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In their new album Bagola, Trio Da Kali present newly composed songs accompanied on balafon and ngoniba, that provide a rich accompaniment to the spectacular voice of Hawa Kasse Mady Diabaté. She inherits her singing style from her father, the late Kasse Mady Diabaté, who was widely recognized as one of Africa"s all-time greatest singers and won a Grammy nomination in 2004. Hawa"s voice has an exquisite purity and expressiveness, with a wide emotional range. She is equally at home in the lively, 9/8 rhythms of the title track Bagola, a light-hearted critique of men in Malian society, to the soulful Orpaillage, a song that laments the destruction of land from gold-panning. Orpaillage was in fact composed on the spot in the studio, reflecting the creative chemistry between these three musicians. The musical director of the trio is balafon (xylophone) player Lassana Diabaté, born in Guinea into a well-known family of balafon musicians. His remarkable dexterity on the balafon earned him a place in Toumani Diabaté"s Symmetric Orchestra, and later on in the group Afrocubism (featuring Eliades Ochoa). He has collaborated with many musicians, including bluesman Taj Mahal on the album Kulanjan. With two balafons of 22 rosewood keys each, tuned to play chromatic scales, Lassana Diabaté achieves a perfect balance of rhythm, melody, harmony and virtuosic embellishment. David Harrington, leader of Kronos Quartet, compares him to none other than JS Bach. Underpinning the balafon with compulsive groove, is the large ngoniba, played with brilliant musicality by Madou Kouyaté (son of Bassekou Kouyaté and member of his group Ngoniba). Madou, the youngest member of Trio Da Kali, also adds rich harmonies with his deep breathy voice to the songs. Trio Da Kali were founded in 2013 under the initiative of the Aga Khan Music Programme, with the help of three-times Grammy-nominated music producer Lucy Durán. The Trio first rose to international fame with their sublime album Ladilikan (World Circuit Records 2017), featuring an unprecedented and multi-award-winning collaboration with Kronos Quartet, the legendary classical string quartet from San Francisco. Bagola is a showcase of Trio Da Kali"s entrancing and unique sound, only equaled by their magical performances on stage.

Hot on the heels of A Promise In The Cold Night, LVCA returns to Bordello A Parigi with The Wanderer. Building on his diverse and unique style, genre cross-pollination sits at the heart of this four tracker. Renowned for his analogue live sets, LVCA’s passion for the machine smoulders on this EP. Acid, electro and new beat are central tenets, with the synthesizer taking centre stage. A litany of influences is drawn upon. Crashing snares countered by bright bars, melodic swirls threatened by machined vocals, drum rolls and key stabs marking shifts of intent. Speaker cones conjure late night basements, darker shades churn and melt in the fog and strobe. And throughout, genres and styles converge. Chicago house thaws the frigid severity of wave, italo echoes offering a distant warmth against colder tones taking hold. A 12” that illustrates the dynamic depth and the vibrancy of a true talent.

Desire is an electronic music band from Montreal and Portland, Oregon. Their debut album, II, was originally released in June 2009 on the Italians Do It Better label. The band is made up of vocalist Megan Louise, producer Johnny Jewel (also a member of the IDIB bands Chromatics and Glass Candy) and Nat Walker (also a member of Chromatics) on synthesizer and drums.

"Visionary director, photographer and producer, Robert Ascroft unveils a captivating musical odyssey akin to the cinematic allure of Wim Wenders' ""Until The End Of The World"" and the ethereal resonance found in 4AD's This Mortal Coil. Emerging as a prominent photographer in the 2000s, Ascroft forged his path through collaborations with luminaries of the Oscars, Grammys, Tonys, and Emmys. With an innate ability to capture the essence of his subjects through his camera lens, he redefines photography, infusing it with depth, emotion, and narrative. A classically trained guitarist turned music producer, Ascroft weaves intricate melodies and evocative songwriting with cinematic narratives.

Drawing from a diverse array of talented friends, Ascroft curates a mesmerizing ensemble of vocal performances featuring luminaries such as Zumi Rosow (Black Lips), Kid Congo Powers (The Cramps, Gun Club), Tess Parks, Ruth Radelet (Chromatics), Britta Phillips (Luna), and more. With Ascroft's multi instrumental performances on guitar, bass, and keys, complemented by the rhythmic contributions of friends Derek James and Roger Brogan, the album takes on a rich and dynamic sonic journey.

