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Earlier this year we were excited to announce the return of one of our most beloved bands of recent years: New Street Adventure. To mark the 10th Anniversary of their debut album ‘No Hard Feelings’, on 4 October we are releasing a special, limited edition olive green colour vinyl reissue. The release will coincide with an extensive UK tour.

‘About eighteen months ago, someone asked if I had a spare vinyl copy of ‘No Hard Feelings’. I checked the shelves, and found my own copy and no more. I checked Discogs and saw that it was changing hands for far more than an 8-year-old album should be. Released in the pre-vinyl-revival years, its limited original pressing means that demand is now out-stripping supply – a measure of just how good this record is. With that in mind Nick Corbin and I hatched a plot for a 10th Anniversary reissue, and here it is!

I loved New Street Adventure. They were smart, looked great on stage, and in Nick was one of the best front-men and songwriters I have ever worked with. With their own ecosystem of self promoted gigs, they created their own audience, and for a while it looked like a major label deal was in the offing. Eddie Piller had wanted to sign them from the first time he met Nick, and when the big deal didn’t happen, he was still there for the band as they became an Acid Jazz act in 2013.

There were endless back-and-forths on how the album should sound (and some despair that it wasn’t quite sounding as good as it should have). Then Mitch Ayling came on board to produce the final mix. He brought out the songs, lifted the playing, delivering the shiny finished recording that took its place as one of the finest moments in the Acid Jazz catalogue. Nick’s songs now sparkled. As his love of soul shone through, his politically and socially aware lyrics showed a rare, wry observational gaze that was turned on 21st Century life. From the warnings against populist hatred of ‘On Our Front Doorstep’, to the hopeless ennui of ‘Foot In The Door’, and the day-to-day pursuits of being in your twenties in a big city. Through it all shines a passion – sometimes coming out as anger – that drives the music. It is of course encapsulated in ‘The Big A.C.’, written about the night that Nick’s dad took him to the 6Ts Allnighter at the 100 Club, which brought him into the world of Northern Soul. It’s a classic that nails the feeling of excitement as well as anything written.

The album was released late in 2014 and for those who want a vinyl copy – even the CDs cost a fair penny now – we have prepared this special 10th Anniversary Edition on transparent olive-green coloured vinyl. The inner sleeve is illustrated with never-before seen photos from the archive, both candid and by early band supporter Dean Chalkley, and has sleeve notes by Nick and myself. Nick is taking New Street back on tour this Autumn, and it you would be foolish (once more) to miss either the tour or the record.’

"OneDa's story is so clearly mirrored in her music: a sprightly flow preaching a message of empowerment, enveloped in a dark, raucous soundscape…interlacing vibrant, punchy lyrics with that classic drum & bass sound has given OneDa a new lease of life." – DJ MAG

“OneDa is solidifying her position as one of the UK’s most thrilling hip-hop artists. With poignant lyrics and charisma that is off the charts, she dives deep into the complexities of life, love, and liberation.” – DIVA

Manchester rapper and poet OneDa is set to soar with the release of her debut album, 'Formula OneDa', on October 4th via Heavenly Recordings. Featuring the singles 'Major Pay' and 'Set It Off.'

On the ethos behind the album, OneDa says:

“In early 2023, while listening to my mixtape demos, the line ‘had to step away, get the levels up fast, Formula OneDa never come last' from my song ‘Off My Light’ stood out. We decided to name my album 'Formula Oneda'. Coincidentally, I discovered that the F1 Academy had just started, aligning perfectly with my album’s vision. For the first time in over 30 years, Formula 1 has created a platform to inspire and support young girls and women. Previously indifferent to Formula 1, I am now excited by the progress these women are making in the male-dominated racing circuit. While becoming a racing driver was never my goal, the F1 Academy metaphor fits my journey from a backmarker to a leader. This year, I plan to support these inspiring women as they drive with Pussy Power to take pole position in motorsports.”

Having supported Kneecap and Baxter Dury, and with standout performances at The Great Escape, OneDa is establishing herself as one of the UK’s most dynamic hip-hop artists. Her music transcends genres, blending hip-hop, drum and bass, afro-trap, and afrobeats, reflecting her Nigerian heritage and Manchester roots. Known for her dexterous wordplay and poetic verses, OneDa's voice is a unique force in the evolving drum and bass scene. Her boundless linguistic talent and poetic verses set her apart. Named by The Face as a key MC in the drum ‘n’ bass renaissance, OneDa is dedicated to empowering others.
Her live performance credits include headlining with Angélique Kidjo at Aviva Studios' launch in Manchester and leading performances at Manchester Pride 2023. She continues to gain acclaim from BBC Radio 6, DJ Mag, The Face, NTS, Wonderland, UKF, and The Line of Best Fit.

Beyond her music, OneDa is dedicated to community initiatives, leading hip-hop therapy for Manchester youth and championing projects like Herchester, which amplifies marginalized voices in music. Her vision extends beyond chart success; she aims to establish a hip-hop therapy school for all ages, showcasing music's potential for positive change. Her drive and authenticity inspire others to embrace their true selves.

Citing 'empowerment' as her greatest inspiration, OneDa channels her struggle with acceptance of her queerness into her music, promoting a message of self-love and freedom: “When you truly love yourself, that overpowers anyone else’s opinion.” Although she only began producing music two years ago, OneDa’s debut LP showcases her mastery across multiple genres. Collaborations with artists like Sam Binga, Songer, Devilman, and Mr. Scruff highlight her versatility. Her standout verse on Vibe Chemistry’s 'Ballin’', with over 35 million streams, further cemented her reputation. Her first fully produced track, 'Rude Girl Flex', earned her a spot on the BBC 6 Music playlist and an appearance at the BBC 6 Music Festival.

Blending a mix of street intellect into pop music, Naughty by Nature delivered raw-edge but accessible East Coast rap and created some of the biggest and most contagious hits of the 90s. Naughty By Nature's brand new greatest hits compilation The Naughtiest, which has not been produced physically in over 20 years, contains the groups best known songs including "O.P.P" which hit #1 on the Billboard Rap Charts & #6 on the Hot 100, "Uptown Anthem" "Pin the Tail on the Donkey" from their self-titled album, along with "Feel Me Flow" & "Craziest" from Poverty's Paradise. And of course, select tracks from 19 Naughty III including "Hip Hop Hooray" which hit #1 in several countries and has become a defining anthem for hip hop music.

Swedish duo LOW-RES are no strangers to grim, almost decadent darkness. Their explosive mix of krautrock, indie rock, and psychedelia has captivated audiences all around the world. Their third album ”Happiness” explores topics of abuse, destructive relationships, but to a slightly clearer and more pop soundscape. The two poles shapes a background for an captivating listening experience with out worldly melodies and choruses. Produced together with musician and producer Daniel ”Fagge” Fagerström (Viagra Boys, Kite). LOW-RES has previously been picked up by BBC Radio 6 and praised by the likes of Swedish magazine GAFFA who described their debut album as “oceans of creativity pumping out of the speakers”.

