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Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live.

Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire. Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

With the album’s subtitle, Flames Are Dew Upon My Skin, Eartheater imagines being tempered to a state of perfect equilibrium, suspended between melting and freezing, where fire could streak across her body and appear as a crystalline blush. This image captures the tension at the heart of the Eartheater project, as she decides how best to distill her passion and render it cool to the touch; to find beauty in simple pleasure, while keeping one eye fixed on the peaks that loom in the horizon. The album is mixed by Kiri Stensby and mastered by Heba Kadry, featuring photography by Daniel Sannwald.

Posthuman makes his Food Music debut with the infectious “You’re Mine”.

The Frank DeWulf-esque stabs and swagger from this tune have already had many "ID?” requests from people since airing on Rinse FM and a DJmag social media video over the last few weeks and months. Posthuman has taken his sound to a fresh area which is complimented by remixes by none other than Luke Vibert, with an ice-cool swung-groove, Black Girl/White Girl with a full on pounding Techno workout and on the digital package, newcomers Mac & Ward do the big room House thing to perfection! In addition we’ve included “Find Me On The Edge of Town”.. an acid-kissed piece of Techno which sits the cherry ontop of an awesome release for us on Food.

Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.

Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.

Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.

Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

What were the skies like when you were young? These days, asking that question likely conjures disappointment in its answer. Dreams of possibility hardened by certainty. Hopes and prayers jet-cooled to brittle acquiescence. A lingering feeling that this is not what we asked for, not what we worked towards. Promises of the future replaced by sins of the father. It is in this particular light that the latest work, "Moscels," by Iranian artist and musician Ata Ebtekar, also known as Sote, arrives on Opal Tapes, British label for the sonically curious and aurally disaffected. Contrary to potential expectation, it features no rhythmic exhortations, no colloidal outbursts, and no acoustic instrumentation of any kind. Synthesized entirely from physical models and oscillators, whose union gives the record its name, "Moscels" is a haunting, beautiful, and auspicious listen. None of Ebtekar's work comes necessarily easy to the listener, but "Moscels" is suffused with a sense of wonder almost childlike in quality, and so it beckons kindly. In acertain sense, electronic music is a kind of magic, isn't it? And this is the sound of a magician at work. Dive into the sound of an otherworld, so close yet so far, where dreaming is less sweet than being, and where all that is possible remains still at hand.

There is definitely something "afro" inspired about this latest EP from Puma & The Dolphin, certainly in comparison to pretty much everything else I've ever heard from him, which includes a great EP on Canadian imprint Chambre Noir and some stellar inclusions on every one of Dj soFa's highly respected "Elsewhere" compilations.

I'm told that while immersed in domestic life during lockdown in Sofia, Bulgaria, the music evolved to take in what was happening at home and saw the inclusion of toy instruments, his own drum playing, the voices of his children playing and even the family parrots whistling and squawking in the background. These random ambient insertions when seen in the context of the hypnotic and percussive rhythms and timbres throughout are oddly reminiscent of the late, great Francis Bebey who, although culturally and physically a million miles removed, was also known for recording much of his work at home and who also featured the voices of his children playing.

In fact, it is as much the music's playfulness and simplicity that give the pieces their distinctive character, at times echoing the repetition and mesmerism of Raymond Scott's "Soothing Sounds For Baby" series. Yet, childrens' music this is not. There is a mysticism and depth on one hand and a willingness to experiment on the other that reminds me of pioneering experimentalist K. Leimer's early Eno-inspired tape outings as well (see "Supermarket" for example).

I asked Puma & The Dolphin's Nikko Names if he could share the story behind how these six tracks came together. He had this to say:

"This collection of pieces were created during a monotone period of my life which I have overlaid with colour: a time in which I surrender to the beauty of home life - watching my kids play, feeding the birds - entwining these sounds of my surroundings amongst the rhythmic layers of these pieces. Playing the drums to remind us of the next circle dance for four. There is something mystic to travel only in your head; a shamanic trip inside the body with no concepts and answers."


"Good stuff ... digging Am Am Am and Supermarket in particular" JD Twitch Optimo Music / Blackest Ever Black / Strut / On-U Sound

"Cool stuff" DJ SoFa Pingipung / Emotional Response / Kalahari Oyster Cult

Birds are singing, a soft female voice embraces the stars, then the funk hits the fan: the second album of mysterious Japanese singer Nadja haunts immediately and marks one of the most exquisite reissues in the ever-growing catalogue of Studio Mule. Originally released in 1989 as promo only CD on the Japanese label Polystar, the album features some of the finest eighties pop funk fusion arrangements of the era. A deeply enchanting lost gem, that gets listeners instantly into heavy repeat addiction.

