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Sharing a mutual love for Dance Music in all its shapes and forms please welcome Philipp Lauer & Johannes Albert for the first time together. These Bucketheads overcame the franko-hessian border and give us a 3-Tracker on the A side that is "Based On Boss". The title track swims in 909 Drums, vocal samples shine through, and organ chords lead the way. You will be moving your feet with "Four 44", still all about a basement, a red light and lots of feeling. Rounding things up with the loopy powers of "Posh-O-Rama", if you are in need of soft breaks with a lovely twist. Now who's the boss?

Speaking B sides: Hamburg-Moenchengladbach-London? Probably not your everyday route. Three pillars in their own leagues team up for "Survivor": Boris Dlugosch, Marc Romboy and C.A.R. on vocal duties. Created in times of lockdowns and standstills "Survivor" is a midtempo stomper, slightly dark yet extra moving. Clocking in at 110 BPM a percussive beat is haunted by C.A.R.'s voice and a hypnotic robot bassline. Occuring melodies and pads do the rest. Remix time? Oh yes! Spicing and speeding things up a little the Johannes Albert remix arrives with additional chords, gated snare drums and maybe even happiness.

West Seattle Soul is an oozing collaboration of 13-15 Seattle hot shots crammed into a raw, close quarters performance that is blatant and obscure. It's an accidentally defying, thoroughly enjoyable, relapse of Seattle funk. The group has spent the last two years honing their chops at a residency at West Seattle’s Parliament Tavern.

When writing original music, this outfit goes by the name "The Pulsations" as presented on the B-Side of this Juicy slice of Seattle Side A: "Soul Makossa" West Seattle Soul put an afro-soul twist on Manu Dibango’s pioneering afro-disco hit “Soul Makossa.”
Their arrangement boasts bubbling clavinet, a tenacious horn section, and energetic vocal chants reminiscent of the original with a modern, underground dance music twist.

Side B: "Black River Crisis" Forming an Artist for all original music The Pulsations summon the deep pocket in “Black River Crisis.” Spurred from a group writing session, the drum and bass groove pave the way for interlocking guitar parts and a topsy-turvy horn line. The group found inspiration in the cataclysmic nature of the Black River that fed Lake Washington in the Seattle area.

The river was inadvertently drained when a canal was constructed from the Puget Sound to Lake Washington. The dried-up river caused a catastrophic loss of a resource that affected local farmers, the salmon population, and Native tribes who still lived alongside the river. It beckons the reality of the inevitable briefness in all facets of life and thusly, “you gotta dig it while it’s happening.”

Für ein beeindruckendes Gemeinschaftsprojekt tut sich Ellen Allien mit der italienischen Synth-Wave-Band Ash Code zusammen. Auf drei Tracks bündeln sie ihre kreative Energie, um die eindrucksvolle EP "Dance and Kill" zu produzieren.
Die drei Tracks der EP stellen eine perfekte Verbindung zweier starker und unverwechselbarer Soundwelten dar, wobei beide Acts aus allen Rohren feuern. Unheimliche Gesangseinlagen, kraftvolle Percussion, stampfende Bässe, verzerrte Vocals und bedrohliche Instrumentierung zeigen die Parallelen zwischen den beiden Klängen auf. Der Eröffnungstrack "Dance and Kill" verkörpert diese Verschmelzung von Techno- und Cold-Wave-Elementen. "Shining On You" mit Ellens Gesang und donnerndem Drum-Programming ist ein düsterer, aber unwiderstehlicher, tanzbarer Track. Everything Collapses" schließlich entfesselt kräftige Percussions und einen knurrenden Bass, der von einem Chor überirdischer Stimmen angehoben wird.

Lost private press gem "The Swimmer" by Florida native Danny Morgan, is a cool and breezy, beguiling easy glide from 1987. It should've been huge. It still could be. It's a mellow marina masterpiece and quintessentially Balearic. Over the past few years, it's gathered a cult following yet the album from which it derives is virtually impossible to come by.

Finally available on a standalone, fully remastered 12", it's been backed by an instant classic "Seahawks Swimming Through Space Remix", courtesy of those beloved cats Jon Tye and Pete Fowler.

These won't be around for long, limited to just 500 copies for the world, so don't drown in procrastination.

One listen and you'll want to dive in.

Fans of the deeply entrancing, nautically and narcotically-enhanced cuts of Dennis Wilson or Michael Nesmith’s The Prison will be instantly mesmerised by the sheer beauty of "The Swimmer". After tracking Danny down, we wanted to know more. How does something so magical come about? The man himself answered thusly:

"At the time I was running many miles on the Sanibel Island beach and doing a bit of swimming in the Gulf Of Mexico. Keeping my mind busy on a long run, I imagined a “what if” movie scene. Almost every run or swim someone is sitting there on the beach watching what goes by. Back at my desk I started finger picking some chords and the picture in my head showed up. I punched in a rhythm loop and the song was on its way.

Adrian Belew and I had the same manager Stan Hertzman so I was listening to some of Adrian’s work. I was a huge fan of Joni Mitchel and the unusual chord changes and melodies in some of her songs. All of this influenced the sound on “The Swimmer”

I had a support band at the time living in my house on Sanibel Island so we practiced a lot. We came up with an arrangement of the song and we took across the bridge to John McLane’s Important Studios and recorded it. I played finger picking acoustic guitar and sang, Tim Miller played drums, Jeff Holck played fretless bass, Dave Dust played lead guitar and John McLane played keyboards and sang harmony."

Our deep thanks must go out to Jon Tye (MLO / Seahawks / Ocean Moon) for first hipping Be With to this stunner. We returned the favour by giving him the keys to the stems and requesting a strung out remix to go on the flip - he returned having conspired with Pete Fowler to conjure a cosmically copacetic rerub with the subtropical chug of the "Seahawks Swimming Through Space Remix".

Putting together the artwork for this 12" release was an enjoyable process. It was nice to be able to flip the original sleeve for the Beach Life album by using previously unseen photos, sent to us by Danny. We wanted to create something that looks like it would've gone with the LP sleeve. We think we've cracked it. Simon Francis remastered Danny's original audio and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure this previously lost masterpiece stays forever found.

The first ever episode of Doctor Who aired on the 23rd of November 1963.

To celebrate sixty years of the TV show that has become a national institution,

Silva Screen Records are releasing the soundtrack to Series 5 as it first appeared on CD back in November 2010.

Steven Moffat’s new vision of Doctor Who, with Matt Smith as the eleventh Doctor, was perfectly matched by Murray Gold’s score in Series 5.

This album features music from all 13 episodes of Series 5 on triple coloured vinyl in a special gatefold sleeve.



