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• 180 GRAM AUDIOPHILE VINYL
• DELUXE LIFT-OFF BOX SET
• INCLUDES 20-PAGE PHOTO ALBUM
• 4LP SET FEATURING “HEARTBREAK HOTEL”, “HOUND DOG”, “IN THE GHETTO”, “WOODEN HEART” & “VIVA LAS VEGAS”
• LIMITED EDITION OF 2500 INDIVIDUALLY NUMBERED COPIES ON GOLD & BLACK MARBLED VINYL

Worldwide 50 Gold Award Hits Vol. 1 is a compilation box set by the King of Rock and Roll Elvis Presley. This four-album set was originally released in 1970, as his 38th album. The set peaked at #45 on the Billboard 200 and was certified double Platinum not long after its release. Of the 51 tracks that are featured, four made their album debut in this collection back when it was originally released: “Viva Las Vegas”, “Suspicious Minds”, “Don’t Cry Daddy” and “Kentucky Rain”.

Worldwide 50 Gold Award Hits Vol. 1 is available as a deluxe lift-off box set containing 4LP’s and a 20-page photo album. It is available as a limited edition of 2500 individually numbered copies on gold & black marbled vinyl.

Back in stock !

Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we’ve had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We’ve also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists.

'Youngest Daughter' is the debut album from folk-pop quartet GUISE. Spear-headed by singer songwriter Jessica Guise, it follows the release of 'The Fun Part' EP released on XMR March 2020. The album is produced and mastered by husband Frank Turner and features guest appearances from Emily Barker, Callum Green and Lukas Drinkwater. Will be released on CD, white vinyl and download. Live shows and festival appearances planned for throughout the year to support the release. As well as shows in Germany in September and main support to Will Varley on his UK tour in May 2022. *Release Timeline: Track 1 ‘Don’t Come Back’ - released as a single + IGT 25th February 2022 First single ‘Don’t Come Back’ isn’t a song about one particular person so much as a string of disastrous decisions. It’s about the brutal transience and sheer depressing turnover of romantic entanglements I found myself in living in London during my 20s, and about crashing headlong into people who just bounce off and bounce along like dodgems. It’s also about sometimes being the dodgem myself, and not giving myself too much of a hard time about it. Featuring Callum Green on drums and dear pal Lukas Drinkwater brought his marvellous upright bass to the party, and a stunning acoustic guitar solo. Track 2 'I Know When You Leave' - 25th March 2022 - IG track I wrote the words to ‘I Know When You Leave’ on a bus in Italy, and the tune came to me later back in London, Separation from the person I love is a pretty normal part of my life, but that doesn’t make it easy all the time; things are generally just a bit worse when we’re apart, and that’s what this is about. Recorded almost completely a cappella, with a subtle measure of floaty keys tumbling in towards its crescendo, ‘I Know When You Leave’’s barren instrumental landscape adds to the sense of longing and isolation at the track’s core. Features Emily Barker on backing vocals.

Continuing the ‘first time on vinyl’ purge of the AMT archives. Here’s the band's classic 2006 album finally available on double vinyl for the first time. Housed in full colour gatefold sleeve.
‘Myth of the Love Electrique’ is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.
“Comprised of four lengthy tracks, the album explodes with a start: "The Man from Giacobinid Meteor Comet." Kawabata Makoto's guitar quickly becomes a tangle of screams, a frenzied surge that drags the band along with it. The rhythm section is ferocious. Bassist Tsuyama Atsushi frequently ventures out to the stratosphere, but he also knows when to hold back or to provide a vaguely melodic foundation. Likewise, the amount of energy drummer Shimura Koji dedicates to his performance is a lesson in endurance. Divided into three movements, this track eventually cools down and then glides to a drone landing, alighting the listener breathlessly upon calmer ground.
Kitagawa's voice makes its first appearance on "Five Dimensional Nightmare," floating over a bouzouki arrangement that sounds like singing glass. This one is divided into three sections like the previous track, but starts airy and then goes into a drone as Tsuyama briefly takes over the vocals. From here, strings are tortured like fingernails on a blackboard before a guitar and Higashi Hiroshi’s water drop electronics restore balance.
As much as I loved the two previous tracks, the band forges ahead into something different on "Love Electrique." Kitagawa's presence is most felt on this track. Her voice streaks across the mix as blistering guitars and freaky electronics blast all over the place. Over the course of 20 minutes, it hits several different moods and textures on a truly transcendent journey.

Of the four tracks, only the live staple "Pink Lady Lemonade (May I Drink You Once Again?)" may seem a little redundant. Kitagawa, however, breathes new life into this standard by bringing her vocals to the fore over the entire track, as if restoring an element that previously had been missing. It's hard to call it a definitive version because so many other excellent versions already exist, but it is a great one in its own right. For fans who may be weary of this song after all of its appearances over the years, it is easy enough to stop the disc after gorging on the first hour of music, and it is still a welcome dessert if the mood should strike”

The debut album from Jonathan Richman & The Modern Lovers and featuring the U.S. single tracks, “New England” and “Here Come The Martian Martians” This version of The Modern Lovers included drummer David Robinson (The Cars) and Greg “Curly” Keranen on bass (The Rubinoos) Co-Produced by Beserkley Records founder Matthew King Kauffman and Glen Kolotkin (Jimi Hendrix, Janis Joplin) Available CD & LP. Jonathan Richman formed The Modern Lovers in 1970 in Boston with Jerry Harrison (Talking Heads), Ernie Brooks and David Robinson (The Cars). The band recorded a series of demos, first with John Cale (The Velvet Underground) and later with producer Kim Fowley. Both sets of demos were eventually released, but not until the original group had disbanded. In 1975 Jonathan relocated to California and secured a recording deal with Beserkley Records. By 1976 he had pulled together a new version of The Modern Lovers. This group included the holdover David Robinson from the original band and added, Leroy Radcliffe and Greg 'Curly’ Keranen (The Rubinoos). The self-titled release delivered on Richman’s desire for more acoustic and harmony-based material. Unfortunately, nearly on top of the bands’ debut album release, the earlier demo material drawn mostly from the Cale demo sessions was issued, and Jonathan Richman & The Modern Lovers was overshadowed by “Pablo Picasso,” “Roadrunner,” and their—now classic—“debut.” Shortly after the release of their actual self-titled debut, Robinson departed to join The Cars. Needing a new drummer, the band found D. Sharpe (later of the Carla Bley Band) and this new line-up recorded Rock ’n’ Roll With The Modern Lovers which was released in 1977 and achieved some chart success in Europe with “Egyptian Reggae” making it to #5 on the U.K. Singles Chart. Greil Marcus called it “the purist Rock and Roll album I’ve heard this year.” However, another in the series of personnel changes, Keranen left the group. Modern Lovers ‘Live’ followed in 1977 with new bassist Asa Brebner. While the U.S. might not have caught on to the magic of Jonathan Richman & The Modern Lovers, the U.K. certainly did. Recorded at the Hammersmith Odeon, ‘Live’ features Jonathan and The Modern Lovers performing classics from their first two releases to an enthusiastic crowd. The set included the recent Top 5 U.K. single “Egyptian Reggae,” as well as tracks from The Modern Lovers’ previously releases plus an eight-minute version of “Ice Cream Man.” 1979’s Back In Your Life marked the end of any original versions of The Modern Lovers and closed the Beserkley era with Jonathan stepping back from music for a few years after its release.