""Echo Still Remains'' transcends traditional musical boundaries, beckoning listeners into a world crafted from Ascroft's vivid imagination. Each track unfolds like a technicolor scene in a cinematic narrative, with each melody and lyric evoking a sense of profound introspection and wonder. Accompanied by stylized music videos in Ascroft's distinct visual world, ""Echo Still Remains"" emerges as a multifaceted work of art, inviting listeners to stir the soul and lose themselves in a world of sound and sensation."

Die zweite LP des Duos aus Megan Louise und Johnny Jewel (Chromatics) wurde in LA und Palm Springs, Kalifornien, geschrieben und aufgenommen. Inspiriert von der ultralebendigen Welt der 1970er Giallo-Filme schrieben Desire den Soundtrack ihrer Träume mit ihren Lieblingsinstrumenten: Minikorg, Jupiter 8, 909, Mellotron, Simmons Rhythm Modules, String Machine, D-50, Fender Rhodes. Während House-Rhythmen die Grundlage ihrer Erzählungen bilden, ergänzen pulsierende Synthwave- und Daytime-Drama-Seifenopern die Farbpalette des Albums. Gesungen wird auf Englisch, Französisch und Koreanisch, was der Mischung noch mehr Dramatik verleiht. Durch all das hindurch gibt es den Optimismus des Kompasses der wahren Liebe, der uns durch all das Chaos navigiert, das das Leben zu bieten hat.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

Enjoy The Ride Records in conjunction with Universal Music Group proudly presents Autopilot Off - Make A Sound, available on vinyl for the first time in celebration of the album's 20th anniversary. Make A Sound features the single "What I Want," plus " Make A Sound," "Chromatic Fades," "Clockwork," and "What I Want," which were featured in various video games of the era.

Step right up, ⁢dear music aficionados! Welcome to the melodic adventure of Penny’s Big Breakaway, the long-awaited kinetic 3D-platformer developed by Evening Star and published by Private Division (Take-Two Interactive).

The composer team behind‌ Sonic Mania, led by Tee Lopes, present a new masterpiece, crafted ‌with love and finesse. This colorful soundtrack features various vibes, from funk to rock with even house and EDM accents. So sit ⁣back, and let the‍ groovy waves wash over you.

The Psychedelic Scene, a compilation of various artists, brings together some of the pivotal pieces that shaped the unique energy of the psychedelic era. Released as a double 12-inch colour vinyl for the first time, this collection offers a multi-dimensional experience, delivering the pulsating energy of the iconic era right to the turntable. A Sonic Time Capsule to the Psychedelic Era. The compilation stands as an immaculate representation of the psychedelic era, uniting works from various artists under the chromatic umbrella of the genre. The rich, swirling sounds and mind-bending lyrics that defined the movement echo noticeably in each track. The 2x 12-inch vinyl set amplifies the immersive nature of the genre. Moreover, the analog format breathes warmth and depth into the music, enchancing the auditory journey.

Sumer Is Icumen In is Quentin Thirionet's (Dhavali Giri, Pairi Daeza) debut album. Still, his musical escapades are vast and varied, based almost entirely on improvisation and live recordings, of which he occasionally distributes tapes without further information. Elusive to categorization and identification, unwilling to fix his musical activity under a stable pseudonym, his projects have ranged from gypsy jazz guitar swings, French traditional songs from Auvergne, and various experimental collaborations. Increasingly closer to electronic instrumentation, he crafted what Belgian label KRAAK presents here as Maibaum, his first ever solo output. As the title goes, this may be a maypole on which his multicolored sonic visions spring about.

Former rope access worker and currently a farmer of organic greens, Thirionet lives up to these lines of work as a musician. He assembles precisely what seems like a subtle balance between high manmade structures and soft fertilized soils; a high voltage pylon placed in a biotic landscape. It's all an even blend, spontaneous and steady, but this contraption comes from profound considerations. "I chose these tracks among many others," says Quentin, "because I heard the melodies all the time in my mind, and because I cried while playing them without really understanding why."
Armed with nothing more than a blackbox, a sequencer, a freeze pedal, and a tape player, Thirionet orchestrates a vivid rite of polished futures. At times reminiscent of Hans-Joachim Roedelius' enveloping arrangements, Maibaum's ambiances rely on mild repetitive patterns subsequently textured by prickling sprouts, mechanic dislocations and revamps that stoke and brighten the stirring motions. Jim O'Rourke's I'm Happy and I'm Singing comes to mind in terms of its detailed and prismatic nature, but Sumer Is Incumen In has its particular narrative. It's a tale of regeneration, of spring's delicate procedures and allure, a celebration of gracious and fortunate junctions between nature and machinery.