“I think that Murray Gold is incredible, totally incredible, a genius” - Matt Smith

Music performed by The BBC National Orchestra Of Wales and Crouch End Festival Chorus

Solo Vocals by Yamit Mamo, Melanie Pappenheim and Dorie Jackson

Conducted by Ben Foster

12” LP cut at 45 (for the first time) (color vinyl only) Pressed on a 12" for the first time and cut at 45 RPM so it's EXTRA loud. Jacket is an extra hefty 24pt board with printed inner sleeve full of rare never before seen photos When Acid King pressed up their self-titled debut EP on a tape and started handing them out at shows with business cards, it wasn’t an aesthetic choice. It was 1993. And while the world was still reeling in the aftermath of grunge breaking big on rock radio, this dirty-as-hell trio founded by guitarist/vocalist Lori S. were digging into even heavier vibes. Born out of Lori's shiftless days of wasted youth hanging around Chicago-area public parks, Acid King laughingly adopted the name from the book 'Say You Love Satan' and its subject Ricky Kasso, a local drug dealer who killed a friend over angel dust, thereby becoming the stuff of Satanic Panic local news broadcasts all over the country. Founded after a move to San Francisco, Acid King were outliers on punker bills in the tradition of West Coast rifflords like Saint Vitus and Sleep, and this four-song outing captures them at their rawest. Long before the career-defining roll of Busse Woods (1999) and the psychedelic mastery of their latest offering, Beyond Vision, this EP set in motion one of American heavy rock’s most landmark careers. Presented on reissued vinyl through RidingEasy Records – the original 10” was on Sympathy for the Record Industry – Acid King’s Acid King also established one of the most crucial partnerships in underground rock in that between Lori S. and producer/engineer Billy Anderson (see also: Neurosis, Sleep, Om, Amenra, Eight Bells, Cattle Decapitation and too many others to list). As Acid King went on to help define stoner rock in the mid and late ’90s with Zoroaster (1995), their Man’s Ruin Records split with Altamont (‘97) and Busse Woods, that creative relationship would flourish no less than the band’s sound, and here it is distilled to its meanest and most elemental self. Led as ever by Lori, Acid King at the time featured bassist/vocalist Peter Lucas and drummer Joey Osbourne – legend has it both had to read 'Say You Love Satan' before joining – and Melvins drummer Dale Crover had a hand in producing it as well as singing lead on “The Midway” after Lucas took a turn on “Drop.” A preface to the many majesties to come throughout Acid King’s many-storied career, behold the formative incarnation that started it all. A piece of heavy rock history AND killer riffs? You can’t possibly go wrong. - JJ Koczan, May 2023

Ein exzellentes Album, das jedem Black, Death oder Symphonic Metal Fan gefallen sollte! Zum ersten Mal auf Vinyl! Hollenthon ist eine Symphonic Death Metal-Band, die von Martin Schirenc von Pungent Stench gegründet wurde. Hollenthon debütierten 1999 mit "Domus Mundi" und erlangten mit ihrem zweiten Album "With Vilest of Worms" Kultstatus.mit ihrem zweiten Album "With Vilest of Worms to Dwell" im Jahr 2001. Nach diesem Album wurde es ruhig an der Hollenthon-Front, da Schirenc sich darauf konzentrierte, Pungent Stench wieder zusammenzubringen. Nach zwei Pungent Stench-Alben kehrte Schirenc jedoch zu Hollenthon zurück und "Opus Magnum" war das Ergebnis."Opus Magnum" zeigt eine neue Entwicklung des Bandsounds, da die symphonisch-orchestralen Elemente nahtlos mit dem gebotenen Death Metal verschmelzen. Das Album zeichnet sich durch großzügige Chöre, Synthesizer, Streicherarrangements und weiblichen Soprangesang aus, die sich perfekt mit Schirencs
klassischen und ethnischen europäischen Folk-Elementen verbinden. Das Gitarrenspiel hat ein neues Niveau erreicht, mit unglaublichen Soli auf dem gesamten Album. Das Album ist ein perfektes Ganzes, bei dem jeder Song anders ist, aber dennoch einwandfrei zusammenarbeitet. Hollenthon experimentiert auf diesem Album furchtlos mit verschiedenen Sounds, und das funktioniert unglaublich gut. Das Album ist ein durchgehendes, hochenergetisches Erlebnis, und jeder Song ist einzigartig und doch zusammenhängend. Fans von Therion und Symphonic Extreme Metal werden "Opus Magnum" lieben, das unserer Meinung nach sogar besser ist als alles, was Therion seit langem veröffentlicht hat. Insgesamt,"Opus Magnum"
ist eines der besten Extreme-Metal-Alben des Jahres 2008! Sehr empfehlenswert!

2023 Edition - Now a 'cult classic' , repressed for 2023 ears on All City Dublin. Onra started the project in August 2006, freshly returned from a trip to Vietnam, the land of his grandparents. A vinyl junkie at heart, he really couldn’t come back to France without bringing back some wax.

After hours spent riding on a motorbike through the streets of Saigon, a taxi finally helped him find some Asian records - he almost felt like an explorer discovering a forgotten treasure. He bought 30 records, most of them in poor condition, went back to his crib and started making beats with material that he wasn’t quite used to …

A1 - Continuum

Teaming up once again the original Spatial production duo open their latest EP serving up a thumping onslaught of amen goodness with Continuum, a track which takes the classic Demon's Theme break and carves it to bits unreservedly with a myriad of chops, cuts & edits. We are treated to some delicious filter work later in the track over a shimmering backdrop of synthwork, glazed with a bunch of micro melodies, bleeps and FX.

A2 - Depth Perception

Meticulously constructed vintage breakbeats immediately set a brisk tone with Depth Perception before a blissful early interlude reminds us to sit back and take a breath, before our breaks return - blanketed with an introspective layer of serene synths & keys which somehow combine perfectly, resulting in a tonal mosaic only ASC & Aural Imbalance can conjure up with their combined skillset.

AA1 - Distant Orbit

Nest up an unsettling, melancholic intro tenuously launches classic atmospheric breaks delivered with that crisp, old school brand new punch we have come to love from the distinctive style of drum n bass Spatial is showcasingand developing with each release. Powered with a lively bassline, it's easy to lose yourself in this piece as the track lives up to its title and sends the listener far beyond the confines of their speaker.

AA2 - Cold Front

An intriguing, inquisitive energy opens Cold Front with an assortment of breakbeats woven together exquisitely in a collage format, DJ-friendly yet mellow at once . The dialed-back airy backdrops showcase a glorious intricacy to the breaks, so detailed with umatched clarity - they almost possess an ASMR-like quality, offering new discoveries to the ear each time on repeated listens.