When talking aout Ska Music one group of musicians whose name always comes to the forefront of the conversation are The Skatalites.
Formed around 1965 and named originally after the Soviet space satellite which was big news at the time.
With a little help from band member Tommy Mc Cook making a play on the characteristic 'Ska'sound made by the guitar when following the 'after beat' of the music.
The band would have a name to go with its distinctive musical style.
The time span of The Skatalites career considering their output of hundreds of tunes was a relatively short one of around two years.
We have caught a great set of tunes that the band cut at the legendary Treasure Isle Studios, built out of wood and positioned above Duke Reid's liquor store, it somehow worked in getting a great sound out of the band.
We have cherry picked a selection for your musical pleasure..
We hope you enjoy the set....

Johnny Clarke ruled the Dancehall in the mid 1970’s, using the cleaver 'Flyers Rhythms' that gave some of his tunes an edge with the Sound Systems. But his voice was always.
bigger than this and his versatility to sing a wide range of vocal styles, has seen him cut through the decades as one of Reggae’s best voices.

Johnny Clarke (b.1955.Jamaica) cut his musical teeth at the age of seventeen, recording his first song ‘God made the sea and sun’ for Producer Clancy Eccles. A low-key release but one that led to Johnny catching Producer Rupie Edwards eye, when he appeared at a talent contest at Bull Bay. Impressed by his voice both live and on disc, Rupie cut a few tunes with Johnny, ’Don’t Go Julie’ and ‘Everyday Wondering’ the latter of which had success not only in Jamaica, but also in the UK reggae market. The back bones of ‘Everyday Wandering’ now voiced by Rupie himself would lead onto an even bigger hit in the 70’s with the classic ‘Irie Feelings’.

Johnny Clarke’s decision to move on around this time coincided with producer Bunny ‘Striker’ Lee looking for a new singer to compete in the ever-moving Dancehall arena. Johnnie’s break came in a strange way, having provided backing vocals initially to a Bunny Lee produced cut, Earl Zero’s ‘None Shall Escape the Judgment’. The very same session the drummer on the track, Carlton ‘Santa’ Davis, when asked by Bunny to come up with some new sound and while working the High - Hat cymbals, hitting it when open, then when shut (based on the Philadelphia Disco Sound known as the Phili - Sound) gave what the reggae world would call a ‘Flyers Sound’. On transferring the tune to four tracks to mix down at King Tubby’s studio, Earl Zero’s vocal was mistakenly left off. Johnny Clarke being present at King Tubby’s and knowing the track already inside out, then sang the lead vocal. The track became a smash Sound System favourite and the rest as they say is history.

Johnny Clarke became one of Bunny’s main vocalists during the heyday that was the 1970’s. It’s from this vast cannon that we have selected some of the singer’s finest cuts. His soulful voice worked the musical field from Dread to Rockers to Lovers Rock.A great gift that on playing this album we hope you’ll agree carries through with the tests of time.

Spring Snow is a compilation of eight leading experimental artists from different cultures and musical backgrounds who were asked to freely reflect on the word, nostalgia.

The word, nostalgia, in particular comes from the Greek nostos (homecoming) and algos (pain), which are reflected on both sides of the record.

Li Yilei's SHI, meaning 'time' in Japanese, sets the stage with its free-form synth notes and traverse rhythms. The listener is then presented with a memory of an orchestra, conducted by Lucy Liyou, leading to euphoric moments from Sawako and Gonima.

The latter half explores the melancholic and sometimes painful side of nostalgia and youth. Forest Management opens the journey with a late-night rumination, which seems to loop endlessly. Jiyoung Wi, from South Korea, reflects on her birth and upbringing, and leverages her own voice to narrate the story.

Things take a deeper turn with Gaël Segalen's The Bed of Wewa, which paints a rougher picture with its noisy soundscapes, pounding synth notes, and synthetic voices. The trip concludes with Evicshen's rumbling and noisy track, titled Inguinal.

For the first time, 25 years of Steps hits come together on one package to celebrate the band’s incredible success. Including all their career highlights plus two brand-new tracks recorded exclusively for this release.

Like meeting an old friend again, Dalmata Daniel welcomes DJ Overdose back to their catalog. Six years ago the infamous Dutchman's '05 Poly 800 Loop' EP was released, which served as a powerful launch to Dalmata Daniel, opening the first chapter in their story. Later in 2019, a split release with Sematic4 was also a highlight in the life of the label; and now, 3 years later, DJ Overdose checks in with the 'Powers of Ten EP' with a J. Mono remix, available both in digital and vinyl format, the latter having 2 bonus tracks.

The distinct, crunchy sound of DJ Overdose, bearing aspects of old school hip-hop-infused sampling and contemporary analog vibes creates the perfect blend of both worlds. 'Garden of Lust' opens up the adventure with a combo of warm basslines and solid drum-programming. This initial track feeds us these cardinal elements as the bread and butter they are: subtle variations and fine spices do appear here and there as the track goes along, but the key, beating pulse in 'Garden of Lust' brings massive hits stable as a sledgehammer in the hands of a blacksmith.

'Feed The Beats' elevates the game to cinematic territories: its majestic string-like central melody makes me alert and ablaze, making me feel like I'm in a late 80s L.A. setting facing malevolent zombie-aliens in my Wayfarer shades. Blasting beats and Carpenterian coolness all over the place, while the spooky bassline just keeps sneaking up on me endlessly.

