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"Bastian Epple makes an eagerly anticipated return to marionette under his elusive MinaeMinae guise that imagines rich sonic architectures for the journeying spirit to voyage to. Räumlichkeit is Epple’s debut album and third release to date following Gestrüpp from 2020, venturing further into melodic electronic nostalgia and percussive beat oriented soundscapes.

Growing up in a small village in southern Germany, Bastian Epple was never interested in kitschy folk sounds, rather he took solace in the time he would spend meditating to repetitive and hypnotic patterns. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to tread on this self-taught path of developing his own musical language. This led him to start experimenting with a tape recorder and layering sounds with non-musical samples to eventually working with a DAW.

Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe and graduated with a diploma in film and documentary media - where he now works as a freelance filmmaker and lecturer at Stuttgart Media University. However, this never stopped him from creating and playing with wide-eyed sounds, eventually amassing a vast collection of tunes and finally emerging from this anonymity.

Utilizing modular synth, self made tape echos, synthetic sounds, recordings of ethnic percussion and guitar, MinaeMinae understands musical material similar to documentary footage which he would splice, repitch, and rearrange intuitively into captivating worlds."

Communique Records USA re-issues the sublabel All Ears. Starting with AE002 - Timeblind aka Chris Sattinger from 1996. This high demanded record will be our in September on 180 Gramm vinyl (re-mastered and re-recorded from original DAT). Highly recommended!

The turbocharged Boosted EP from Washington DC's Jackson Ryland drops in Peach Discs. Inspired by the multi-faceted work of hyper-prolific producers such as Paul Johnson, Heiko Laux, K-Hand, Aubrey & Cari Lekebusch, Boosted's four tracks highlight the various layers that make up Jackson's sound, and confirm him as a thrilling and versatile producer whose deep understanding of dance music's history informs his firmly present approach to production.

Recorded between 2018 and 2022, Boosted splits the difference between the booming drums and trippy synth patterns of "Glass Cut" and "Hyp Gruuv," and the complex, evolving textures of "Boosted" and "Lip," the latter representing a side not often heard in Jackson's output to date. Taken as a whole, the EP fits into the long lineage of DC-based music - one defined by an effortless flexibility to flip between emotions while never forsaking the groove.

This is the 2nd release of the year on Shanti Celeste and Gramrcy's Peach Discs.

Jamie Jones and Lee Foss’ Hot Creations imprint welcomes another essential house offering as Jay Farina & Quinzi connect on ‘Pumpin The Junk’.

Collaborating to great effect on labels like Hooj Choons and Cleveland City Digital, Jay Farina and regular studio partner Quinzi have been playing across Europe while cooking up a take on house music that is fresh and full of irresistible grooves. Joining forces for their biggest release to date, the pair head to Hot Creations to open the summer with their two-track ‘Pumpin The Junk’ EP.
‘Pumpin The Junk’ is a sleazy, low-slung and driving house cut with raw and edgy percussion, while the vibrant vocals and old-school rave stabs all light up the track with the sort of character that gets a floor going wild. Next comes ‘The Buzz’, which is exactly that, the type of steamy house groove to get people moving. Rolling drums are overlaid with jumbled toms and fluttering snares before a monstrous bassline brings the warmth, while fiery vocals, drum fills and filtered FX all add more texture and tension to this red-hot offering.

Post-rock band Ativin (Secretly Canadian, Polyvinyl) returns from a 19-year hiatus with Austere, the group’s most expansive and cinematic work to date and first album for Fonoradar (EU)/Joyful Noise Recordings (US). Eschewing the explosive and aggressive playing that characterizes their earlier work, Austere finds the guitar duo of Daniel Burton (Early Day Miners) and Chris Carothers (Hunting People, Grizzly Daughter) enlisting Chris Brokaw (Codeine, Come) on drums for a more stripped down and skeletal sound. The result is a work of beauty that will undoubtedly evoke a wide range of emotions in those who hear it. Recommend If You Like: Slint, Tortoise, Low, Codeine, Early Day Miners, Pedro The Lion * First Ativin record in 19 years * Recorded by Steve Albini * Secretly Canadian and Polyvinyl alumni

In the centre of deep space we tune in to the radio broadcasts from an old Class T interstellar spaceship. The emissions endlessly resonate the frequencies of the seventeenth release on the label HC Records by one of the titans of the Valencian scene, The Lost Boys, new pseudonym of the DJ and producer Raszia.

With releases on labels such as Bass Agenda, Subsist or Hxagrm Records, the artist mesmerises our senses with the Exiles of Mars Ep, available in both double vinyl and digital.

