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Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

In celebration of National Album Day, All Saints' iconic debut album All Saints is finally making its debut on Green Vinyl. This release brings forth the timeless allure of the British girl group's chart-topping hits, including the infectious rhythms of "Never Ever," the soulful harmonies of "Under the Bridge," and the irresistibly catchy "Bootie Call." Transport back to the late 1990s, where the signature blend of pop, R&B, and hip-hop captivated global audiences.

Enigmatic producer bullet tooth makes Crosstown Rebels debut with ‘IF I CAN’T BE YOURS’. UKG meets melodic house on the four-track EP, featuring remixes from Enamour and SICARIA.

If you haven’t heard of bullet tooth yet, you soon will. Brimming with UKG, rave, and rap influences made deviously dark with heavy low-end basslines, this faceless newcomer’s captivating sound has seen him enjoy a meteoric rise since emerging on the scene in 2023. Graduating from Soundcloud bootlegs, the elusive artist made his Parklife debut this summer alongside rapper Capo Lee, with whom he produced ‘Keep It Rolling’. Featuring in sets for the likes of Sammy Virji, Main Phase, and Interplanetary Criminal, the aforementioned collab proved an instant hit, gracing BBC Radio 1 and 1Xtra airwaves via Sarah Story, Jeremiah Asiamah, DJ Target and more. Add supporters such as Floating Points, Laurent Garnier and Bicep to the mix, and it’s easy to see why there’s so much hype and intrigue.

Concluding his summer with a bang, the UK artist joined Damian Lazarus for his Hï Ibiza residency alongside Black Coffee, and now the DJ/producer ventures into melodic landscapes via Lazarus’ Crosstown Rebels with ‘IF I CAN’T BE YOURS’. The four-track EP also features additional remixes from LA-based talent Enamour and London’s hotly sought-after Moroccan dubstep favourite SICARIA. Leading with the powerful, ‘IF I CAN’T BE YOURS’, bullet tooth takes his sound to the club, featuring nostalgic 90s-esque vocals over dubby bass that lean towards the dancefloor. Second up is the uniquely melancholic-euphoric ‘YOU THINK YOU CAN FIX ME’, where UKG-style rhythms journey deep into melodic realms with purpose and precision. On the b-side, California’s Enamour reworks ‘IF I CAN’T BE YOURS’, directing his energy into a high-energy remix destined for festival grounds. To close out the EP, SICARIA leans into breakbeats with a climbing rendition of her own, infusing the track with lingering afro-leaning flavours.

Lyrics written by Ontto, except “Voitelu” written by Ontto & Evill

Produced by Oranssi Pazuzu
Recorded by Julius Mauranen and Niko Lehdontie
Additional recording by Juho Vanhanen and Tom Brooke
Sounds captured at E-studio, Astral Studio, Cellar of Deposition and Inner Oscillations between November 2021 and December 2023.

Mixed by Julius Mauranen at Studio Kekkonen
Premix engineering by Niko Lehdontie
Mastered by Svante Forsbäck at Chartmakers
Album artwork and layout by Jenna Haapaharju
Management by Erin Lynch, FlyingFox AB
Thank you: Mikko Männistö, Tom Brooke, Erin Lynch, Jens Prueter, Jyri Riikonen, Timo “Moit” Alatalo
Evill - grand piano, vocals, effects
Ikon - guitar, sampler, synthesizers
Jun-His - the voice, guitar
Korjak - drums
Ontto - bass guitar, synthesizers

Sol Power Sound returns with an EP of two blistering (and rare) island disco cuts remixed by Bosq and the Sol Power All-Stars that will make you forget that summer has come to a close. Officially licensed from the estate of Nappy Mayers, who wrote and produced both originals, both tracks capture Nappy’s exquisite sound that dominated the Trinidadian discotheques in the late 1970s and early 1980s but never received the international acclaim they deserved.