The Finns have crafted a top-notch piece of powerful heavy metal with the incomparably strong roars of frontbeast Noora Louhimo, catchy keyboards and earworm invasions. From the opening classical up-tempo opening track, 'Straight To The Heart,' to the last note of the closing ballad 'Far From Heaven,' BATTLE BEAST’s new opus is full of heaviness and emotions. Recorded and produced at JKB Studios by keyboardist Janne Björkroth, the album was also mixed by him alongside Viktor Gullichsen and Mikko Karmila, while mastering was done by Mika Jussila at the world famous Finnvox Studios. “Bombastic and brilliant heavy metal with a killer singer! »Bringer Of Pain« is gigantic!” MYROCK (F) “BATTLE BEAST at their best - majestically melodic and 'Straight To The Heart'!” ROCK IT! (D)

“NO MORE HOLLYWOOD ENDINGS” WILL BLOW YOU AWAY! The eleven featured songs were recorded by keyboardist Janne Björkroth, Viktor Gullichsen and guitarist Joona Björkroth at JKB Studio; the record was also produced and mixed by Janne. Janne stated about »No More Hollywood Endings«, "The heavy songs are heavier, pop-delights brighter, rock vibes stronger, and sounds richer than before. The emotional scale is wider, and everything is bigger." Last but not least, the cover artwork was created by Jan Yrlund (KORPIKLAANI, MANOWAR etc.), who already took care of the »Bringer Of Pain« design.

Hailing from the southern edge of Finland, BATTLE BEAST were founded in 2008 and soon established themselves with their trademark of pure crunching riffs, high screams, blistering solos and strong choruses. “I thirst to go further as a human being and the music on this album represents a part of the ongoing spiritual journey - that's what I tend to I call it - which is my road onward. Music-wise the songs have been expanded to a wider area as an effort to call out emotions close to those I myself had during the times of birth of these songs,” commented guitarist & vocalist Anton Kabanen about »Unholy Savior«. “Like always, I wrote songs about the series "Berserk", as well, and the reason behind writing songs about that particular series is that I can strongly relate to that, especially to certain characters and to their way of thinking and feeling,” Anton adds.

METAL HAMMER - 8/10 review “Mangled post-Bathory riffs and Marzia’s blasphemous bark collide with the darkly serene shimmer of wilfully corrupted shoegaze and nobody escapes with their San(ci)ity intact. This is a profoundly heavy work, yet laced with elegant moments of restraint…A dark star is born.”

Debut full length for one woman band Marthe on Southern Lord.

True Valkyrian metal inspired heavy riffing in a dark atmosphere of feasting ravens over a thunderous battleground.

The war cry belongs to a distorted horde of crust punk and black metal venture.

The dust settles over the power of Bathory, the melancholy of Tiamat and the stench of Amebix.

Antifascist. Feminist. Misanthropic.

Includes cover of Siouxsie and the Banshees ‘Sin In my Heart’

Centricity Music recording artist Jordan Feliz quickly became a household name when his first radio single “The River,” the title track from his critically-acclaimed debut, became a smash hit. Spending an unprecedented 12 weeks at No. 1, the chart-topping single was named ASCAP’s “Christian Music Song of the Year” and garnered Feliz his first RIAA Platinum® certification. Thanks to his charismatic vocals and signature blend of soulful pop, each of his seven subsequent radio singles has landed in the Top 10 with “Witness,” “Glorify” and “Jesus Is Coming Back” notching three more No. 1’s for the singer. In addition, the California- native has been nominated for five Dove Awards, taking home the trophy for 2016’s “New Artist of the Year,” and has amassed nearly 500 million lifetime streams. Along with his heartwarming children’s hardcover book, Beloved, and his headline tours, Feliz has also shared stages around the country with some of the biggest names in Christian music, including TobyMac, Michael W. Smith, For KING & COUNTRY, Matthew West and Crowder.

With the debut album "Mechanical Spin Phenomena", MNEMIC introduced themselves to the metal world impressively: Their music, made of heavy Thrash riffs, Progressive elements, modern synthesizers and electronic samples created both a hard and spacy atmosphere – therefore the band decided to describe their sound as Fusion Future Metal. Crushing songs like 'Ghost' and 'Liquid' got stuck in your head so easily and the comparisons to bands like FEAR FACTORY, MESHUGGAH or STRAPPING YOUNG LAD were drawn soon. But MNEMIC are not a simple copy of those acts – they are a band with their own ideas and self-contained style. "The Audio Injected Soul" shows MNEMIC grown and more mature. Less complex than "Mechanical Spin Phenomena", the band worked a lot with melodies and set a high value on creating catchy refrains. The result is amazing songs like 'Dreamstate Emergency', 'Door 2.12' or 'Deathbox' groove like hell and unify brutality with melody. Finalized by a dynamic cover version of DURAN DURAN's 'Wild Boys', "The Audio Injected Soul" is all in all a perfect package of ten punishing Modern Metal songs that will catapult MNEMIC to the major league of the genre! Tue Madsen, who again took care of the producing in his Antfarm Studios in Aarhus/Denmark, additionally provided the album with a clear and explosive sound that displays the effect of each track fully.

"In July of 2023, Neil Young released the OFFICIAL RELEASE SERIES VOLUME 5, a stunning collection comprised of four classic albums that begins with the exciting renaissance that came with the release of FREEDOM in 1989, and continues on the unequaled exploration of collections RAGGED GLORY (1990), WELD (1991) and ARC (1991). In many ways, it is a musical travelogue of how Young saw the future and opened up creative worlds for the use of sound and originality which had not been used before.

Now, each of these titles from ORS 5 will become available once again as stand-alone albums on both
vinyl and CD. When these four albums were released in the box set last July, it was the first time they had
been remastered for vinyl."

"In July of 2023, Neil Young released the OFFICIAL RELEASE SERIES VOLUME 5, a stunning collection comprised of four classic albums that begins with the exciting renaissance that came with the release of FREEDOM in 1989, and continues on the unequaled exploration of collections RAGGED GLORY (1990), WELD (1991) and ARC (1991). In many ways, it is a musical travelogue of how Young saw the future and opened up creative worlds for the use of sound and originality which had not been used before.

Now, each of these titles from ORS 5 will become available once again as stand-alone albums on both
vinyl and CD. When these four albums were released in the box set last July, it was the first time they had
been remastered for vinyl."

"In July of 2023, Neil Young released the OFFICIAL RELEASE SERIES VOLUME 5, a stunning collection comprised of four classic albums that begins with the exciting renaissance that came with the release of FREEDOM in 1989, and continues on the unequaled exploration of collections RAGGED GLORY (1990), WELD (1991) and ARC (1991). In many ways, it is a musical travelogue of how Young saw the future and opened up creative worlds for the use of sound and originality which had not been used before.

