.
All in all, it’s a supremely ambitious collection of tracks, generously featuring some of the most inspirational and durable artists of their respective generations. In fact, is this perhaps the best Cocoon
Compilation to date

Art Moore make vivid, heartbreaking short stories. Each song on the newly formed band's self-titled debut album is its own individual universe of bittersweet feeling: a brief snapshot of a moment in time that captures the fragility and occasional impossibility of human connection. These songs are deft character studies, zeroing in on shy beginners, jilted friends and friendly exes, chronicling minute moments-road trips, casual dates, games of truth or dare-with rich detail and subtle wit. Featuring the inimitable songwriting of beloved Oakland luminary Taylor Vick of Boy Scouts set in sharp relief against lush production from Ezra Furman collaborators Sam Durkes and Trevor Brooks, it's a quietly wondrous record - a set of songs that sketch out the struggle and beauty of coping with everyday life. These are songs about tiny, unspoken feelings rendered on a grand scale, moments that often get brushed aside given the weight that they should be. Across these ten stories, Vick, Brooks and Durkes are unsparing in their focus but remarkably generous in their artistry - three pairs of steady, even hands crafting one fine, precious object.

Neil Young + Promise Of The Real release a new live album, ‘Noise & Flowers’, that captures the group in all their glory on their 2019 European tour. The release will be accompanied by a concert film that shares the same title and is included in the album’s 2xLP+CD+Blu-ray Deluxe Edition.
‘Noise & Flowers’ documents a 9-date tour that began just two weeks after Young’s lifetime friend and manager of more than 50 years, Elliot Roberts, passed away at the age of 76. Performing alongside a photograph of Roberts taped to his road case, Young approached each show as a celebratory memorial service to honour his late friend. It’s a trek the legendary singer/songwriter describes as “wondrous.”
In the album’s liner notes, Young says, “Playing in his memory made it one of the most special tours ever. We hit the road and took his great spirit with us into every song. This music belongs to no one. It’s in the air. Every note was played for music’s great friend, Elliot.”
In paying tribute to the manager who guided Young’s career for over a half-century, ‘Noise & Flowers’ explores all corners of his vast discography. It balances all-timer anthems (‘Mr. Soul’, ‘Helpless’, ‘Rockin’ in the Free World’) with rarely aired ‘70s deep cuts (‘Field of Opportunity’, ‘On the Beach’) and ’90s gems (‘From Hank to Hendrix’, ‘Throw Your Hatred Down’). His frequent backing band since 2015, Promise of the Real effectively bridges the extremes in Young’s sound, infusing his raging rockers and country serenades with their casual brilliance and telepathic intuition.
The companion film (directed by Bernard Shakey and dhlovelife) emphasizes both the intimacy and ecstasy of these performances.
‘Noise & Flowers’ is entry No. PS 21 in the Neil Young Archives Performance Series of live releases – a special addition to a robust, and still-growing catalogue.

Limited Edition of 1,500 on Transparent Red Vinyl. The debut album from 19-year-old artist Sofia Mills, Baby Magic intimately details the most pivotal moments in her coming-of-age experience: breakups with toxic boyfriends, coming out as queer at age 16, a longtime struggle with mental illness. As shown on her breakthrough single "Coffee Breath" (a self-produced track that's amassed over 100 million streams on Spotify to date), the Massachusetts-born singer/songwriter/multi-instrumentalist imbues her storytelling with both startling clarity and profound sensitivity, an element echoed in her warmly textured brand of indie-pop. Written entirely by Mills and co-produced with John Mark Nelson (Taylor Swift, Allison Ponthier), Baby Magic arrives as a complex and captivating body of work, built on a potent tension between her dreamy romanticism and intense self-awareness.

For Fans Of… Dr. John, Allen Toussaint, The Faces, Joe Cocker, Leon Russell, Buddy Miles, The Meters, Father John Misty. "I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living - consumed by drugs, alcohol, and addiction - such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n' roll. There is a deep connection between Francis's childhood - his obsession with boogie woogie piano, his father's gift of a dusty Dr. John LP - and the songs he's created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock 'n' roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: "It's the life I've lived so far." After playing his first live show in November 2018, Francis was signed by veteran agents Joshua Knight and Phil Egenthal of Paradigm Talent Agency. 2019 brought a North American tour supporting Australian band The Cat Empire as well as radio play on KEXP, KCRW's The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band performed at festivals such as Summer Camp and the New Orleans Jazz & Heritage Festival and shared the stage with The Meters and Lee Fields & The Expressions. Francis continues to tour relentlessly to promote his own music. "I'm doing this to fulfill a drive within myself, but also to pay tribute to the gifts I've been given. And it comes from a place of immense gratitude. I've been given so much in my life, especially in the last two years, that this feels like a bonus." Also Available From Neal Francis: These Are The Days 7”.

