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A RADICAL HORIZON is comprised of a series of duets between cellist Lori Goldston and pianist Stefan Christoff, recorded on a late Fall afternoon in Brooklyn, NY. A conversation between friends, these improvised excursions reflect a willingness to be open to the spirits in the space and between the notes; a spirit of communion that, as Stefan writes, "guides and dances with our dialogue together".

Stefan Christoff is a Canadian musician, community organizer, and journalist based in Montreal, Quebec. He has collaborated with artists such as Sam Shalabi and Adriana Camacho, performs with his brother Jordan as a duo in Anarchist Mountains, and has released music on labels such as Moon Villain, Shimmering Moods, and Aural Canyon.

A lifelong community activist, he helped establish the Musicians For Palestine project and has engaged in street-level solidarity work in Lebanon and The Philippines as well as closer to home in Montreal. This is his second appearance on Beacon Sound after 'In Sofia', an album of piano improvisations recorded in Bulgaria, was released on the label in 2023.

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, her work drifts freely across borders that separate genre, discipline, time and geography.

Current and former collaborators and/or bosses include Earth, Nirvana, Mirah, Jessika Kenney, Ilan Volkov, Eyvind Kang, Stuart Dempster, David Byrne, Terry Riley, Jherek Bischoff, Malcom Goldstein, Steve Von Till, Lonnie Holley, Cat Power, Ellen Fullman, Maya Dunietz, Mik Quantius, Embryo, O Paon, Tara Jane O’Neil, Natacha Atlas, Broken Water, Ed Pias, Christian Rizzo and Sophie Laly, Threnody Ensemble, Cynthia Hopkins, 33 Fainting Spells, Vanessa Renwick, Mark Mitchell, Lynn Shelton, and many more.

Her work has been commissioned by and/or performed at the Kennedy Center, Sydney Festival, Cineteca Nacional de México, Tectonics Festival, Frye Art Museum, Time Based Art Festival (TBA), WNYC, The New Foundation, Paris Fashion Week, Northwest Film Forum, On the Boards, Seattle International Film Festival, Seattle Jewish Film Festival, Bumbershoot, Crossing Border Festival, Boston’s Museum of Fine Arts, Joe’s Pub, the Stone, University of Chicago, and venues large and small throughout North America, Mexico, Australia, and Europe.

The Post-Punk Synth Alchemists return with new album ‘Strange Loops’. With blistering rhythms and searing bass, AK/DK return with their highly anticipated fourth album, ‘Strange Loops’. It builds on the momentum of their previous release; Shared Particles, which sold out of the Dinked edition even before its release and achieved no. 7 in the Indie Record Store charts. Known for their trademark motorik energy and riotous joy, AK/DK are back, and for the first time, they’ve introduced guest vocalists into the fray. This new release sees the drum and synth duo collaborate with three exciting artists: the musician TVAM, punk poet - Thick Richard, and I Am Fya; sound artist. The angular guitars and spaced-out vocals of TVAM intertwine with the duo’s driving beats and convulsing synths, resulting in the pulsating Devo-esque powerhouse of ‘Square Route’. The two bands have been crossing paths on festival line ups for a while now and it seemed inevitable that they should join forces. I Am Fya’s usual experimental textures and sound-collage is temporarily put to one side on ‘Pull Up’. For this deep and heavy sub-rattling cut; I Am Fya and AK/DK lean heavily into sound system bass and dancehall style. Her febrile and powerful vocals interweave with tectonic sub bass and stuttering rhythms, sounding like Missy Elliot jamming with a modular synth. Manchester’s very own Thick Richard adds his lyrical, jet-black humour to the track ‘Nobody Shouts’. Their collaboration began when the band invited the punk poet up for an impromptu improvisation during their set at Beatherder festival 2020. It went down so well that they had to record it; learning the track from fan footage online. This is nothing new for AK/DK, creating powerful improvised moments for those lucky enough to be in the audience. Strange Loops presents two distinct halves of music. The A side offers sure-fire bangers that will linger in your ears and have you pounding the dance floor, while the B side delves into more experimental and ambient territories with completely live takes from the studio, reflecting the duo’s love of ‘70s German Kosmische bands. “We always had more ambient experimental tracks on our records, and wanted to give them a spotlight on this release” says the band’s Gee Sowerby. Their previous releases have earned accolades such as BBC 6 Music’s ‘Album Of The Day’ and impressed judges on Steve Lamacq’s Roundtable, solidifying their reputation as pioneers in their genre. It’s on stage where AK/DK truly come to life. Their electrifying performances, characterised by joyous live-looping of keyboards, drums, and distorted whoops, have made them a fervent fan favourite for over a decade. They’ve left an indelible mark on audiences at festivals like End Of The Road, Blue Dot, and Green Man, winning over new audiences wherever they play. With Strange Loops, AK/DK continue to push boundaries and defy expectations, reinforcing their status as one of the most dynamic and innovative acts in the scene