Now, each of these titles from ORS 5 will become available once again as stand-alone albums on both
vinyl and CD. When these four albums were released in the box set last July, it was the first time they had
been remastered for vinyl."

Amputechture Beneath the technical flash, the fury, the fearless creative brinkmanship of the first two Mars Volta albums lay a potent seam of the blues, an existential vexation that powered every twist and turn of Omar and Cedric’s imaginations. That mournful vibe would come to the surface of the group’s third full-length Amputechture, a simmering/blistering set that was unquestionably the group’s darkest yet. There was no overarching theme here, no interlinking concept binding the songs together, though Cedric concedes that, lyrically, the album was influenced “by a lot of stuff I was going through, a really bad break-up and a lot of other crazy stuff, and trying to put that feeling into the record.” But Amputechture – its name another of the late Jeremy Michael Ward’s invented words – was no downbeat bummer. Opener Vicarious Atonement might’ve been a deliciously gloomy, slow-burning thing, capturing Cedric in delirious duet with Omar’s swooning guitar lines, accompanied by squalling saxophone by Adrian Terrazas-Gonzales and dream-frequency fuckery by the group’s new sonic manipulator, former At The Drive- In member Paul Hinojos. But second track Tetragrammaton swiftly set pulses racing, an epic-in-miniature and containing more ideas within its 16 minutes than most bands manage over an entire career, its proggy, complex guitar figures tessellating in infinite configurations and converging as if conforming to mathematical formulae from another reality. The raw material Amputechture was hewn from started life on the road. Omar now travelled with his own mobile recording studio – a little Neve ten-channel tape recorder and an array of microphones – and was able to work on new ideas on tourbuses, in hotel rooms and during soundcheck (and, occasionally, after the show was done). After touring for Frances The Mute was complete, Omar relocated to Amsterdam, staying with his photographer friend Danielle Van Ark and her partner, Nils Post. It’s here that he demoed Amputechture, flying in engineer Jon DeBaun, drummer Jon Theodore and his brother, Chino, to work on these raw sketches. He later returned to Los Angeles, where the album was finally recorded. Omar ceded guitar duties to his dear friend and kindred spirit John Frusciante, instead assuming the role of musical director. “I wanted to hear the sound of the band,” he says. “I thought, I’ll be able to sit at the console, feel the air of the speakers moving, the unified sound of everything, and not feel distant from it. It was fun, but it was also challenging.” Part of Omar’s new method was to teach the musicians their parts only moments before the tapes rolled. “To keep things fresh, and to keep everyone on edge,” he says, before chuckling. “No, not on edge – on their toes. Amputechture would prove The Mars Volta’s most diverse set yet, drawing into the group’s tornado of influences moments of fiery jazz spirituality and esoteric folk introspection, finding space for passages of devastating subtlety and also their most fierce and full-on moments to date. The aforementioned Vicarious Atonement found its meditative mood echoed by Asilos Magdalena, an intimate, acoustic piece that invoked traditional Latin folk music, as Cedric sang in Spanish a sorrowful tale of a lost soul’s quest for sanctuary within a Magdalen Asylum, a refuge set up by the Catholic church for “fallen women”. The shadowy, sinister closer El Ciervo Vulnerado, meanwhile, tapped into the darker side of spiritual jazz to further explore the album’s themes of redemption and religious myth and magick. Elsewhere, the interplay between guitar and clarinet on Viscera Eyes created complex, unsettling counter-melodies, while the coiling, ornate Meccamputechture – Cedric’s wild fusion of sacred texts, occultism and dystopian science fiction – proved a great showcase for Ikey Owens’ swarming, infernal organ runs, in concert with Frusciante’s arcane guitar-play. But it was Day Of The Baphomets that would prove Amputechture’s most ambitious and most defining epic. Cedric’s lyrics tore into the hypocrisy of religious cant and myths of sin and punishment. “I wanted to make a song that was like the movie The Believers, where this cabal stole kids and did some occult shit with them,” he explains. “But I wanted it to be like, ‘What if the people you hire to do jobs you don’t wanna do rise up one day and then pull some shit like that?’ Like it was the guerrilla warfare, them taking over – wouldn’t that be some fucked up shit? And the music just lent itself to that – the big intro, the bass solo, and all of the ruckus that occurs.” That ruckus was some of the most thrilling Mars Volta music yet, as Omar directed his musicians to rumble through fiery modes of wild tribal groove, ransack-the-palaces riot- rock and supreme progressive experimentalism. Amputechture, then, is the sound of The Mars Volta in imperial mode: fearless, insatiable, unstoppable.

A1 - Desire
Opening the EP in quietly epic fashion, Desire begins with a delightful beat pattern with adistinctive cymbal hit set over warm bass tones and whale song samples. A smooth, thoughtful bass melody is introduced which joyfully intersects with gorgeous piano keys while swirling strings and atmospheric vibes layer and recede like tides of the ocean, creating a truly unique journey of a track that will linger anywhere it may be heard.

A2 - Voidscaping
Instantly setting the scene with crisp, striking breaks, Voidscaping is an atmospheric treatfor the senses with serene throwback pads reminiscent of the halcyon days of Good Looking. Bringing the piece up to date for the Spatial era is the typically intricate blending of reflection and intrigue ASC conjures with his sampling and reverb work, effortlessly thickening the soundscape with memories old and new.

AA1 - Let Go
Opening with the vibrant sounds of twilight nature and metallic bongos, ASC sparinglydeploys a glorious choral vocal before the breaks take off with an energetic pattern drivenby constant, playful hi hats. As the track develops, questions are asked of the listener bythe curious atmosphere, gradually unraveling with strings, synths and trademark vocalusage, offering a new perspective with each listen.

AA2 - Meltdown
A darkly, anxious undertone floods the mix as Meltdown grips the listener from the first barwith skillfully sequenced minimal breaks, hi hats that whoosh in and out like evening crickets you can't quite track, and intense ambient padwork. A longing female vocal occasionally yearns over the various melodies which enter at will, discreetly developing the mood with purpose, unfurling a stream of aural consciousness from this incredible producer.
Words by Chris Hayes (Spatial / Red Mist)

A1 - Deep Sea
Hefty jungle breaks shudder and thud as Aural Imbalance chartsa path through the depths with a shimmering backdrop of glorious synths and padwork that dance gleefully around asymphony of gentle rhythms. An over-arching earworm melody develops and rises above the mix, intersecting with the break pattern which gradually adds to its own character and texture with muffled breaks beneath, all combining to create this superb EP opener.