The album unfolds like a massive engine being made flesh to drift along the ether of a sultry land. The terrain turns pleasant and fertile in the title track; the colors and melodies of May start to unravel. Chromatic columns rise and define the scenery's depth of field breeding a synesthetic stream between crystal lights and warbling organisms. Grande Albero Buono Magico Uoma's brisk kaleidoscopic arpeggios sound like scanning a tree's litmus foliage. Then Ciguri takes us back to the foggy swamp of the beginning but is suddenly lit by an insect’s labyrinthine roundabout. The Jeweled Grid is a poem Quanta Qualia's lustrous metallic voice recites as a report of the album's phenomena. "Shiny revelations jump out. Pearls of thought flicker about." Images from within that distill to swirl around among us. The thicket dissolves as the album concludes calmly in Le Concept De Chien N'aboie Pas. Swaying under sieved solar light, leaves and branches tingle until the winds grow weak. All the warm creatures gathered along the way, and all those who danced around the maypole's splendid equilibrium now withdraw, folding up small to foster rebirth once again.

José Badía Berner

Sliding between the bodies in the street, cutting across the contrails that bisect our sky, Wand find melody and the anxiety beats as they hum the soundtrack for a new gravitational center. Seeking connections against the plan of niche interest and anonymity, Vertigo is the sound of slippage, rocks of contradiction (in soft focus); feet lost, regained, lost again, a multi-chromatic swaying, more automatic, associative, directed, in time. Determining to work backwards (or at least insideout) this time, Wand recorded everything in their own studio; pieces cut from improvisations and reshaped, writing from within the performance, without the woodshed. Unconsciously, in the shadow of themselves, and turning round and round (and round), they kept finding that empty space and playing what it implied. Everybody took on a new position in addition to the old one. It was intuitive, strangely ego-less . . . going somewhere they"d never been and not knowing what they were doing, but committing and recommitting, unafraid to eject in a constant positive forward momentum.

Sliding between the bodies in the street, cutting across the contrails that bisect our sky, Wand find melody and the anxiety beats as they hum the soundtrack for a new gravitational center. Seeking connections against the plan of niche interest and anonymity, Vertigo is the sound of slippage, rocks of contradiction (in soft focus); feet lost, regained, lost again, a multi-chromatic swaying, more automatic, associative, directed, in time. Determining to work backwards (or at least insideout) this time, Wand recorded everything in their own studio; pieces cut from improvisations and reshaped, writing from within the performance, without the woodshed. Unconsciously, in the shadow of themselves, and turning round and round (and round), they kept finding that empty space and playing what it implied. Everybody took on a new position in addition to the old one. It was intuitive, strangely ego-less . . . going somewhere they"d never been and not knowing what they were doing, but committing and recommitting, unafraid to eject in a constant positive forward momentum.

Decoy is a 1984 album by the famous jazz musician Miles Davis, recorded in 1983. Robert Irving III on keyboards took over the role that Miles had assumed with a true sense of harmony and only a rudimentary mastery of synthetic sounds and movements. Irving shared the responsibilities of directing with the trumpet player’s nephew Vince Wilburn, Jr., but Al Foster continued to lead the tempo. John Scofield drew the funk of bassist Darryl Jones in the direction of chromatic abstraction. The two tracks that he co-wrote with Miles are fragments of solos: “That’s What Happened” reprising the beginning of his solo on “Speak” (Star People). Decoy offered a good balance between the dominant funk that subsequently took over and the jazz tradition, reflected by Scofield’s angularities, Marsalis’ freedom of tone and the breath of Miles’ playing that had recovered its full power. Decoy is available as a 40th anniversary edition of 2000 individually numbered copies on smokey coloured vinyl, housed in a gatefold sleeve.