Syncopated rhythms are the protagonists across four original tracks together
with remixes by four electro legends: Boris Divider, Estrato Aurora, Dark Vektor, and Filmmaker.

The EP’s first cut is a remix of "Wall Of Bricks" by the legendary Boris Divider, which gives the track an air of crystalline, synthetic and cosmic sound, very much in line with his latest works on the Generative Operations series. Next, we find the original version, where the kick drums are heavier, the synths and basses more colourful and the acid sequences take centre stage in an odyssey of sidereal intensity.

On the record’s flip side, a feeling of overwhelming melancholy takes root in our soul. Valencian Estrato Aurora mentally transports us to the mysterious red sand of Mars in a precise exercise in symphonic minimalism with his remix of "Exiles of Mars", which mutates the original idea with velvety pads, synths and a slow and rapturous hypnotism that sinks us to unfathomable depths.
The Lost Boys' original concept on B2 is a combination of Miami Bass-style breaks and a demonic mantra-like main synth line, backed by what seems like an infinity of pearly effects and secondary melodies, pushing the track towards a crescendo punctuated by a dry and sharp snare.

The second disc’s opener "Bust My Moves" is a masterclass in deconstruction and reconstruction by Dark Vektor with his "Electro Escuadrón Remix”. The genius from Terrassa provides powerful lyrics loaded with a message about the modern rise of the 808 movement. We return to the original Lost Boys version on C2, a futuristic martial discourse takes shape with combating breaks combined with rave chords and brief episodes of respite, almost dreamlike, in the middle and end of the track’s exciting development.

On the D side, rough frequencies verging on distortion materialise through our ship's speakers as we pick up the Colombian Filmmaker’s remix of "Data Recovery For Brains". A psychotronic final appetiser that combines harshness and elegance in the use of the rolling kick drums and saturation of the sound, it is without a doubt the ideal soundtrack to narrate the collision of two galaxies. The closing of the EP features the original track, in which The Lost Boys show us his most mental and lysergic side as the track progresses along a slow and comforting broken rhythm, made dynamic by clever use of diverse acid sequences and clairvoyant stellar melodies.

The complete artistic experience is enhanced in all dimensions with accompanying artwork by
Daniel Requeni and videos elaborated by Frank-F.

Mastering as usual by Steve Voidloss at Black Monolith Studios in London (UK).

Mike Viola is a producer, musician, songwriter and singer. Viola may be best known for his work with Panic! at the Disco, Andrew Bird, Ryan Adams, Jenny Lewis and Mandy Moore, but his solo career stands on its own starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 7 critically adored Mike Viola records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Decades into his career his music continues to resonate with and inspire new generations of musicians and music lovers. Viola is cranking out more music than ever including the fan favorites; “The American Egypt” from 2019 and “Godmuffin” from 2021. Paul McCarthy was recorded over the summer of 2022 on 1/2” tape at “Barebones”, Viola’s home studio in Los Angeles. Joined by his friends Jake Sinclair on bass and Brendon Urie on drums. Viola says, “I set out to make a sonic monster using the legs of James Gang Rides Again, the heart of Black Sabbath Paranoid, with my kid brain inside my greying middle aged head on top. I’ve hit a point in my life where instinct has taken the reins fully, logic now waits in the wings to sweep up the stage and pay the taxi fare home. This album is the result of committing to this path fully and laughing all the way.” Viola will support the album release with his first tour in over a decade with dates in Europe and the US in Winter/Spring 2023, and more dates to follow later in 2023.

Rock & Roll, Rhythm & Blues, Mambos, Cha Chas, Exotisches, unglaublich Seltsames! Zusammengestellt wurden diese raren Stücke von Professor Bop, der vielen eigentlich als Radiomoderator bekannt ist. In mühsamer Kleinstarbeit wurden längst vergessene Geheimnisse der Musikgeschichte geborgen und liebevoll zusammengestellt.
"Down At The Ugly Men's Lounge" ist eine skurrile Zusammenstellung dieser Raritäten und soll dem Zuhörer eine Tür in die Vergangenheit öffnen, zum Hören und Tanzen anregen.

A kind of hush pervades throughout Standards Vol VI, the latest release by The National Jazz Trio of Scotland, the ironically named project helmed by Falkirk’s musical polymath, Bill Wells, that is neither a trio, nor a jazz band. If this collection of ten covers probably comes closest to the latter in its late night renditions of actual standards, the presence of long-term NJToS member and collaborator Aby Vulliamy as the record’s lone vocalist adds to its solitary air. This follows Standards Vol IV (2018), which featured fellow NJToS co-founder Kate Sugden as primary vocalist, while Gerard Black, a member of the group since 2016, took centre stage in similar fashion on Standards Vol V (2019). Wells has long been a fan of Vulliamy, both of her work as a viola player with numerous collaborators, and as a singer.