Bosq, a long-time friend of the label, leads things off on the A-side with his fiery dance floor flip of Nadie La Fond’s “Three Way Situation.” In his classic yet understated style, Bosq adds just enough, enhancing the captivating groove, while preserving the true essence and of the original. Using both vocal and dub parts Bosq turns up the funk and transforms the tune into a blistering modern disco cut that works equally well on the beach, in a dark club, or at your favorite underground afterhours.

On B1, the Sol Power All-Stars present an extended disco dub of the 1980 Nappy Mayers tune “Let Yourself Go.” The Sol Power crew opts to work with the b-side version of the original, which bypasses the lead vocal and instead focuses on the synth-bass led groove, an unforgettable chorus, and powerful disco horns. Toss in some chopped up flute, guitars, and synth and you’ve got yourself a party. And did we mention drums and perc? Don’t miss the massive soca break that will take you straight to a carnival jam in the islands.

Alongside remastered extended 12” versions of both original vocal cuts, Trini Disco Dubs highlights the genius of Nappy Mayers, a legendary Caribbean songwriter, producer, and performer, through the lens of modern producers who are at the top of their game.

"Subluminal" was conceived and recorded during the unique and uncertain period of March-April 2020, when the world was at a standstill. Created using a few analog devices, the album captures the raw and evolving nature of working with feral analog instruments. Electric currents traverse intricate obstacle courses, creating a distinctive and eclectic sonic landscape.

Despite being pressed on high-quality 180g vinyl, the record sat unreleased for four years. The decision to withhold its release was driven by contemplation and uncertainty. However, the time has come for "Subluminal" to see the light of day.

The term "Subluminal" means having a speed slower than the speed of light or existing under light. This concept reflects the album's exploration of how matter bends light, gives space its time, and creates a world through the interplay of sound and light.

"Subluminal" marks my first strictly electronic music project after years of working exclusively with field recordings. This record represents a significant shift in my musical journey and I'm thrilled to finally share it with you. Thank you for your patience and support. Enjoy the sounds of "Subluminal."

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.” And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.

It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that. And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”

MORE PRESS ON ‘VANITIES’ (MELO131)

"Vanities artily refines an exhilarating brand of up-front electro-dance" MOJO ⅘

'Idiosyncratic yet euphoric electronic pop on triumphant second LP' 9/10 Uncut

''One of the most effective alternative pop albums of the year'' 4/5 Record Collector
'Dance music for the modern age' - The Times (4*)

The Italian multidisciplinary collective CREA proudly presents "Crea Legacy 001" the debut release from its newly launched record label. This inaugural compilation is a powerful statement of intent, showcasing the diverse talents of CREA's resident artists from music to digital art. The record features four meticulously crafted tracks from no.name, Alarico, and Endrew, each contributing their unique sonic identity to this eclectic compilation, complemented by a 3D sculpture from 4C

Crea Legacy 001 kicks off with with Alarico's "Sleeping Dog" a percussive techno track that captures deep, primal energy perfect for peak dancefloor moments. No.name's "Tag" brings a sleek, minimalist vibe, driven by a bouncing bassline. On the flip side Endrew's "Rescue Of Airon" takes a more intricate approach, weaving in aquatic ambience with intricate sound design, while no.name's "District" rounds off the compilation with a playful and timeless hypnotic groove.

The artwork by 4C captures a personal representation of a hidden celestial body. The composition blends organic, fluid shapes with a cosmic essence, evoking the mysterious and dynamic nature of an unknown universe.

For the next reissue in Mr Bongo’s Cuban Classics series, we look to Raúl Gómez’s entrancing 1977 Instrumental album. Presenting a unique blend of orchestral disco and jazz-funk, with Afro-Cuban flavours and soundtrack influences, it’s rich with drum breaks, energy and evolving compositions. A record that forever keeps you guessing, powered by an exemplary orchestra at the top of their game.

Cuban composer and singer Raúl Gómez is most known for featuring in the groups Mirtha Y Raul and Los Bucaneros alongside producing the Cuban classic Los Reyes 73 album, amongst a whole host of other incredible productions over the years. Released on Cuba’s state-owned label Areito, Instrumental sees Gómez not only as an instrumentalist and author, but also as a producer and arranger.