All ten songs are arranged by a group of grandmasters of their art. Japanese saxophonist, composer and music producer Yasuaki Shimizu, man behind the electronic ambient fusion classic “Kakashi”, was in charge for tunes like “Wac-Wack”, a neon light funk pop song, full of soft big city eroticism, ultra-slick synth lines and real funkateer explosions. It’s followed by “夢のとりこ”, the most stirring pop tune on the album, that originally was written by French composer, multi-instrumentalist, actor and singer Areski Belkacem, known for his and long-time collaborations with French avantgarde singer Brigitte Fontaine. Shimizu transformed the song into a low hanging funk jewel, with a cool rolling bassline, dub depth and synths that cry for cosmic help. Above all Nadja signs with a sexy chill, that somehow could only emerge in the 1980ees, when the cold war even made pop music real cool. The follow up is named “真珠のように”, features again music by Belkacem, this time transformed by Shimizu into electronic erotic pop - dreamy, witchy and precisely musical composed.

The B-Side opens with “Velvet Rain”, a funky urban boogie composition by Japanese keyboard player, composer and producer Akira Inoue, enlarged with glimmer camp kitsch, that immediately puts a smile on the listeners faces. It gets followed by “Paradise Catcher”, a soft pop tune with longing string and horn sections, arranged by legendary Jamaican rhythm and production duo Sly & Robbie. It somehow marks one of the strangest songs in their longstanding career, as it is largely minimal orchestral but yet super tight when it comes down to the rhythmic magnitudes. The next tune, “Private Tripper”, also stays soulful, funky and horn driven. Always pleasing the super tight, yet feathery voice of Nadja, that is dancing about boogie grooves and illuminating melodies with a seducing tragical coolness. Finally the album ends with a stylistic break in the overall musical atmosphere. It comes from Japanese musician Hiroaki Goto, it’s called “地図をずっと南へ”and features Afro-Brasilian voodoo rhythms, pan flutes, cosmic piano notes and Nadja, singing like a rain forest sorceress from outer space.

Ten arrangements by a bunch of high-grade arrangers, that all left Nadja’s voice enough space to widespread her talent as a supremely seducing singer, who wrote all lyrics, vocals and chorus by herself in order to present her touching vocal class in a vivid, bewitching timeless style. Come in and get ensnared!

We met Franck Vigroux for the first time years ago at Berlin's Berghain during a soundcheck. At that time he performed with Mika Vainio, with whom Vigroux often worked together.

The first track on »Ballades sur lac gelé« dates back to that time. It was created under the impression of this collaboration and friendship with Mika Vainio. This album is dedicated to him.

Vainio's oeuvre is also significant in connection with the history of raster, so it was only logical and our wish to release this album by Franck Vigroux.

With the beginning of the corona pandemic, Franck Vigroux took up this early material again, he continued to formulate it and completed the present album »Ballades sur lac gelé«. The title already defines the theme of the ballad, a "song/poem with very minimal structures" (quote Vigroux).

"Ballade" is also a play on words with the French word "balade", in this sense a ramble, a ramble over a frozen lake. The reduced, cool structures reflect this. But at the same time, under the surface, the (often distorted) sound carpets steadily increase to immense power. Like ice that grows and tectonic forces that have to erupt, glacier-like.

Vigroux is very skilled at creating music in this minimalist setting. The intertwining of very few musical elements creates a kind of soundtrack that is multi-layered and at the same time universally intelligible.

»Ballades sur lac gelé« will be released on June 26th, 2020 as a digital pre-release exclusively on our sites. The physical formats, i.e. CD and vinyl, can be pre-ordered. The official worldwide release date will be announced at a later point in time.

Our much in-demand series of classic Brazilian 45’s are back! Featuring a vibrant new design, we’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’sitems in their own right.

Number 81 is our Brazil.45 series sees further digging into the magical world of Jorge Ben’s lesser-explored 1980’s productions. ‘Ma Ma Ma Ma Ma (A Lingua Dos Anjos)’ is taken from his ‘Al Al , Como Vai?’ album from 1980, which is arranged, produced, and features keys by the don, Lincoln Olivetti. The song contains trippy lyrics singing about flying saucers and angels.

‘Dona Culpa’ finds Jorge featuring on a cool mid-tempo groove track taken from Cauby Peixoto’s ‘Cauby! Cauby!’ album (also from 1980). Singer Cauby Peixoto had a long and stellar career, recording and releasing music from the mid-1950’s all the way up until his passing in 2016.

Following up on their debut LP Kick Drunk Love for Marcel Vogel’s Intimate Friends imprint a few years back, we are proud to present the next installment in the sporadic KAMM legacy: Cookie Policies.

Far more sonically rich and musically adventurous than its predecessor, Cookie Policies sees the band make bold strides into new territories where classically hardwired categories such as jazz, indie rock, and electronica melt into one another with immaculate, timeless ease.