Anna McClellan's childhood summers were spent in front of the TV, cementing a love of narrative that would later reveal itself through songwriting. By seventeen, Anna was performing original songs in her hometown of Omaha, Nebraska. Her debut album, Fire Flames, garnered attention and earned her an opening slot on a Frankie Cosmos tour, setting the stage for her subsequently adored albums, 2018's Yes and No and / saw first light, released in late 2020. Now, with her forthcoming fourth album Electric Bouquet, out October 25, 2024 via Father/Daughter Records, McClellan crafts a musical journey that unfolds like one of her cherished television series. Each track is an episode, chronicling the past four years of her life - navigating a career change, a cross-country move, and relationships gone sour. Electric Bouquet is a narrative tour de force showcasing McClellan's remarkable ability to transform life's myriad of messy experiences into captivating musical stories. While writing the album, Anna attended trade school, apprenticing to become an electrician to escape the service industry grind and secure a foundational career alongside music. Eager to break free from Omaha, she decided to take her newfound electrical skills to pursue a career in the film industry in Los Angeles, CA where she's now based. Recorded in multiple sessions in Baltimore, MD and Omaha and co-produced with long-time collaborator Ryan McKeever and Another Recording Company Studios engineer Adam Roberts, Electric Bouquet shifts seamlessly between piano-driven melodies and guitar-anchored anthems, each song a miniature universe slowly opening unto itself.

Die Band, welche Alternative Country zum Durchbruch verhalf, ist zurück! 1983 begann Lone Justice in den Clubs von Los Angeles zu spielen und machte sich schnell einen Namen. 1984 bereits wurde man von Geffen Records unter Vertrag genommen, 1985 erschien das selbstbetitelte Debütalbum, mittlerweile ein Klassiker der Rockgeschichte mit geradezu ikonischem Cover. Die LA Times kürte es zum "Album des Jahres". Sie spielten Konzerte mit U2, Tom Petty & The Heartbreakers und Willie Nelson. Doch bereits nach dem zweiten Album löste sich die Band früh in 1987 auf, Sängerin Maria McKee und auch die Instrumentalisten begannen ihre Solokarrieren. Nun hat die Band 38 Jahre später ein neues, drittes Album fertiggestellt, mit zum größten Teil inspirierten Interpretationen von Fremdmaterial und Tradtionals, auf dem alle ursprünglichen Mitglieder des Debütalbums noch zu hören sind: Maria McKee, Ryan Hedgecock, Marvin Etzioni und auch der mittlerweile verstorbene Don Heffington. Zu den zusätzlichen Gästen gehören die Streicherarrangeurin Tammy Rogers, der Multihornist David Ralicke, Greg Leisz an der Steel-Gitarre und Benmont Tench am Klavier. Das Eröffnungsstück "You Possess Me" stellt Sängerin McKee in den Mittelpunkt, nur unterstützt von einem Streicher- und Mandolinenquartett. "Rattlesnake Mama" war einst ein dröhnendes elektrisches Stück in ihrem Live-Set von 1983 - diese Version ist jedoch rein akustisch mit Hedgecock an Harp und Tammy Rogers an der Fiddle. Später kreischen sie durch eine juvenile, atemberaubende Coverversion von 'Teenage Kicks' (der 1978er Single von The Undertones). Die Energie hält mit spürbarer Begeisterung für die Musik an und lässt Viva Lone Justice zu einem unerwarteten, inspirierenden Comeback werden. Lass den zweiten Frühling von Lone Justice auch dein Herz berühren, auch deine Scheune mit Folk, Rock, Country & Americana abbrennen.