Vulliamy played viola on Everything’s Getting Older, Wells’ 2011 collaboration with Arab Strap vocalist Aidan Moffat. Wells went on to play melodica on Vulliamy’s solo record, Spin Cycle, released on Karaoke Kalk in 2018. With the intent of producing the saddest heartbreak record ever made, Wells sourced a back catalogue of miniature epics, reinterpreting each tale of everyday yearning to make a canon of melancholy loungecore designed for nights in alone, if not always lonely. Beyond the concept of isolation behind Standards Vol VI, practical concerns added to the affair, with Wells recording backing tracks at home in Glasgow, while Vulliamy added her voice from her home in Yorkshire. The result on Standards Vol VI is a thing of quiet beauty that sees Wells and Vulliamy reimagine a panoply of pop classics in their own aloof sounding image.

Shades of Margo Guryan and Claudine Longet abound in Vulliamy’s delivery over Wells’ woozy, low-slung guitar and piano, with samples culled from a session with Teenage Fanclub’s Norman Blake. Little electronic percussive clicks and hisses lend things an even more otherworldly air on a record bookended by opener, Donovan’s proto hippy classic, Catch the Wind, and Dixieland miniature, Careless Love. The eight points in between take in a first half led by The Beatles’ normally jaunty We Can Work it Out, flipping the loveable mop-tops’ perky optimism for something more soul searching. This is followed by I Wish You Love, Albert Beach’s English language version of French songwriter Charles Trenet’s evergreen, Que reste-t-il de nos amours. The Bee Gees lost classic, To Love Somebody, is up next, with more impossible to answer questions coming in Why Can’t I?

The latter is a Rodgers and Hart composition that first appeared in the duo’s 1930 Broadway musical, Spring is Here, in which the show’s two heroines commiserate each other over their shared loneliness. Wells stumbled on the song in a tatty Rodgers and Hart songbook, which, like its subjects, had been left on the shelf before he and Vulliamy brought it in from the cold. The second half of Standards Vol VI leads with Matchmaker, Matchmaker, Jerry Bock and Sheldon Harnick’s much covered evocation of a pre dating app era from their 1964 hit musical, Fiddler on the Roof. This is followed by Billy Rose and Dave Dreyer’s showbiz staple (with Al Jolson also taking a credit), Me and My Shadow. While made famous by showbiz double acts ranging from Frank and Sammy to Robbie and Jonathan, here it flies decidedly solo. Johnny Mercer and Hoagy Carmichael’s Skylark comes next, a song inspired by Mercer’s yearning for Judy Garland. We hear ya, bub. The most downbeat take on Bacharach and David’s The Look of Love you’re ever likely to hear comes next, ushering in the short farewell of Careless Love, before the lights are turned out forever. Yeah, well. Whatever gets you through the night…

After performing at the same Boiler Room a cool decade ago and connecting through a love of the same genre-blurring sonics that have defined their respective careers to date, King Kashmere and Letherette were always destined to make music together.

It was only a matter of time.

And space.

As an artist who champions a dozen or so sounds, rooted in gripping pop culture aesthetics, genre-smashing production and impeccable versemanship, King Kashmere’s quest to perfect the unperfectable has seen him carve out a unique (and ever-shifting) point on the rap map.

Letherette are a duo; two school friends from Wolverhampton, with a rich release history spanning Ninja Tune and beyond, however, their current form fluxes and shifts with each creative endeavour (depending on where either they find themselves at any given fork in the road).

King Kashmere x Letherette’s collaborative EP represents something of a distillation process; avenues of thought and feeling presented as ‘TR3B’; a 7-track EP that feels more like a tapestry than a record, weighted in the experiments of the aforementioned decade, expertly presented for 2022 and beyond.

2024 Restock

"Warren 'Sonny' Sharrock died of a heart attack at the age of 53 in 1994. At the time of his death, many writers noted that he had recently landed a contract with a major label (RCA) and was perhaps 'destined for big things.' In my opinion, these writers missed the point. Although Mr. Sharrock may not have been successful financially (as though that might be a primary motivating goal for any true artist), he was uncommonly successful aesthetically. Certainly, there are a few dubious moments to be found inside his oeuvre, but Mr. Sharrock produced several of the most mind-shredding avant-garde albums ever recorded. Premier among them is Black Woman.