This record is named after Vedyanta, an ancient philosophy based on the Vedas, the sacred scriptures of India. The music, originally composed and produced by Joseph S Joyce and later remixed by Sebastian Mullaert of Minilogue, was greatly inspired, after reading commentaries from Swami Rama Tirtha's biography "The Scientist & Mahatma" - Chapter 1 - Vedanta and The Secret of Success. Now, some nine years later, it gets served up as a remix EP.

There's a dark El Choop Reconstruct, a gorgeous ambient version from Sebastian Mullaert, a minimal headscape from Van Bonn, Federson SF goes warm and dubby and then a crisp, tech-edged vibe from Paul 90 ends the EP in style.

The Mysticisms label welcomes Coral D aka Duncan Stump for a debut outing here that marks the first new music to be part of the ongoing and most excellent Dubplate series. This artist has a long history of crafting "deep dub electronic swing" in his roles in Mock & Toof, FX Mchm and his 6000 Degrees project. This one finds him bringing some dub reggae influences as 'Dissolves' is built on a chugging rhythm with smeared chords. 'DR 55' is then a masterfully laidback digi-dub groove that warps space and time and so leaves you utterly hypnotised.

Bunker New York luminary Abby Echiverri joins the Patterns of Perception imprint with her Deformation EP, a diverse collection of playfully psychedelic techno tracks infused with a radiant cosmic energy.

Produced in 2021-22, Abby drew inspiration from the captivating physics simulations her partner was working on at the time, ultimately imbuing the music with an ethereal atmosphere that permeates the entire EP, and from which the tracks derive their names.

PTN03 presents a cohesive yet diverse collection of tracks, blending psychedelic energy with delicate and profound moments. Abby's music carries an almost hopeful quality, with drum programming that leans towards groove and shuffle, and the incorporation of diminished chords and progressions that pose questions to the listener. The Deformation EP is an intricate record that showcases Abby Echiverri's distinctive, three-dimensional approach to techno: one that never feels oppressive, but calls to mind a sense of exploration and freedom.

The state51 Conspiracy is proud to announce Wacław Zimpel’s long-awaited fourth solo album, ‘Train Spotter’, due for release on 31 March 2023 on state51 Records.

In the seven years since the release of his debut solo album, ‘Lines’, Wacław Zimpel has developed from his idiosyncratic approach to jazz to growing into a potent and inventive force in the field of electronic music.

‘Train Spotter’ was created for a specific brief from The City of Warsaw: to capture the Sound of the City of Warsaw. But, as Zimpel soon found out, the sounds of a city don’t exist in isolation; they’re part of a wider environment that is itself undergoing upheaval against a background of internal and external forces.

“Train Spotter is about my experience of a city that recently went through a pandemic, endless anti-government demonstrations against human rights violations against women’s right to choose and the LGBTQ community, as well as waves of war refugees from Ukraine and the extraordinary solidarity of people willing to help and unite across political divides to help others in need.”

Spread over six tracks, the manipulated samples are blended with Zimpel’s own electronic production flourishes and playing to create a seamless blend that’s uniquely his. Recording a variety of mechanised and repetitive sounds including tramlines, baggage carousels and bouncing basketballs in municipal parks among many other found sources, Zimpel fed the results through a host electronic equipment including synthesisers, keyboards and plug-ins.

For all its production methods, ‘Train Spotter’ bears an organic warmth that reflects the city that inspired it. But what also adds to the sonic intrigue is a rise in intensity within each of the individual tracks that themselves become ever more forceful as the album continues.

A seismic, cinematic double dose from two sonic veterans with previous in Wire, Electrelane, and Better Corners. MEMORIALS’ kaleidoscopic debut covers broad musical territory, encompassing protest songs, fuzz-flooded pop, searing drone, and psychedelic freakouts whilst carving out a sound that is uniquely their own.

Both halves of this dynamic double album were originally conceived as individual film soundtracks but once the multi-instrumental duo of Verity Susan & Matthew Simms brought ‘Music For Film’ into a live space, the desire to shape it into a cohesive whole was more than they could resist. The resulting, intoxicating, musical odyssey can be viewed independently from the associated films and stands proudly as an ambitious artistic statement.

“The music we like and admire ranges from challenging to really tuneful, and we try to bring all that together in a way that sounds natural.” - MEMORIALS

‘Music For Film: Tramps! & Women Against The Bomb’ – is scheduled for release on May 12th 2023 via The state51 Conspiracy. The limited double LP (500 only) comes in an embossed reverse board sleeve and indie shop editions will also include an exclusive poster.

Welcome back to sublabel Trix Trax, our series dedicated to sharing the Techno side of things.

After a little hiatus Trix Trax is back with a stacked four track VA, Technotations Vol. 1. Blending techno, IDM and breaks this releases showcases some of the many styles and energies the genre has to offer.

Starting off the VA, we have the track ‘Losing’ from Japanese producer MAGPOST. This loopy, hypnotic groover will add a layer of intrigue and mystery to your deep and moody sets!

Next up we have ‘Rise’ from JD Typo who’s debut EP, started off the Trix Trax series. This speedy techno cut will cause mayhem on the dance floors, nourishing souls in its wake with ethereal lush pads and vocal chops that creep in as the track progresses!

On the flip side we have a sobering track from Ukrainian producer Taras Vinnichenko called 24.02.22. Created the day Russia invaded Ukraine, t’s an auditory diary of Taras’ reaction to the unfolding of events. The crunch of the bass and breaks audate the panic and disarray on the ground.

Closing off the EP we have a unique groover from US producer Mr. Projectile who recently released an album on Wex sub label, La Luna. This crunchy and jittery cut takes you on a bass heavy, boom-filled journey of speedy techno and IDM!

On the sleeve, Sonia Malpeso delivers another whacky custom design on the front sleeve as well as a beautiful typographic showcase on the back and inner sleeve!

Official re-release, retrieved from original cassette tape (1988). First time on vinyl! Includes Turkish musicians like jazz & percussion star Okay Temiz.

Brought to you by the compiler of the Saz Beat series as well as the Bosporus Bridges series.