If you are wondering when's the best time of the year to bring out your boombox at last, then this is your lucky day: with 'BOB', the first bonus track on the vinyl, we can experience some roarin' bassdrums, snappy snares, MCs with the speed of light and all that jazz. The low-bit sampling and vinyl scratching come and kick you right in the face so hard that it becomes pretty obvious you'll can't help but start some serious beatbox battles in your bathtub with your rubber duck.

A feverish groove in the prime time of a funky bash, in the haze of a sensual rave-up: that's all one really wants when going for a Saturday night out. We definitely get this and much more from 'Room 714', another vinyl-only bonus track. A berserk voice and ethereal chords guide us through this mysterious track, but while we are busy trying to impress our crushes on the dance floor, things around us are slowly getting very, very freaky, maybe a bit way too freaky.

As wobbly and jolly as it gets, our Dutch friend ends his session with 'Ðr ¡v€ M€ ¢r@z¥', a vocoder-heavy disco banger, full of merry vocal FX and smart rhythmic glitches as he completes his flight. To close the EP, our local hero, J. Mono delivers an insane remix of 'Ðr ¡v€ M€ ¢r@z¥': one can clearly imagine how he grabs and turns the BPM knob all the way up, fires up some arpeggios on his mighty synths and casts a complete reimagination of the original track.

Next up on the Kyiv-based label Kashtan comes from a very promising Ukrainian artist Monoconda.

Oleksandr Filonenko aka Monoconda is a Kyiv based multi-instrumentalist, music composer, sound producer and a live performer. While making music for commercials, theater and public places, Monoconda started to release his own electronic music in 2018 with an album called "Alphabet". His second release, "Low Light" was recorded during the pandemic isolation, and was named as one of the best records of the year by top Ukrainian musical journalists. There was much music recorded after that, alone and in collaboration with different musicians, but the pandemic and the war have made the release process somehow impossible or at least quite a hard quest. But the music is always being done, cause that's what he is here for.

The main concept of the Kyiv label Kashtan is to identify and carefully choose the pearls of Ukrainian electronic music, which are not defined and limited by genre definitions. This playing with genres has been released through the album "Horizon" by musician Monoconda.

pink vinyl

Sciama's debut 12" for Auxiliary comes after four hugely successful cassette album releases over the past few years. Myriad collates four impressive beat-heavy tracks from Michael, spanning multiple genres and tempos.

Forced Inward starts proceedings by setting an ominous tone, before erupting into bass tones and soft percussive kicks. The beauty is revealed once the melodies take centre stage. Observe takes things on a more schizoid trip, with its anxious percussion and moody synth tones swelling against the frenetic pulsing kicks. The Lost Pleiad sees Sciama back in contemplative nature, while steadily raising the tempo and energy before Indignation seals off the EP with more brooding textural synth and bass-stabs.

Myriad is an EP you will not want to miss, and ticks all the boxes for what Auxiliary is about as a label.

Bobby Oroza follows up his newly released Get On The Otherside album with another must have 45. The A side is one of the mid tempo stand outs, "My Place, My Time" where Bobby humbly pours his heart out about his own difficulties and how he made up his mind to get passed them. Like a lot of the other tunes on this album there is a message of encouragement and an invitation to a new perspective Bobby has found at this stage in his life. Cold Diamond & Mink's backing track has the perfect tone to carry the message and the whole tune comes out somehow tough, sweet, encouraging, and introspective all at once. The B side "Through These Tears" is a heavy duty ballad sure to become a staple in the slowie sets. As usual for Bobby he does it up in his own way, with his own tone, and it stands out from his peers. Although it has all the makings of a classic B side ballad, a closer listen finds Bobby again with a message of getting past the trouble and coming out on the otherside of it all.

Ever Crashing, the second LP by Kennedy Ashlyn aka SRSQ pronounced ‘seer-skew’, is the summation of a nearly three-year journey of soul searching, songwriting, and self-discovery: “I became myself in the process of making this record.” From the first choral swells of opener “It Always Rains,” it’s clear this collection exists on an ascendant plane, capturing an artist in super bloom. Every song hits like a single, heaving with guitar, synth, strings, live drums, and oceans of Ashlyn’s astounding voice, balletic and illuminated. The tracks gleam with detail, often assembled from as many as 100 separate tracks, all of which were written and played solely by Ashlyn – a feat of world-building as daunting as it is devastating.

For her, however, the process is intrinsic and intuitive – even a matter of survival. Her 2018 solo debut emerged in response to the tragic Ghost Ship fire in Oakland, which took the life of her bandmate and best friend Cash Askew. Similarly, Ever Crashing began materializing in the wake of an ADHD and bipolar disorder diagnosis, prompting a profound personal overhaul. Ashlyn cites such periods of turmoil as a muse of sorts, when “songs begin to echo within me,” gradually reverberating clearer and more vividly. As melodies and arrangements come into focus, the songs act like containers, vessels in which to externalize and exorcise tumultuous emotions, a transformation she memorializes in the climax of “Élan Vital:” “Reeling in and out of deep despair / I am saved by song.”

From swooning end credits balladry (“Dead Loss”) to orchestral slow-burn torch songs (“Abyss”) to dizzying shoegaze heavens (“Someday I Will Bask In The Sun”), the album exudes a sense of aching grandeur and bewildered joy, rich with triumphs hard won and lost loves never forgotten. Melodies pirouette and crescendo in dazzling, elevated acrobatics, somewhere between Kate Bush and The Sundays, threaded with ethereal undercurrents of shimmering shadow. Riffs brood and sparkle over crystalline synths, buoyant bass, and patient percussion, steadily building to holy moments of tidal power, finessed to perfection by producer Chris Coady (Beach House, Slowdive, Zola Jesus). Ashlyn’s is a dream-pop of questing catharsis, vulnerable but orchestral, as dense with hooks as heartbreak.

The album’s title refers to Ashlyn’s recurring sensation of being trapped in the crest of a wave, turned and churned in the surf, mirroring the cycles of self-flagellation and surrender that she battles being bipolar. But as the poetic raptures of these songs attest, her creative process thrives at transmuting trauma into potent music of arresting beauty and hidden divinity. Ever Crashing is an aching, rare work, shaded with gradients of reverie and regret, loss and letting go, “mourning the person I thought I should be, mourning the person I never was.” But even in its pain, Ashlyn’s voice exerts a redemptive gravity, yearning to transform and transcend: “Even on the inside / I’m bracing for impact / I’m waiting to destroy my life / To become sunlight.”