Reissue of the Philadelphia group"s gritty psychedelic milestone, "Set And Setting" from 1999. The songs on Bardo Pond"s first two Matador releases - "Amanita" and "Lapsed" - were largely worked up at home and then recorded on the clock at a professional studio. On "Set and Setting," the band chose to work out of its home base, Lemur House, and the end result benefited from the open-ended DIY flexibility. "It was closer to the heart of what we do," says guitarist Michael Gibbons. "There was more improvisation, but also more culling of material. We had more time to find things that jumped out at us, go places we wouldn"t normally go, do investigative work. I think there was a shift. It"s just somehow a more true experience of Bardo Pond."

“Friends, they are my ticket out of this place I am in… feels like nothing more than a dirt bike vacation stop between Phoenix and San Diego.” Dirt Bike Vacation—for Worried Songs Records—explores the sonic world of the late amateur guitar player, Charles ‘Poppy Bob’ Walker, through a captivating set of instrumental songs made in the mid-1980s. Recorded on a single-track, Marantz field recorder, the project is a transportive document of Walker’s days spent as a meatpacking employee in Yuma, Arizona and the dailiness of that existence: driving to work, sitting in his backyard, walking around drunkenly, unwinding on the couch with a friend. These sketches, showing an experimental tendency, are surprisingly ahead of their time; some exhibit ad hoc tape delay (“Granite Bluffs,” “Goodbye YMCA”), while others make use of primitive overdubbing (“Continuation to Moon Doctor”). Not dissimilar to works such as Bruce Langhorne’s The Hired Hand soundtrack, Walker’s guitar playing is melodic, texturally rich and beautifully sober. On a musical tour from Nashville to Los Angeles, musician-archivist, Cameron Knowler, uncovered these songs from a series of dusty cassette tapes housed at a branch of the Yuma County Library. Originally tipped off by cryptic metadata entries found through an online finding aid, Knowler requested a sound sample and was immediately drawn in by their eerie, yet hopeful nature: “I didn’t care what they sounded like at first, but once I heard just a few seconds, I had to find out everything I could about Charles, who he was, and if he was still alive.” As it turns out, the two had miraculously crossed paths over 20 years prior when Cameron was a young boy accompanying his mother, a gem trader, on a biyearly sojourn to Quartzsite, a town 80 miles north of Yuma: “Charles, sitting down and smoking in a recliner, withdrawn, held what I now understand to be a mid-1990s Martin D-28 guitar. Unlike other old-timers, his instrument was sharply tuned and had a nice sound, even to my young and uncalibrated ears. Though his left hand showed signs of highly developed arthritis, his musical ideas were animated by a palpably deep understanding of fretboard anatomy, arrangement and harmony.” Sorting through the index cards associated with these tapes, Knowler was able to gain a detailed sense of most recording’s provenance, whereabouts and time: Walker’s Datsun pickup truck chugging along boiling hot Interstate 80, the Marine Corps Air Station parking lot, the Eastern Wetlands on the banks of the Colorado River, a fishing trip to Martinez Lake. Trying to reduce the amount of his own subjectivities coloring the work, Cameron constructed titles and track sequences by borrowing information gleaned from Charles’ handwritten notes: “I tried to organize everything by time of day, giving the listener the sense of how a Yuma day might sound and feel like, and each song title—even the record itself—is borrowed from his own words.” This proved no small task, as many notecards had to be deciphered and then coupled with their native tapes which needed extensive restoration treatments. The result is a project very much out of the blue, and one that is intensely personal to Knowler, having grown up in the same town under similar circumstances. “It feels like a part of my own journey as a guitarist reckoning with the defining marks of a gothic border town,” he remarks. “At the time I would’ve met Walker, I didn’t have much outside influence, but he has been in there all the while.” In their current form, the tracks combine to create a sonic journey that boldly contributes to the traditions of acoustic guitar soli, archival digs and field recordings all the same; most importantly, it is a creative document which shows a day-in-the-life of a man grappling with the human experience under a ubiquitous Yuma sun.