"Originally released on the Vortex label in 1969, Black Woman may be the universe's first true statement of guitar skronk majesty. It also represents Mr. Sharrock's first date as a leader and stands as the sole documentation of a band that well-understood the essentials of energy. Besides Sharrock's explosive guitar, the band features the omni-directional percussion mastery of Milford Graves (then in the midst of recording Love Cry with Albert Ayler), the gorgeous post-tongue vocalizing of Sonny's then-wife Linda Sharrock, the sinuous bass presence of Norris Jones (later known as Sirone) and some the most explicitly abstract piano work ever recorded by Dave Burrell. That Black Woman was produced by flautist Herbie Mann, a guy not well-known for his affinity to fire music, makes it even more intriguing." – Byron Coley

Blue Lake is the musical moniker of American born, Copenhagen based multidisciplinary artist and musician Jason Dungan, who signs to the Tonal Union imprint for the release of his new longform album ‘Sun Arcs’. It follows 2022’s release ‘Stikling’, earning a nomination for ‘Album of the Year’ at the Danish Music Awards plus warm praise from The Hum blog and musicians and DJs alike including Jack Rollo (Time is Away/NTS) and Carla dal Forno. A self taught player, Dungan began freely experimenting with self-built multi-string instruments, preferring to build his own hybrid 48-string zither and working in the realms of left-field ambient music, off kilter folk and improvised acoustic minimalism.

The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the idyllic Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.”

The album’s immersive world unfolds with the opener ‘Dallas’, an ode to his home state and a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material much like an artist would, recording and reviewing, adding and subtracting.

Musically it portrays a form of double life led by an American-identifying person living in Scandinavia, and a new found presence in Denmark, seeking out underdeveloped marshlands and barren stretches of beach adrift from other rhythms and distractions. Highlighting their individual and potent importance Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new glorying heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, borning his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery.

The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile /Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

Before there was Saturday Night Fever there was underground disco. DJs across America went out and found the music to play; dancers went out and found the clubs. At this point, in the early seventies, the disco was the venue and not a genre of music.

By the time Nik Cohn’s short story Tribal Rites of the New Saturday Night was published by New York magazine in June 1976, disco was the biggest genre of music on the charts and was about to get bigger still, becoming an all-enveloping cultural phenomenon. Cohn sold the film rights to Robert Stigwood, and his classic club yarn became Saturday Night Fever.

“Tribal Rites Of The New Saturday Night” is the soundtrack to Cohn’s story, where disco began; a 1975 score for the underground clubs of Brooklyn and Queens that played R&B, soul and Latin beats to people who lived for the weekend.

Bob Stanley has put this collection together, sourcing what was actually played in Brooklyn discos in 1974 and 1975. Only a few specific records were mentioned in Cohn’s feature, but two of them – Ben E King’s ‘Supernatural Thing Part 1’ and Harold Melvin’s ‘Wake Up Everybody’ - were cosmically great and both are included here, alongside underground favourites like Moment Of Truth’s Four Tops-like ‘Helplessly’ and Gloria Scott’s Barry White-produced modern soul classic ‘Just As Long As We’re Together’. Ivano Fossati’s incredible ‘Night Of The Wolf’ has fans in northern soul, disco and prog circles.

Without Cohn’s original story, it’s quite possible that disco would have remained an underground phenomenon – “Tribal Rites Of The New Saturday Night” paints a scene in full flower. Saturday Night Fever would eventually, if unintentionally, wreck the underground nature of this scene, and clubs like Studio 54 would destroy the democracy of the party, but for two or three years the scene was largely undocumented and magical. This album is the sound of disco before it was captured.

In the End It Always does marks songwriter and producer Amber Bain’s long awaited second album as The Japanese House. Featuring collaborations with Matty Healy and George Daniel of The 1975, Katie Gavin of Muna, Justin Vernon of Bon Iver and Charli XCX, it features some of Bain’s most dynamic work to date. Her forthcoming UK headline tour announcement saw her 1600 cap London show sell out instantly with other dates close behind. The Japanese House has been championed by BBC Radio 1, BBC 6Music, NME, i-D, Pitchfork, ES Magazine, The FADER, DIY & more. The album is available on Vinyl and CD.

The Junkyard 2 came into fruition when it was released in May of last year, as an intimate collection of what she considered her best material. Scott has been taking piano lessons since she was eight years old growing up in California, and that instrumental talent is one of the most striking elements on the record. The songs reckoned with touchy subjects -- emotional labor, insecurity, healthcare -- with razor-sharp wit and care. Even if it was recorded poorly, the brilliance of the writing and performance still resonated. After that, she realized she had to do better, and so she unveiled Public Void in September. She ditched the piano, played with software, and gave her music a texture that was bolder, weirder, and catchier. Together, the two projects and Scott’s other singles have combined to amass 87.8 million on-demand U.S. streams, according to MRC data. The landscape of TikTok is cluttered, and hits are ephemeral, but Scott’s strike a unique chord and her image is constantly growing. When asked if she considers that music will be her full time job, she pauses, reluctant to think too far ahead. “I think, for the near future, yes,” she ultimately answers. “I’m definitely not leaving college for it. But the next couple of years are locked in.” As of April 2022, “Rät” is now a gold single. The album has streamed over 350M times in under 2 years.

