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Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music.

The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it.

RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out.

This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

Carl Cox & Commix remix Radio Slave’s ‘Stay Out All Night’

Initially released in 2020 via his own Rekids, ‘Stay Out All Night’ is one of Radio Slave’s biggest tracks todate, alongside timeless cuts such as ‘Grindhouse’, ‘Don’t Stop No Sleep’, and ‘Another Club’. Recruiting Carl Cox & Commix for remix duties, ‘Stay Out All Night (Remixes)’ sees two varied dancefloor-focused revisions drop this February on 12”.

Leading the pack, Carl Cox steps up to the plate fresh from the release of his ‘Oh yes, oh yes!’ book. The People’s Choice delivers a lively 4/4 interpretation, flipping the syncopated breaks of the original into astomping blend of house and techno destined for dancefloor decimation.
Following on is Metalheadz affiliate Commix, taking a break from his usual brand of flawless Drum & Bass to flip the original into a fresh UK Garage cut.

"Lloyd Stellar X The Droid - Rise of theAMachines is an exciting debut collaboration between Erik Griffioen & Ben Evans.AAn impressive maxi EP, loaded with cutting edge electro brimmingAwith musicality, sound design and expert production.A

Kicking off the release comes theAtitle track 'Rise Of The Machines', this quirky yet nuanced excursion sets the pace, allowing it's nifty ricocheting sequences, slick 808s, and tripped out ear candy to hit the clubs. 'Prisoners features a wiggly bass led jam, plastered with synths and finished with a dash of vocoded vocals. TheAduos ability to illustrate a dense sonic picture is evident once again on 'Cell Block' as intricate razor sharp drum programming holds the ship steady while ominous synths let the head wander before rich melancholic pads blast a sense of perspective and emotive depth.A
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Onto the flip side - 'Room And Pillar'Agrabs the bull by the horns with a tough and aggressive bass line driven banger. Shrieking, twisted synth lines and FX are shattered across the track, keeping tension levels peaking, while TR808 rhythms cut through with military precision. Contrasting A'The Neutral Zone' sucks us into a deep atmospheric orbit of blissful yet inquisitive FM synthesis, distant emotive pads, fortified by warm stately bass tones. ARounding off the EP 'Coming Home' exhibits electro minimalism at its finest. An entangled, ever evolving musical conversation between bass and upper register synths leads, filled with a sense of hope and optimism, assisted by meticulous programmed electro drums, reminiscent of the best of Schatraxx.A

Bob & Earl's all time classic gets a late '70s FUNK treat which could not have done any better. The B-Side features an equally great funk instrumental in the style of Tower of Power. A damn good 2-sider for sure which will please any discerning funk dj and the dancers in the clubs too!

This is the fnal chapter in a series of three 7" records which see Stefan Goldmann probing the upper temporal reaches of techno. Clocking in at 150 bpm, these tracks are bold and blazing signals for a
collective return to highly energised club experiences. 'Singing Wire' is playfully swinging and feels surprisingly natural and decelerated for what it is – while taking you decisively and rapidly to its farend destination. 'Geared' is raw voltage with all the sparks fying. More bouncy than harsh, these tracks show impressively how diferent tempos allow for their own variety of joyful expression.
Beautifully packaged, all three 7"es come in a thick matte-black outer sleeve with front side cut outs and refective-lacquer details, with individual colour-coded inner sleeves. Comes with download card.

A key figure in Chicago’s second wave of influential house and techno producers, Mystic Bill returns to Classic Music Company with ‘Body Moves’, a release with serious club credentials and drenched in authentic NYC, New Jersey and Chicago influences. This 12” package is becoming a firm favourite of in-the-know selectors, no doubt thanks to its party-starting qualities that are sure to captivate floors. Featuring four versions of the track, Bill navigates various different analogue moods, kicking off with the vibing house of the original, as euphoric synth arpeggios and a warm, groovy bass blend for dancefloor magic. The Reprise Mix is another juicy club cut, with a full-throttle bassline that rips through the newly looped vocal. On the B-Side the NYC Mix demonstrates Mystic Bill’s trademark deepness, headsy enough for the darkest recesses of the dancefloors but with buckets full of energy for peaktime sets. The NYC Dub closes out, an essential club tool for any discerning selector. A perfect fit for Luke Solomon’s imprint, Mystic Bill’s ‘Body Moves’ is not one to be slept on.