Minimal wave legend Das Ding is back on Electronic Emergencies after 10 years with a stunning selection of archival tracks from retrieved tape recordings. In the early eighties, Danny Bosten got together with his friends after school in his bedroom studio, somewhere in the bleak Dutch countryside. They experimented with cheap analogue gear and made music to kill time. The sound is raunchy and slightly experimental, but already unmistakable Das Ding. New wave, early EBM and proto techno are found this album, pressed on clear vinyl. To preserve the original atmosphere and sound, the tapes received the Ruud Lekx mastering treatment.

High Roller Records, Black Vinyl, 425gsm heavy cardboard cover, insert, poster

High Roller Records, Orange/ Black Mixed Vinyl, 425gsm heavy cardboard cover, insert, poster

Pique is the sensational debut solo album from Dora Morelenbaum, one of the key talents spearheading Brazil’s new musical wave. A member of the Latin Grammy award-winning band, Bala Desejo, Dora showcases a new side to her solo productions on this special LP. Whereas Dora’s first solo EP, Vento de Beirada, was a leap of faith, Pique sees her soaring as one of Brazil’s standout stars, emboldened, emphatic but ever elegant. Building bridges between past and present, it’s a funkier, more groove-based affair, weaved together with those signature, slower, celestial tracks. Touching on disco, MPB, soul, R&B and jazz, the album is enriched with an indie pop aesthetic courtesy of fellow Brazilian star and co-producer, Ana Frango Elétrico.

With an ethereal, enveloping air few can match, Dora’s gift shines through both the serene and the spirited songs contained within. The blissful, sun-soaked ‘Não Vou Te Esquecer’ opens, before the funk-fuelled, feel-good ‘Venha Comigo’ and ‘Sim, Não.’ give a glimpse of the creativity bursting from the production partnership between Dora and Ana Frango Elétrico. Elsewhere, the album reclines into hazy lean-back realms via ‘A Melhor Saída’ and ‘Petricor’, virtuoso jazz funk in the form of ‘VW Blue’ and radiant MPB through the album’s title track ‘Pique’.

The drumming is tight, fresh and swung, the horns and strings deftly arranged, as funk-driven basslines and strutting guitars mesh with playful production touches that give an added vibrancy to the record. It is an album that exhibits every side of Dora and one she has been involved in from the ground up, from the songwriting, singing, arrangement and production to booking the studio time and sourcing the artwork designer, Maria Cau Levy.

An exchange of musical ideas powers every great scene and Rio’s contemporary landscape is no different - a family of interconnected musicians and friends that collaborate on each other’s productions. Pique is graced by a wealth of these leading Brazilian lights including her Bala Desejo bandmates Lucas Nunes, Julia Mestre and Zé Ibarra, as well as Guilherme Lirio, Alberto Continentino and Tom Veloso to name just a handful. This exchange crosses generations merging tradition with modernity. In a full circle moment, Dora’s parents Paula and Jaques Morelenbaum, who featured in countless recordings from Tom Jobim's Nova Banda and Ryuichi Sakamoto to Gal Costa and Gilberto Gil, join on the album through backing vocals and arrangement.

Pique sees Dora embrace a freedom through fresh forms, showcasing the depth and diversity of her creative artistry. An infinitely listenable release that nods to Brazilian greats like Gal Costa, Banda Black Rio and Lincoln Olivetti, fused with the indie pop edge of Ana’s production. The result is truly unique and sure to be a future Brazilian classic.

2024 coloured (violet) vinyl repress for this year's Sonic Cathedral's 20th anniversary! Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year's If Not, When? EP. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. "The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs_ basically every cliché topic that you could think of," reveals frontman Ryan Smith. "But that doesn't mean they ever stop being relevant. It's a fucker growing up, but I'm lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I've ever met." And that band name, in case it needs explaining, is pronounced the same way as the album title. "I never thought I'd get to the stage where I would have to explain it so much," says Ryan. "We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We're all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title." He's right. The perfect title for the perfect debut album. "A modern day shoegaze classic" - NME "The general roller coaster of being twenty-somethings in post-Brexit England who find themselves awash with a shimmering soundscape that recalls Oshin-era DIIV, Deerhunter's Microcastle, or even The Cure at their most ambiently grandiose" - Under The Radar

A steady and sure buzz has been building around Steve Young’s ‘Scarper’ project over the past few years, particularly since his acclaimed 2017 debut album ‘Warmer Squares’ and subsequent dancefloor favourite ‘E-Funk', which won over fans from Skream to Carl Craig with its genre-crossing appeal.