The Junkyard 2 came into fruition when it was released in May of last year, as an intimate collection of what she considered her best material. Scott has been taking piano lessons since she was eight years old growing up in California, and that instrumental talent is one of the most striking elements on the record. The songs reckoned with touchy subjects -- emotional labor, insecurity, healthcare -- with razor-sharp wit and care. Even if it was recorded poorly, the brilliance of the writing and performance still resonated. After that, she realized she had to do better, and so she unveiled Public Void in September. She ditched the piano, played with software, and gave her music a texture that was bolder, weirder, and catchier. Together, the two projects and Scott’s other singles have combined to amass 150 million on-demand U.S. streams, according to MRC data. The landscape of TikTok is cluttered, and hits are ephemeral, but Scott’s strike a unique chord and her image is constantly growing. When asked if she considers that music will be her full time job, she pauses, reluctant to think too far ahead. “I think, for the near future, yes,” she ultimately answers. “I’m definitely not leaving college for it. But the next couple of years are locked in.”

Jabee's Am I Good Enough is the prolific OKC hip-hop artist’s most ambitious project to date. Several years in the making, Am I Good Enough compiles four EPs of brand-new music (22 tracks total), each recorded entirely with a different producer. The resulting four EPs each could stand alone as powerful individual works, but combine to make one of the most remarkable and compelling artistic statements of Jabee’s career. Am: produced by Derek Minor I: produced by Blu Good: produced by Conductor Williams Enough: produced by Havoc (of Mobb Deep). Am I Good Enough is available on 2xLP, housed in a gatefold jacket with inner sleeves showcasing each of the four EP’s individual covers.

"Sumday is all glorious, throbbing heart." - PITCHFORK "the band also reaffirms a gift for creating melancholic melodies that are surprisingly sturdy and self-assured." - ENTERTAINMENT WEEKLY "cool indie-rockers make a summer blockbuster." - SPIN Complete 4-track demo version of Sumday recorded by Jason Lytle Available for the first time as part of the Sumday 20th anniversary

Brand new EP by fast-rising UK act Bears In Trees, coming on the heels of a huge year for the band that included releasing their debut LP "And Everybody Else Smiled Back", sold-out headline shows across the UK, and their first ever US tour. The band will be releasing a new collection of songs alongside appearances at Slam Dunk and 2000 Trees Festival, their first US headline tour, and many more UK dates to be announced.

Returning to his home base, Rotterdam based electro-techno mainstay Conforce presents a heavy pack of angular, experimental approaches on his latest offering into the Delsin databank.

Boris Bunnik's accomplished machine language has traversed deep and dubby soundscapes with punchy, club-focused fare alike, since 2010's Grace EP he has found a regular home on Delsin and it's always exciting to see what he comes up with next.

Where Conforce has commonly housed Bunnik's more melancholic, introspective work, the sound palette on Sins Of Synthesis is more tipped towards darker dimensions. The shadow of braindance looms large, guiding the music towards twitchy pattern manipulation, alien textural design and dissonant harmonics.

Bunnik's signature sense of melody can still be detected around the edges, from the distant, hazy pads of 'Charlatan' to the lingering chimes of 'Fragile', but this is a pointed new direction for Conforce and it's leading somewhere very interesting...

Fleetwood Mac is the tenth studio album by British-American rock band Fleetwood Mac, released on 11 July 1970. This was the first Fleetwood Mac album with Lindsey Buckingham as guitarist and Stevie Nicks as vocalist, after Bob Welch departed the band in late 1974.

The album peaked at number one on the US Billboard 200 chart dated 4 September 1976, 58 weeks after entering the chart, and spawned three top-twenty singles: "Over My Head", "Rhiannon", and "Say You Love Me", the last two falling just short of the top ten, both at number 11.