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Delroy Wilson was one of Jamaica's most soulful vocalists, and over a 40-year career the singer unleashed a flood of hits and a multitude of masterpieces. Born on October 5, 1948, in the Kingston neighborhood of Trenchtown, Wilson's phenomenal talent would be his ticket out of the ghetto, and his discovery by producer Coxsone Dodd in 1962 would change the path of Jamaican music. Released on Big Shot in 1973 and produced by Bunny Lee, 'Captivity' is one of the true classics from Delroy's discography, back on vinyl for the first time since its original release.

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.

Needle Mythology reissue a special expanded album edition of Finn, the album released by New Zealand’s most celebrated musical siblings Tim and Neil Finn to acclaim both from critics and long-time fans who had followed the pair’s work since their time in together in Split Enz. This is the first time Finn has received a vinyl release. Released in close collaboration with Tim and Neil, the newly-expanded Finn comes with an entire album The Finn Demos, which gathers together ten songs from 1989’s legendary Murchison St sessions, remastered by Miles Showell at Abbey Road Studios. Convening at Neil’s new Melbourne apartment with a view to making an album together, Tim and Neil embarked on an intensely productive period, writing several songs that would briefly result in Tim joining Crowded House for the resulting Woodface album. Assisted by the late Paul Hester on drums, the demos capture a host of songs that would go on to be played in arenas around the world in their newborn state: ‘It’s Only Natural’, ‘Catherine Wheels’, ‘Weather With You’, featuring a whole extra verse and the previously unreleased ‘Four Stepping in 3/4 Time’. For this release, long-time fan and collaborator on Neil’s 7 Worlds Collide project, Ed O’Brien (Radiohead) contributed liner notes, hymning the album’s “heavy” beauty and its “elemental energy.” Featuring brand new artwork designed by Needle Mythology’s James Gosling, the expanded Finn features newly-unearthed images of Tim and Neil taken by Darryl Ward during the sessions for the album. For this release, Tim and Neil have also shared the “listening notes” submitted by the brothers’ parents – something they would do for every song their sons wrote. For Finn, Tim and Neil enlisted the services of Tchad Blake, whose “feel”-based approach brought out the best in the brothers, who played every instrument on the record. Writing about the record for Mojo at the time, David Hepworth characterised Finn as a “warm and loose record” that hardcore fans would undoubtedly “adore”. Originally released on Parlophone Records, Finn spawned an unlikely top 30 hit, the mesmerising semi-improvised psych-rock fan favourite ‘Suffer Never’. The expanded double album edition of Finn has been cut at Abbey Road by Miles Showell and pressed on 180g vinyl at The Vinyl Factory.

With their 1978 double concert album Waiting for Columbus, Little Feat staked their claim as one of the premier live bands of the 1970s. Recorded over a series of dates in London and Washington, D.C. over the summer of 1977, Waiting for Columbus vividly captures the L.A. sextet at a crossroads between its swampy mid-'70s fusion of blues, country, jazz and New Orleans R&B.

Little Feat originally released Waiting For Columbus LP on February 10, 1978. The platinum-certified double album cemented the band’s reputation as one of the premier live bands of the 1970s. When it was recorded, the group included: Lowell George (vocals, guitar), Paul Barrere (guitar, vocals), Bill Payne (keyboard, vocals), Richie Hayward (drums, vocals), Sam Clayton (percussion, vocals), and Kenny Gradney (bass).

Waiting For Columbus touches on songs from all six of the studio albums Little Feat released between 1971 and 1977. The dynamic performances showcase the sextet’s inimitable fusion of blues, country, jazz, and New Orleans R&B on signature tracks like “Fat Man In The Bathtub,” “Oh Atlanta,” and “Sailin’ Shoes.”

WAITING FOR COLUMBUS: SUPER DELUXE EDITION is the definitive edition of this classic. It includes unreleased live versions of songs that appeared on the original (“Rocket In My Pocket” and “Spanish Moon”), along with several that didn’t, like “Cold, Cold, Cold,” “Rock And Roll Doctor,” “Skin It Back” and a cover of Allen Toussaint’s “On Your Way Down.”

We all make mistakes. We all have regrets. We all look back on the loves and losses life brings and lament on how things might have been different. In these deeply personal moments of reflection our emotions can run wild as we contemplate our choices and come to terms with what’s next. Hindsight is a powerful and complex thing, and a phenomenon whose intricacies are explored in captivating fashion on The Greatest Mistake Of My Life, the second album from Cardiff’s Holding Absence.

Building on the excellent foundations laid down by the band’s eponymous debut record, released in 2019, and following standalone singles ‘Gravity’ and ‘Birdcage’, the four-piece have returned with a group of songs that, in the view of vocalist Lucas Woodland, are the truest representation of Holding Absence to date.