It's an album that deftly evades pigeonholing. Floating between instrumental mood music and library/soundtrack mastery, followed by explosions of cosmic-Latin funk, psych guitar workouts and compositions that reflect the orchestrated disco coming out of the US at the time, from greats such as Love Unlimited or MFSB. Lace that together with a healthy serving of Afro-Cuban magic to underpin the tracks and it’s a recipe for a record that captivates from start to finish.

Predominantly an instrumental album as the title suggests, the record showcases the Orquesta EGREM in full flow, soaring strings and vibrant horns at every turn. Highlights include 'Mi Samba Carnaval' with its breathtaking drum break, bubbling synths and sublime arrangements and the romantic film music impressions of ‘Tema De La Sierra', that have been a sampling source for many a producer. Elsewhere, ‘6 Son’ is a mind-melding psych guitar powerhouse, with 'Dacapo', written by Gilberto Peralta, offering up a slice of atmospheric and energetic Latin shuffle. One of only a handful of tracks where scat vocals compliment the orchestral tones, a Brazilian percussion theme marries with dancefloor sensibilities for a dose of feel-good, brilliance.

A wide-ranging, multi-dimensional release, Instrumental exhibits musicianship, composition and creativity at its finest and demonstrates another key example of the rich output of music that flowed from the island of Cuba post revolution.

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.

Movetone Wax proudly presents its third release, MVT003, showcasing the vibrant sounds of Ed Herbst. A longtime friend and collaborator of label owner Maik Yells, Herbst embarks on his first solo venture with Movetone Wax, presenting two compelling house tracks poised to captivate the dance floor. As side A is highlighting Ed‘s love for garage, side B is reflecting his deeper side.

Enhancing the EP’s allure, maestros Terence :Terry: and Niko Maxen contribute their distinctive signatures, expanding the palette and culminating in a diverse and electrifying four-track journey.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.

So Sner’s critically acclaimed debut album REIME (TAL26, 2021) was celebrated for its innovative fusion of bass clarinet and electronic sounds in unexpected and surprising ways. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting complex, spatial musical moments in their own distinct manner.

The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other’s presence.

With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore—a sonic island where one can develop sensuality through patient movement.

For So Sner, live performance is a passion of the mind, and since they began working together in 2020, their music has taken them to many different places. The live experience has deeply influenced the recorded music on this album, with the interplay between live performance and studio work informing their creative process. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together.

The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work.

In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.

To celebrate the 40th anniversary of George Michael's iconic hit 'Careless Whisper,' it is now releases as a single once again. The record features a previously unreleased live recording from his memorable Madison Square Garden concert on July 23, 2008. This performance marked his reunion with the New York audience after a 17-year hiatus, part of his monumental 25Live tour that captivated over 1.3 million fans worldwide. This special edition also includes newly mastered versions of the original single, extended mix and an instrumental. Written by George Michael and Wham! bandmate Andrew Ridgeley, it topped charts in 25 countries in 1984. It is certified 7x Platinum in the US and has sold over 1.5 million copies in the UK, with Platinum and Diamond certifications in 20 other countries. This timeless classic, written when Michael was just 17, continues to be celebrated for its masterful songwriting and enduring legacy.

To celebrate the 40th anniversary of George Michael's iconic hit 'Careless Whisper,' it is now releases as a single once again. The record features a previously unreleased live recording from his memorable Madison Square Garden concert on July 23, 2008. This performance marked his reunion with the New York audience after a 17-year hiatus, part of his monumental 25Live tour that captivated over 1.3 million fans worldwide. This special edition also includes newly mastered versions of the original single, extended mix and an instrumental. Written by George Michael and Wham! bandmate Andrew Ridgeley, it topped charts in 25 countries in 1984. It is certified 7x Platinum in the US and has sold over 1.5 million copies in the UK, with Platinum and Diamond certifications in 20 other countries. This timeless classic, written when Michael was just 17, continues to be celebrated for its masterful songwriting and enduring legacy.