A2 - Echoes In Time
Flexing his breakbeat skillset in style, Aural Imbalance cuts andchops fine analogue jungle breaks effortlessly as Echoes In Time showcases his ever evolving production talents on Spatial.Wisps of airy pads are floated in the mix that slowly rise around the listener, somber in tone with delicate keys, bells and micro-melodies that build the atmosphere with a wondrous clarity feware capable of achieving.

AA1 - Sense of Space
A DJ-friendly intro opens with a plinky melody and hi hats asserene pads slowly usher in rumbling, weighty amen breaks, edited to perfection as is fast becoming trademark for Aural Imbalance's breakwork on the label. As the soundscape develops, a softly, hopeful xylophone melody innocently shuffles around subtle keys and synths to cap off a tale of two vibes effortlessly moulded into another sublime atmospheric collage.

AA2 - Regolith
Closing the EP with a stunning analogue break-laden workout, Regolith sees Aural Imbalance delve deeper still into the oldschool brand new vibes of Spatial with a beat pattern that immediately makes an impression. Scattered and flecked across the mix, the edits juggle restless snares and hats with a dense kickdrum and subtle 808 bass, while a tranquil blend of ambient atmospherics circle inquisitively above.
Words by Chris Hayes (Spatial / Red Mist)

A1 - Consensus Reality
JLM opens another stellar EP for Spatial with Consensus Reality, acheery, optimistic track which opens with lush keys, and filtered breaks. Soon we are treated to long synths brimming with optimism while melodies are formed from a slew of elements entangled in joyous harmony. This is a special track before we even mention the amazingly crisp apache breaks which are introduced and toyed with to the conclusion in JLM's inimitable style.

A2 - Salva Veritate
An eerie vibe immediately grips the listener for a remarkably intense atmospheric journey in the shape of Salva Veritate. Whooshing, reverberating synths punctuate a dense soundscape laced with tensionand intrigue. The hefty Hot Pants breaks drive the track perfectly with atuneful 808 rumbling below, as blippy sub-melodies and keys add further texture to the mix to complete an immensely memorable production from JLM.

AA1 - Hotspot
Mellow keys with a hint of jazz open Hotspot, as JLM adds further flex tohis repertoire in another impressively detailed journey through sumptuous atmospherics. The track quickly bursts into life in full flow with chunky breaks driven by juddering snares nestling over smooth 808 basslines andswathes of strings & pads that swoop across the mix to create a dreamy paradox of lively calm.

AA2 - Nova
A soothing way to close the EP as JLM opens Nova with long, relaxing synthwork before the delicate beat patterns begin with a symphony offiltered effects and soft notes punctuating the soundscape. Extended reverse cymbals and subtly used reverberating vocal samples add textureto proceedings as the cosmic breaks flow, as we have become accustomed to from JLM's exceptional output on Spatial.
Words by Chris Hayes (Spatial / Red Mist)

After a triptych released by Un je-ne-sais-quoi, in barely 3 years, under the name Tachycardie, Jean-Baptiste Geoffroy, musician, composer but also visual artist, continues his very singular journey to the heart of sound matter, with an album composed on Baschet sound structures.

From the 1950s, the Baschet brothers created a truly innovative set of instruments which has since fascinated musicians seeking new sound experiences.

Both sculptures of glass, metal and instruments of great acoustic sharpness, these sound structures have made rare but remarkable forays into recordings of contemporary music (Bernard Baschet, Jacques Lasry, Luc Ferrari, Toru Takemitsu, Jonathan Fitoussi…).

The Baschet brothers were also keen to use these instruments for educational purposes in the form of workshops, cultural action projects or simply by inviting the public to try these instruments at the end of concerts. It is in the Ateliers Baschet, a place aimed at preserving and transmitting the work of the brothers (workshops, conferences, residencies) that Tachycardie recorded this new album.

After having combined on his previous albums, analog synthesis, audio-naturalism and percussion in an overwhelming balance, he explored here all the sonic variety of Baschet structures. He then just sculpted this sound material in his studio, using simple effects: editing and pitch.

The result is a new path to explore in Tachycardie’s world, made of subtle percussive crackles, beneficial chaos and restorative oscillations.

This 25th anniversary commemorative reissue of The Dining Rooms' debut album "Subterranean Modern Volume Uno" is an essential release of an album that has become a true classic of instrumental cinematic hip hop through the years, the very first step in a constant evolution of a unique music style conceived by Stefano Ghittoni and Cesare Malfatti. Thanks to this double LP release various songs of the original full album appear on vinyl for the very first time. This reissue also includes a 30x30cm insert and the bonus track "Education of a Scoundrel" featuring Sean Martin on vocals.
















[n] 14: Education of a Scoundrel (Bonus Track) [feat. Sean Martin]

The 180g vinyl is available in two colors: Classic Black and a Limited Burgundy Edition, with the outer cover hand-colored and numbered (100 copies) by Moo Latte himself.

Mellomaniac, the seventh full-length album by Moo Latte, is different. These 28 compositions, written and recorded in 2021/22, were initially created for Moo's personal use, serving as a life soundtrack during many weeks and months spent away from home while touring with the band. Most of the tracks were recorded in hotel rooms and even backstage areas, fully embracing the lo-fi mindset and philsophy. Comparing to his previous works, this one holds a special significance and it's the most personal of them all.

What's Mellomaniac? The wordplay combines "melomania"—defined as an excessive and abnormal attraction to music—with the "mello" vibe that reflects both Moo Latte's personality and the nature of the music itself. The album leans toward a mellow sound, designed more for an intimate, individual listening experience where each spin of the record leads to new discoveries.

Why is this album different? Each of these pieces was created without any predetermined goal, which is why the tracklist is so eclectic—much like Moo Latte's palette of inspirations. These influences stretch back to when he was just four years old, singing in front of others for the first time or listening to his sister practice the violin. These early memories and instincts are blended with more deliberate musical choices, refined over two decades of music education. Each song is dedicated to a person, place, or situation that shaped him both as a musician and as an individual, reflecting the journey he has been on so far.

After six previous albums rooted in beat-making culture, this is the first one that is 95% drumless and free from sampling of any kind. Although the stories in these songs are told without words, Moo Latte incorporates his voice alongside a wide array of instruments, using it more expressively than ever before. The album's sonic quality is both raw and lush. The grit comes from the way it was recorded, using gear and microphones that, while not top-tier, were simply what was available. Everything was mixed in Moo Latte's bedroom and mastered on analog tape, resulting in a personal, intimate, and dynamic listening experience.

The 180g vinyl is available in two colors: Classic Black and a Limited Burgundy Edition, with the outer cover hand-colored and numbered (100 copies) by Moo Latte himself.

Mellomaniac, the seventh full-length album by Moo Latte, is different. These 28 compositions, written and recorded in 2021/22, were initially created for Moo's personal use, serving as a life soundtrack during many weeks and months spent away from home while touring with the band. Most of the tracks were recorded in hotel rooms and even backstage areas, fully embracing the lo-fi mindset and philsophy. Comparing to his previous works, this one holds a special significance and it's the most personal of them all.