Inspired by a song of the same name that was recorded in the 1930s by actor and singer Dame Gracie Fields, The Greatest Mistake Of My Life is rooted in a time long before Holding Absence even existed. Lucas’ great uncle covered the song during the 1950s – something the frontman repeats on this album – and after finding this out from his grandmother, the singer decided the poignancy of its words were worthy of titling Holding Absence’s next record.

Holding Absence – the band completed by bassist James Joseph and drummer Ashley Green – carry the The Greatest Mistake Of My Life’s contemplative and thoughtful spirit throughout their second album. Whereas their debut was a concept record about the subject of love, The Greatest Mistake Of My Life’s inspirations are more complex, as Holding Absence stare down love in the face of death, all the while musing on the vast array of emotions we as humans experience throughout our lives.

Lead single ‘Beyond Belief’ is a soaring epic about the risk of loving someone forever, when their definition of ‘Forever’ might be different to yours, and a song that, Lucas says, argues how “love is something worth taking a risk on.” Holding Absence’s unique approach to romance is also present on atmospheric tracks like ‘Curse Me With Your Kiss’ and ‘Afterlife’, but for every display of affection, The Greatest Mistake Of My Life counters with despondency. ‘Die Alone (In Your Lover’s Arms)’ tells of the loneliness two people feel within a relationship long-turned sour, while ‘In Circles’ speaks to the monotony of everyday life and the crushing of dreams.

The Greatest Mistake Of My Life soundtracks the journey of our lives via all of its despair, elation, joy and pain, but never once tells the listener how they should be feeling.


Shedding their skins and emerging into a bright new phase for their band, with The Greatest Mistake Of My Life, Holding Absence are embracing change whilst holding onto the things that make them special. Aesthetic, for instance, remains important to Lucas and his bandmates, but as seen in the video for ‘Beyond Belief’, no longer do they exist in a world of purely black and white colour. Ushering in a colourful new era for Holding Absence, Lucas speaks of a desire “to bring warmth to people’s lives.”

Armed with a stellar new album and an unflinching belief in their craft, this new incarnation of Holding Absence promises to excite and impress like never before. An enthralling collection of songs and stories that tell of love, life, death and everything in between, The Greatest Mistake Of My Life is a thrilling record, and one its creators were born to make.

As Holding Absence have proved, the greatest mistakes can sometimes open the door to even greater triumphs.

The second LP on Hot Concept from Yr Lovely Dead Moon, aka, Rachel Margetts. ‘‘Don’t Look Now!’ mixes post-punk, electronica and jazz influences alongside Margetts’ hypnotic vocal poetry, reminiscent of Jenny Hval or Anne Clark, to deliver an incendiary and captivating critique of the oppressive forces of modernity, easily walking a tightrope between tenderness and tension.

21st Century pop is curiously irrelevant: autotune, twelve 'writers' on a single song, sensationalist yet skin-deep social commentary . . . with none of the joy, excitement and surprises of pop's lengthy heyday, from the Brill Building through the New Wave era. Where did it go? That would be an apt introduction to an album of calculated throwbacks to a three-minute pop ideal . . . but No Place Like Home isn't that record. We doubt even Gemma could tell you where this collection of beguiling jewels came from exactly, each fully-formed, complete and satisfying, no two quite alike, and each devoid of Wet Leg or Dry Cleaning's crafty calculation, but with every bit of those acts' charm. The first single, Stop, is based on an idea so simple that it's nearly unfathomable why no one had come conjured it earlier. Like toilet paper or a pair of scissors, the song feels entirely obvious until one ponders its late arrival. Stop's motorik beat propels verses to a chorus of pure delight, bested by a bridge occurring so late in the tune that it comes across like a surprise second dessert. My Idea Of Fun, a tale of frequent drunken regret, comes with a video of minimalist humour and visual brilliance. On other songs, Gemma channels acts Delta 5, Au Pairs and The Raincoats, along with the humour of Ian Dury and a similar verité of London life found in the best of Madness. The more serious fare is equally compelling. Rabbit Hole projects a daring newness of young freedom, Dance Of A Thousand Faces veers into Sprechstimme and expands into a swooping chorus, the feel of which subtly conveys present-day tensions reminiscent of the Weimar era. Tailspin captures the dark feeling which comes burdened with real-time consciousness of a loss of control, while the album closer, Frida, a tale of the loss of a dear friend manages to end in a guardedly upbeat tone. Gemma's debut album is sure to stir up deep interest and will be supported by a number of videos and live performances, plus free digital singles featuring otherwise unavailable non- album tracks.