Ever Crashing, the second LP by Kennedy Ashlyn aka SRSQ pronounced ‘seer-skew’, is the summation of a nearly three-year journey of soul searching, songwriting, and self-discovery: “I became myself in the process of making this record.” From the first choral swells of opener “It Always Rains,” it’s clear this collection exists on an ascendant plane, capturing an artist in super bloom. Every song hits like a single, heaving with guitar, synth, strings, live drums, and oceans of Ashlyn’s astounding voice, balletic and illuminated. The tracks gleam with detail, often assembled from as many as 100 separate tracks, all of which were written and played solely by Ashlyn – a feat of world-building as daunting as it is devastating.

For her, however, the process is intrinsic and intuitive – even a matter of survival. Her 2018 solo debut emerged in response to the tragic Ghost Ship fire in Oakland, which took the life of her bandmate and best friend Cash Askew. Similarly, Ever Crashing began materializing in the wake of an ADHD and bipolar disorder diagnosis, prompting a profound personal overhaul. Ashlyn cites such periods of turmoil as a muse of sorts, when “songs begin to echo within me,” gradually reverberating clearer and more vividly. As melodies and arrangements come into focus, the songs act like containers, vessels in which to externalize and exorcise tumultuous emotions, a transformation she memorializes in the climax of “Élan Vital:” “Reeling in and out of deep despair / I am saved by song.”

From swooning end credits balladry (“Dead Loss”) to orchestral slow-burn torch songs (“Abyss”) to dizzying shoegaze heavens (“Someday I Will Bask In The Sun”), the album exudes a sense of aching grandeur and bewildered joy, rich with triumphs hard won and lost loves never forgotten. Melodies pirouette and crescendo in dazzling, elevated acrobatics, somewhere between Kate Bush and The Sundays, threaded with ethereal undercurrents of shimmering shadow. Riffs brood and sparkle over crystalline synths, buoyant bass, and patient percussion, steadily building to holy moments of tidal power, finessed to perfection by producer Chris Coady (Beach House, Slowdive, Zola Jesus). Ashlyn’s is a dream-pop of questing catharsis, vulnerable but orchestral, as dense with hooks as heartbreak.

The album’s title refers to Ashlyn’s recurring sensation of being trapped in the crest of a wave, turned and churned in the surf, mirroring the cycles of self-flagellation and surrender that she battles being bipolar. But as the poetic raptures of these songs attest, her creative process thrives at transmuting trauma into potent music of arresting beauty and hidden divinity. Ever Crashing is an aching, rare work, shaded with gradients of reverie and regret, loss and letting go, “mourning the person I thought I should be, mourning the person I never was.” But even in its pain, Ashlyn’s voice exerts a redemptive gravity, yearning to transform and transcend: “Even on the inside / I’m bracing for impact / I’m waiting to destroy my life / To become sunlight.”

Born in march 2000, ANGELUS APATRIDA became in few years one of the most important Spanish thrash metal bands. Many demos and band members passed through the history of ANGELUS APATRIDA but it was in January 2003 that the band decided to write pounding thrash metal , mostly influenced by like Pantera, Megadeth, Overkill, Anthrax or Annihilator. ANGELUS APATRIDA released their 7th, self-titled album in 2021 and conquered the top of the official album charts in Spain (#1) and it also marked the band’s first ever chart entries in Germany (#49) and Switzerland (#41) . The band ’s classic album’ Clockwork’ , ’The Call’ and ‘ Hidden Revolution’ have been much sought after in vinyl format and reached ridiculously high prices online. Listenable is now happy to reissue those albums in limited edition coloured vinyls with brand new vinyl mastering and meet the huge demand ! . First come First served !

CHICAMACOMICO is a record about loss. Over a six-month span at the end of 2019/beginning of 2020, I lost my grandmother, my mother and watched as the world fell into a 2+ year pandemic that decimated businesses, relationships and dreams. This is a record about dealing with those losses. My hope is these songs serve a salve for anyone else experiencing loss. A reminder that you are not the only one that lost a friend this year, or a parent, or a loved one. There's a special kind of hope that comes from that realization. I am not alone. I wrote this record in the February 2020 on the northern coast of Hatteras Island in a small beach town called Rodanthe. In the summer, this area is an extremely popular vacation destination packed with tourists, but in the winter, it was a desolate ghost town. The perfect backdrop for the record I was trying to write. Over the course of two weeks these songs would take shape and come to life, and it quickly became obvious that the overall theme would be dark. During my stay I realized that the town used to be named Chicamacomico until the locals changed it in the name of ease and progress. In that moment, I knew I had the name of my record. We enlisted Brad Cook (Bon Iver, Nathaniel Ratliffe, Waxahatchee) to produce the record and traveled to Sonic Ranch, a world-renowned recording complex tucked in the middle of a 1,700-acre pecan orchard, in the Texas border town of Tornillo. Over the course of ten days, we watched these songs go from simple folk ruminations into fully formed band arrangements. In my sixteen-year career I have never been prouder of a set of songs, lyrically or stylistically. The songs have weight, but they aren’t weighed down. It’s a sad record, that makes you feel good. It's a culmination of nearly two decades of work. Chicamacomico sounds like nothing we've ever done yet it sits comfortably amongst the rest of our catalog. My records are chronological observations and I feel like this record perfectly represents the highs and lows of the last few years. Themes: Loss, Death, Darkness, Suicide, Divorce, Losing A Child, Losing A Parent, Losing A Spouse, Addiction, Recovery

The fourteen original compositions on "Old Love And New" were all composed by Ulita Knaus, created for poems by her favorite poets - these are timeless texts, always emotional and sometimes political. The songs already seem like rediscovered standards from the great songbook era of Cole Porter or the Gershwins, also because Ulita's band swings so fabulously. It is often downright spooky how much these lyrics and their songs fit into our time. Relaxation and evolution, rights for all and bicycles for two - the fact that these subjects are so haunting and relaxed on "Old Love And New" is of course also due to the musicians behind it. "An excellent band with sensitive arrangements accompanies Ulita in a great and sensitive way," said the European jazz legend Rolf Kühn. “Old Love and New”, an album full of poetry and swing and love - already a classic and certainly the peak so far in Ulita Knaus’ remarkable career.