A Danish-Lebanese Afro-American who has learned Turkish and knows how to play the saz? Who entered the Anatolian Pop scene in Istanbul right in the heyday, the early 1970s? And who got so much musical credit that the renowned Turkish producer Nazmi Senel released a solo album with him in 1988, recorded in Istanbul and including musicians like Turkish percussion star Okay Temiz? Sounds pretty unlikely. Sometimes miracles happen and highly improbable music gets released. A person with a diverse heritage as Nyofu Tyson can be seen as a 'melting pot', as a 'synthesis'. Yet, he can be also seen as someone who is able to step out for new paths.
This is the case for TÜRK LOKUMU - TURKISH DELITE. Like nobody before, Tyson connects and opens up Anadolu Pop towards a whole range of styles: Synth-Pop, New Wave, Reggae, Hip Hop/Break, Latin, Disco Boogie… He shows us how vital, compatible and versatile one could think Anadolu Pop at the end of the 1980s. The compositions are basically all Türkü-s, traditional Anatolian folk songs, yet updated with a poly-cultural music practice, which involved a lot of the then current musical trends. So, this is Turkish folk music and it has at the same time all what you like about the late 1980s pop music: cold electronic drum sounds, crisp-flashy synths, crunchy bass - all in contrast with warm distorted saz tones, wooden Turkish wind instruments, and a disco-soul proven female choir. This is crazy music. This is a miracle. This is Anatolian-Synth.

Fourth record for Stephno on his label. Power, chord and dynamic line for the first track. The second one, remind a sentinel, persistance with a light and rhythmic Drums.

Onironautica is a feet dub sound track with notes of blue sea and skyline, also Space Marine with a difference of sequencig little bit fast and linear. Stephno recorded it in a Live jam.

Coming straight outta Salerno's vibrant music scene, "Amo' / Voce 'e Notte" is the first 7" single from female rap duo Zetas. Released by DJ's Choice, a partner label of Four Flies Records, it contains two songs produced bybeatmaker, rapper and producer Tonico 70, a true veteran of Southern Italian hip hop.

Both young millennials, rappers Annarella and Miriade were exposed to the world of underground hip-hop from an early age, jamming, freestyling and listening to different music than their peers. Active as a duo since 2019, they're now making their official debut with this 7", which will be followed byan album at the end of September.

The A-side track "Amo'", which is about the overuse and loss of meaning of the word 'love' (amo' translates as 'luv'), makes their intentions clear. Zetas rap in the exuberant dialect and slang of their native city of Salerno, while their sound looks back to the '90s through a contemporary lens. Raw rhymes are delivered with an urgent flow over a beat that, rather than boom-bap nostalgia, is a modern take on classic production styles. The result is a happy medium between old school and fresh – one where the melody of dialect rap and rhymes blends wonderfully with the rhythms of funk, soul and reggae.

"Voce 'e notte", on side B, has a different mood, but the same approach. Here, Zetas weave wistful verses tinged with disillusionment and toughness on top of Tonico 70's 808-led beat, paying tribute to a classic Neapolitan song also titled "Voce 'e Notte". The result is a rap serenade that transforms and reimagines the Neapolitan song tradition through today's sensibility and, of course, through hip hop.

Detroit's John Beltran can do no wrong if you ask us, and what he does do is always famously varied, from sound design for TV to melodic techno excellence via ambient beauty. Here for MotorCity Wine he revisits his Back To Bahia series with a third volume that finds him flexing his Afro-Brazilian deep house chops. The 7" opens up with the jazzy boogie of Lsaura' which is steeped in Minneapolis funk and will get cultured dancefloors in a spin. 'As The Sunsets' that appears on the flip and is a superbly emotive sound with wispy late night melodies and glowing harmonies and shuffling Latin grooves. Essential.

Jamie Jones and Lee Foss’ Hot Creations imprint welcomes another essential house offering as Jay Farina & Quinzi connect on ‘Pumpin The Junk’.

Collaborating to great effect on labels like Hooj Choons and Cleveland City Digital, Jay Farina and regular studio partner Quinzi have been playing across Europe while cooking up a take on house music that is fresh and full of irresistible grooves. Joining forces for their biggest release to date, the pair head to Hot Creations to open the summer with their two-track ‘Pumpin The Junk’ EP.
‘Pumpin The Junk’ is a sleazy, low-slung and driving house cut with raw and edgy percussion, while the vibrant vocals and old-school rave stabs all light up the track with the sort of character that gets a floor going wild. Next comes ‘The Buzz’, which is exactly that, the type of steamy house groove to get people moving. Rolling drums are overlaid with jumbled toms and fluttering snares before a monstrous bassline brings the warmth, while fiery vocals, drum fills and filtered FX all add more texture and tension to this red-hot offering.

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

Reissue of one of the Ultimate Soukous banger !

Originally recorded in 1992 in Paris , « Eki Bis « is a party classic. The chorus « 100 % 100% » became a common expression all over the world helped by the hypnotic guitars of the maestros Diblo Dibala and Rigo Star and a smashing uptempo electro acoustic drum beat.

Le Cobra de Sundama is a famous singer from Kinshasa (Democratic Republic of Congo ) who composed more than 12 albums backed by great band such as Empire Bakuba , and was considered as The voice like Kofi Olomide or Papa Wemba mixing lingala and French street expressions.

After many concerts and tours allover the continent , he finally settled in Angola . The B side features a Dj / radio edit with the addition of few electro synths . Produced in Paris by the great producer Jacky Toto and now officially licensed.

Remastered by The Carvery and pressed on limited 500 Deluxe vinyl copies

Revised and remastered edition of Joe Henderson's 1987 album 'An Evening With Joe Henderson' with two bonus tracks from the same.


"Saxophonist Joe Henderson has been described as one of the great chord change players of jazz history, and this aspect of his playing, that had its roots in bebop and Sonny Rollins' approach to improvisation, is very apparent in the repertoire of songs he chose to play that night, each piece with interesting chord changes beginning with Thelonious ' Monk's Ask Me Now'. Although Henderson's style grew out of Rollins' sense of phrasing, rhythmically Henderson was a lot looser and built on Rollins's style to create his own approach to improvisation."

Five years after the release of their last studio album, legendary UK musical institution, Soft Machine, return with a brand new CD/LP,

Other Doors. Boasting new material and two numbers drawn from their extensive historical repertoire, Other Doors finds the band on their usual fiery form.

Featuring John Etheridge (guitars), Theo Travis, (saxes, flutes, Fender Rhodes piano, electronics), Fred Thelonious Baker (Fretless bass),

John Marshall (drums), Other Doors also features two guest appearances from long-serving bassist Roy Babbington, who retired from the band in 2021.

Other Doors was recorded at Temple Music Studios, a facility owned by the late Jon Hiseman during July and August 2022.

It’s a location of which the band is particularly fond, explains John Etheridge. “Working at Jon Hiseman’s studio was special,

especially with Ru Lemer who is a brilliant engineer. He’s fantastically quick and that’s very good as we record mainly live in the studio. It’s come out really well and I think it sounds great.”