The first thing that strikes you is the rhythm. The Gossip have been making punks dance since they debuted 5 years ago, long before dance punk existed. Soulful and jagged, you can hear everything from Dischord to Motown in Brace's playing. Now, with the addition of new drummer Hannah Blilie (Shoplifting, ex-Chromatics) they have a new thundering beat for the kids to dance to on the corners and in the clubs. The next thing that smacks you is Beth's voice, all the guttural blues of the South is in that inimitable instrument. It resonates with the confidence that is in her lyrics asking people to hold on just a little bit longer, re-assuring the youth that there are others out there, and spitting in the face of all who say otherwise! "Standing in the Way of Control", their third album, was recorded by Guy Picciotto (Fugazi) at Seattle's Bear Creek. From heartbreakers like "Coal to Diamonds" to the anthemic title track, released as a single with a Le Tigre remix, the band is unafraid to put it all out there and take their audience to new places. This is the sound of a band destroying and surpassing all expectations placed on them.

Rebirth 10, a limited double CD released in 2016, celebrated the 10th anniversary of Rebirth Records. Curated by one of the greatest names in House Music, Larry Heard, aka Mr. Fingers, it featured key releases from the label's first decade. Now exclusively for Record Store Day 2024, it will be reissued for the first time on limited edition numbered double vinyl, showcasing sought-after tracks from the catalogue. Featuring original music and remixes from Larry Heard himself alongside further legends of the scene such as Motor City Drum Ensemble, Joe Clausell, Andres, Jamie 3:26, Ripperton, and Mr Fingers himself. This compilation shines a light on forgotten classics from one of House Music's most influential labels of the past 20 years. True house from THE house producer of the scene.

Band Of Nowhere is a new constellation project by Juanjo Sánchez, together with other collaborators with whom he had previously worked. It is worth mentioning Bob Drake on drums, former member of the legendary formation Thinking Plague (also on Hail, 5UU's, The Science Group) who has also mastered the project from their studio in the Midi-Pyrénées and also to mention the guitarist Jordi Cabayol (Camino al Desván) both Juanjo and Jordi began their career in a significant band of Barcelona of the early eighties, such as Entr'acte.



The becoming of Juanjo Sánchez would take him to other latitudes as a member of Alondra Satori and without losing the lighthouse of his city, he would collaborate with other outstanding musicians such as Quicu Samsó (Koniec, Macromassa).



The fluidity and chromaticism of his previous album Gonza Magilla is still perceived in here, but in a much more electrified way with guitars that are sometimes expansive, other times exuberant wrapped up with contagious synthesizer modulations and very marked rhythms. The production and especially the arrangements are fantastic with those special presences of synthesizers that are not common around here.



Its original improvisation and experimentation is skilfully adjusted by Juanjo Sánchez, giving a much more playful result with unexpected combinations, very much in continuity with a certain European Art Rock such as Aksak Maboul, Etron Fou, Zamla,The Work or the mischievous resonances of The League of Gentlemen; all this mapping the sound transit, to an unpredictable and vibrant non-place.



Housed in it's original hand made artwork with the little upgrade twist of silk-screen printing textured grey cardboard and including a insert colour with photos and text provided by Juanjo Sánchez.



Housed in it's original hand made artwork with the little upgrade twist of silk-screen printing in Plastic clear cover and including a insert colour with photos and text provided by Juanjo Sánchez.

Javier Hernando

a1 Calling All Beginners
a2 Fleeing To the Poles
a3 Ashes
a4 Rouler ma Bosse
a5 Sunday Machinery
b1 lucid Dreams
b2 Twisted Maze
b3 Rolla Bolla
b4 Chinese Forecast

To celebrate Spider-Man’s sensational 60th anniversary, Marvel Entertainment partnered with Semmel Exhibitions to launch Spider- Man: Beyond Amazing - The Exhibition, which chronicles the epic history of the ‘wall crawler’. The exhibition runs from May 26, 2023 through October 1, 2023 in Kansas City, and premiered at the Comic- Con Museum in San Diego where it ran from July 1, 2022 through January 1, 2023.

For this historical display, a soundscape was needed to reflect Spidey’s emotional ups and downs: his moments of isolation and loneliness, but also his courage, determination, and the sheer joy of web-slinging. This is where Sebastian M. Purfürst of LEM-Studios came in. To create a soundtrack that would engage visitors in every single moment of the exhibition, Sebastian employs parallel techniques in his musical compositions and productions - not only writing the notes and melodies but creating a fully realized world of sound.