PARASITE INC. sound anno 2022 both harder and softer, faster and slower at the same time, more modern and yet again more 80s than ever before! Musical contrasts, which are no novelty with PARASITE INC., because after all, the Swabians surprise since the beginning of their career again and again with their somewhat different interpretation of the Melodic Death Metal genre.
During the pandemic, ten songs were created in the band's own studio under the title "Cyan Night Dreams", which show a consistent musical development towards an even more independent sound garb. The result is a varied album, which comes along harder and more aggressive than the predecessor, but at the same time brings the melodic facets of the band even more to the fore.
From songwriting, to production, to graphic design, the German melodeathers once again developed an overall concept that perfectly reflects the dark mood of the songs. The mixing and mastering was done this time by Aljoscha Sieg and Seb Monzel from

(DIGIPAK)
WW ex-Japan ex-USA 4251981701806

(VINYL)
WW ex-Japan ex-USA 4251981701813

Pitchback Studios (among others Eskimo Callboy, August Burns Red), where already the last studio album, as well as the live concert was refined by their internationally appreciated work in the mastering process. The album was supported by the Initiative Musik as part of the "Neustart-Kultur-Programm".

• 180 GRAM AUDIOPHILE VINYL
• INCLUDING PRINTED INNERSLEEVE
• 4-PAGE BOOKLET WITH LYRICS AND PICTURES
• 2019 ALBUM FEATURING ELEW, ERIC HARLAND, KASSA
OVERALL AND JAMAICAN SINGER CHRONIXX
• MASTERED & MIXED BY GRAMMY AWARD WINNING
PRODUCER BOB POWER (D’ANGELO, ERYKAH BADU)
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED
COPIES ON TRANSLUCENT BLUE COLOURED VINYL

Star People Nation is a project described by Theo Croker himself as an intimate exploration of “the everyday rituals of blackness”. A translation of his personal, spiritual and creative experience, the album is a self-reflective collection of powerfully passionate and boundary-busting compositions that speak to our greater, shared human existence. The album features jazz pianist ELEW on “The Messenger”, which is a great combination of a smoky blues piano with a traditional swing rhythm, locking into the pocket and showcasing Croker’s mastery of the swing.

Star People Nation is available as a limited edition of 750 individually numbered copies on translucent blue coloured vinyl. The vinyl package includes a printed innersleeve and 4-page booklet with lyrics and pictures.

Properly transcendent deep-dream jazz fantasy from prolific trumpet virtuoso Arve Henriksen (Supersilent) and Norwegian pianist Kjetil Husebø, together shaping an album that’s much, much more than the not so inconsiderable sum of its parts. Like a fever-dream comedown, it takes us from insanely rich sounding 4th world topographies to fizzing, electric ambience and fluttering prepared piano, perfectly soundtracking the humid un-reality we’re living through. read on / listen

Kavinsky is a zombie who came back from the dead after his Testarossa crashed in 1986.

His first song, "Testarossa Autodrive", was an instant success, and was followed by two singles. In 2007, he was chosen by Daft Punk to open their now legendary "Alive" tour.

In 2011, his track "Nightcall", produced with Guy-Manuel de Homem-Christo, became the theme song for the film "Drive", and consequently a worldwide success.

Kavinsky's first album, "Outrun", was released in 2013, followed by a collaboration with The Weeknd on the song "Odd Look".

In 2022, Kavinsky is back with "Reborn", his second album recorded at the famous Motorbass studio in Paris, due March 25th. "Renegade" which was recorded in collaboration with Victor Le Masne and Gaspard Augé (half of Justice) reinvents the French producer’s unique recipe: dark mood but with a thunderous groove. With a vocal assistance from Cautious Clay, « Renegade » announces one of this years’ most anticipated comebacks.

Jdotbalance is a Chicanx producer from Texas currently based in Chicago. They run the GUD4U newsletter, party and mix series and have been featured for mixes on DAISYCHAIN, BIZAAR BAZAAR, PAPI JUICE, JEROME, RUMORS, and NEW WORLD DYSORDER. Here they are with a backboard smashing vinyl debut dunk full of a futuristic mix of sexy, raucous club and fast techno propulsions that showcases just how varied the energy palette of North American club music is.

“Let’s” opens up the A side with a fast techno kick and panned static flickers. Wonky pings wander left and right. This track is a true traveler…start to finish this will have the dancefloor wishing this condensed fantasy epic, inexhaustibly traversing moods and instruments, would swallow up the club and continue the stomping ride down down down the devil’s gut. A2 has a different boom but the same amount of bump. Claps dance around the 2s and 4s, showing you how to move to Jdot’s vision of gyrating, high-energy club music. A vocal sample swells like a siren. The kick moves in triplets. The peak is psycho. The track comes down just in time to pick its energy back up with big bass melodies that take it to a sonar underwater close.

Flip to the B side. “Wilin’” brings the club kicks and undulating melody that floats on top together in rhythm. Interesting rhythmic changes make you rethink your body. One can hear shimmers of the UK wobbling in to snuggle up with the ever-evolving contemporary US club landscape. “Whippit” closes out the whole shabang with a spinning, up-tempo jaunt that packs a dense punch, all bringing home the point that Jdotbalance is not messing around. CAUTION! HIGHLY FLAMMABLE TRACKS!

Day By Day 008 features Ukrainan producer Lakiwan. We are excited to present his first vinyl release which showcases a driving blend of acid, electro breaks, techno, trance and goa/psytrance.

This EP will keep your record bag nice and juicy! With a plethora of unreleased tunes, it was tough to choose only four tracks, but we believe these four cuts will rock the dance floors for years to come!

WRWTFWW Records and MEG Museum (Geneva) are ecstatic to announce a new full length album by celebrated Japanese percussionist Midori Takada (Through The Looking Glass), in collaboration with Buddhist monks belonging to the Samgha group of the Shingon school of Koya-san, led by Reverend Syuukoh Ikawa. You Who Are Leaving To Nirvana is available on half speed mastered vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded at The Premises Studio (London) and in Tokyo in 2019,You Who are Leaving to Nirvana is a majestic work combining a suite of six Buddhist liturgical chants and a musical creation by Midori Takada. The Buddhist chants come from three types of repertoires: shomyo ("Teisan", "Unga-Bai", "Sange", "Taiyo"), but also goeika ("Kannon-Daiji") and mantra ("Hannya-Singyo").