On Other Doors they’ve revisited the very first album, originally released in 1968, to include Kevin Ayers ‘Joy Of A Toy. Fred Baker, makes his studio debut with Soft Machine.

A well-known figure on the Canterbury Scene not only is he the perfect choice for the group but he’s also is a long-term fan of the repertoire.

“The way I look at it is that this is all great music which we’re continuing to preserve and keep alive as we play it but also we’re adding to it all the time,” he explains.

The idea for revisiting the number was Theo Travis’ he says and has been part of the band’s live setlist for a while.

The album also contains Penny Hitch, a track originally heard on 1973’s Soft Machine Seven.



If the album ushers in a new member in the shape of Fred Baker, it also acts as a fond farewell to drummer John Marshall, who joined Soft Machine midway through the recording of 1972’s Fifth.

At the age of 81 Marshall has decided to retire making Other Doors his final studio album with the group. “I’ve known John since 1975 when I first joined Soft Machine and of course,

we’ve worked through the years together intermittently ever since. His drumming always meant a lot to me,” says Etheridge.

“We worked over three days in the studio and John played great. It sounds terrific.”

Indeed, Marshall is on whip-cracking form throughout the album bringing his trademark musicality and decisive presence.

With Other Doors, he brings his distinguished career to a rousing conclusion.

Intense, celebratory, and consistently impressive. Other Doors is the sound of a group determined to press forwards with an

integrity and sense of purpose that’s quintessentially and definitively Soft Machine.

Created In the heart of Athens, GA with their trusty- producer, Henry Barbe (Deerhunter, Drive By Truckers) You Know Who is an 11-song record that pushes the boundaries of modern country and rock n' roll music. The Pink Stones sound takes influence from recordings of George and Tammy, as well as J.J. Cale's self produced Tulsa sound. The record is also just as inspired by the windy city cuts of Curtis Mayfield, all styles that covers the band's sound in cigarette smoke and whiskey spills. The six piece band has utilized their performing chops to make a tight but soulful album with featured guests such as Nikki Lane, Jack Quiggins and Ryan Jennings (Teddy & the Rough Riders), John James Tourville (Deslondes), and Annie Leeth (Faye Webster). No strangers to friends and guests, this ramshackle unit formed together flawlessly to take the next leap into The Pink Stones deep sphere.

STEB delivers a brand new single featuring Dario Rossi and remixes from Marvin & Guy, Feel Fly and Van Der Kirche & THC. Italian STEB is no stranger to cooking up floor filling hits. For this latest offering he works with Dario Rossi, a renowned drummer with a signature style like no one else.

Their 'Kauris 1979' is a beautifully deep house track with shimmering chords and twinkling melodies. Echoing claps help drive this most classy of tunes forwards under subtle vocal sounds and the whole atmosphere is full of late-night magic.

The vibrant Marvin & Guy remix has a cosmic edge and that's the case here with this excellent remix. It layers in mysterious whistling leads and 80s synth sounds as well as a rasping bassline that brings a different perspective than the original.

Feel Fly remix brings all that alongside some feel-good piano chords that light up a punchy nineties house bassline.

Van Der Kirche & THC then join forces for an expansive broken beat remix with crisp hits and silky bass all making for a sublime trip.
This is is a package packed with disco-tinged grooves for late-night dance floors.

200 copies ~ Vinyl 180 grams ~ No Repress!

Lewis Taylor's legendary magnum opus: The Lost Album. "Now you're talking. That's my favourite LT album. Unlike all of the others, there isn't anything about it that embarrasses me." Straight from the genius's mouth. What can we say about this? Well, it's the most requested record ever at Be With Towers. The Lost Album was the intended follow-up to his first album but Island rejected it for fear of "confusing" the marketplace and its conception of Lewis as a soul artist. Their loss. It's a breezy sunset masterpiece.

The genesis of this incredible record needs unpicking a bit. Lewis stopped promoting the first album after a year and went home to record a completely different record that was the most un-R&B album you could probably ever hear: "I pushed in such an extreme direction the other way with what eventually became The Lost Album. It was a knee-jerk reaction to a perceived ‘trapped in R&B’ feeling I was going through at the time. Some people around me were in favour of it and others weren’t. In the end I think I lost confidence in it and did Lewis II instead." We did at least get Lewis II, which is a remarkable album, and he kept Island happy...for a bit. Not long after, Lewis was dropped. And what was to become The Lost Album could've been...er...lost. Forever.

Thankfully, however, Lewis and longtime partner Sabina Smyth revisited those scrapped demo tracks in 2003. They decided to re-arrange, re-record and then self-release them. So it was that the brand new version of The Lost Album finally dropped in late 2004. It's sheer perfection, and we don't say that lightly. The Lost Album was a fully 50/50 collaboration between Lewis and Smyth. As well as production, Sabina did a lot more writing on it, from the melody to "Listen Here" to the chord sequence for "Let's Hope Nobody Finds Us." Thankfully, Sabina is credited this time around.

No, it's not straight up "soul music" in the vein of his previous work. Yet, in its perfectly formed suite of one dozen songs, The Lost Album is dripping in soul. It's so warm, so effervescent and so alive with possibilities. It features deep, fresh imprints on well-loved, accessible sounds. It's a proper 70s style double album. Just one listen and the musical influences on The Lost Album are fairly self-explanatory, as Lewis recently told us, but it's always nice to hear that, in case we were in any doubt, he was definitely channeling Love, Yes, Brian Wilson, CSN, Laura Nyro and, of course, Todd Rundgren. The influences don't end there: "I’m particularly fond of my bass playing on that album, there’s a lot of Chris Squire going on which is cool."

Deep orchestral opener "Lost" is a sublime, harp-laced, string drenched gem, a cinematic, melancholic Axelrod-esque mini-epic that simply beguiles. Written by Smyth, it evokes Donny Hathaway's celestial "I Love The Lord, He Heard My Cry" from Extensions Of A Man. The only problem is the brief 90 seconds running time. It segues into the classic Brian Wilson-meets-power-pop-rock splendour of "Listen Here" which, with its outstanding extended harp-licked beatless intro, sounds like the younger cousin to Boston's "More Than A Feeling". We then drift into the ringing guitars of classic 70s rock anthem "Hide Your Heart Away". It's Lewis's personal favourite, "especially the multi-tracked guitar solo – I was listening to Boston at the time, which was fun." A-ha!

A new version of the heart-stopping, shoulda-been-a-massive-pop-hit "Send Me An Angel" opens Side B before the arrival of, in Lewis's completely correct words, "the clear standout, "Leader of the Band"; the perfect distillation of everything that album was trying to achieve." Soaring, piano-led Rundgren-esque power pop that makes the hairs on the back of your next stand on end. Truly, otherworldly. This is pure pop for now (and then) people. The simple jangly brilliance meets experimental prog-rock of "Yeah" sounds like simultaneously like prime CSNY and late 90s Radiohead (if they'd had a slightly more accessible bent and could write better tunes).