* Strictly limited-edition 12” vinyl in full colour sleeve
* Lemon D is an iconic name in the world of Jungle and Drum & Bass. He's been at the forefront of the scene since the 90s, producing pioneering tracks that blended breakbeats, hip-hop, and soul into a unique sound that was all his own. Releasing on some the most influential labels in the genre, including V, Metalheadz, Prototype Recordings, and of course his own imprint Valve.
* First releasing on V with the sonic depth charge that is 'I Can't Stop' in 1995, Lemon D has been part of the family since the start and with the release of this Legends 12", his second in the series, that partnership is still going strong! This new release features two previously unreleased tracks from the 90s, which have been carefully sourced and remastered from DAT by head honcho Bryan Gee for the ultimate listening experience. First up is 'Cold Chillin'' from circa 1996, and on the flip 'Get Loaded' from circa 1998/99
* The 'Legends' series is all about celebrating the classic sound that defined Jungle and D&B, and Lemon D is a key part of that. With his innovative productions and undeniable talent, Lemon D has helped shape the sound of a generation. These two tracks are a testament to Lemon D's incredible legacy in the Jungle and D&B world, and still sound as fresh
* We're celebrating 30 Years in the game this year and Lemon D has been a part of the family from the start, with tracks like 'Unexplored Terrain', 'Grimey', and '40Hz' amongst many others that are widely considered as timeless classics that have made a lasting impact on the genre.
* This vinyl release is a must-have for anyone who loves Jungle and Drum & Bass. The 'Legends' series is all about showcasing previously unreleased gems from the archives and taking fans on a journey through the history of the genre. So, don't miss out on this limited edition release and add a piece of Jungle and Drum & Bass history to your collection today!

DTR Recordings enlist the expertise of the one and only DJ Sneak for a four track of underground house excellence. A true Chicago legend Sneak is responsible for producing a seamless string of seminal house tracks from the ‘90s through the ‘00s to the present date.

For this latest EP, Sneak serves up four brand new original productions, straight up jackin’, groove-laden house bumpers that we’ve come to expect from the mind of a master.

Following the 2022 release of The Soft Moon's highly praised fifth full-length album Exister, 2023 sees the release of Exister Remixed, a harsh and textured collection of 5 remixes by some of Europe's boldest industrial techno EBM and experimental electronic artists: Phase Fatale, Unhuman, OTHR, Gael and Norbak. Hailed as "The Soft Moon's most expansive statement to date..." (Brooklyn Vegan) and a "meticulously crafted, vividly greyscale industrial post-punk" (The FADER), Exister is a post-punk industrial masterpiece engulfed in a brooding yet thundering atmosphere - and these reworkings offer an even greater layer of intensity. The Soft Moon's 'Exister' tour will continue through spring and summer 2023 across Europe, UK, Asia, and USA.

Exister Remixed is out June 23rd, 2023 on digital and vinyl 12" format. This is a joint-release between Sacred Bones Records and Bite Records (Phase Fatale's imprint).

The first ever release of electronic Jaglara, an obscure dance music being innovated in an area near the Sudan, Ethiopia, and Eritrea border called Fashaga.

Among the most raucous, hypnotic, addictive, and celestial dance styles being made anywhere in Africa, this heavy, mysterious sound is being led by one man: Jantra, which translates as "craziness," a moniker bestowed to celebrate both his personality and sound. Jantra is a rather unknown quantity even in Sudan, outside of the circles which have granted him cult status to perform at their humble gatherings or at street parties far from the gaze of the cities.

Jaglara, which roughly translates as improvisation, has no songs. Jantra simply freestyles a combination of his melodies incessantly for hours on end, acting as a live producer and DJ for emphatic crowds, where the energy of his 155 - 168 BPM music is known to inspire the odd gunslinger to raise and fire his pistol in the middle of the dance floor. His music is hopeful in a hopeless world, uplifting in spirit, ancient and new, childish and mature, familiar yet refreshingly obscure, fueled by the hypnotic Sera rhythm. His Yamaha keyboard is specially tweaked to achieve what you're hearing — the perfect, sweet key tone, literally universal in its appeal.

A hybrid reissue-contemporary album, Ostinato combined extracted individual melodic patterns, rhythms, and MIDI data from Jantra's Yamaha keyboard with his older cassette and digital recordings to recreate his lengthy sessions into individual dance tracks for a worldwide audience to reach the enviable frenzy of Sudanese crowds. This promising new dance music emerging from the deepest reaches of Sudan has never made its way outside of Jantra's parties, let alone outside of the country.

This record is confirmation that the many electronic styles being exported from Africa have a worthy sibling and rival—Jantra's signature electronic Jaglara from the Fashaga underground. It is a privilege of the highest order to be exposed to this unheralded, incredibly well kept rural Sudanese secret.

Powerful and alienating electro-techno tracks from PRZ! The Synthetic man gives us a little view of how his LFO Brain works and delivers a fierce follow-up on his 1st release on Clone. Hot tip!