After supervising the recording of the Buddhist chants, Midori Takada added her own compositions, with subtle layers of percussion and the melodies of her beloved marimba, giving full life to the sacred texts.

Reverend Syuukoh Ikawa explains: "Shomyo is a form of declamation of sacred esoteric texts, inherited over many generations. The power of words goes far beyond their mere pronunciation. I think there is something that words alone cannot really convey. If I recite prayers in a musical way, the feeling transmitted will be even stronger than if I say it normally, in everyday language. I think that the musicality of a work carries a hidden power that cannot be expressed in words alone. The setting of the music has an additional power for you and for those around you who listen to it. The words of a song are not just words set to music. They carry an additional hidden power that cannot be expressed in any other way. Listening to Midori Takada's musical performance, the words truly seem to come alive."

Original recordings of the Buddhist chants are held in the International Archives of Folk Music (IAFM) at the MEG Museum in Geneva.

The album sleeve features an artwork by famed Japanese sculptor Katsura Funakoshi selected by Midori Takada.

You Who Are Leaving To Nirvana is released in conjunction with Midori Takada's Cutting Branches For A Temporary Shelter, also available on LP and CD on WRWTFWW Records.

Yellow Vinyl

How do you follow Volume One? With even more epic goodness, on glorious yellow vinyl, thats how! We open with a Liquid remix of Cru-l-t’s I Can’t Forget. Liquid has an amazing rave sound that has lasted 30 plus years & probably will last another 30 years to come. The Knitebreed manager, Paul Bradley, then gets remixed by a name long associated with KF & KFA, Dj Deluxe. The breaks come hard & fast in traditional Deluxe style, & he doesn’t let up! Then we have a coming together that can only be described as genius. TNO remixes Ant To Be‘s Just Anthem. TNO takes one of Ants “lightest” tracks & makes it his own with his distinct sound of darker hardcore. Wrapping up Vol. 2 is someone who really sits in the early rave style camp, Sub Fundation, with his remix of TNO’s Who Are U, taking a darker 93 style track & making it all things rave.

Boogie Beat Records and Kniteforce bring you the “other” classic Baraka release – A Million And One. Almost as sought after as Nutty Bass, this classic remaster featured the original track plus a previously unreleased version. Both of which come with the expected weight and class of a Jonny L produced track!

Following the commercial success of the 2021 album Unf*ckwitable and an overall banner year for the Detroit rapper, Babyface Ray comes with the aptly titled and highly anticipated album, FACE, which sees him stake his claim as “The Face of the City.” Production on the twenty-track album is largely handled by 808 Mafia, DJ Esco and others, and features appearances from Icewear Vezzo, Yung Lean, Pusha T, G Herbo, Wiz Khalifa, 42 Dugg & Landstrip Chip. With an already impressive list of cosigns from artists such as Future and Tyler, The Creator, Babyface Ray continues his all-out assault to put Motor City on the map and isn’t taking his foot off the gas anytime soon.

Come for the leopard, stay for the stone cold jams. Yet another thrilling, funky-prog jazzy-rock fusion beauty from Ian Carr’s Nucleus. Originally released on Vertigo in 1975, Alleycat was never re-pressed so those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

Alleycat was the last Nucleus album recorded for the Vertigo label. Released in 1975, it was again meticulously produced by Jon Hiseman and is every bit as sinuous as anything else the group had recorded. As far as riff-laden accidental cop-funk goes, there’s so much energy coursing through the music that at times it sounds like a live recording. It’s pretty unbeatable.

Uptempo opener “Phaideaux Corner” is a funk-flavoured opus with a groove that simply swaggers. This trademark Roger Sutton piece benefits from Trevor Tomkins’s percussive expertise and some excellent sax and keyboard soloing. Check out Geoff Castle on squelchy, stabbing Moog duties. Ian Carr’s elegantly laidback title track is a lengthy suite of magisterial themes. Typically complex, it still gets you hooked and is just riddled with the funk. Carr builds up his initially “straight” trumpet solo with later use of echo to mesmeric effect. And there’s some excellent wah-wah guitar shredding by Ken Shaw too. Nice.

The second side opens with the killer “Splat” and finds Nucleus really ripping it up. A fat, funky bass guitar riff introduces us to the track and stays with us until the end. The often mangled bass groove is pushed along by rattling drums and percussion, dropping out for some restful moments of spacey calm, and along the way picking up some lengthy keyboard noodling by Castle. So so good.

The cool “You Can’t Be Sure” is a gentle jam with Shaw on 12-string acoustic guitar, together with Carr’s muted trumpet and some marvellous fretless work from Sutton for extra colour. The album closes with Bob Bertles’ galloping “Nosegay”, written perhaps as a response to some of the faster Mahavishnu Orchestra pieces. It’s an example of well crafted jazz-rock that doesn’t compromise any of its jazziness, yet it still very definitely rocks.

This Be With re-issue of Alleycat has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The cool AF cover - that leopard was just a cat before he heard Nucleus, you know - has been restored as the finishing touch to this long overdue re-issue.

Jeder Song hat die Kraft, Erinnerungen wachzurufen und das Gefühl von Heimat durch Musik nutzbar zu machen: von der psychedelisch-funklastigen Single 'Something's Going On' bis zur kongregativen Energie des neuen Tracks 'We Give Thanks' verschmilzt 'Could We Be More' die Afro-Londoner Synergie, die so natürlich die Wärme und Identität von Kokoroko untermauert. Die Mehrfach-Preisträger Kokoroko sind auf soulige, bläserlastige Sounds mit westafrikanischen Wurzeln und Londoner Einflüssen spezialisiert. Sie spielten bereits auf vielen europäischen Festivals (von Glastonbury über Meltdown bis Elbjazz und Jazz á la Villette) und freuen sich darauf, ihre Reichweite in 2022 und darüber hinaus weiter auszubauen. Die Band trat in mehreren BBC-Fernsehshows auf, ihre beiden Boiler Room-Sets wurden zusammen fast eine halbe Million Mal angehört.