Oh, you wish The Beach Boys had continued writing amazing songs beyond Holland? Well, allow us to point you in the direction of the downlifting stunner "Please Help Me If You Can" and the warm textures and brilliant atmospherics of goosebump-inducer "Let’s Hope Nobody Finds Us". Words can't really describe the sheer beauty of these songs. So we'll stop trying. Just listen. Listen, listen, listen. Closing out this remarkable side of music, the accidentally Balearic "New Morning" should be blasting out at every sunrise set in Ibiza, this summer and forevermore.

The final side opens with the vaguely Beatlesey "Say I Love You". It's just classic, soaring pop-rock songwriting and should strictly be canonical. It's that good. The sassy, Stonesy swagger of "See My Way" injects enough rock'n'roll attitude to compensate for the rest of record's peace-loving, AOR sun-dappled vibe whilst album closer, "One More Mystery", emerging out of the rubble of the previous track, comes on initially like a Baroque-Pop George Harrison before piling crunching drums and screeching guitar solos atop the dreamy harmonies til close.

When asked what it means to have these records available on vinyl for the first time, Lewis is in no doubt: "It’s great and it’s really nice to be able to offer fans a different listening experience. There’s a whole other dimension with vinyl that taps into that whole nostalgia thing, well for me anyway. Something about the physical aspect of pulling it out of the sleeve and putting it on, it does tend to make you feel like you’re more engaged."

Lewis was adamant that he wanted all new artwork for The Lost Album vinyl sleeve and his brief was just the sort of classic tropical-beach-at-sunset you’d want to see on the front of a record that sounds like this. On the finished sleeve, the beach at sunset is just where we start out, before heading up through the painterly clouds and heading out into the stars. And yes, the lettering is a definite subtle nod to all those in-between-period Beach Boys bootlegs we all love. Simon Francis's sensitive mastering combines with Cicely Balston's precise cut for Alchemy at AIR Studios so the album sounds appropriately outstanding. The immaculate Record Industry double LP pressing will ensure this previously lost masterpiece stays forever found.

Phi-Psonics is a meditative, deeply soulful immersive jazz group from
Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain
Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh
Collazo on drums. Their deeply soulful music draws on jazz and
classical influences together with Ford-Young’s own musical
experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, along the way they create something
uniquely their own, beautiful landscapes for your thoughts to roam
within.

Octava is their second album and like the Cradle before it’s emotional,
introspective, and unusual approach to spiritual jazz offers us a
beautiful space for uplifting contemplation and wields a quiet power to create a spiritually inspiring world of timeless, warm melodies and
instrumental exploration for the deep listener. Originally from
Washington DC area, Ford-Young moved to California in the early 90s
and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combined intense personal study with
collaborations, tours, and recordings with artists such as Tom Waits,
Beats Antique, and John Vanderslice. In 2010 he moved from the SanFrancisco Bay area to the Los Angeles hills and continued his
explorations and although Phi-Psonics music has been described as
spiritual jazz, or deep immersive listening music but this is music for
fans of Radiohead and The Invisible as well as fans of Alice Coltrane
and Pharaoh Sanders.

The album opens with Invocation as we embark on our journey. The
repeated melody at the end feels ancient but also contains an energy
that is driving forward. An Offering is a humble but beautiful tune full of texture and colour. We Walk in the Gardens of Our Ancestors shows clear eyed reverence for those who came before us as we walk through their gardens. Green Dreams is a tender, gentle love song to Seth’s wife.Where We've Been Is a group improvisation centered around the drums. Lunar Reflections is a romantic ode to nature that draws inspiration from where Seth lives a green oasis within the sprawling cityscapes of LA. Becoming draws on memories of the dark days of 2020 but this was a period that was also full of beauty and light and this song elevates and uplifts us. Finally New You offers hope of change

Ghanas Linda Ayupuka spielt zeremonielle Fra Fra-Musik über schnelle Feuertempi und hypnotische Drumloops, die auf eine internationale Palette elektronischer Tanzstile verweisen, vom DJ-geführten Balani Show-Straßensound Malis über Electro-Acholi bis zu modernem Dancehall/R&B. Auf 'God Created Everything' fängt sie die Unmittelbarkeit früher Aufnahmen von Größen wie Oumou Sangaré und Rokia Traoré ein, um sich als neues westafrikanisches Gesangstalent zu präsentieren. Ihr Produzent Francis Ayamga (Top Link Studios), Live-Drummer von Ghanas King Ayisoba und Produzent der meisten Tracks auf dessen jüngstem Album für Glitterbeat, hebt Lindas Gesang mit seiner spielerischen Produktion von Laptop-DJ-Samples und abstürzenden Drum-Pads in den Himmel.

"(Linda) exists somewhere between the Malian singer Oumou Sangare´ and the lo-fi-to-the-future beats heard on the Nyege Nyege Tapes label." - NPR - All Songs Considered - Best Of 2022

"Combining traditional instrumentation and call-and-response vocals with sparkling synths, rapid-fire beats, and drum machine polyrhythms. Ayupuka achieves an electrifying syncretism on this album, giving Fra Fra gospel its rightful place on the global dance music stage." - BANDCAMP, Best Of 2022

"An uptempo blend of choral chants and sparkling, 80s electro synths." - THE GUARDIAN, Albums Of The Month

"Linda Ayupuka fait du gospel façon disco au Ghana et chante son amour de Dieu sur des synthés entêtants." - LE MONDE

"A mashup of gospel, disco and savannah sounds, produced with all the D.I.Y vim of Balani Show, Nyege Nyege Tapes and the Awesome Tapes roster." - PAN AFRICAN MUSIC - Best Of 2022

"Super interesting!" - GILLES PETERSON, BBC 6MUSIC

'Chaos For The Fly', das Solo-Debütalbum des Fontaines D.C. Sängers, erscheint am 30. Juni via Partisan Records.

Das gesamte Album, jeden einzelnen Teil, von den Chord Progressions bis hin zu den String Arrangements, so Chatten, konnte er mit einem Mal hören. Bei einem windgepeitschten Nachtspaziergang entlang des Stoney Beach, dreißig Meilen nördlich von Dublin. Er arbeitete die Songs mit der Gitarre aus und nahm erste Demos auf, ganz alleine. 'Chaos For The Fly' handelt von Isolation und Verletzlichkeit. Vom Verlust des Glaubens an die Menschheit. Und an sich selbst. Die Songs haben meist einen dunklen Unterton und strahlen doch eine berauschende Stärke aus. Chatten verarbeitet auf dem Album schmerzliche Emotionen, Geschichten aus seinem Leben und verpackt sie auf eindrucksvolle Art und Weise in seine bisher wohl poetischsten Texte.