The band members’ positions are more clear cut as well this round, with Marc David Barrite (aka Dave Aju, who also did one of his coveted mix engineering jobs on the LP) on prominent lead vocals in many of the pieces, Alland Byallo on trumpet, Kenneth Scott on synth bass, and Marc Smith adding guitar sections while the others shared the arranging and programming duties. This makes for a deeper continuation of the otherworldly combination of their known individual production styles, as well as a musical whole truly greater than the sum of its parts.

The set starts off with “Bird Call”, whose opening ode to Morricone ok corral-meets-samurai showdown riffs flow into a loose and drifting psychedelic boom bap blip, building until a glorious change-up of key and energy brings the track to its peak and deconstructed back down. “Rachel, the Largest Bullfrog” then takes things in a sweeter, slightly more traditionally-structured direction where dusty indie-folk ballad vibes intersect with an array of twisted cosmic tones, bits of computer keyboard percussion, and deep rolling sub bass. “Buckle Down” then moves things back away from acoustic restraints into a beautiful synth-laden musing on potential regret, with an ultra-potent horn section from Byallo vs a nasty stacked Roland SH-101 finish.

“CCBPGC” cools things off for a few minutes with an ambient field recording slice-and-dice motif, which slowly but surely evolves into a slinking jazz noir groove from another dimension. The more traditional song structures return on the lovely “La Luna”, where Barrite’s pen and soulful voice take to nautical longing themes over apropos waves of sonic textures. The ebb and flow of the verse/chorus sections eventually rise and give way to an absolutely gorgeous denouement. “Shleem” then takes us into pure unadulterated soaring sci-fi soundtrack ambient blast-off bliss, while the epic closing track “The Soft Glow of Electric Sex” gives a hearty nod to early masters of sprawling psychedelic jam sessions, from Pink Floyd and Can to In A Silent Way-era Miles and Liquid Liquid, while bringing it clearly into futurist millennia. The gradual evolution of the piece into its grand finale is the stuff we true music-lovers live and die for. We hope you enjoy the ride as much as we do.

The show business is dead, long live the show business. Where have you been? We missed you.
It was easy for them to take a break, it is even easier to come back. BIRTHDAY have returned.
A pop duo, the kings of cool. Their new record is extraordinary. What is left to say?
There is no business like show business.

Our lucky 13th release is here!

We have a powerful serving by Russian team Scruscru meets Meowsn.
Both have really cool releases under their belt on Sloth Boogie, NOmada, Nurvous & Star Creature Universal Vibrations.
So, here at Outplay we're very excited to bring you 'Surr Rendez-Vous EP'

A patchwork of creative sampling, wonky jazz chords and powerful synth melodies with a small sprinkling of tongue-in-cheek makes for a super cool four tracker.
The story of the tracks made us reminisce of the rise of the loose beat, broken house of a few years back, while this one still feels very contemporary.
Being a firm believer of letting the music speak for itself: enjoy!

Another killer collection of blues and gospel, this is the eighth volume in the super enjoyable 'La Noire' series. The LP comes in a cool gatefold sleeve.

Hotly tipped newcomer Yulia Niko joins the Watergate collective, delivering an exciting label debut to mark the occasion. The Russian-born, Berlin-based artist has piqued the ears of heads with quality releases on Crosstown Rebels, Get Physical and her own TochnoTechno imprint. She steps up for Watergate Records with an inspiring maiden EP, augmented by remixes from YokoO and Francesco Mami. ‘Manifesto’ is the intriguing opener, as intergalactic synths rub shoulders with a chugging groove for an ultra-cool finish. ‘Passion’ is heavy on vibes, pairing an enchanting vocal with a colourful bed of percussion. YokoO contributes a subterranean ‘Defragmentation’ remix of ‘Manifesto’ on the minimal tip, before adding some warmth to the palette teaming up with Francesco Mami for a ‘Vegas Mix’ primed for the afterhours with its deep grooves and shuffling beats. ‘Hurts So Slow’ reinforces Niko’s versatility, imbuing a dusty house vibe primed for late night sessions.

Demon Records presents Distortion: 1989-1995, the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album Workbook and continuing through to Sugar’s final studio album File Under: Easy Listening.

Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen; a tribute from Richard Thompson; lyrics and memorabilia.

Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Featuring an array of bonus tracks including Sugar’s 1995 collection of Bsides and non-album tracks Besides, along with Distortion Plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

"Cy Timmons, born in 1941, is “The World’s Greatest Unknown” singer-songwriter from Atlanta, Georgia.