Marking a noticeable shift in direction and a new sense of focus, Scarper returns with four tracks of varying styles and influences. Drawing from dub, techno, breakbeat and rave, he mainly shoots for the floor (with a clear emphasis on bass weight), although as always, there is ample headphone fodder.

Opening with ambient intro 'Wavecrush,' Scarper moves through dub- infused downtempo with the Weatherall-esque chugger 'Metadub,' swiftly picks up the energy with the chunky beats and deep bass of

‘Metadome,’ and concludes with high-octane face melter 'Slab,' which throws tech-breaks, dark garage and jungle/hardcore vibes into the pot.

More quality from Scarper.

erste Vinylveröffentlichung eines Metalklassikers der 2000er
Jahre
-remasterte Doppel LP im Gatefold mit 4-Seiten-Booklet
-enthält eine Manilla Road Coverversion und weitere rare
Bonustracks
-einige Mitglieder spielten später bei u.a. Manilla Road,
Savage Grace und Trance
Aus den Überresten des True Metal-Projektes SEDUCTION,
welches von einem Management initiiert wurde, entstand
2004 eine richtige Band: VIRON. Im Gegensatz zu SEDUCTION
klangen VIRON direkt erwachsener und bodenständiger.
Einflüsse des US-Metal und der NWOBHM mischten sich mit
Europäischem Metal, was 2004 durchaus etwas Besonderes
für eine deutsche Gruppe war. Der traditionelle Heavy Metal
kam nach Grunge, Crossover und Gothic langsam wieder auf
die Füße und VIRON waren bei dieser Entwicklung früh dabei.
Die erste, von der Band veröffentlichte EP, die auch schon
den Namen NWOGHM (New Wave Of German Heavy Metal)
trug, schlug im Underground ein wie eine Bombe und man
spielte noch ohne Plattenvertrag einige Shows, u.a. beim
Headbangers Open Air in der Nähe von Hamburg. Das rief
die Labels auf den Plan und man entschied sich 2006 für die
griechische Firma Sonic Age (aka. Cult Metal Classics). Die EP
wurde um weitere Songs, die im gleichen Studio (Kohlekeller
Studio) aufgenommen wurden, aufgestockt und zum Album.
Nach durchweg traumhaften Albumreviews folgten Auftritte
beim Sworbrothers Festival, United Metalheads und mit Bands
wie Sabaton, Custard oder Solemnity.
VIRON wechselten 2007 zu Metal Heaven Records und
veröffentlichten 2008 den erfolgreichen Nachfolger „Ferrum
Gravis“. Der damalige Slogan „Underground Metal für die
Massen“ passt wie die Faust aufs Auge, denn das druckvoll
aber natürlich produzierte Album schlägt den Spagat zwischen
der Undergroundszene und, nennen wir es „gängigem Heavy
Metal“. Insider würden vielleicht sagen „zwischen LaudaKönigshofen und Wacken“. Das zeigt auch die gekonnte
Coverversion des Manilla Road Klassikers „Dreams Of
Eschaton“. Leider zerfielen Viron einige Monate nach dem
Release von Ferrum Gravis, aber die Band wurde zu einem
Sprungbrett für drei Mitglieder von Viron, die später u.a. bei
Manilla Road, Trance, Savage Grace, Roxxcalibur, Bonfire und
Jameson Raid auftauchten.