This one's for all the jazz-fusion heads out there and a celebratory tribute to the undisputed king of anything jazzy, Mr. Gilles Peterson.

The Japanese duo The Magic Twins delivers a strong 3-track EP which is full of jazz/brazil/funk-fusion reworks that would make the dancers at the legendary London Club Dingwalls swing just a little longer.

Proper dance material for the jazz-ish community.

Established UK-talent Made By Pete lands on Damian Lazarus’ flagship Crosstown Rebels imprint this February. Collaborating with Savage & SHē on the two-track Walls of Zion, it acts as the debut release of 2022 for each artist and marks Made By Pete’s third release on the label.

The title track sets the tone, taking the form of a spacious, shamanic inspired cut. Rattling percussion reverberates around shimmering hats, as resonant vocals dive in and out. It feels atmospheric and soothing in one, opening neatly into the stripped-back sounds of Too Drunk To Dream. Lucid and dream-like, there’s a spiritual theme throughout, with whirring synths residing beneath tribal-like drum patterns to form an ethereal, club-ready cut.

Born and raised in London UK, Made By Pete is an artist who can count mavens of the electronic music scene like Damian Lazarus, Sasha and Kolsch as big fans of his sound. He has seen his work snapped up by taste-making labels such as Crosstown Rebels, Saved, Rebirth and Radiant to name a few, whilst performances across the world at clubs such as Space (Ibiza), Chinese Laundry (Sydney), Fabric (London) as well as Thailand’s famous Full Moon Party have highlighted him as a truly global artist.

Mexico-based duo Savage & SHē have garnered an international following thanks to a consistent schedule of quality releases. Imprints such as Abracadabra, Earthly Delights, TrueColors and Trndmsk are just a few examples of labels they’ve graced over the years, whilst sharing the stage with standout performers in the form of Adriatique, Be Svendsen, Matthias Meyer and many more besides.

Interstate debuts on Tilman’s imprint 'Pleasant Systems' for its third installment 'Autumn Loves EP'. Starting off with a balearic, yet uplifting summer house groove on A1 featuring Flying Solo on keys, 'Find Your Power' comes in with beautiful simplicity in every part. Followed up by 'Caught Slippin'' on A2, a groovy, old school-rooted garage house cut completes the A side. 'Ghetto of My mind' featuring RR introduces the B side with a §oor-¦lling, groovily slamming and deeply organ ¦lled 4-to-the-§oor club roller, while 'Revue' ¦nishes up the record with a heavily jazz infused, tripledtuned swing to get down to

Dynamite Cuts are proud to add these two wicked bangers to the Dynamite Cuts 45s series. The Legendary ‘Larry Young’s Fuel’, club classic “Turn of the Lights” mega rare 7” version, which was issued back in the 70’s on the dreaded Styrene (which always snapped so easily). Now for the first time on vinyl with its iconic sleeve. Plus, a quirky, funky vocal track “People do be funny” first time on 45. Another must-have 45.

"The core of confusion and upheaval that drove some of the band's most fiery earlier work, however, is replaced by a more stabilized undercurrent, a mentality that's reflected in songs not afraid to try new things and honestly explore uncomfortable feelings. When combined with exciting production and songwriting choices, that mindset helps make Feels So Good // Feels So Bad one of the Shivas' best albums.” - AllMusic "Portland, Oregon-hailing psych-surf band The Shivas accomplish another time-traveling, reverb-ridden sound that refuses to get boring. Jared Molyneux’s guitar work knows when to be bright or bashful at the right times, breaking into guitar solos that possess a late-’60s groove… The Shivas seem to blissfully flourish” - Paste "a consistent treat for the ears” - The Vinyl District "Though the psych-tinged guitar riff that drives 'Feels So Bad' was written while The Shivas were still on the road, its lyrics didn’t fall into place until the band was well into lockdown, unsure of when they’d be able to return to their most imperative true love: Live shows... Accordingly, 'Feels So Bad' permeates with a sense of urgent desperation, building off a chugging prog-rock instrumental.” - Consequence (on “Feels So Bad”) "They hooked the audience with their throwback rock sounds. The guitar strums and rhythmic drum beats were layered atop smooth and hallucinogenic vocals. The eyes can tell the take at times and there was a sparkle there that said that the band members just love doing live performances." - California Rocker "This single layers on the fuzz but keeps it dreamy, with an especially sticky guitar riff sure to lodge itself in your brain with minimal effort." - Portland Monthly (on “If I Could Choose”) “'My Baby Don’t' translates the genuine vibrant joy


