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Cardiff-based, DIY-folk-pop collective, Quiet Marauder, are set to release their 5th album at the end of October 2023. This follows on from their madcap 111-song debut album, MEN (2013), as well as the more recent Tiny Men Parts (2020) and The Gift (2021), and continues their long-established relationship both with their label, Bubblewrap Collective, and Canadian collaborators, The Burning Hell.
Recorded in a Snowbird Studios pop-up in Lourinha, Portugal, Introducing Malcolm Del Monte continues the band’s fascination with high concepts and musical, album-length storytelling. At its core, it is an album about self-identity, isolation, and our innate fluctuations as human beings. Set during the pandemic, the album's a very loosely autobiographical (read: almost entirely false) account of band leader Simon M. Read's day-to-day life during Covid lockdowns with partner, Kadesha Drija, and imaginary friend, Malcolm Del Monte.
Choosing to largely avoid the topic of the pandemic altogether, Introducing Malcolm Del Monte instead charts the highs and lows of these living arrangements. These range from outrageous daytime drinking (high) to disagreements on the nature of perversion (low), with the first half of the album covering Malcolm’s emergence and ultimate expulsion from the house. With his absence being sorely felt, the second half sheds light on the alternative voices looking to fill that Malcolm-shaped space: a murderous green giant; a despondent Milk Tray Man; and a broken-necked, hypersexual Jet from Gladiators.
As with their previous story-based albums, the foreground narratives act to enable background allusions to other core concerns: the power of nostalgia; advertising and cultural consumption; well-being and isolation; balancing acts of the self. Ultimately, the album’s message is of striking a balance between self-questioning and improvement, and most of all, not being too hard on yourself when things don’t feel quite right.
Sonically and seamlessly ranging from alt-folk to industrial synth to melodic indie-pop, Introducing Malcolm Del Monte covers a lot of ground. Injected with the musicality of Quiet Marauder themselves, as well as Canadian kindred spirits, The Burning Hell, instrumentation includes flute, piano, chunky bass, acoustic and electric guitar, programmed beats, synthscapes, bamboo clarinet, bongos, and a heap load of vocals. Indeed, alongside the main lead voices of Simon M. Read, Kadesha Drija and Malcolm Del Monte (Rowan Liggett) there are guest performances from My Name Is Ian and The Burning Hell’s Mathias Kom.
The album will be preceded by lead single and video Momma Mia! I Made You Some Sangria! on 22nd September,

It is a powerful set that finds his skills as a songwriter and his strength as a singer undiminished...Doctor Moan finds Peter Case in outstanding mature form.

A grade!" - THE VINYL DISTRICT.

"Doctor Moan is filled with personal reflections on a long, storied career, but it's never maudlin or dispirited. In fact, Case's varied musical palette commands the listener to lean in close to view musical dioramas of scenes gone by, from the barroom blues of "Ancient Sunrise" to the Memphis appeal of "The Flying Crow."

Even the lovely two-minute "4D," Case's first recorded instrumental, lends further emotion and shadow to a three-dimensional listen." -- NO DEPRESSION.

"The cinematic and evocative single and album opener, "Have You Ever Been in Trouble" sets the tone for Peter Case's Doctor Moan album." - THE BIG TAKEOVER

Kenny Wollesen and Dalius Naujo, the two rhythm kings in question, are rounded out in the lineup by bari/ alto sax veteran Jonathon Haffner and guitarist Tony Scherr and the sound the four create is strangely hypnotic and immensely accessible, leaving the listener with infectious themes and melodies ricocheting around the brain.

Creating these sounds comes naturally to these gentlemen as one glance at each of their impressive and lengthy big-name resumes will attest (Snarky Puppy, Jack DeJohnette, Tom Waits, John Zorn, Sean Lennon, Bill Frisell, Norah Jones, John Lurie, Laurie Anderson...etc).

But the issue here is not glory-by-association, it's the creation of glorious music in and of itself, and Rocket Sci have an incredible head start on that. Their album "Bond Riviera," to be released by Nublu Records later this year after a sequence of pre- album singles, will be all the proof anyone needs.

Named for the rewind mechanism on the reel to reel tape machine on which the band tracked the album, Auto Locator coils up the chemical trails of ribbon binding old places and head spaces to our consciousness. Static and hiss leach between analog track layers, blurring the normal and paranormal to remind us that no memory is totally separate from a fiction - just like no drum track is totally separate from bass.

Over Auto Locator's ten songs, Del Paxton rip shit like a band entering their second decade of existence. On-the-nose opener "Freight Train Metaphor" throws listeners face first into the band's first album since 2017, with a syncopated pulse and arpeggiating guitar foreshadowing a record replete with punkish, serpentine composition. "Up With a Twist," the album's lead track, deals in Del Paxton's crashing punk vibrance, through which the band explores and laments the uninspired architecture of American sprawl.