Will Stewart's new full length 'Slow Life' is a collection of songs that
capture his unique blend of varied styles and interpretations
From Montgomery's river region, up through west Alabama and over to
Birmingham, a brief stint in Tennessee and tumbling back over Red Mountain to
settle back in east Birmingham. You might call Will Stewart's sound "Central
Alabama Music." A little south of Nashville, some might say. In our current rapid
fire consumer culture of "brands" and "influencers," Slow Life invites people to
take a seat and relax for a while.
While past releases County Seat (2018) and Way Gone (2020) drew from a more
internal and reflective mood, 'Slow Life' approaches the music in a more
immediate and whimsical spirit.
Armed with his core band, Ross Parker (bass) and Tyler McGuire (drums) and
Janet Simpson (vocals) and help from Daniel Raine (keys), Stewart churns
through 10 songs of guitar driven folk rock. Recorded in the heart of east
Birmingham and engineered by Brad Timko, it's a sound that is uniquely central
Alabama.

A selector, producer and label head at the top of his game, Enzo Siragusa continues to prove exactly why he’s held in such high regard as a staple of the underground music scene. While developments have seen the FUSE boss adjust his approach, recent months have combined a wealth of studio time with the unveiling of new projects – most recently announcing the launch of his new genre-bending all-night-long event series, E:Dimension. Yet, there’s something about a release from Siragusa on home turf that stands out amongst the pack, with productions like ‘Sagamore’, ‘Desire’, ‘Flexin’ and the ‘Kilimanjaro’ cuts instantly recognisable after just a few seconds, and the same looks set to happen as he makes his highly-anticipated return with his first solo material on the label for over two years. Unveiling one of his most heavily requested tracks to date alongside further peak-time business on the flip, April finally welcomes the arrival of the two-track ‘Nothing Matters’.

A track that’s been making waves for months, ‘ICV (Double Flake Mix)’ brings the sub-shaking, cavernous reese bassline now captured by many across the globe as Siragusa launches into his signature blend of heads-down, hands-up sonics, while the vinyl-only dub delves into afterparty territories to offer up an exclusive version for wax owners. On the flip, title cut ‘Nothing Matters’ graces the B-Side and keeps things moving as meandering melodies ride rumbling low-ends, swinging drums and chunky grooves to shape up proceedings in emphatic fashion. It’s safe to say Siragusa’s back, and he’s back like he never left.1

Emerging Netherlands-based pairing Parallells will land on Damian Lazarus’ Crosstown Rebels imprint for the first time next month. Gifting us an emotive offering in Ashes of Snow (The Rebirth Of The Phoenix), it acts as a tribute to their favourite Portuguese beach club, Yamba, which was tragically destroyed by a fire last year.

The title track hits a wonderful sweet spot between electronic elements and organic instrumentals. It feels raw and authentic, blending saxophone segments, electric guitar tones and a jazzy-like backbone to form a cut that feels ripe for both sunrise or sunset. On The Banks of The River comes next, manifesting as a more toughened dance music number thanks to deep bass components whilst still retaining the boys’ natural sound. Rounding off proceedings is Clive Henry, who’s remix of Ashes of Snow flies the flag for contemporary minimal. Weighty kicks reside next to delicate hats before ethereal synths are brought in, creating a romanian-inspired piece that you can’t help but dance to.

Parallells are two Amsterdam-based brothers hailing from the south of France. Multi-instrumentalists, composers, producers and label owners (Klassified), their music cuts across electronica, electro-jazz and underground dance music. Their live, hybrid and DJ sets have graced some of the world’s most esteemed stages, including DGTL, Robot Heart, Mayan Warrior, The Gardens of Babylon, Wonderfruit and many more besides. Their music is also heavily influenced by world culture, a feat that led them to launch their video series concept A Day In. Through this, they immerse in diverse cultures around the world, capturing sounds from their day-to-day life and unfold the story through the medium of music. Clive Henry is a linchpin of house music as we know it today. Cutting his teeth as one half of the tribal house duo Peace Division, he has held a long-term residency at Circoloco, Ibiza and has racked up bookings at standout venues and festivals including Printworks and Houghton to name a few.

Before 2 drew the world’s eyes to Canadian crooner Mac DeMarco, the spark was heard sooner on the debut EP Rock and Roll Night Club.



Demarco has been the antithesis to the stereotypical singer-songwriter for the past decade. Disregarding the seriously sombre moments on Rock and Roll Night Club, he refuels throughout with whimsical moments and youthful spontaneity whilst retaining the endearing and subtle commentaries that exude his familiarity.



His most impressive trait is his undeniable and instinctual ability to compose magical pop jangles. His dusted jams have garnished him accolades that are ever increasing alongside his discography; his sound rendering wide comparisons, but in a nomadic fashion, alluding no distinct origin except for Mac himself.



The 10th anniversary pressing of Rock and Roll Night Club compiles all 12 original recordings - including bonus tracks “Only You” and “Me and Mine” - pressed on limited edition Night Club vinyl, with brand new liners written by DeMarco reflecting on his time writing and recording what would become the world’s introduction to one of indie’s most influential songwriters.