To celebrate the 40th anniversary of George Michael's iconic hit 'Careless Whisper,' it is now releases as a single once again. The record features a previously unreleased live recording from his memorable Madison Square Garden concert on July 23, 2008. This performance marked his reunion with the New York audience after a 17-year hiatus, part of his monumental 25Live tour that captivated over 1.3 million fans worldwide. This special edition also includes newly mastered versions of the original single, extended mix and an instrumental. Written by George Michael and Wham! bandmate Andrew Ridgeley, it topped charts in 25 countries in 1984. It is certified 7x Platinum in the US and has sold over 1.5 million copies in the UK, with Platinum and Diamond certifications in 20 other countries. This timeless classic, written when Michael was just 17, continues to be celebrated for its masterful songwriting and enduring legacy.

Coming together as Raz & Afla, Raz Olsher and Afla Sackey converge worlds through their dynamic fusion of electronic and traditional African rhythms, forging a path that is as bold as it is innovative. Rooted in their deep-seated passion for music and cultural exploration, they seamlessly blend their distinct musical backgrounds to create a unique sonic landscape that captivates audiences worldwide.

Raz Olsher is a visionary producer and composer known for his boundary-pushing electronic soundscapes, bringing his expertise in blending diverse musical elements to the duo. His meticulous attention to detail and penchant for experimentation form the foundation upon which Raz & Afla's sound thrives.

Already part of the Wah Wah 45s family with his band Afrik Bawantu, Afla Sackey is an esteemed percussionist and vocalist with roots tracing back to Ghana. He infuses the duo's music with rich traditional African rhythms and melodies. Afla's virtuosity on percussion instruments and his soulful vocals add a visceral, organic dimension to their compositions, creating a mesmerising auditory experience that transcends cultural boundaries.

Together, Raz & Afla defy genre limitations, seamlessly weaving together electronic beats, Afrobeat grooves, and intricate percussive textures. Their music resonates with a deep sense of cultural authenticity and a forward-thinking approach that pushes the boundaries of contemporary music.

Following on from their critically acclaimed full length debut The Cycle, and its subsequent remix project, their sophomore LP, Echoes Of Resistance, finds the duo remaining committed to exploring new sonic territories and creating music that speaks to the universal language of rhythm and melody. Once again, they invite listeners on a journey that celebrates the beauty of cultural exchange and the power of music to inspire and unite.

From more politically conscious cuts like the singles What's Going On? and We Taya, and On Da Phone, which deals with addiction to social media, to dealing with more personal and social issues on songs like ENo Be Me and Ano Be Mumu, Raz & Afla's music is something for the mind, body and spirit, as well as the feet.

There are moments of pure euphoria and unadulterated joy too though, as tracks like Mon Ni Fere, Voodoo Zeezee and Baby Moo inspire elated, tribal dance floor pleasure, and there's still time for a little, good old fashioned loving as Shikor Shikor conjures up the raw emotions of care and affection whilst delivering a hypnotic beat and instantly irresistible vocals from Afla Sackey.

With a growing discography that includes critically acclaimed releases and collaborations with musicians from around the globe, Raz & Afla continue to carve out their place in the international music scene. Their electrifying live performances are celebrated for their energy and the profound connection they forge with audiences, making every show a vibrant celebration of musical diversity and harmony.

"Waxwork Records is thrilled to present CARRIE Original Motion Picture Soundtrack by Pino Donaggio! Expanded and re-mastered for its 45th anniversary, this deluxe double LP album marks the very first time that the complete film music has been released on vinyl. Carrie is a 1976 Horror film adapted from author Stephen King's very first published novel of the same name. The movie stars Sissy Spacek and is directed by Brian De Palma (Scarface, Phantom Of The Paradise).