- 'This female-led, multicultural collective of under 30s is a vital example of not only jazz's new form but the shape of things to come.' - The Guardian
- 'Drawing influence from West African highlife and jazz, wellmarinated in enough polyrhythm seasoning to induce fires on the dance floors they play.' - OkayAfrica
- 'Afrobeat, jazz, soul and ’70s psych-leaning funk - luminescent!' - Cool Hunting

Tapper Zukie after taking a little time out of the musical arena has come back with an album full of great material and has called in an A list of fellow Jamaican artists to add flavour to this great set. As Tapper named the album himself ‘Bunker Buster’ it shows Mr Zukie busting back out of the studio and back in the arena in fine style.

The opening track finds his long-standing working partner Horace Andy adding his distinctive vocal style to ‘Aquarius’. ‘Nuh Fraid A Dem’ features the great Luciano, ‘The Blessings’ the mighty Michael Rose, and Little Roy adds some magical rhymes to ‘Wicked’. The soulful voice of Beres Hammond sweetens the effects of `Stress’. The killer title track `Buster Bunker’ is backed up by the Musical Intimidators and Tapper has reworked his ‘Good Luck My Friend’ track to ‘Lucky Friend’ which features the timeless backing vocals by the legendary Jamaican vocal group The Tamlins. Digging even deeper into his back catalogue he has also pulled up some classic rhythms and more existing vocals to rework over. For example, ‘The Light In Me’ features the greatly missed Ronnie Davis. Junior Rass adds his mighty roar to ‘Humble Lion’ and Junior Reid leads the charge on ‘Warrior’. Half Pint adds a musical layer to Flesh and Blood. All in all a great selection of musical ideas that also features the cream of Jamaica’s musicians, Sly Dunbar and Robbie Shakespeare, Flabba Holt, Chinna Smith to name but a few. Tapper’s son Noel Barnes (AKA Brand New) alongside Pam Hall adds some gloss to the CD edition of this release.

Such is his standing in the reggae community that a call out to Jamaica’s finest set of singers and their eager reply to add their talents has made this an album not to be missed and can sit proudly alongside and find a place in his already prodigious catalogue.

Hope you enjoy the set…….

Long-time west coast collaborator RA-X aka Drvg Cvltvre comes with some deep brown sounds from the sewer! Slow and haunting tracks that make you watch your back every other minute. Limited supplies, dont sleep!

MEMBERS ONLY returns with 4 more WORST EDITS. "FAKE NEWS" sets the tone with pulsing synth bass and New Wave guitar. Heady cut-up psychedelia and an appearance from JOHN COOPER CLARK on "PAGAN PARADISE." The B-side opener is pure intensity, before a soft landing on tropical "IT'S A LONG WAY BACK"

This is Hannibal Selectors first EP on Influential, following his epic Kniteforce White release, and we are sure it wont be the last. The whole EP has heavy reggae influences, and all the variety that comes with that sound. Each track is completely different but fires on all cylinders. This EP is one you could almost imagine being played by a live band, at a carnival or a festival, fuelling the summer vibes…were it not for the absolute monster breakbeat chopping involved. This is a heavyweight EP that will surely knock you for six but one that you will come back for time and time again.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Are you still here? Or are you still there? Berlin-based/Italian warehouse-rave warrior, Younger Than Me, and Italo-American romantic goth-wave prince, Curses are THERE. They're there where it's at!

It was the bond of bold friendship that brought these guys together - and of course a shared history of subgenre juxtaposition and meshing. Both grew up on Punk, Rap, and of course the early days of Techno. »Still There« is their first EP together and thus of course their first for Live At Robert Johnson. It's a venture into the euphoric, psychedelic power of early Trance and Breaks mixed with the attitude and energy of EBM and Electro.

Starting with the moody slow beats of the title tune »Still There«, Y2C takes you on a journey to a faraway chill-out room in some dark yet warm and cozy cellar. Or is this place to be found in synth heaven? It could well be if you listen to those dreamy melodies. Melodies as beguiling as the song of the Sirens that seduced good old Ulysses.

Y2C pick up on that dreamy vibe but throw in that slight and subtle Trance-factor, taking up speed with »Romantic Squat«, dragging you into their very own romantic squat.

Next up is »Love Your Enemy« - oh yes, shouldn't we all? Icey claps with lots of reverb and a bass line draw you onto the dry ice flooded aluminum floor and there's no way back - especially when that strange break with that crazy sound makes you stop for a second and think, why did I stop dancing? Get back on the floor y'all!

The last track »Lullapaluza« is indeed some kind of a lollapalooza ride, a very special ride. And no, it does not lull you to sleep because the beat created by Y2C here is a demanding one, a special which gets you going all over its eight and a half minutes. It's sheer bliss, you gotta believe it.

This is not a one-off novelty EP, it's a kinetic collaboration. Y2C is a force of nature, a force of RAVE/WAVE energy, with many more to come, a force to reckon with.

UK label Dawn State continue their hot streak this summer with further eclectic moods for the dance floor and beyond. On the tools for the fifth outing on the label is KIDWHO, a blossoming talent who through the last years whilst enduring the pandemic found light by burying himself in his studio experiencing new creative flows. The “Warez House” EP varies in tastes, similar to the highs and lows of the times that just passed us by.

Diving into the deep end is the title track, “Warez House”, loopy and hypnotic, swaying between shades of low end leaned house and techno. Off kilter synths and pads maneuver their way around the driving force of the track. “It came together layer by layer, eventually turning into a dense (and at times, unruly!) groove. A final touch
of atmospherics from an old Roland ROMpler and the track was done - bar a generous helping hand in mixdown from Joel Kane (who also turned out a heads-down dub version which might make an appearance!).”

Leaning in a more hazy direction is the blissful cruiser, “Leploop Lagoon”, a deep and emotive vibe crafted especially for the early mornings. A sophisticated deep house energy from the talented producer. “‘Leploop Lagoon’ is the oldest track on the EP, a cleaned-up version of a rough jam I made around four years back. It takes its name from the Leploop, a quirky semi-modular analogue groovebox of sorts, hand-built in Italy. A very unique and unpredictable machine, it’s on bass duties here as well as providing some percussion sounds via the MPC sampler.”