What's Mellomaniac? The wordplay combines "melomania"—defined as an excessive and abnormal attraction to music—with the "mello" vibe that reflects both Moo Latte's personality and the nature of the music itself. The album leans toward a mellow sound, designed more for an intimate, individual listening experience where each spin of the record leads to new discoveries.

Why is this album different? Each of these pieces was created without any predetermined goal, which is why the tracklist is so eclectic—much like Moo Latte's palette of inspirations. These influences stretch back to when he was just four years old, singing in front of others for the first time or listening to his sister practice the violin. These early memories and instincts are blended with more deliberate musical choices, refined over two decades of music education. Each song is dedicated to a person, place, or situation that shaped him both as a musician and as an individual, reflecting the journey he has been on so far.

After six previous albums rooted in beat-making culture, this is the first one that is 95% drumless and free from sampling of any kind. Although the stories in these songs are told without words, Moo Latte incorporates his voice alongside a wide array of instruments, using it more expressively than ever before. The album's sonic quality is both raw and lush. The grit comes from the way it was recorded, using gear and microphones that, while not top-tier, were simply what was available. Everything was mixed in Moo Latte's bedroom and mastered on analog tape, resulting in a personal, intimate, and dynamic listening experience.

The year 1996 saw the release of Arab Strap’s first single, “The First Big Weekend,” and debut album The Week Never Starts Round Here. Into an underground rock milieu preoccupied at the time with slo-core, math rock, and all things Pet Sounds, the duo of Malcolm Middleton and Aidan Moffat couldn’t have sounded more alien.

In many ways, The Week Never Starts Round Here bears all the marks of a debut: it’s raw, unguarded, and crammed with ideas. It also firmly establishes the particular set-up that would define Arab Strap’s sound over the course of eleven years, with Middleton handling the music while Moffat provides the vocals and lyrics. Even this division of labor—more common to rap music than to the shoegazers and increasingly ubiquitous “collectives” of indie rock—seemed to defy expectations.

The sound of Arab Strap is a distinct brand of existential miserablism. Middleton’s cleverly arranged foundation of nocturnal guitars and rudimentary drum machines provides a canvas for Moffat to relay, in a thick Scottish dialect, his many sloshed, candid confessions. Long before artists like Mike Skinner chronicled the picaresque days of lads getting pissed and getting laid, Arab Strap’s vivid tales of lovers, lager and shame were being broadcast on college stations everywhere.

The Week Never Starts Round Here is an album full of drugged-up kisses and dried up egos; it chronicles the conquests and knockbacks of weekends that last forever, and it does so unapologetically, poetically, and profanely. Indie rock would never be the same.

Kill Emil is a Greek DJ and producer, based in Athens, who since 2009 has produced tracks with powerful and sophisticated rhythms and vaporous atmospheres.

Influenced as much by Latin and Jamaican music as by Hip-Hop, Kill Emil regularly collaborates with artists such as l'Entourloop (on their album “Le Savoir Faire”), The Architect, Taiwan MC and Marina P.

Deja Vu is a sonic journey through nostalgic rhythms and fresh beats, offering listeners a blend of the familiar and the new. Each track is a testament to Kill Emil's dedication to the craft, featuring meticulously crafted layers that invite repeated listens.

On 4 October 2024 Universal Music Recordings and Decca Records are making Jamaican/British jazz saxophonist Joe Harriott’s album ‘Movement’ available again for the first time since it was released in 1964. Long sought after by collectors and connoisseurs, original copies now sell for upwards of £1,000.

This new edition was mastered at Abbey Road using high definition 24bit/192kHz audio files, copied directly from the original stereo analogue master tapes (previously only the mono version has been on vinyl). Images of those tapes are included in the package alongside new sleeve notes written by noted author, compiler and documentary maker Tony Higgins, who also acts as Executive Producer for Decca’s ‘British Jazz Explosion’ series.

Recorded in 1963, ‘Movement’ was released as part of the Lansdowne Series, overseen by the influential Denis Preston, one of the UK’s first independent record producers, and engineered by Adrian Kerridge. Of the nine tracks, seven are Harriott originals, whilst the other two were written by another pioneer of British Jazz, Michael Garrick. Playing alongside Joe were bassist Coleridge Goode (b. 1914 Jamaica, d. 2015 London), drummer Bobby Orr (b. Scotland 1928, d. 2020), pianist Pat Smythe (b. Scotland 1923, d. 1983), and trumpet/flugelhorn player Ellsworth ‘Shake’ Keane (b. St. Vincent 1927, d. 1997).

Born in Jamaica in 1928, Joseph Arthurlin Harriott was a pupil at the Alpha Boys School (alma mater to Harold McNair, Dizzy Reece, and a myriad of Ska greats). He arrived in Britain in the early ’50s, initially touring with the Ozzie Da Costa Band, followed by a brief spell with the Ronnie Scott Big Band, and sessions backing the likes of George Chisholm, and Lita Roza.

By the mid ’50s Joe was a big enough draw to release records under his own name, and whilst these early recordings conform to the then popular bop style, the following decade would see him release albums whose titles chart his development; ‘Free Form’ in 1960, and ‘Abstract’ in 1963.

‘Movement’ is a testament to Joe Harriott’s visionary approach to jazz. It blends structure with freedom, tradition with innovation, and individual expression with collective creativity. His development of free-form jazz represents a significant contribution to the genre, paralleling yet distinct from the work of Ornette Coleman and other American free jazz artists. It is an essential listen, not only for fans of British jazz, but jazz fans in general.

It is perhaps best summed up by the epitaph that now adorns Joe’s gravestone; “Parker? There’s them over here can play a few aces too.”

Originally released on KLIK Records, in 1975, Dread Locks Dread became one of the new Front Line label’s first key releases when reissued in 1978.

One of reggae’s best and most recognizable ‘toasters’, Big Youth broke new ground as a DJ in the early ’70s with a flowing, chant-like cadence that was equal parts melodic and invigorating, applying his infectious vocal approach to heavy social and political lyrics.

A huge favourite of the punk and new wave artists at the time of release, Big Youth was embraced by The Clash, via Don Letts, and PiL, amongst others. John Lydon was part of Richard Branson’s A&R envoy to Jamaica, helping sign credible artists to his new Front Line reggae label.

Featuring the legendary Skin, Flesh & Bones band, formed around Lloyd Parks (bass), drummer Sly Dunbar (before he started working with Robbie Shakespeare), Ansel Collins on keyboards, and trombonist Vin Gordon. The album was produced by Tony Robinson and Errol Thompson and mixed at the famous Joe Gibb’s studio.