Big Crown Records is proud to present the reissue of one of Brooklyn’s most sought after “holy grail” soul records, YIA Talent Hunt Winners. Youth in Action, Inc. (YIA) was formed in 1963 when the Central Brooklyn Coordinating Council received a grant to develop a youth services program in the Bedford-Stuyvesant community. It was originally organized to identify and address the social problems that were leading to the high crime rate in Bed-Stuy. Recently the Smithsonian Museum of African American History released an archive of footage filmed by a community activist, which shows the real-world effects of the group’s efforts: young people engaged in sports, the arts, and other activities to better themselves and their world. The appearances by Jackie and Bobby Kennedy point to the group's relationship to the Great Society programs of President Lyndon B. Johnson. What there is no mention of in either the NMAAHC’s collection of YIA materials nor in the Brooklyn Public Library’s also extensive collection is this talent show and the record that came to be because of it.
Local vocal groups chose tunes to cover from the era (1964 - 1968) ranging from The Rascals to The Intruders, from The O’Jays to Billy Stewart. All of these groups were backed by a local act called The Thrillers Band. The winners of the talent contest were then invited into the studio to record their versions which would be pressed up on this record and given away to local radio and TV stations. The hope of the whole thing was that this would help the young groups get discovered by producers and record labels and start their professional music careers. The intro to the album is Reverend Horace Tyler congratulating the winners and asking them “to just remember, when you reach the top and become our big stars of tomorrow, don’t forget YIA”.
What this album may lack in fidelity and production it more than makes up for in charm. The engineers at the recording sessions pump in pre recorded applause and screaming to give the it the feel of the day of the contest while the young groups sing their hearts out, clearly giving their all. From today’s perspective, soul music fans will lose it over the choices of covers on this record and the killer, raw, innocent performances of them by these local Brooklyn groups. The Channels 4, Carla & The Carlettes, The United Souls, Sharon Seabrook & The Starlettes, and The Destinations all won that day and got to take place in this record. It makes you wonder, and even pine for the performances of the groups who didn’t make the cut, even if just to find out what tunes they covered, or better yet, were their original songs written by some of them for this contest?
It is with great pleasure that we make this available to the public again. This is a truly rare record, and an awesome piece of New York History.

'a masterclass in hardcore dancefloor and bittersweet feeling...Alex Crossan is both acclaimed and not feted enough' **** The Observer

Available on his own Pond Recordings, Curve 1 is a love-letter to club spaces, and the music and people who fill them.

Mura Masa’s forth album is a full-circle moment. Departing from the pop-leaning narrative and who’s-who guestlist of his most recent records, Curve 1 heads back down the rabbit-hole of club music that’s alternately euphoric, introspective, nostalgic and future-facing. Full of tension and release, ambiguity and playfulness, the significance of Curve 1 is left up to the individual: whether enjoyed solo or in the sweat of a packed room, here is music as enigmatic and layered as its author.

Mura Masa himself introduces Curve 1 as 'a manifestation of an attitude I’ve been cultivating in my personal life; ignore everything. All the content, all of the attention economy, all of it. In doing that, the really meaningful and vital parts of what’s around you make themselves known and unignorable, demanding your energy. It’s my first offering as an independent artist through my own record label, and as such I wanted it to be as free and anti-narrative as possible. Impressionistic. Music as entertainment has in many cases, to me, become very advertorial and excessively sentimental in terms of creating narrative around albums and artists. I wanted to strip this away as much as possible to leave room for the music to create its own meaning in the lives of people who form connections with it. It's hard for me not to explain away the intricacies and ideas contained within these records after having theorised and tolled and executed them over the course of nearly three years, but I think it’s far more fitting of the album’s intent to say simply: listen to it in the dark.'

Curve 1 pulls Mura Masa into focus as one of this generation’s most influential figures. Aptly reflecting his rare standing at the heart of youth culture, Mura Masa recently co-wrote long standing collaborator PinkPantheress’ single ‘Turn It Up’, as well as creating a series of remixes for Troye Sivan’s ‘Honey’. From producing global hits like ‘Boy’s a liar Pt.2’ to seminal records like Shygirl’s Mercury-nominated Nymph, it’s a juncture that has also seen Mura Masa embark on a new chapter of his own. He has set up his label and a creative hub and arts space - The Pond - in Peckham as a base for emerging artists and likeminded creatives, which will launch officially next year. Across his three critically-acclaimed solo albums, Mura Masa has built an audience who will follow wherever his genre-defying work goes next; with 2 billion streams, headline festival sets around the world, and live shows ranging from Alexandra Palace to Warehouse Project.