The score by legendary composer Pino Donaggio (The Howling, Tourist Trap) skillfully captures the pressure of forced innocence, the humor of teen drama, and the trauma of coming of age as a girl in 1970’s America. The album also features the tracks “Born To Have It All” and “I Never Thought Someone Like You Could Love Someone Like Me” by Katie Irving. CARRIE Original Motion Picture Soundtrack features the expanded film music re-mastered and pressed to orange smoke colored vinyl, with new artwork by Phantom City Creative, and old-style tip-on gatefold jackets with matte satin coating."

"Omar Sosa's 88 Well-Tuned Drums, the soundtrack to the documentary film of the same name, is the first solo vinyl release for multiple-GRAMMY-nominated pianist and composer Omar Sosa. Presented on limited edition transparent red vinyl, these newly-remastered tracks highlight Sosa's spectacular range, from soloist to big band leader and everything in between. A must-have for fans and a perfect introduction for the uninitiated, this career-spanning LP captures a Cuban music icon in some of his best and brightest recordings. While Sosa's globetrotting sound defies easy genre categorization, fans of ambient, fusion, Latin jazz, salsa and world music will discover both freshness and familiarity in Omar Sosa's 88 Well-Tuned Drums.

(This is a 2024 Record Store Day release)"

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

Lenparrot's third studio album, La Conversation, is a reflective exploration of human experiences, performed in French and recorded in a renovated sheepfold in the Corbières region. The album marks a shift from Lenparrot's previous work, embracing the French language more fully after experimenting with it in earlier tracks. Influenced by personal milestones such as becoming a father and coping with loss, the album was born from creative collaboration. In March 2022, Romain Lallement (Lenparrot) joined artists Nina Savary, producer Astrobal, and multi-instrumentalist Vincent Guyot to compose this album, which came together quickly in the inspiring rural setting. The result is a harmonious blend of introspective and uplifting themes, capturing the essence of life’s joys and challenges.

Black Pus is the guttural, raw, freeform project of singular drummer, vocalist, & artist Brian Chippendale. A heavy drum foundation and distorted electronics anchor Black Pus" sound, and remain directly connected to the intensity of Chippendale"s legendary duo with Brian Gibson, Lightning Bolt. Recorded at Machines with Magnets by engineer Seth Manchester, Terrestrial Seethings is pure energy, pure Black Pus, capturing the precision, frenzy, and ecstatic performance in all its glory. After more than a decade playing and improvising, Chippendale"s imagination and curiosity continue to push his world of twisted joy in expressive new directions. While known primarily for his iconic style of drumming with Lightning Bolt, Chippendale has also worked alongside artists such as Björk, The Flaming Lips, Boredoms, Andrew W.K., and Lee "Scratch" Perry. Outside of music related endeavors, Chippendale has made a name for himself as a renowned painter and painterly silk screen artist. Known for his frenetic color work, for Terrestrial Seethings Brian created striking black drawings that, like its title, pervert assumptions. Chippendale"s approach to crafting music as Black Pus mirrors his restless and indomitable spirit as a creator. His daily practice of making music and art on his own is both as meditative and cathartic, as it is inquisitive and spontaneous.

`Empty Estate' is the follow-up EP to the critically acclaimed "Nocturne", which received several year-end accolades including album of the year in Under The Radar and iTunes. The 7-song EP was recorded in Brooklyn at Gary's Electric by Al Carlson in January.

Black Pus is the guttural, raw, freeform project of singular drummer, vocalist, & artist Brian Chippendale. A heavy drum foundation and distorted electronics anchor Black Pus" sound, and remain directly connected to the intensity of Chippendale"s legendary duo with Brian Gibson, Lightning Bolt. Recorded at Machines with Magnets by engineer Seth Manchester, Terrestrial Seethings is pure energy, pure Black Pus, capturing the precision, frenzy, and ecstatic performance in all its glory. After more than a decade playing and improvising, Chippendale"s imagination and curiosity continue to push his world of twisted joy in expressive new directions. While known primarily for his iconic style of drumming with Lightning Bolt, Chippendale has also worked alongside artists such as Björk, The Flaming Lips, Boredoms, Andrew W.K., and Lee "Scratch" Perry. Outside of music related endeavors, Chippendale has made a name for himself as a renowned painter and painterly silk screen artist. Known for his frenetic color work, for Terrestrial Seethings Brian created striking black drawings that, like its title, pervert assumptions. Chippendale"s approach to crafting music as Black Pus mirrors his restless and indomitable spirit as a creator. His daily practice of making music and art on his own is both as meditative and cathartic, as it is inquisitive and spontaneous.