Second single "Chart Reader", whose origins trace back to a psychedelic dream inspired by Wayfaring Strangers: Cosmic American Music, sees the trio dabbling in emo Americana, even featuring a nod to John Denver's "Take Me Home, Country Roads." Such unashamed references abound throughout Auto Locator, which takes further inspiration from bands like Mock Orange, Third Eye Blind, and Jimmy Eat World, all of whose influence can be heard on "Palpitations" and third single "Spiritual Gymnastics."

After their first LP (now sold out) on LES DISQUES A REBOURS in 2021 their second LP, "Stories", quickly followed one year later on TOPSY- TURVY in 2022.

Now the boys have put together yet another fabulous album full of infectious powerpop-punk-tunes!

The three musicians have all played in lots of bands before the SUTTLES, such as OPERATION S, PERIPHERIQUE EST, PROTOKIDS, LES ARONDES, JON AND THE VONS, LES BRAQUEURS and share a very cool and French punk'n'roll-sound.

The music is a mix of early Punk Rock and late 70's Power Pop: think about THE NERVES, THE UNDERTONES, THE JAM, JOE JACKSON.

Everybody sings, in English, French and Spanish. The band shares a huge amount of energy, coming directly from Punk rock and mixed with a very catchy sense of pop melody.

Having tackled the music of KRAFTWERK on their 2022 album "The Twang Machine", THE ROUTES have applied their sound (described by IGGY POP as "beat-you-to-death surf music" on his BBC Radio 6 show) to the genius of PETE SHELLEY and BUZZCOCKS.

"Reverberation Addict" sees fifteen BUZZCOCKS- songs reimagined and rearranged as 60s surf guitar instrumental bangers (a la THE VENTURES, DICK DALE, TERAUCHI TAKESHI, LINK WRAY, THE SURFARIS and THE ASTRONAUTS and more). Prepare to be taken on a wild musical trip where "Orgasm Addict" and "Fast Cars" are transformed into the background music of a 60s drag race movie, "Just Lust" is presented all "Hey Bo Diddley!", and "What Do I Get" gets the ENNIO MORRICONE inspired spaghetti western treatment...

You don't have to be a fan of BUZZCOCKS to enjoy these tunes, and likewise if you're a BUZZCOCKS- fan you don't need to be a fan of surf music to enjoy them.

Finally, as most punks out there will instantly notice, the record cover is a reworking of that of the BUZZCOCKS single "Orgasm Addict".

And what better endorsement or seal of approval is there than having UK graphic design icon Malcolm Garrett MBE RDI himself onboard for the design? Yes, it's the real deal!

Whether you see it as musical blasphemy or musical alchemy, THE ROUTES have provided the world with another potential future cult classic, destined to irk or jerk future generations for years to come.

Mia Gargaret” is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist & producer Gia Margaret. It’s also not the follow-up she intended after the critical success of her 2018 debut, “There’s Always Glimmer”. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily. Gia explains: “After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.” Documenting her self-healing and without singing or lyrics to steal the focus, the instrumental tracks on “Mia Gargaret” shine a light on Gia’s skills as a musician, composer & producer. Spare but immersive arrangements of synthesizer, piano & acoustic guitar simultaneously ache & soothe, building emotional landscapes that rise & recede like scenery through a train window. “Mia Gargaret” is a gorgeous experiment & a memorable meditation on the healing power of music. This version is a limited edition of 200 – pressed on pale blue vinyl with an exclusive lithograph print.

With a timeless sound that blends heavy soul and psych-rock, Monophonics have built a reputation over the past decade as one of the best live bands in the country. Led by singer Kelly Finnigan, the band of has drawn on their colorful history _ both their experiences as veteran touring performers and as individuals growing up in the Bay Area _ to create "It's Only Us," their fourth release since 2012.A reflection of what they see as the current state of the world, the record touches on difficult subjects such as broken relationships, mental health issues, gun violence and power struggles, all with an underlying message of unity, resilience and acceptance. The band's signature style of arrangement has been expanded with top-notch production and creative instrumentation to round out the Monophonics' trademark soul sound, while Finnigan's vocals are more powerful than ever. At times these tracks can feel classic, as familiar as an old song you grew up with, while simultaneously raising questions about the state of music in 2020 and what the future might hold."It's Only Us" is the sound of a group continuing to grow as songwriters, musicians, performers and people _ reflecting on where they've been, and pushing the boundaries of what's possible in the years to come.