Koproduziert hat wie auch schon die Alben seiner Band der langjährige Fontaines D.C. Produzent Dan Carey.

From Elvis in Memphis retains the distinction of being the most cohesive, passionate, mature, and emotionally invested record Elvis Presley ever made. Named one of the 500 Greatest Albums of All Time by Rolling Stone, the white-soul landmark features backing by "The "Memphis Boys" and teems with rhythm-heavy country, gospel, R&B, and blues. Lauded for its natural, open sonics, the 1969 set now comes across with remarkable clarity, presence, and warmth courtesy of a premium restoration befitting a king.

Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly limited to 10,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of From Elvis in Memphis unearths the ravishing inner detail, sticky rhythms, and brilliant arrangements of Chips Moman's inspired production. In short, this unparalleled reissue unlocks the spirit and gestalt of the recording and takes you inside American Sound Studio. It also brings you up close and personal with Presley's singing – widely considered by many to represent the finest of his career – located dead-centre amidst the instrumental hurricane. Equally impressive are the contributions of the aforementioned Boys, and how their Southern-brewed playing – a balance of leisure with swiftness, grandiosity with concision, freedom with control – dovetails with Presley's vernacular.

The lavish packaging and gorgeous presentation of the UD1S From Elvis in Memphis pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the images to the finishes.

Sharing much in common with the full, rich, orchestrated Stax Records sound, From Elvis in Memphis oozes with choice nuances and distinctive flourishes that on this ultra-hi-fi edition not only arise with previously unheard transparency and sharpness, but complement and serve the whole. Take the specific tonalities and blending of violas, cellos, and horns that communicate mood and serve as counterpoints. Or lively performances of the backing quintet, and how the piano and Hammond organ trace the lines of the melodies and Presley's lead. Listen to the uplifting support provided by the cadre of backing vocalists (more than a dozen credited), unrivalled in Presley's canon and a precursor to the approach he'd soon adopt in Las Vegas.

Of course, From Elvis in Memphis precedes the icon's transition into his glitzy jumpsuit phase – and follows his merciful move away from the hoary soundtrack work that consumed nearly a decade of his creative life and prompted a rebirth that began in 1968. As the bridge between eras, the record seizes on Presley's rejuvenated attitude and commitment to quality, facets that drip from the fervency with which he delivers every word. For the same reasons, and for the fact it traces back to Presley's original roots and hip-shaking guise, the album further remains a cornerstone of American music history.

Writing about the work's 40th anniversary for Rolling Stone, James Hunter correctly observed: "From Elvis in Memphis represented the full-on immersion in the Memphis idea of Elvis Presley, the American singer second only to Frank Sinatra for the ability to conjure a particular sonic universe with his merest vocal utterance. And from the album's first song, in which a bluesy Elvis espies a woman 'Wearin' That Loved On Look,' to its last, in which a more straight-up-pop Elvis regrets the injustices of life 'In the Ghetto,' his fully engaged, newly energized voice finds its most logical album setting in years."

Incredibly, Presley and company completed more than two dozen cuts for From Elvis in Memphis. One, "Suspicious Minds," turned into the vocalist's final chart-topping single and lingers as one of his most beloved rock n' roll numbers. Even though it never formally appeared on the record, the non-album song is included here as a bonus track and attains newfound depth, energy, and swagger. Coupled with the other dozen tracks – including the sultry "Power of My Love," balladic take of Dallas Frazier's "True Love Travels on a Gravel Road," and driving cover of Hank Snow's I'm Moving On" – it makes for the finest Elvis listening experience available.

Amy Dabbs and Athlete Whippet deliver a perfectly crafted journey through house music with 'Into You' on Aus Music.
The duo's different yet wholly complementary musical backgrounds - Amy Dabbs bringing her extensive experience as a DJ & electronic music producer, and Athlete Whippet with his background as an instrumentalist & live band musician - have created a winning combination on Into You EP. The product of which is an intricately composed, highly musical suite of tracks produced to perfection for the dancefloor.
Having met for the first time at Cinthie's Elevate store in early 2021 for her DJ Kicks launch party, the compilation featuring one of Dabbs' earlier tracks, Amy Dabbs & Athlete Whippet stayed in touch, which culminated in the decision to start working together in the studio in their shared hometown of Berlin.
Amy Dabbs has released a string of lauded 12"s since her 2020 debut, including her latest highly acclaimed EP on Shall Not Fade, in addition to collaborating with Coco Bryce, launching her own imprint Dabbs Traxx last year, and featuring regularly on BBC Radio1 Dance.
Athlete Whippet, headed up by Robin Braum, have delivered a myriad of esteemed releases across Toy Tonics, Rhythm Section and Tartelet, which have earned heavy support from Pete Tong, Jamz Supernova and Tom Ravenscroft, to name a few.
Teaming up for the first time here, Amy Dabbs & Robin Braum deliver a fiery three-tracker for Will Saul's Aus Music, covering a variety of moods across the versatile EP. Kicking off the A-side is 'Deep In Your Love', with swirling pads and emotive strings tangling around a tear-jerking vocal refrain, which make for a highly moving opener. A2, 'Into You' continues the emotional journey with lively percussion, subby basslines, and sensuous vocal samples overlaid with luscious analogue chords played out on the Juno 106. On the flip, 'Milkshake' closes out proceedings with a glorious blend of anthemic hands-in-the-air piano riffs and deep acid grooves. This track is a surefire summer hit, set to ignite airwaves and the dancefloor in equal measure.

Selected by Jim O’Rourke for his Tone Glow list of 25 albums that “never got their due”, Org was founded in the early 90’s by Espen Jensen and Kjetil D Brandsdal who would later go on to variously record as Elektrodiesel, Noxagt and Ultralyd in the swirl of the highly active Norwegian underground. “Org" was the only album the pair recorded as a duo, pressed in a meagre edition of just over 100 copies which disappeared almost as soon as they were made, lodged in the memory of the select few who have managed to hear it in the years since.

Made up of three long tracks, the near 20-minute ‘001’ opens the album with an extended organ zone-out matched with scraping factory machinery saturated into a dense cloud of harmonic fuzz. There's something transcendental about the sound that intersects with microtonal Alice Coltrane (particularly the unfairly maligned organ-only edition of "Turiya Sings"), as well as Pauline Oliveros and Ramleh. It’s music that pulls you in subconsciously; before you know it, you're fixating on the uncomfortable grind of metal on metal, buried mechanical rhythms and liturgical organ vamps that wind between industrial cacophony and sacred ritual music. For its last few seconds, we go into a full death metal tearout that fades out before it takes full flight, a glorious wtf.