What does it mean to be perfectly blue? Perhaps it means swimming contently in the waters of deep, complex emotions, or simply learning to spin low moments into casual days. For Luka Seifert, who makes music as RIP Swirl, the idea of being fine with not being happy all the time was the catalyst for his second album, Perfectly Blue. The two words captured something: learning to embrace being blue, while using music as a way of processing emotions.

mindSET is the ninth album from enigmatic producer SW., directly following this summer’s excursion into his trademark techno, IDM and bleep soundscapes, on the myDEFINITIONS Vol II album. But with his mindSET album SW. takes a left turn, as pioneers often do, and we find ourselves on the lesser traveled side roads of electronic music history. Or in SW.’s own words: “the more abstract leftfield elements.”
It’s in these less-defined areas that SW. finds his sweet spot, building dancefloor soundtracks that defied definition. And with mindSET the sounds and the machines might have changed, the methodology remains the same.
“It draws from what was more generally seen in leftfield as a term for the slightly off-kilter house and broken beats that didn’t fit neatly into classic genres, whether that was Chicago house, French garage, drum and bass, or broken beat. It’s more about those in-between sounds that never really took off, only appearing briefly in the early to mid-90s and then quickly disappearing. There was a certain magic in that moment, which I wanted to capture. Also, the entire album was produced using classic analog equipment, with old machines that were used during that era. That’s the approach I’ve taken.”
The eight tracks on mindSET are shaped out of de-tuned techno pop synths and heavy, syncopated drums, grooving along chopped-up polymeters to create an eerie mood, as if orbiting an undiscovered planet for the first time. The harmonic movements are often bent out of shape, sometimes veering towards Gherkin Jerks or Cristian Vogel territory. But in the end, the sounds are less important than the atmosphere, and the tracks represent an attitude or an approach - to creating the music as well as experiencing it. mindSET is a nod to those dancers sharing an oddball moment, and for those of us on the same wavelength, it's a vibe we can all get inside.

If you prefer things sweet and concise, here is all you need to know about Morphena and Narciss and their Lingua Erotica release on Running Back: a project of passion made while living across the globe thousands of miles apart from each other while falling in love, sensuality, tenderness, longing, authenticity.
Making waves on the festival and club circuit and meticulous productions like Forbidden Fruit or the Immer Remix for Running Back, Narciss found the perfect partnership with Morphena and their multitalented artistry between DJing, music making and vocal work.
Informed and inspired by a mutual enthusiasm for Italo blueprints, new romantic mannerisms, synth pop poetry and an uncanny knack for subtle and yearning dance floor euphoria (see Paradise and the club version of Per Aspera Ad Astra for further proof). it works like a mix tape or love letter to the listener or any of their adored ones. While the obvious club cuts Mi Amor and Fleeing Into You are sandwiched between the ambience of Per Aspera Ad Astra and Cocoon Cracking, one cannot help to be mesmerized by the coherence and monolithic magnetism of Lingua Erotica.
Captivating, catchy and confident. Here’s to many more.