Lil Uzi Vert’s long awaited ‘Pink Tape’ album is available now to stream on all platforms. It will be released physically on CD & Vinyl on the 20th October with pre-order going live on the 17th July. ‘Pink Tape’ features the hit singles ‘Just Wanna Rock’, ‘Flooded The Face’ & ‘Endless Fashion (feat. Nicki Minaj)’.

Now on vinyl - limited to 200 copies. Brazilian composer, guitarist and singer Pedro Rosa release his debut album ´Midnight Alvorada". Pedro, who was born in São Paulo in Brazil but has lived in Spain for over 15 years, has a long musical road behind him and soon share his debut album that reveals his most intimate and respectful relationship with music and composition since he was 10 years old. Midnight Alvorada is an invitation to see with someone else's eyes. Above all, to feel with the heart of the other.

The album features a combination of rhythms, such as samba, baião, ijexá, bossa nova and waltz and features the participation of prominent names in Brazilian music, such as Jurandir Santana, Mônica Salmaso, Vanessa Moreno, Zé Luis Nascimento and Ivan acerdote.. "This album was conceived with my songwriting partner Rafael Mourão, who wrote 8 of the 10 songs on the album in partnership with me.

Rafael is an extension of me and vice versa. A bizarre similarity in the way of seeing and feeling the universe " says Pedro. In Midnight Alvorada, Pedro had great support from Jurandir Santana, an instrumentalist, composer and music director residing in Barcelona. "Jurandir, who has been one of those favorite musicians for a long time, and I started to have an increasingly strong friendship. He is an artist who is motivated by the sound. If he likes

Mr. K’s series of edits on Most Excellent Unlimited is nothing if not eclectic, and utilitarian — as befits a veteran DJ of Danny Krivit’s stature. For our latest, Krivit pulls two disparate gems out of his bag of tricks and fits them neatly on a single 7-inch piece of vinyl.

In 1972 Ralph Bakshi’s landmark underground animated film Fritz the Cat was released, featuring a soundtrack performed by an all-star cast of San Francisco area musicians associated with the Berkeley-based Fantasy label. Perhaps Fantasy’s biggest artist was the vibes player Cal Tjader, who debuted in 1955 and was still going strong when songs were gathered for the movie’s soundtrack nearly twenty years later. Rather than simply using one of his older, already-recorded tunes, Tjader laid down a completely new version of his earlier hit record “Mamblues.” This time however, he swapped his standard latin percussion accompaniment for a can’t-miss rhythm section of Bernard Purdie, Chuck Rainey, and Arthur Adams. The result was a searing funk workout that took the latin jazz classic to new heights. Mr. K subtly warms this one up by adding a hint of reverb and bringing the tempo down a notch, pushing things from frenetic to funky, and firmly into friendly mixing territory for the DJs.

For our flip side, we turn to an unsung jewel amongst Philadelphia’s many contributions to disco music. Executive Suite released a series of singles in ’74 and ’75 that were recorded at the famed Sigma Sound Studios and had ties to a number of better known disco luminaries, among them the holy trinity of Baker-Harris-Young and, on “You Believed In Me,” the mighty Patrick Adams. Along with his longtime associate Stan Lucas, Adams garnished the vocal quartet’s composition with a driving arrangement and epic, soaring strings. The combined effect produced a vibrant, uplifting club cut that echoes the positive spirit of Curtis Mayfield’s “Move On Up” while being altogether its own thing. For our latest release Mr. K focuses solely on Adams’s instrumental section, returning repeatedly to that addictive string riff and creating a propulsive rhythm track that just doesn’t quit. And we don’t want it to!

As always, these connoisseur’s choice cuts have been remastered and pressed to Most Excellent Unlimited’s standards, and are primed and ready on 7-inch for DJs and home listeners alike.

Available again on vinyl, note new price. Choice collection of B-sides, rarities, alternate takes and previously unreleased tracks dating back to 1993. Geffen Records CD release December 12, 2006. New York’s most influential avant-garde rock band, Sonic Youth, follow up their critically acclaimed 2006 release, Rather Ripped, with a special set sure to please fans and completists. The Destroyed Room: B-Sides And Rarities, a collection of near-hidden Sonic Youth gems hand-picked by the band, brings together songs from throughout the band’s tenure at Geffen Records. Focusing on tracks previously available only on limited-edition compilations, vinyl-only releases, or as B-Sides or international singles, The Destroyed Room also features material that has never before been released. This deluxe, double-vinyl LP edition is being released on the band’s own Goofin Records imprint with a CD version available via Geffen.













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Since 2014, Silas Schletterer has been part of the Bordello A Parigi family. Under his Machinegewehr guise, the Rotterdam artist released three show-stopping synth centred records.