On the flip side lies “Spectral Pattern”, and it packs a certain punch. The rolling arrangement converses in harmony with icy hi-hats that flash in and out teasing the energy, all of the elements having space to breathe and work their magic.“‘Spectral Pattern’ came together quickly one very productive weekend in the studio last year. It developed from the bass sequence, which comes from a Yamaha TG-33, an unassuming 80s digital synth known for its glassy mix of ROM samples and FM tones - very New Age sounding, or 90s computer game soundtracks. But when you strip it back to basics, it punches hard in the low-end.”

Slipping on to the B side is a five minute transcendental trip, offering yet another series of textures to this otherworldly EP. The final track “At Least We Hav Music” is an ethereal soundscape waiting to be explored, wandering amongst ambient realms throughout. “The label was keen to include an ambient track on the release, and I wanted to record something specially for them. At first I had in mind something droning and melancholic, but after a few experiments with cassette
loops and reverb pedals this was the one that stood out. It was recorded during one of the lockdowns, and I guess I needed to create something that sounded more hopeful than brooding. I messaged DS boss Tom Haus with a rough version, and we went on to have a grumble about the gloomy state of things, locked-down in our respective cities and missing friends, family, activities… At some point I wrote ‘at least we have music’ - and almost as soon as I had sent it I knew I had found the track’s title. I’m very lucky to have had my home studio as a refuge through the long months of lockdown, and I’m honoured to have the chance share some of my output from this period on this record.”
KIDWHO fitting the Dawn State ethos to a tee here as they set up shop for what looks to be another fantastic release. “Each of these tracks came about in quite different ways. Like many creative people, I had moments of struggle during the pandemic, where the lack of variety and day-to-day stimulation lead to periods of writer’s block, and so I used those times to focus on smaller, more manageable projects such as making synth patches, recording sounds and and throwing together short loops in my samplers for later use. A number of
these short loops eventually laid the foundations for title track ‘Warez House’. Big thanks to Dawn State, Joel Kane, El Choop and everyone else who has helped make this happen.” -

KIDWHO

Two heavyweights of the Detroit underground come together on this kicking new EP from Puzzlebox. K-1 aka Keith Tucker brings his famously repetitive sounds and rugged electro-funk to 'On My Computer', which bumps irresistibly as smeared sci-fi chords set your sights on the future. Add in robotic vocals and supple bass and you have an instant classic. It's then to the Eastside of the Motor City for DJ Maaco's 'The People' which is just as funky but in totally different ways; his laid-back groove is embellished with lush synth sequences and late-night cool that is topped off by a more seductive male vocal. Two very different but equally brilliant tunes.

Super db is a 4-piece band from London, whose sound is a distinctive mix of Pop, Disco, Funk, Rock and Jazz. The band's name plays on the positive, upbeat nature of their music, as well as encompassing the initials of each band member.

The lineup is composed of twin brothers J-M Sutcliffe (guitars & vocals) and J-P Sutcliffe (drums, vocals, keys & percussion), joined by Lorenzo Bassignani (bass) and Matt Dibble (keys, vocals, sax & clarinet). All four members are recognized as some of the UK's top musicians, most of them multi-instrumentalists offering more than one musical contribution to their band recordings, including rotating lead vocalists.

Following on from two very well-received singles in 2020, "Kool Funk" and "Open Line to Me", which were heavily supported by the BBC and taste making media around UK and Europe; Super db released another single "Wait For Me" on 7th May 2021 working for the first time with an array of successful independent labels including Legere Recordings (GSA), Go Entertainment (Benelux), and P-Vine Records (Japan). The anticipated full album "Ecoute Ca" will follow this summer with its global release in July.

In May 2021, Super db sadly announced the untimely and sudden death of their much loved founding member, Matt Dibble. In Matt's honour, the remaining band members continue to be dedicated to sharing and promoting the music they made together and vitally shall maintain the positive vibes and lust for life that Matt always brought to the project and life in general. "Ecoute Ca" represents everything that 4 piece loved to create as a unit and its release is now as significant as ever.

."Ecoute Ca" as a record, pays homage to 70s and 80s West-coast 'Yacht-rock' music, along with a joyful synthesis of the band's varied song-writing approaches.

The sound encompasses funky bass lines, riffing guitars, smooth sax, and a unique blend of vocal harmonies offering a delicious combination of the familiar and fresh all rolled into one. "Ecoute Ca" is a collection of songs that will provide a feel good, joyful soundtrack to the most needed summer vibes the world has ever wanted for!

As Spacemoth's Maryam Qudus was hard at work in her recording studio, synthesizers piled high, she found her mind in another place, hypnotized by the questions swirling inside her: “How could I ever face this world alone?” she wondered. “How long will I be able to stay in this place that I love?” Attempting to understand her position in the universe, the relationships that hold her together, and the climate crisis unfolding around her, she realized ruminating over these concerns was paradoxically taking her away from precious experiences. No Past No Future is the reckoning point between nostalgia and nihilism: the struggle to hang on to a moment as it warps in time.

Devotion to music has driven Qudus—a performer, composer, and producer based in the Bay Area—for as long as she can remember. At age twelve, she traded chores for guitar lessons; at sixteen, she took on after school jobs to pay for voice lessons. As a first-generation Afghan-American child of working-class immigrant parents, finding a place in music has been nothing short of a challenge for Qudus.

The bulk of performance on Spacemoth songs comes from Qudus herself, who favors vintage synths like the Yamaha CS-50 and Korg Polysix alongside fluttering tape manipulations; these create cosmic, lush soundbeds, drawing comparisons to beloved projects like Broadcast and Stereolab. On songs like “Waves Come Crashing,” a whirlwind of noise leads into darker, bass-heavy instrumentation as she confronts the inevitability of death: “These fears, they have taken our years,” she laments about the anxiety of mortality. On “Pipe and Pistol,” Qudus explores the experience of being an immigrant starting over in America. The song showcases punchy rhythms, reminiscent of Devo’s post-punk dynamism: “I see your face / my powers, they raise,” she sings with potency. Identifying cyclical habits inspired “Round In Loops,” which highlights patterns we endure in our lives and minds. “Boss is waiting / we run / love is fading / we run,” Qudus commands, encouraging escapism and a break to the cycle of mundanity.

Every track flows with Qudus’ low timbered vocals, in harmony with the watery, glowing synthesizers that anchor the album. The result is a record rich in intergalactic, avant-pop, radiating in astonishment at the vast, emotional landscape humans contain within ourselves, and in wonder at the preciousness of our time on earth.