100-150 TRANSPARENT ORANGE / BLACK VINYL EDITIONS Sunfruits are pleased to announce their forthcoming debut album, One Degree. In high anticipation ever since the Melbourne/Naarm band released their Certified Organic EP in 2020, the album sees their most mature and conceptual songwriting to date. As heard in recent singles ‘End Of The World’, ‘Believe It All’ and ‘Made To Love’, the album showcases Sunfruits’ knack for writing memorable pop songs and their desire to use their music for good. The album is filled with anthemic choruses, melodic psychedelia, harmonious ballads and danceable indie pop, interplaying with potent lyrical messages of hope and despair. Through the album’s 11 tracks the band explore environmental collapse, resilience, self-reflection, love and relationships, all textured with a coming-of-age feel. On their debut album One Degree, the band presents new-age, anthemic psychedelia and indie-pop, similar to MGMT and Pond. The album’s memorable guitar hooks and garage-rock grit nods to artists such as Ty Segall and 70s glam-rocker, T. Rex, while the album’s softer moments echo the cinematic folk of Weyes Blood. Sunfruits take this eclectic mix of influences and create something uniquely their own, branded by euphonious four part vocals that have become a big part of their new sound. One Degree lets the listener sit with their feelings and encourages them to experience the rawness of human existence — highs, lows and the in-betweens. Touring UK/EU in September, including a date at the Manchester Psych Fest.

The continuing growth of Maik Krahl as a melodic improviser, bandleader, and composer is distinctly evident in this new release. In-Between Flow, Krahl’s third outing as leader, is a portrait of a young artist who has gone through many years of dedicated hard work, study, experimentation, and refinement in order to achieve this level of instrumental and artistic progress. Krahl belongs to a new generation of improvisers who have acquired a breadth of technical and theoretical facility, while not losing the spontaneity and rawness of this music we call jazz. As a bandleader, he chooses his colleagues wisely and for this date is joined on a few tracks by the visionary guitarist Kurt Rosenwinkel, whose brilliant playing adds a cherry on top of this already delicious line up.

The title In-Between Flow refers to ever evolving progression of our human condition. As in nature, the human spirit can expand and unfold, maturing to a new state where it may settle for a while until some new impulses inspires another transition. These transitions, sometimes subtle, sometimes abrupt; as well as the times of contentedness and serenity are the inspirations for this music.

The record opens up with an ode to the town Krahl calls home. Cologne 4 AM, begins with a haunting melody by Krahl’s soft yet powerful horn before settling into a perfect vehicle to display his command of melodic and motivic story telling. There is something about the time of 4 AM that seems to permeate literature and music, and this track will add to the canon of artistic references to this magical time where the night meets the morning.

Mr. Rosenwinkel joins the band for Slosetta, which is a great example of Krahl’s ability to craft a tune. As is to be expected, Rosenwinkel weaves through the changes with grace and mastery, obviously enjoying the communication with the rhythm section, who are undeniably inspired by his harmonic, rhythmic and melodic ingenuity.

Jakob Kühnemann, a Bandleader and composer is his own right, has been an in demand bassist on the German and European scene for several years, and his contribution to this record is proof of why that is. Although Krahl takes the lead on Drizzle Counter, in a great display of technical virtuosity, it is Kühneman who stands out on this track. It is not only in his improvisation, but more so in his poly rhythmic pulses dancing up from the deep and the harmonic insinuations in his accompaniment of Krahl’s solo that demonstrate his musical mastery.

Rosenwinkel joins again for No Claim Claim, a composition so balanced that I would not be surprised to hear other artists recording or performing it in the future. After Krahl’s melodically inventive statement, Rosenwinkel shifts the band to the next gear building the intensity towards the out head.

Constantin Krahmer has been Krahl´s piano player since his debut record, Decidophobia. His patience, ingenuity, and big ears make him a perfect accomplice to Krahl, and his sensitive yet powerful approach and accompaniment on Reconstruction of a Dream as well as his harmonic and melodic inventiveness on Vinaceous Clouds (where he plays Fender Rhodes) make it clear why he is an integral part of this unit.

Ms Ludgate is a funky composition with angular melody that is another feather in the cap of the band leader. Kurt Rosenwinkel is back, and seems more than willing to engage in some rhythmic dialogue with the spectacular young drummer on the date, Fabian Rösch. Throughout this entire record Rösch is subtly but strongly guiding the band, playing his role as a supportive and interactive proponent to the music. We will surely be hearing much more from this young man with such a refined sound and clear rhythmic conception.

Flawless Sunday, a perfect closing statement for this record. The melody is another great example of Krahl’s growth as a composer. The whole rhythm section really shines on Krahmer’s choruses, where the three colleagues push and dare each other rhythmically as well as harmonically before Krahl enters and brings the record to a close with his beautiful rich tone and melodic playing.