2023 sees him put out his fourth, Life. Burbling arpeggios, a signature of his sound, are present for “Sans.” Clever inviting melodies, another feature of Schletterer’s style, mix beautifully with clean percussion and samples for a definite dancefloor favourite. The title work follows. Measured and meditative, “Life” employs a familiar sound palette with very different outcomes. The pulsations, the throb, of Machinegewehr is there, but there is a considered melancholy that brins a bittersweet balance to the piece. Steady kicks and vocal snippets introduce “Pills.” Shifting melodies, piano stabs, driving rhythms and spoken word come together to create a heady brew of sheer pleasure. Vocals are central in the closer. “Neurons” narrates a fantastical story of subdued sci-fi sorrows and wistful yearning, all to a silken synth-pop soundtrack.

A welcome return from a multifaceted musician.

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

Next up on Toolroom’s 4-track vinyl sampler series is 4 killer cuts from our latest repertoire.

Kicking off with another straight up, dance floor weapon, Essel lands back on the label with brand-new single, ‘Sweat’. Her toughest sounding record to date that captures the post-rave moment, cementing herself as one of the hottest new talents to emerge in the electronic music scene.

Next up, Parisian born and US based tech house producer Shiba San debuts on Toolroom with a seriously wonky affair alongside studio buddy, Ayarez, aptly titled ‘Twist It’.

Up next on the sampler, is the return of longstanding label favourite Friend Within with his rolling tech house banger ‘Pilka’. Having landed 2 of the hottest tracks on Toolroom last year with ‘Monkey Bars’ and ‘Bring It Down’ which saw sweeping support flood in from across the scene, including Paul Woolford (Special Request) Salute, LF System, Dom Dolla and many more, friend within is officially back for 2023!

Completing the EP, we welcome sola regulars and one of the freshest, most exciting dance music duos to come out of the UK in recent years, Maur who lock horns with chart topping US based Westend, for a label debut set to become 2023’s festival anthem - ‘Over’.


DJ support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Gw Harrison, Dj Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’attis, Mousse T, S-Man, Huxley, Kc Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, Tcts, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

A much sought after repress of the Blunted Breaks Vol.1 LP sampler, sold out since release back in 2018 and pressed for the first time on black vinyl. Blunted Breaks Vol.1 was a landmark release for Western Lore, cementing the label as a lead player in the burgeoning jungle revival. An essential contemporary jungle compilation, featuring tracks from Dead Man’s Chest, Coco Bryce, Tim Reaper, Threshold & more.

DJ K-1's (Keith Tucker - AUX88) re-release for modern electro heads Direct Beat Classics label.
1) "K-1 Intro" -Fine metallic percussion and Jeep beats define the groove of this EP's introduction from the year of 1996 featuring Anthony 'Blaktony' Horton (vocals) on this legendary Keith Tucker production. K-1's hauntingly dark strings emerge as you are informed by its mission statement. Mental.

2) "K-1 Agenda" (Instrumental) - Purposely added to enhance variety and balance, this instrumental holds its own. Highlighting his production skill, 'DJ K-1' cuts loose in the minimal groove with traditional Detroit escapism that makes the EP the fine concept it is. Made to dream & jam.

3) "K-1 Agenda" (Vocal Mix) -Written and executed by longtime cohort, 'Blaktony' (AUX88, Alien FM) on vocals. The tune transforms into a classic global jam with android-like vocals planted between the hand-crafted Detroit electronic backdrops. A mainstay in electro bass crates since its release, this track is the description of a man on a mission to jam this world and beyond. Rubbery 'K-1' signature bass lines and strings ride the perfect beat.

4) "The Future I Can See" - K-1's laid back robotic lyrics describe a look into the future paired with thunderous beats and electro bounce. Visionary rocking, Tucker provides the weight to the project that would bare his signature flavor. Hot.

5) "The Future I Can See" (Instrumental) - Focused on an atmosphere of eerie and moody Detroit dark electro, the energetic bass line weaves amongst jamming drums. Imaginative and compelling material made for global dance floors. 100% Electro.

6) "Unreleased track" - A short newly added bonus cut from the original sessions, laced with experimentation in the Motor City Electro sound.

Scott Monteith is the Berlin-based but Canadian-born artist best known as Deadbeat. But here, for the first time in some two decades, he steps out with new alias Ark Welders Guild. It is an audio-visual performance and recording project with Italian singer and curator Letizia Trussi, whom he met in winter 2021 and has since formed a strong creative bond. They work in Trussi's Rooms of Kairos studio and have already cooked up two album length pieces that come on Monteith's BLKRTZ imprint. Mons Clepsydra is the first and is an epic drone in four parts with string recordings permeating the moody, grainy, heavy atmospheres.

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.