His style may be called batida Americana: unusual bossa nova technique marked by the art of guitar percussion and turning his voice into a variety of instruments such as flute, trombone, synthesizer and more. But basically, it is difficult to specify the genre where his music belongs because it has been developed individually and heavily colored by his love of American music such as cool jazz, traditional pop, early R&B and many years of entertaining in various musical venues including Café Erewhon (“Nowhere” spelled backwards) which he ran in Atlanta. Rather than an imitation of bossa nova, Cy applied the bossa concept of expressing samba alone through classical guitar and vocals to expressing good old American popular music alone and so developed a new “traditional” American sound, a sound that was honed in part through an encounter with Judy Davis of Oakland, California, the stars’ vocal coach whose students included Frank Sinatra, Judy Garland, Mary Martin and Barbra Streisand.

He himself produced three albums of his music. On the first: “Cy Timmons” (1972) he was backed by a small orchestra, but the second, “The World’s Greatest Unknown” (1974), and the third “Heaven’s Gate” (1998), were Cy alone and show the true worth of his music that also has something in common with João Gilberto’s “White Album” and “Voz E Violão”."

Mastered and half-speed cut at Abbey Road, pressed at RTI, each release comes in a custom G-FLute cardboard mailer. 001 has a satin fabric heart sticker and 002 gold foil-stamped quotations from Cy. Both have extensive liner notes, including a full length interview.

Record Kicks announces a reissue of mega in-demand Calibro 35 legendary self-titled debut LP.

Record Kicks proudly announces the reissue of CALIBRO 35 self-titled legendary debut full length. The publication is part of a trilogy that will see the Milan label reissuing on wax and digitally the first 3 mega in-demand albums of the Italian cinematic-funk cult band. "Calibro 35" will be reprinted on a limited edition LP on October 2nd and it will released digitally on a Deluxe Edition version on September 25th. The Deluxe Edition will be available on all digital stores and it includes 5 bonus tracks such as "La Polizia Sta A Guardare" by Stelvio Cipriani, the original recording "E Nessuno Si Farà Del Male" and an alternative version of the Calibro's seminal hit "Notte in Bovisa". Going back to where it all began, Calibro 35's mythical debut LP is an explosive homage to groovy 1970's Italian-cop-film soundtracks, and to the golden age of Italian Soundtrack music by likes of Ennio Morricone, Luis Bacalov, Franco Micalizzi and Armando Trovajoli. Originally released in 2008, the LP is super rare and impossible to find on vinyl. By popular demand, a reissue finally sees the light of day on a limited edition Gatefold LP that includes digital download of the bonus tracks.

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their ten-year career, they were sampled by Dr. Dre on his "Compton" album as well as by Jay-Z and The Child of Lov & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, among others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 can now count on a number of aficionados worldwide, including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

"Omne trium perfectum" is an ancient Latin phrase suggesting everything that comes in threes is perfect, or, every set of three is complete. And in this case, it certainly rings true as the third single from The Allergies' third album 'Steal The Show' is pure musical gold…

Mixing it up amongst international hip-hop big guns - ASM the boys get the floor moving with 'When The Heat Comes Down'. The ASM crew have been doing hip hop right for over 10 years and have collaborated with some giants of the music world including Bonobo, Wax Tailor and DOOM.

Bombastic and always strutting, the track is built around a bouncing guitar riff and classic funk horn stabs - the perfect home for some upbeat party raps from Green T and Funk E Poet. We're inclined to agree - when the heat comes down they're definitely coolin'…

Honey LaRochelle is a 'Big Bad Woman' and she'll eat you alive. And that's exactly what she threatens to do in the track of the same name… It's a hand clapping, foot stomping, 12-bar fiesta on a jazzy piano rhythm and blues tip. Yes Ray Charles himself would be happy with this one and as an added bonus The Allergies use the instrumental gaps to showcase their skills on the decks.

A new project by Chicago-based drummer/producer Makaya McCraven. An addendum to his critically-acclaimed 2018 release Universal Beings, which The New York Times said "affirms the drummer and beatsmith's position as a major figure in creative music," Universal Beings E&F Sides presents fourteen new pieces of organic beat music cut from the original sessions, prepared and produced by Makaya as a soundtrack to the Universal Beings documentary film. Directed by Mark Pallman, the Universal Beings documentary follows Makaya to Los Angeles, Chicago, London and New York City for a behind the scenes look into the making of the artists breakthrough album, taking the viewer through the story of Makaya's life, his process and the community of musicians that helped bring this project to life. The Universal Beings documentary and Universal Beings E&F Sides album will be released on all DSPs this July 31st on International Anthem.

Senthulà is one of the many aliases of musical jack of all trades José Guerrero, a long standing figure in the already rich underground scene of Valencia. In this solo excursion he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened african rhythms beat up no wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

This closed door nightclub music will appeal to fans of the new developments in dance music that put Cabaret Voltaire, impLOG or Orchestre Poly-Rythmo de Cotonou into XXI Century basements. The record comes also with a killer remix by Tolouse Low Trax, probably our favourite producer in modern rhythmic music.