‘002’ connects between minimalist drone styles and shoegaze, distorting fuzzed organ into pliable, dreamlike warbles that end up sounding like Kevin Shields' ‘Loveless’-era glides, or even Sunn O))) at their most devotional. Never losing the numbing overdriven mettle, its a piece that sounds spiritually entwined with Matthew Bower's Skullflower - a minimalist re-reading of high-contrast guitar music that takes all the psychoacoustic power and none of the annoying posturing.

For ‘003’, subaqueous organ is joined by synth and drum machine, sounding like the inspirational spark for Religious Knives' screwed 'n chopped cosmic psychedelia. The choice of sounds links it to Antena's foundational electro samba recordings too, but the overwhelming drone - a constant on all three compositions - connects the music to minimalist spirituals that have simmered beneath the DIY/avant garde for decades.

‘Org’ sits heavy on the nerves with overproof levels of mulched amp worship and ungodly, palms-down organ chords and wheezing, bezonked lines of melodic thought. 25 years out of sight and marinading in the archives, with the benefit of hindsight we can better understand the role these sounds played in the development of music in the contemporary sphere. It’s an important piece of the puzzle, one that makes valuable connections that, over time, have looked progressively more faint.

Blue Lake is the musical moniker of American born, Copenhagen based multidisciplinary artist and musician Jason Dungan, who signs to the Tonal Union imprint for the release of his new longform album ‘Sun Arcs’. It follows 2022’s release ‘Stikling’, earning a nomination for ‘Album of the Year’ at the Danish Music Awards plus warm praise from The Hum blog and musicians and DJs alike including Jack Rollo (Time is Away/NTS) and Carla dal Forno. A self taught player, Dungan began freely experimenting with self-built multi-string instruments, preferring to build his own hybrid 48-string zither and working in the realms of left-field ambient music, off kilter folk and improvised acoustic minimalism.

The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the idyllic Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.”

The album’s immersive world unfolds with the opener ‘Dallas’, an ode to his home state and a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material much like an artist would, recording and reviewing, adding and subtracting.

Musically it portrays a form of double life led by an American-identifying person living in Scandinavia, and a new found presence in Denmark, seeking out underdeveloped marshlands and barren stretches of beach adrift from other rhythms and distractions. Highlighting their individual and potent importance Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new glorying heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, borning his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery.

The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile /Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

In the centre of deep space we tune in to the radio broadcasts from an old Class T interstellar spaceship. The emissions endlessly resonate the frequencies of the seventeenth release on the label HC Records by one of the titans of the Valencian scene, The Lost Boys, new pseudonym of the DJ and producer Raszia.

With releases on labels such as Bass Agenda, Subsist or Hxagrm Records, the artist mesmerises our senses with the Exiles of Mars Ep, available in both double vinyl and digital.

Syncopated rhythms are the protagonists across four original tracks together
with remixes by four electro legends: Boris Divider, Estrato Aurora, Dark Vektor, and Filmmaker.

The EP’s first cut is a remix of "Wall Of Bricks" by the legendary Boris Divider, which gives the track an air of crystalline, synthetic and cosmic sound, very much in line with his latest works on the Generative Operations series. Next, we find the original version, where the kick drums are heavier, the synths and basses more colourful and the acid sequences take centre stage in an odyssey of sidereal intensity.

On the record’s flip side, a feeling of overwhelming melancholy takes root in our soul. Valencian Estrato Aurora mentally transports us to the mysterious red sand of Mars in a precise exercise in symphonic minimalism with his remix of "Exiles of Mars", which mutates the original idea with velvety pads, synths and a slow and rapturous hypnotism that sinks us to unfathomable depths.
The Lost Boys' original concept on B2 is a combination of Miami Bass-style breaks and a demonic mantra-like main synth line, backed by what seems like an infinity of pearly effects and secondary melodies, pushing the track towards a crescendo punctuated by a dry and sharp snare.

The second disc’s opener "Bust My Moves" is a masterclass in deconstruction and reconstruction by Dark Vektor with his "Electro Escuadrón Remix”. The genius from Terrassa provides powerful lyrics loaded with a message about the modern rise of the 808 movement. We return to the original Lost Boys version on C2, a futuristic martial discourse takes shape with combating breaks combined with rave chords and brief episodes of respite, almost dreamlike, in the middle and end of the track’s exciting development.

On the D side, rough frequencies verging on distortion materialise through our ship's speakers as we pick up the Colombian Filmmaker’s remix of "Data Recovery For Brains". A psychotronic final appetiser that combines harshness and elegance in the use of the rolling kick drums and saturation of the sound, it is without a doubt the ideal soundtrack to narrate the collision of two galaxies. The closing of the EP features the original track, in which The Lost Boys show us his most mental and lysergic side as the track progresses along a slow and comforting broken rhythm, made dynamic by clever use of diverse acid sequences and clairvoyant stellar melodies.

The complete artistic experience is enhanced in all dimensions with accompanying artwork by
Daniel Requeni and videos elaborated by Frank-F.

Mastering as usual by Steve Voidloss at Black Monolith Studios in London (UK).

With a well-received new album “Darkadelic” in the shops, the Damned continue to build on their legendary status.

This month as well as finally releasing the “David Vanian And The Phantom Chords” album as a 2LP set we are delighted to also offer “The Best Of The Damned”.

This album was originally released back in 1981 and pulled together the classic singles that the band had made for the label like ‘Love Song’, ‘Smash It Up’ (Parts 1 and 2)’, ‘I Just Can’t Be Happy Today’, ‘History Of The World Part 1’, ‘Hit Or Miss’, their Christmas single ‘There Ain’t No Sanity Clause’ and ‘Wait For The Blackout’. Not only are these now seen as gold-standard Damned tracks but also map out a musical development where they moved from their punk roots to crafting melodic pop songs that also took them into the charts. Better still, when originally pressed up in 1981 the album cannily also included those earlier classics punk classics ‘New Rose’ and ‘Neat Neat Neat’. There’s even Captain Sensible and the Softies’ version of ‘Jet Boy, Jet Girl’ that appeared on the flip of ‘Wait For The Blackout’ in 1982.

You don’t mess with a classic so we have reissued the album just as it looked back in 1981, complete with inner sleeve and blackmail label lettering. Saying that, fans of the Damned both old and new will need no encouragement to add this to their collection.