“…a surprisingly cohesive atmospheric soundtrack to a movie that does not yet exist.” LONER is the stunning album from cult auteur DAVID J (Bauhaus, Love & Rockets) featuring Mia Doi Todd and Tim Newman. U.K. Edition in orange vinyl with gatefold sleeve. Limited edition of 500. Former Bauhaus and current Love and Rockets bass man returns via Dakota Records with a series of deconstructions of an original twenty some year old demo. Originally streamed as part of his 2007 series of unreleased stash ‘Tracks from the Attic,’ a precursor to the now hugely successful platform: Patreon. David’s original demo titled ‘Albino Dog’ alongside singer/songwriter Mia Doi Todd’s sublime studio version both appeared via that platform in 2015; only the latter appears amongst this new series of arrangements. David’s premonition of Mia’s voice on this song is one to be applauded – perfectly suited creating a ghostly sepulchral aura. Here the Colonel is aided by a series of foot soldiers varying in rank. Veteran comrade Joyce Rooks adds texture with her trademark cello to Mia’s ‘Albino Dog’, whilst privates’ Nigel Gwennap (‘The Day that David Bowie Died’) and Whitehall Rec’s Joel Baldwin contribute electric guitar and drum programming respectively. But it’s the work of the captain that captivates this whole package. Tim Newman (Love is a Ghost), arranger, sound alchemist, mixer and lunatic. Tim’s work with David is best savoured via their ‘Analogue Excavations & Dream Excavations’ 2002 Glass Modern set. ‘Loner’ offers the listener a kaleidoscope of sounds best experienced with headphones, the journey from David’s simple ‘Albino Dog’ strummed acoustic demo to ‘Crescendo’ is quite staggering. Joel’s synth on ‘Cold, Cold, Cold’ and the glitch added to Mia’s vocal (‘Loner on the Range’) for example take the song into an altogether different direction. But it’s ‘Crescendo’ though that sits atop the apex. Building, as the title suggests, into a blistering array of guitars, bass and drums with a gorgeous, ethereal repeating low vocal motif from Mia wrapping itself around the cacophony.

Limited to 500 copies on gold vinyl, contains download also. A hugely influential album cited as the embryo for punk, grunge and beyond. Featuring epic 1970 concepts from this far reaching trio much praised by Underworld’s Karl Hyde, Captain Sensible, Stephen Malkmus and a host of others. ‘Thank Christ For The Bomb’ is a visionary tale of cold war fear, alienation and everyday drama. “This is a masterpiece!” NME // A thinking man’s rumination on alienation, the album is a game of two halves; side one tackling the thermo nuclear threat while side two traces riches to rags alienation in everyday London. First of a trio of ground-breaking albums that steered the band from the Blues into a heavier, more prog-based sound and a true reflection of their much-praised live sound

New twelve inch of vintage Wackie's on City Line. The A-side features two of the best Wackie's deep roots tunes previously only released on compilation, which have long needed single release. Stranger Cole's somber "Capture Land" about the reality of squatting in the ghetto, followed by Wanachi's instrumental cut of the brilliant rhythm you might know from Azul's 'Black Rose.' The B-side features a really unique previously unreleased tune from one Moon Dread. Operatic, semi-acoustic and haunting, if you like early Ras Michael & The Sons of Negus, this tune offers a maybe less spiritual and more theatrical but still compelling take in that vein from about a decade later in the late 1970s. Comes in new Wackie's company sleeve.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

Círculo Cerrado presents its second album “Circular Economy”, 4 tracks that span a wide range of textures with the common denominator of atemporality.

A1. Rindeau, the Argentinian illustrator and music artist from Strain Collective, presents “Machine soul”, intelligently crafted with the best combination of electro-techno and EBM.

A2. Galdar’s breed Aniano materializes another mind-blowing track with “Encadenado a la Realidad”, a house tune with funk overtones and psychedelic undertones.

B1. Javier Carballo and Aniano aka HDZ brings a darker engine “ La Furnia ”, trailblazingfrom breaks, IDM to acid house for full voltage.

B2. Frenchman Tom Joyce, owner of Sounds Benefit label, captures in “ Good Game“ a hypnotic and minimalistic track with hints of tripping on top of 909 drums.

Persona proudly presents its debut release, introducing Nae – a trusted friend, dedicated producer and creative force behind the new label.

Nae delivers with his deep and immersive production style, providing a powerful blend of driving bassline and crystalline drums, all the while delving into his signature atmospheric sound. These tracks are carefully crafted to captivate the dance floor, delivering bursts of pulsating intensity, as well as more intimate, reflective moments. With four tracks and four different flavours, this EP is designed to fit seamlessly into your record bag.