of the live experience into the studio, bringing the band’s ‘60s garage rock roots, sharp pop vocal harmonies, and fervent performances along for the ride." - Under The Radar "Perfectly straddling the line between a solid-head bopping track and an introspective deep cut, The Shivas’ 'Undone' is a rock & roll gem. The track sounds straight out of the late 60s and fits seamlessly in the Portland band’s electrifying catalog." - The Luna Collective "The first time I clicked play on this track, I knew it was a yes for me." - Ear To The Ground Music (on “If I Could Choose”) "The harmonies would make the “Happy Together” Turtles blush, but the unsettling guitar doesn’t shy away from the woollier implications of the ’60s." - Willamette Week (on “If I Could Choose”) "'Undone' is just the perfect song for the good days and the bad ones." - GlamGlare "another hit" - Austin Town Hall (on “Undone”) "one of the best forthcoming albums of the year" - Austin Town Hall RADIO: #3 Most Added @ NACC - 50 official adds BIO Every working musician has had their life turned upside down by Covid-19. For The Shivas, who had recently released a new LP and normally keep a rigorous touring schedule, it was a particularly screeching halt. “We were about to go to SXSW, the following weekend was Treefort in Boise, and then we were going to open for our friends’ band on tour in the US before going to Europe,” Jared Molyneux remembers. Then everything just stopped. They were faced with a dilemma. “It forced us to adapt or just quit,” Molyneux says. “The reality is that shows are our job.” In truth, live shows aren’t just The Shivas job: they are the band’s greatest love. Shivas shows are bombastic, explosive and thoroughly communal live rock and roll experiences where barriers between the performers and their audience seem to dissolve into the sweat and sound. The stage—or the basement, or the living room—that’s The Shivas’ true element. It’s their raison d’etre. It’s their religion. The band’s live urgency may have been born in 2006, when the band’s young members—who began booking West Coast tours while still in high school—waited without fanfare on sidewalks or in parking lots, before being rushed onstage for their sets at 21-and-up clubs. Maybe it developed a little later, as The Shivas blasted their way through Portland’s storied and unsanctioned mid-aughts house show scene. Whatever the origin of their famously kinetic live experience, it’s the show that keeps them coming back after over 1,000 performances spread over 25 countries in 15 years. In those 15 years, The Shivas have grown tight-knit as a group. Guitarist/singer Jared Molyneux, bassist Eric Shanafelt and drummer/singer Kristin Leonard have all been with the band since its earliest days; guitarist Jeff City, another high school friend, joined in 2017. Together they’ve learned to thread a seemingly impossible needle: They’ve honed and tightened their performances without sacrificing the element of surprise that makes each show special. And despite touring and recording for most of their lives, they speak about their project with humility, in the DIY vernacular of their Pacific Northwest upbringing. They talk up their own favorite bands, play all-ages shows as much as possible, and bring a sort of blue-collar humanism to the live performances they relish so much. “We just want to make people feel good,” Molyneux says. “We want them to forget they have to work tomorrow.” Kristin Leonard elaborates, “The live show is all about that feeling of catharsis—in ourselves and in everyone who comes out. We’re creating this safe space where we can all let go. Where we can exhale. And it feels really good when we are able to facilitate that.” So when Covid hit, the band knew it was time for transformation. After a settling realization that live music would be grounded for the foreseeable future, The Shivas booked significant studio time with Cameron Spies, who also produced the 2019 Dark Thoughts LP. They also transformed their lives: three of the band’s four members found work with a local nonprofit serving unhoused Portland residents. They became engaged in protests and fundraisers for social justice. They spent a whole summer actually living in Portland, settling into the city they had always called home, but that sometimes felt like a temporary stop between tours. “We got into a more community-minded headspace,” Leonard says. “And that did give us some purpose. It felt cool to see everybody come together to stick up for what they believe in. It feels like an incredibly formative last twelve months.” The album that emerged from this new moment finds The Shivas reborn as a band that seems seasoned and perfectly at home with itself. There is a calm, even a hopefulness, to Feels So Good // Feels So Bad that sounds new. The Shivas didn’t write or record the album with a particular theme in mind, but one seems to have emerged: where Dark Thoughts was about confronting your demons with fearless self-examination, much of Feels So Good // Feels So Bad is about what happens once you find that peace: how being honest with yourself changes your relationships and your priorities. “I do think it’s about acceptance,” Leonard says. “There’s a weird relaxation that comes with being at peace with things you can’t control or have regrets about.” Maybe that’s why the squealing, riff-laden break-up song opener, “Feels So Bad,” is such a shock to the system. But it’s more of an exorcism than a melodrama: more a song about not being able to do the thing you love (in