Marvel’s Spider-Man: Beyond Amazing - The Exhibition is available as a strictly limited edition of 2500 individually numbered copies on crystal clear vinyl with a full-colour Spider-Man print on its side B. The package also includes a 4-page booklet and large exhibition poster.

Death Metal icons INCANTATION prepare the masses for their new album, Unholy Deification, via Relapse Records. Edified over three-plus decades of experience, Unholy Deification is the group's 13th full-length album. Validated by peers seasoned and new, INCANTATION are more vital than ever - the lineup, featuring founding guitarist/vocalist John McEntee, drummer Kyle Severn, bassist Chuck Sherwood, and guitarist Luke Shively, displays death metal know-how and the power of determination. "I'm not interested in playing it safe," McEntee asserts. "I think other people feel that there are limits to what we do. However, I don't see it that way. If it feels right, then it's Incantation. The songs we write are an honest expression of ourselves. 'Sect of Vile Divinities' was a stressful recording for me and the band. We felt fed up and were just happy to be done with it. When people hear the new album, I hope they think, 'Why are these guys so pissed off?!' Rage gives focus, which is why this album turned out the way it did." Lyrically, Unholy Deification originates with Sherwood. An avid reader and occult logician, the INCANTATION bassist wanted to capture a fully-realized concept of evolution through enlightenment. Expect thought-provoking, historically-derived intellection. That the mortal-to-deity narrative interacts with the merciless musical conflagration of hard-hitting tracks such as "Concordat (The Pact) I," "Homunculus (Spirit Made Flesh) IX," and "Invocation (Chthonic Merge) X". Make no mistake - the ferocious new album, featuring guests Jeff Beccera (Possessed), Henry Veggian (ex-Revenant), and Dan Vadim Von (Morbid Angel), is pure Death Metal. INCANTATION's sepulchral pandemonium is visually enhanced by award-winning artist and longstanding collaborator Eliran Kantor (Immolation, Bloodbath). The end result is an interpretation of Italian Renaissance masters, but thrust into INCANTATION's cauldron of chromatic malice.

Long Island Sound follow up their acclaimed debut album and accompanying remix EP with Don’t Let Me / Air a limited white label release featuring 2 brand new dancefloor-certified anthems that signal a new era for the duo in both style and effect, while certifying them as masters of their house domain.

The Dublin-based duo of Rob Roche and Tim Nolan have made impressive strides as Long Island Sound for close to a decade now, honing their swooning dance craft via beloved EPs on their Signs Of Space imprint while becoming mainstays of their island’s club and festival circuit thanks to multiple acclaimed DJ sets.

Last year, they reached an impressive feat that few Irish dance acts have before them by releasing their debut album Lost Connection.

A 7-track opus that fused dynamic electronic sounds with contemporary styles of house, techno, and breaks, it signalled an exhilarating new direction for the duo that showcased their exceptional artistry in melody and production and subsequently earned them great acclaim.

An accompanying 5 track remix EP followed this year, featuring quality club reworks of various album cuts from producers Cromby, James Shinra, Mor Elian, and Benjamin Damage.

Signing off on that notable era, the duo moves swiftly on with this limited 2 track white label of unadulterated festival-ready house epics that have been highlights of their sets over the past year.

Don’t Let Me glides along a chromatic world of lasered synths, pitched diva croons and shuffling pistons before a breathtaking swell of cinematic rave harmonics reaches a magnificent combustible peak that’ll have you gasping for Air.

The flip cracks the window open, dialling down the frenzy with a magnificent swooning melody sits on top of a growling Reese bassline and mechanized 2-step beat where a romantic ambience grows.

Limited stock. First come first served!

DJ Support:

Pete Tong Radio One Support 21.07.2023

Tim Sweeney supports 'Don't Let Me' on his Beats in Space podcast on Apple Music

John Digweed supports 'Air' on his recent Compiled and Mixed podcast for Apple Music

Jenny Greene 2FM Ireland supports 'Don't Let Me'

Long Island Sound Guest Mix on Jenny's 'The Greene Room' on 2fm Ireland