With only 300 copies available, this limited first release of Persona’s debut is not one to miss. Grab it while you can.

Get ready to immerse yourself in the timeless essence of love with Homebase’s

latest release, “Everlasting Love.” This captivating track is a celebration

of love that transcends time, space, and all boundaries.



Featuring an array of stunning remixes by renowned artists Phonique, Marc

Spieler & Richard de Clark, each version brings a unique flavor to this heartfelt anthem. From deep house grooves to uplifting beats, there’s a remix for every mood and moment.



“Everlasting Love” is more than just a song; it’s a journey into the depths

of what it means to love unconditionally and eternally. It’s about those

moments that make your heart race, the memories that linger forever, and the

bonds that withstand the test of time. Whether you’re dancing the night away or

reflecting on cherished memories, this track will resonate with your soul.



Don’t miss out on this musical masterpiece. Experience the magic of

“Everlasting Love” today and let the music remind you of the beauty and power

of true, everlasting love.



Available now as limited colored Vinyl ✨

Tokyo-based emerging label INFODUMP Recordings, led by Takuro Hasumi, who captivated audiences with the unique and left-field “Fafrotskies vol.1” released in 2023, has eagerly released a new work titled “Fafrotskies vol.2”! The EP features three tracks that subtly color the dance floor:

“High Fidelity” (A1): A mid-tempo, synth-driven, minimalistic, and romantically imaginative time-warp house track at BPM 113.
“Sparta” (B1): A tribal left-field house track with added electronic and experimental elements, clocking in at BPM 122.
“S.I.M” (B2): An industrial, cut-up loop awakening trip with a stoic parallel groove, flying low at BPM 123.
Each track contributes to the EP’s unique and cool vibe, making it a great addition to any dance floor!
(Text by COMPUMA)


“Hard to pick a favourite here! Love all 3 tracks but the trippy and slower A1. High Fidelity really resonated with me! great ep.”
Axel Boman (Studio Barnhus)

Caroline Says' haunting new album, The Lucky One, is a poignant exploration of how the ghosts of past relationships linger, sometimes holding more sway over our hearts and minds than our current connections. We revisit these ghosts through evocative landscapes of our memories - hometown bars, road trips, and late-night swims. Through a series of fractured and persistent memories these songs capture the bittersweet realization that the past, though imperfect, can sometimes be a more comforting and meaningful companion than the present. Opening track, "The Lucky One," confronts death's role in shaping our memories head-on, as it ponders the way death freezes a person in time, forcing us to confront the complexities of grief and its lasting impact on our relationship with the one we lost. Other tracks delve into the complexities of relationships that naturally grow apart as life takes us in different directions. For example, "Faded and Golden" reflects on the bittersweet nature of reunions with old friends, where the idealized memories of youth can clash with the realities of the present. Then, "Actors" takes this a step further, acknowledging the influence of perception and desire in friendships, and the idea that in many ways "all friendships are imaginary friendships," as it confronts the disappointment of inauthentic connections, and the facades we sometimes put on in relationships. "Roses" began when Caroline was looking through her grandma's collection of commemorative Kentucky Derby glasses, each one etched with the name of a winner. The song delves into the story of "Sunday Silence," the horse that won the year Caroline was born. Researching the horse's journey from near-Triple Crown glory to retirement in Japan sparked a metaphor - a pressured being (the horse) desperately trying to please but ultimately disappointing. The owners eventually selling the horse becomes a relatable symbol of unmet expectations, and the sting of falling short despite our best efforts. Album closer, "Something Good," revisits Caroline's Alabama childhood. Lost on a recent trip to Birmingham, unable to find the familiar path to a riverside hangout, the experience becomes a powerful metaphor; we can't always retrace the paths in our memories, but those memories, however unreliable, continue to shape us. In the end, The Lucky One celebrates this enduring power, acknowledging how past relationships and experiences, even those lost to the haze of time, continue to inform the stories we tell ourselves, and the way we navigate the present.