this case, playing live shows) than splitting with a partner. “It’s like part of you goes to sleep,” Leonard says. As bandmates who are also in a long-term relationship, Molyneux and Leonard know that their songs might be seen as glimpses into their personal lives, but their songwriting is rarely autobiography. Leonard compares their process to something more akin to screenwriting. “There’s bound to be some autobiographical material in there,” she says. “But the common denominator is the exploration of universal feelings: ones that everyone experiences or can relate to.” The goal is to use the music to drill down into something genuine and sincere, beyond genre or stylistic affectation. That’s where The Shivas have arrived. Whatever growth led the band to Feels So Good // Feels So Bad, plenty of their fascinations remain. They’re still turning love songs into psychedelic, transcendent epics. “Tell Me That You Love Me” subverts doo-wop extravagance and dabbles in Flamenco rhythms. “Rock Me Baby” is a bubblegum anthem soaked in so much reverb that we might just be hearing it from the stadium nosebleeds. “Sometimes” is almost impossibly huge, like a witchy outtake from the Brill Building era. Those songs feel like logical expansions from a band that has always excelled at a timeless sort of rock and roll that tinkers with and explodes elements from every era. But on the towering and mournful “You Wanna Be My Man,” a slow-burning six-minute shoegaze prayer for a higher sort of love, there is a level of emotional nuance that feels like something altogether revolutionary. It’s there again in the stripped-down vulnerability of the album-closing elegy “Please Don’t Go.” Yes, Feels So Good // Feels So Bad is an album about acceptance. Sometimes that acceptance feels enlightened and sometimes it feels like the end result of a lot of kicking and screaming. The Shivas have adapted in both of those ways. With new tours scheduled and a new album on the way, they’re still hoping--like all of us--for a new era of vibrant, cathartic live music. The lessons they learned from having their normal upended, though, have only helped them grow

"It’s a voice that soars –pure, clear and true —above bass and synths, traditional percussion and infectious Mande guitar grooves. A stop-you-in-your-tracks voice instantly familiar to anyone in Mali, West Africa: Rokia Koné, aka the Rose of Bamako. On her debut international release, she’s teamed with Irish-born, California-based rock producer Jacknife Lee —and reimagined the Malian sound in ways leftfield and ground breaking.
BAMANAN is a collaboration that connects the great ancient kingdoms of Mali and the bustling modern street life of its capital, Bamako to a remote recording studio nestled within California’s Topanga Canyon. That bridges deep tradition and forward-facing innovation. One of Mali’s most beloved and dynamic artists, Rokia Koné is a force to be reckoned with. Her captivating performances in the city’s local maquis clubs very often last for hours, as Koné runs the gamut of emotion from joy to despair, fury to tenderness, wielding that astounding voice with grace and power. In 2016, she joined feminist supergroup Les Amazones d’Afrique and made her debut on an international stage alongside the likes of Oumou Sangaré, Angélique Kidjo and Kandia Kouyaté. Jacknife Lee is the acclaimed producer of bands including U2, R.E.M and The Killers, and has a Grammy for his work on Taylor Swift’s multi-million selling Red. Stadium-sized soundscapes are his speciality. Yet BAMANAN finds Lee upholding the stark beauty of Rokia’s voice with subtlety and sensitivity. Every nuance and breath is heard, each inflection and melismatic improvisation carefully preserved on this exciting debut."