Dread Locks Dread skanks from punchy, rhythm-heavy reggae to the deepest, dubbiest roots. The hypnotic Some Like It Dread reworks Dennis Brown’s “Some Like It Hot”, where the DJ’s toast is entwined with a bluesy harmonica (the dub version re-titled (Black Man Message). Also features a fiery version of Burning Spear’s “Marcus Garvey” (Marcus Garvey Dread), a tasty take on the John Holt classic “Keep on Moving” – Moving On and a scintillating dub of the Techniques’ rocksteady masterpiece You Don’t Care.

Not your typical DJ album by any means, the music equals the toasts and vice versa – an essential release for a dub fan or a Big Youth supporter.

Re-mastered at Abbey Road Studios, London.

Out of print for over 20 years!

Produced by Lenny Kravitz (Executive) and Fela Kuti’s original engineer Sodi Marciszewer (Artistic). Worldwide tour in 2024 / 2025 (North America, Europe, Australia). New album from 2018 Grammy nominated album “Black Times”. Seun Kuti set to release highly anticipated album ‘Heavier Yet (Lays The Crownless Head)’ featuring guests Damian Marley and Sampa The Great on October 4th. Afrobeat virtuoso Seun Kuti is gearing up to unleash his latest musical masterpiece upon the world with the upcoming release of his album that will be set to make waves globally via Milan independent label Record Kicks. Coming 6 years after the Grammy nominated album ‘Black times’, this album marks a pivotal moment in Seun Kuti's illustrious career, showcasing his evolution as an artist and activist. Executive produced by legendary musician Lenny Kravitz and Fela Kuti’s original engineer Sodi Marciszewer (artistic producer), ‘Heavier Yet (Lays The Crownless Head)’ promises to deliver a sonic experience like no other. With both Kravitz's and Sodi’s expertise together with Seun Kuti's unmatched talent, the album is poised to redefine the boundaries of contemporary music while staying true to the roots of afrobeat. Featuring a tracklist of six electrifying songs, each track on ‘Heavier Yet (Lays The Crownless Head)’ embodies the spirit of resistance, resilience, and revolution. Each song talks about standing up against challenges and fighting for change. Like the standalone singles ‘Dey’ feat reggae icon Damian Marley, described as “a song about embracing and championing who we are, regardless” and ‘Emi Aluta’, “a song about struggle (Aluta means struggle) that pays homage to all the great revolutionaries”, that features Zambian singer, rapper and songwriter, Sampa The Great, one of best and most innovative lyricists of our time. The song ‘T.O.P.’ is about “how society values money and success more than people”. Seun Kuti wants to change this by promoting empathy and reconnecting with nature. In another song, ‘Love & Revolution,’ he expresses his love for his wife and believes that true love can inspire people to make the world a better place. “This project has been very special to me from the moment I conceived it, speaking to Lenny Kravitz, who has shown me such a brotherly love and respect” Seun says. “He has brought me to his home. I met his daughter Zoe and he has guided us with fierceness. Since we spoke about the album, three years ago, as the executive producer of this project, he has always been by our side and very supportive”. “I want to thank Craig Ross and Sodi, the producer of this project. We had a great time. It was the first time for me in the studio with Sodi and I was really impressed by his work and his fatherly advice and dedication”. Each song on the album is a testament to Seun Kuti's unwavering commitment to using music as a tool for social change and empowerment. Through his powerful lyrics and infectious grooves, he continues to carry on the legacy of his father, the legendary Fela Kuti, while carving out his own path in the world of music. As a musician and pan-African activist, Seun has been involved in a number of campaigns in recent years, including #EndSARS – a social movement against police brutality in Nigeria. Significantly, he’s revived the Movement of the People (M.O.P.), the political party his father set up in 1979, which was quashed by the military government not long after Fela’s failed presidential bid. Fans can expect an album that not only entertains but also inspires and ignites a spirit of activism and liberation. Seun Kuti is a Nigerian musician, singer, and songwriter renowned for his captivating performances and socially conscious music. He is the youngest son of Afro beat pioneer Fela Kuti. Seun has spent most of his life preserving and extending his father's political and musical legacy as the leader of his father's former band Egypt 80. As a developing saxophonist and percussionist, he entered the formal ranks of the band before he was 12. In 1997 when Fela passed, in fulfilment of his father's wishes, Seun assumed the mantle as head of Egypt 80 and he has run it ever since. During his career, Seun Kuti released 4 albums with Egypt 80: ‘Many Things’ (2008), ‘From Africa with Fury: Rise for Knitting Factory Records’ (2011), coproduced by Brian Eno and John Reynolds, ‘A Long Way Beginning’ (2014) and the Grammy nominated ‘Black Times’ (2018) that included a feature from Carlos Santana. They also released numerous EPs. Seun has played for enthusiastically receptive audiences globally and collaborated with many great artists. In 2022, he joined forces with Roots frontman and MC extraordinaire Black Thought in the EP ‘African Dreams’. In 2023, Seun collaborated on Janelle Monae's ‘The Age of Pleasure’ (Grammy nominee for Album Of The Year) with the two singles 'Float' and 'Knows Better', teamed up with Talib Kweli and MadLib for their album ‘Liberation 2’ on the song ‘Nat Turner’ featuring Cassper Nyovest and released a new version of the single ‘Bad Man Lighter’ with Black Thought, featuring Vic Mensa

Debut album from Los Angeles duo Los Yesterdays, Sweet Soul music meets Mexican Folklorico "Sweet soul music also known as lowrider oldies on the West Coast, rolas and souldies are typically early 60s-style tunes that emphasize vocal harmonies. Most songs are slow-to-midtempo, many are ballads, and the sub-genre is generally stripped down compared to the highly produced Motown hits of the time....there is a generations-long appreciation for sweet soul music among California’s Latino communities. Eastern Los Angeles teens.... helped foster a love of sweet soul in the early 60s by covering soulful ballads by artists like James Brown... Those sounds... were kept alive by record collectors and people who spent evenings cruising along East Los boulevards." BILLBOARD // Los Yesterdays are a Chicano soul band from Los Angeles based around the creative collaboration between Gabriel Rowland and Victor Benavides. They began working together when Rowland a drummer by trade, then creaky and exhausted from waking up at dawn to work construction decided to channel those struggles into song. He contacted Benavides, a former bandmate of Rowland’s deceased brother, to record the soul ballads that Southland Chicanos call “oldies.” Los Yesterdays filter love-struck R&B crooning through guitar-strumming Mexican balladeering; the result is something that sounds like the Los Angeles of yesterday and today the indelible, immovable Los Angeles of cruising Whittier Boulevard, of cold drinks on the porch on blazing summer nights, of watching a blue-orange toxic sunset and wondering if they are thinking about you. Los Angeles changes; Los Angeles stays the same. Los Yesterdays have changed, outgrown their childhood barrios and the bands of their early 20s and their private garage hermitude; Los Yesterdays are Frozen In Time. Tracks: A1. Nobody’s Clown A2. Frozen In Time A3. Something Happened A4. I Can’t Feel A5. Brown Boy B1. Last Request B2. I Want You To Stay B3. But You Did B4. Name On Me B5. Love Is A Game For Fools