Curve 1 marks a back-to-your-roots approach whilst also highlighting the trailblazing young star’s recurring theme: to capture ‘that’ curvature in pop culture, to make it Mura Masa’s own, and to push things forward.

'Curve 1 has a club focus, no f—ks attitude and production that’s mature, lush — simply put, it’s just cool.' billboard

'a scintillating love letter to club culture and sounds' Wonderland

'the Grammy-winning producer throws a total curveball. Ditching his usual dreamy pop, Mura goes full hardcore dance. From techno to vintage rave' **** The Mirror

'Get sweaty as Mura makes it messy' **** The Sunday Express

'a total curveball...intense but full of hooks' **** The Daily Star

'Mura Masa has always been ahead of the creative curve, but with his new album, the tenured producer is consciously forging a path inspired by his newfound independence.'

'a grab-bag of sounds from a brilliantly restless mind' Rolling Stone

Cloudy Baby Blue Vinyl. with you in spirit, the fourth Balance and Composure LP, is an arresting, atmospheric collection of melodic post-punk and towering rock. Due out October 4 on long-time collaborator and Grammy-nominated producer Will Yip's Memory Music, it's the band's first LP in eight years, and a thrilling full-length comeback after their four-year hiatus. It thunders and stirs, dipping between beautiful, crystalline arrangements and punishing, earth-shaking climaxes; in between all, a gripping, near-physical tension crackles and growls and grooves, waiting to rip open. It's an intensely self-reflective record for vocalist and guitarist Jon Simmons, an uprooting and examination of the supports on which a life is built. Preemptive grief, wrestling with god and faith, familial responsibility, familial mortality_these are the things Simmons was carrying while writing this material. They're also things he was trying, for better and worse, to avoid_ hence the record's title. with you in spirit feels like the work of songwriters reaching new heights, exploring new depths. Sometimes, the record itself feels like a band grappling with its own avoidance, its own mortality, and deciding to face these things the only way they know how. Balance and Composure are with us in spirit, yes, but in the flesh, too, for now.

with you in spirit, the fourth Balance and Composure LP, is an arresting, atmospheric collection of melodic post-punk and towering rock. Due out October 4 on long-time collaborator and Grammy-nominated producer Will Yip's Memory Music, it's the band's first LP in eight years, and a thrilling full-length comeback after their four-year hiatus. It thunders and stirs, dipping between beautiful, crystalline arrangements and punishing, earth-shaking climaxes; in between all, a gripping, near-physical tension crackles and growls and grooves, waiting to rip open.It's an intensely self-reflective record for vocalist and guitarist Jon Simmons, an uprooting and examination of the supports on which a life is built. Preemptive grief, wrestling with god and faith, familial responsibility, familial mortality_these are the things Simmons was carrying while writing this material. They're also things he was trying, for better and worse, to avoid_hence the record's title.with you in spirit feels like the work of songwriters reaching new heights, exploring new depths. Sometimes, the record itself feels like a band grappling with its own avoidance, its own mortality, and deciding to face these things the only way they know how. Balance and Composure are with us in spirit, yes, but in the flesh, too, for now.

with you in spirit, the fourth Balance and Composure LP, is an arresting, atmospheric collection of melodic post-punk and towering rock. Due out October 4 on long-time collaborator and Grammy-nominated producer Will Yip’s Memory Music, it’s the band’s first LP in eight years, and a thrilling full-length comeback after their four-year hiatus. It thunders and stirs, dipping between beautiful, crystalline arrangements and punishing, earth-shaking climaxes; in between all, a gripping, near-physical tension crackles and growls and grooves, waiting to rip open.

with you in spirit, the fourth Balance and Composure LP, is an arresting, atmospheric collection of melodic post-punk and towering rock. Due out October 4 on long-time collaborator and Grammy-nominated producer Will Yip’s Memory Music, it’s the band’s first LP in eight years, and a thrilling full-length comeback after their four-year hiatus. It thunders and stirs, dipping between beautiful, crystalline arrangements and punishing, earth-shaking climaxes; in between all, a gripping, near-physical tension crackles and growls and grooves, waiting to rip open.

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.