From his cult project “Chaser” in the 90’s with Lars Sandberg aka Funk D’void or releasing massive hit records under his own name and other aliases, globetrotting the world during years in consequence and securing residencies at places like Sub Club, The Arches, The Tunnel or Space Ibiza back in the days, Nigel Hayes has truly done it all and did it good but he seems to continue to do so, “Tribal Warfare” EP is just the proof of that.
We are really happy to welcome this essential UK producer to the label roster and we hope you enjoy this record as much as we did.

Introducing Tread Records, a fresh new imprint from London. Taking the reins for the debut release is the unique Guava, whose previous releases on labels such as R&S and Holding Hands, has made him one of the big names to watch in the leftfield electronic world. Collaborating on the release are two of London’s finest session guitarists, Alex Blake and Leo Abrahams. Their impressive CVs include work with artists such as Jon Hopkins and Skepta, respectively. Things open up with ‘In Cloud’, a blissed-out slab of broken techno, spaced out with guitar riffs played by Blake. Both ‘Libelle’ and ‘Equinox Meaning’ continue on this theme with a cut of bass weight with more silky guitar, performed by Abrahams, on the latter. Dublin-based Sputnik One is on remix duties, turning ‘Libelle’ into a beefed-up club weapon fit for any sound system.

Using mostly sounds recorded at Altacura (the high stone of concepcion in Chile) itself, the EP transforms the energies of its spirits into an EP of psychedelic downbeat tableaus featuring rich sound design, driving percussions, conjuring vocals, and gritty basses :

'Allkun', which means "hear" in Mapudungun language, is a tribute to the voices of the birds that inhabit this area.

In 'Tierra Santa' guest vocalist Natalia Clavier joins the trio for a psychedelic dance around the rock.

On the flipside, Argentinian producer Uji increases the tempo of 'Allkun', and turns the original into a dry and percussive club version.

'Cirros' is the perfect tune for a beach club sunset, taking us up to the most recondite skies where we dance the day away with the Altacura spirits.

Composer, producer, multi-instrumentalist and co-founder of Black
Rebel Motorcycle Club, Robert Levon Been, announces his forthcoming
album, ‘Original Songs From The Card Counter’.

Levon Been composed several original songs as well as a majority of the
score for writer and director Paul Schrader’s new film, ‘The Card
Counter’, starring Oscar Isaac, Tiffany Haddish, Tye Sheridan, Willem
Dafoe and executive produced by Martin Scorsese.

“Ironically this entire project began by working the last scene of the film
first,” says Levon Been. “Paul had reached out asking if I would write an
original song for a very intimate final scene he had been struggling with.
As tempting as the concept was, I must admit that kind of composing is
also my biggest fear - to write directly to picture with such precision that
it takes over the narrative in a substantial way, which I knew Paul never
shies away from. It also turned me into a nervous wreck because I know
just how easy it is to quickly ruin a movie with merely a single lyric at the
wrong time. Thankfully for ‘Mercy Of Man’, I had S.G. Goodman there in
NY singing with me to help experiment with how to create a fairly
unconventional duet of sorts that is intended to evoke the emotions of
the two characters in that final scene.”

‘The Card Counter’ marks the fifth collaboration between Schrader and
Scorsese, who previously worked together on ‘Taxi Driver’, ‘Raging Bull’,
‘The Last Temptation of Christ’ and ‘Bringing Out the Dead’.

Robert Levon Been is a producer, composer, singer songwriter and
founding member of the band, Black Rebel Motorcycle Club, with whom
he has released eight albums and toured the world with since 2001. With
a dedicated following across Europe, the US, Australia and Asia, their
record ‘Howl’ has ranked many top album lists.

In 2013, Black Rebel Motorcycle Club were featured in Dave Grohl’s
Grammy-winning documentary, ‘Sound City’. 2021 marks the 20th
anniversary of the release of Black Rebel Motorcycle Club’s self-titled
first album.

Robert is currently producing and writing for multiple projects, dividing
his time between Los Angeles and Vienna.

Gatefold LP, with initial copies featuring spot gloss on sleeve. (Once this
format has sold out, a standard gatefold sleeve edition - EPZTC001LPR
- will be made available.)

Kobe JT showcases his sonic malleability on TINWHITE011: a tight 4-track EP which guides its listener assertively around the scene-defining avenues of UKG, from melodic garage house to dark two-step swings.