Dawn Richard and Spencer Zahn share a common collaborative ethos, a genuine sense of musical curiosity, and a cosmopolitan eagerness to escape the conventions of genre. That shared vision first brought them together on 2022’s Pigments icy and warm, stripped-down and grand, familiar and otherworldly and now it has reunited them for Quiet in a World Full of Noise. By turns intimate, soul-baring, spectral, and startling, Quiet in a World Full of Noise blends atmospheric and orchestral soundscapes with mellifluous soul, jazz, and journalistic vocalizing driving it all home with stark, confessional lyricism. The new album finds Richard at her most raw and exposed. This year, Richard’s musician father experienced mini strokes while being diagnosed with cancer; and last year, her cousin Cisco was fatally shot seven times in New Orleans. Richard channels the emotional impact of these traumatic experiences of loss into her lyrics and vocal performances, which are left bare and human here, raw and unprocessed across the album. Quiet expands the definitions of what constitutes progressive, avant-garde R&B by rewriting them altogether. On paper, Richard and Zahn’s audacious, impressionistic musical collaborations feel like a surprising match. Richard, a New Orleans–reared visionary, has had an improbable journey from late 2000s reality television and mainstream pop with girl group Danity Kane to become one of the most prolific, experimental, and visible indie R&B singer-songwriters of the last decade and a half, with seven solo albums under her belt. Zahn is an East Coast–raised multi-instrumentalist and composer working at the intersections of jazz, Americana, classical, and ambient pop. His growing solo discography includes People of the Dawn, Sunday Painter, Pale Horizon, and Statues I & II, as well as the duo’s first release, Pigments. “Pigments was one of the best projects I’ve ever made,” Richard says, “and the furthest I’ve ever been pushed as an artist.” The album was a critical hit, hailed as Best New Music by Pitchfork and receiving praise from Stereogum as Album of the Week, NPR Music, Bandcamp Daily, The Fader, Bitter Southerner, and Edition, among many other publications. The making of its follow-up, Quiet in a World Full of Noise, began in 2023 in upstate New York. Fresh from a break-up, Zahn sat at his piano and poured himself into writing and recording instrumental compositions. “I wrote all these stream-of-consciousness pieces on piano, and they were eerie, spacious piano tracks,” he said. He used a piano that had been unconventionally tuned to the room rather than to standard pitch. These oddly-tuned, eerie instrumental recordings were never intended to be an album. Six months later, he listened to the recordings again and sent them to Richard who immediately recognized their potential and said, “Oh, this is the next album.” Richard went into the studio the next day and wrote and recorded melodies and lyrics to Zahn’s piano recordings. Zahn brought in gifted musicians like Bryan Senti on strings (violin, viola, and violoncello da spalla) and CJ Camerieri on brass (French horn, flugelhorn, and trumpet). In some cases, like on the track “Life in Numbers,” Zahn used only the original first-take piano recording and scratch vocal, resulting in an intimate close-up of both Richard and Zahn.

The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pestelnik on drums. The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove. Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’. Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs. According to Tony in Zig Zag’s John Tobler’s sleeve notes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.” “A deep excursion into musical depths further down than Canned Heat ever dared go.” The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, an aching solo Tony TS McPhee track

Bones Shake are a scuzzy, fuzz enthused garage rock trio formed in Manchester in 2011. They play everything to the extreme; violent bottle-neck blues riffs, drums kicked, pounded and exploited and squeals of reverb drenched vocals which when combined, will help save your soul. With a relentless energy, they’ve never taken their foot off the gas. In July 2022 they released Bleed to critical acclaim, itself the follow up to 2019’s debut LP Sermons. Purge sees the trilogy complete. Through tirelessly playing across the UK and Europe, their cult following makes them one of the best not so kept secrets in the underground scene. Wherever they go they fill out venues and have now played the infamous Raut Oak festival twice. With a string of previous releases under their belt, they have gone from strength to strength and attracted attention worldwide. Imagine a desert dive bar, the only bar in a hundred miles, the soundtrack as the shots fly is Purge. Talking about the LP, Bones say that “we needed to purge ourselves of these songs so we stuck two fingers up, lodged them at the back of the larynx and spewed out a new album.” Opener ‘Banshee’ wastes no time in providing that proverbial kick to the face these guys are infamous for. With a gnarly vocal and guitar interplay you’re hooked from the first note; the intensity rises with every rotation and if this one doesn’t leave you breathless you are not listening loud enough. ‘One Kiss’ is a filthy little blues number that taunts and teases, while ‘Pretty Little Things’ takes you on a journey through their sound bringing out all the bumps and grinds you could possibly muster. ‘The Creeper’ is a bit different to their usual, adding a sense of intrigue and unease that draws you in deep. Lead single ‘Let Go’ is an adrenaline fuelled expedition through all the best parts of their sound, with a few surprises thrown in for good measure. ‘Passive Intervention’ changes track a little, keeping you aurally attentive while title track ‘Purge’ is the experience that can’t be surmised, get the volume up high and release. With its rolling, thunder-esq. drums, closer ‘Stench’ rounds things off in the best way; leaving you wanting more. Purge is without doubt their strongest and most visceral release to date, dare you miss out on this experience

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

After a handful of EPs and a Long Player, Athens CHAIN CULT are back, and bring more post-punk angst. Their 2nd album continues the ideas of their previous releases, but in a much more thoughtful and crafted manner. Indeed, the production has stepped up and the result is an album that surpasses any of their previous work. A precise rhythm section overlaid by a dreamy soundscape of cleverly interwoven guitar work frames catchy anthems which depict an inner anguish or the collateral damage we all suffer from our capitalist hellscape, or both. Imagine listening to THE CHAMELEONS or THE SOUND but you wished for a harder edge, more direct, more straight, and a more punk take on things. Then Harm Reduction is what you need. Both singles of the album come accompanied by videos to be hosted at LVEUM YouTube Channel. An album to be listened to over and over; an apt accompaniment to watching the world burn

Crypt of the Wizard is proud to present Necro Soft - Don't Test the Unmaker's Patience on vinyl and digital formats. What if the devil recorded a record? Would it scream for attention as loud as it could, with all knobs turned to 10? Would it be just another relentless wall of noise vying for your shortened attention, only to be forgotten while the next hot thing is being released, but this time, once again, promising a more raw and extreme experience than previously imagined? Seems unlikely. Satan is a subtle seducer. Luring and waiting are his tactics. His is the insidious rhythm that runs down your leg, causing your foot to tap while your lying lips are still saying, "This isn’t really my kind of thing." All sequins and satin, laughter and fun, while whispering in your ear about his plans for the final destruction of the infinite universe so quietly, you forget to stop enjoying yourself. Necro Soft’s debut LP Don't Test the Unmaker's Patience is crafted from this very notion. Rising from Copenhagen’s unrelentingly creative Mayhem scene with connections to bands such as Ryg Din Sidste Bøn and Gabestok, you already know you’re in for something special. With the devil at the helm and influenced as much by contemporary black metal as by the UK big beat scene of the 1990s, bands such as The Prodigy are seldom listed as having an impact on underground metal records, but here we are! A shimmering wash of drum machine rhythms and perpetual pop production designed to ensnare listeners with its irresistible beats while subtly corrupting their souls. Listening to Necro Soft is akin to entering some kind of damned Heavy Metal disco, high as a kite, and fixating on the glittering mirror ball in the ceiling before noticing that the floor is sticky with blood.

Crypt of the Wizard is proud to present Necro Soft - Don't Test the Unmaker's Patience on vinyl and digital formats. What if the devil recorded a record? Would it scream for attention as loud as it could, with all knobs turned to 10? Would it be just another relentless wall of noise vying for your shortened attention, only to be forgotten while the next hot thing is being released, but this time, once again, promising a more raw and extreme experience than previously imagined? Seems unlikely. Satan is a subtle seducer. Luring and waiting are his tactics. His is the insidious rhythm that runs down your leg, causing your foot to tap while your lying lips are still saying, "This isn’t really my kind of thing." All sequins and satin, laughter and fun, while whispering in your ear about his plans for the final destruction of the infinite universe so quietly, you forget to stop enjoying yourself. Necro Soft’s debut LP Don't Test the Unmaker's Patience is crafted from this very notion. Rising from Copenhagen’s unrelentingly creative Mayhem scene with connections to bands such as Ryg Din Sidste Bøn and Gabestok, you already know you’re in for something special. With the devil at the helm and influenced as much by contemporary black metal as by the UK big beat scene of the 1990s, bands such as The Prodigy are seldom listed as having an impact on underground metal records, but here we are! A shimmering wash of drum machine rhythms and perpetual pop production designed to ensnare listeners with its irresistible beats while subtly corrupting their souls. Listening to Necro Soft is akin to entering some kind of damned Heavy Metal disco, high as a kite, and fixating on the glittering mirror ball in the ceiling before noticing that the floor is sticky with blood.

"A group of tried-and-true musicians got together and found the sort of camaraderie and kinship you typically only find once in a lifetime. They didn’t overthink it. They didn’t waste a second. They simply left their blood, sweat, and tears on tape—like they’ve always done. For as much as Better Lovers represents the union of former Every Time I Die members Jordan Buckley guitar,Steve Micciche [bass], and Clayton “Goose” Holyoak [drums] with The Dillinger Escape Plan and Killer Be Killed frontman Greg Puciato [vocals],and musician (Fit For An Autopsy/END) and GRAMMY® Award-winning producer, Will Putney [guitar], it really cements the bond of five friends around a shared vision. That vision is as uncompromising, unapologetic, and undeniable as anything they’ve individually done, yet it’s refined by experience and a commitment to a future together. They’re in it for the long haul... “To me, this band is refreshing,” exclaims Jordan. “Looking back, I’m so happy everything got me to where I am. The pandemic and the last few years made me hungrier and more grateful. This isn’t a hobby. This isn’t temporary. This is the next evolution for each of us. Greg and Will rejuvenated me and made me even more confident.



Now, everybody needs to know we’re a wild animal that just broke out of the zoo—there’s no trying to put it back in the cage.” “Better Lovers definitely feels like its own thing,” states Greg. “I’m in so many lanes right now, so it was important that one lane didn’t step on another. However, nothing I’m doing is this vicious. This is full-on scathing. It’s been really fun. I forgot how much I liked that.” As the story goes, Jordan ended up back in Buffalo, NY, jamming in a basement rehearsal spot with Steve and Goose during the winter of 2022. After working with Will on the last two Every Time I Die records, they shared a handful of early demos with him to produce. As the year progressed, Jordan caught Greg on the road with Jerry Cantrell in Las Vegas, mentioning the new music. Once ideas solidified, he shared them with the vocalist who replied at 3am one night in December. “The text said, ‘Let’s give these motherfuckers what they want’,”chuckles Jordan. “I went to bed smiling and laughing. There is no one like Greg on stage, off stage, or over text. Once I told Will, he was like, ‘Can I play?’ We said, ‘Of course!’ That’s how it was born.” “Once I pick up the scent, I’ll go for the kill,” smiles Greg. “We’ve all hung out, gotten to know each other, and it’s all fire now. Everyone has already been through shit. You know yourself better. Your ego isn’t as big as it used to be. You can share your opinions. It’s a cool dynamic.” Fittingly, they introduce this era with the single “30 Under 13.” A seasick guitar groove bleeds into an incisive riff punctuated by Greg’s vitriolic and venomous screams, “Hold onto me, try to let go of me, let go of what you’ll never be. ”This barrage unpredictably subsides on a haunting clean vocal, only to ramp back up into a pit-splitting thrash crescendo and rapid-fire solo played at warp speed. “We always try to up our game,” notes Jordan. “This is the next step for all of us. There’s just constant forward motion, and we don’t want to compromise that. We want to keep going. We’re doing a lot of shit we haven’t done before in Better Lovers. I’m not going to spoil it for you, but get ready.” “For some reason, this song got me,” recalls Greg. “Once that happens, you have the toe of the dinosaur skeleton in the dirt. You start brushing it away, and soon you have a fucking T-Rex.” The name might give you a hint of what’s coming—or it might not. So, what does the future hold for Better Lovers? Well, it’s entirely in their control. Expect a lot of touring. Expect more music. Expect these five guys to leave a trail of destruction in their wake—really would you want anything less? “We feel like we’re going to explode if we sit around any longer,” Jordan leaves off. “This is my life’s work. I learned all of my lessons, passed all of the tests, and took all of the right turns and the wrong turns. It turns out what I thought were wrong turns got me here, and that’s all that matters. I have no regrets. I know this is what I’m supposed to be doing.” “I just want you to view this on its own merits,” Greg concludes. “I hope it reaches some new people. For me, the enjoyment is making the music and putting it out. The second it’s released, I don’t look back. You drop the bomb and keep flying the plane. You don’t circle back to see how much destruction you cause. You keep moving, which is what we’re going to do.” "

Dive deeper into the studio with the Alternate Version of The Velvet Underground's "Loaded" album. A track list that features early versions, demos, and alternate mixes of their iconic tracks like "Sweet Jane," "Rock & Roll," and "Oh! Sweet Nuthin'." These versions offer a glimpse into their creative process and the iconic sound of Velvet Underground.