Blissful piano chords, vocal chops and skipping house rhythm imbue the opening track, "All I Do" with a soulful, uplifting groove. Equally as driven by melody, "Next DJ" makes room for more dynamic lower-ends as Kobe teams up with Northern force, The Phat Controlla, to deliver a club-ready speed garage banger.

The record's second half exposes the darker underbelly of Kobe's sound: hostile sub groans shade the stripped-back stepper "Lost In The Club" whilst the fragmented vocals on "Hope" lends the EP's full-bodied closer with an uneasy intensity.

Stroboscopic Artefacts is proud to present the debut album of Malaysian born Bangkok based artist Wanton Witch.

Born in an isolated community of Borneo Island in 1993 Wanton Witch is a DJ and producer with a hyper-sensitive connection and approach to sound through performance. Coming of age in the relative isolation of island life, it wasn’t until relocating to Bangkok that she was able to access the different communities of musical genres that she would later travel between. With an early taste for trap and hip hop, she began working in the deconstructed club and techno scene where she found her musical voice, beginning her DJ career in 2018. Wanton is also a cofounder and original member of Queer underground creative collective ‘Non Non Non’ that has become a Bangkok nightlife staple.

Being an “outsider” musician and producer with no formal training, it was the fortuitous crossing of paths online that has sparked the creative collaboration between Wanton and label owner and creative director Lucy. Last year Stroboscopic Artefacts celebrated ten years established between experimental and dance floor spectres and this is the first record the label is releasing after one year break, marking the launch of a new chapter for the imprint. It is with releases like the eponymous debut album from Wanton Witch and the support given to emerging artists like her that the imprint continues to forge pathways within the industry.

Featuring 11 tracks, these recordings are the first body of work from the Bangkok producer, and include many different snapshots of electronic music genres from IDM and experimental to hardcore and rave, using caustic electronics to deconstruct traditional track conventions. This collection of cuts read more as a complete soundscape, like listening to a live set. The phrenetic jump from genre to genre, the mixing of diverse sound textures and landscapes reflect Wanton Witch’s own experience navigating a hostile world as a Queer trans woman in Malaysia. The intense energy with which each track is cut together reminds the listener of the nostalgia of mixtapes and a time in life when identity is being constructed.

Wanton Witch has created an album which feels like a reflection of the aggregation that already exists within musical internet sub-cultures and communities. A place where many diverse and contrasting sound palettes, textures, and structures can fit together to create a new different, Queer way of seeing the world.

Following up on Wanton’s LP, label head Lucy will also present an actual full length album named ‘Lucy Plays Wanton Witch’ featuring re-interpretations of the original material in a whole new body of work. This upcoming follow up release will not represent a mere remix edition, but a recreation from scratch and the rebirth of “one into another” so to say. Expect the quintessential Lucy treatment.

Garage rock supergroup The Surfing Magazines have announced Badgers of Wymeswold.

Consisting of one half of Slow Club and two thirds of The Wave Pictures, The Surfing Magazines’ primary influences are Bob Dylan, The Velvet Underground and all the great surf guitar music of the 1960s. They burst onto the scene with their eponymous debut album in 2017, a lauded LP described by Record Collector Mag as “a vintage-yet-modern rock’n’roll classic”.

Mixing the noir surf textures of 1960s garage rock along with west coast sun beaten harmony pop, the 17-track Badgers of Wymeswold follows the acclaimed debut and is to be released July this year. The London based foursome recorded the album at Ranscomb Studio in Rochester in February last year before the start of the first UK lockdown.

Pushing their sound forward, the band utilise their garage rock ethic and have both Drummer Dominic Brider and Rhythm guitar player Charles Watso lead on vocals across multiple tracks. The album sees a return of free form saxophone parts, eerie violins and piano all appear, notably on tracks ‘Nostaw Boogie’ and ‘I’m Going Out Tonight To Play Some Pool’. The title track is drawn from David Tattersall’s nightmare vision about his home town's population of self-governing people, the album artwork was also made by Tattersall and depicts a collage of his referenced dreams. The extensive LP showcases their characteristic sound at their brightest, from softer ballads such as ‘Poppies’ and ‘Silver Breasts’, surf guitar rock anthem ‘Locomotive Cheer’, and to the six bar blues ‘Pink Ice Cream’.