It is a great pleasure to hear the growth of a young artist with such dedication and vision. Hearing how Krahl and his band mates navigate through the vicissitudes of this music is an inspiration that can be mirrored in everyday life. A lesson in accepting the ever changing flow from one state to another. Growing, learning, and evolving into a new state, until the process begins anew. In-Between Flow.

The Stoned Immaculate is the sixth studio album by American hip hop recording artist Curren$y. It was his major label debut, which was received well and remains his highest charting album to date. It debuted at #8 on the US Billboard 200 and #2 on the Rap/Hip Hop Album charts and features the singles "What It Look Like" and "Jet Life" with guests Big K.R.I.T. and Wiz Khalifa. The album features many more guest appearances, including Pharrell, Estelle, 2 Chainz, Marsha Ambrosius, Daz Dillinger, Corner Boy P, Young Roddy, and Smoke DZA amongst others.

Robin Saville - one half of the influential duo ISAN - returns to Morr Music with »Lore«, his fourth solo album to date. After 2020’s »Build A Diorama«, the British musician takes his love for field recordings, whirring pads, hovering bells and subtle electronics further, adding extra depth to both his sonic palette and his storytelling, focussing on biological diversity and its implications for human life.

For many years now, ›look and listen‹ has been Robin Saville's motto on his regular environmental explorations. The avid ambler does not just enjoy being out and about in nature; it is an important inspiration for his creative work as well. Sounds, smells, colours and even soil properties add to the experience. Equipped with a microphone and a recording device, Saville documents his strolls, using these recordings as a base for his compositions. »The field recordings on the album were made very locally this time, for obvious reasons,« he says. Welcome to the sonic landscape of the UK's East Anglia.

»Judith Avenue«, the opening track, is a great example of how Saville evolved his perspective on the sounds of nature: »It is a residential street, fading into a scrubby, wild landscape. There, I made a recording of nightingales at dusk. Such romantic birds! The males fly here from Africa a couple of weeks ahead of the females. They find a good territory, and at dusk, when all the other birds are going quiet, they start to sing to tempt the females down from their migratory flight paths. This has happened for thousands of years. However, the patch of ground where I made the recordings is earmarked for development and I don't suppose it'll happen there again. The recordings therefore become part of the history of that place, the lore.«

Recording the sounds of nature and enriching them with electronic sorcery, Saville is not only a documenting preservationist; he also translates these recordings into meaningful musical miniatures. Building on the soundscapes that marked his previous LP »Build A Diorama«, »Lore« is dominated by both open-hearted melancholy and more upbeat rhythms. But even when the music sounds quirky and loose, there is always deeper meaning. The album is characterised by an ever present melancholy about the threatening loss of living spaces, and a celebration of their beauty. This simultaneity turns the tracks into existential meditations about our human habitat. Saville enriches our lives musically by addressing the very issues we often ignore. At the same time, he becomes an agent of hope and change. Moving between light and dark, »Lore« is a musical allegory of where we stand today.

»The album is a document of places and times and while it is certainly a celebration of those things, it is also a record of things we are losing. That's how interaction with nature feels to me nowadays: something precious and amazing, but with an underlying sadness about the destructive relationship that humanity seems inevitably to have with the world around it.«

Let's not lose any more things.

Wildberry Lillet war der Hit des Jahres 2022. Nun möchte Nina Chuba ihren Fans etwas zurückgeben und lässt das warme Sommerfeeling wieder aufleben. Am 23.06.2023 veröffentlicht sie eine streng limitierte Single-Vinyl der "Wildberry Lillet Remix EP". Hoch die Gläser! Außerdem: Mit etwas Glück bist du dabei, gemeinsam mit Nina unveröffentlichte Songs in einem Studio in Berlin zu hören. Fingers crossed!Wenn ausverkauft, dann ausverkauft. Diese Vinyl wird so nie wieder erhältlich sein. Tracklist:Side A:1. Wildberry Lillet2. Wildberry Lillet (Remix feat. Juju)Side B:1. Wildberry Lillet (Rave Remix by twocolors)2. Wildberry Lillet (Instrumental)Lieferumfang:- 7inch Vinyl in der Farbe Wildberry-transparent- QR-Code zur Teilnahme an einem Gewinnspiel für eine Demo Listening Session* mit Nina Chuba in Berlin*Das Datum und der genaue Ort in Berlin wird nach erfolgreicher Registrierung bekannt gegeben.

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

To mark its ten year anniversary, Mexican Summer presents a new, limited edition pressing of No Joy’s classic album Wait to Pleasure expanded with two new tracks from the beloved band's original line up. Wait To Pleasure is the product of the Montreal noise-pop band’s first foray in a fullyfurnished studio environment. Here the band has flourished, delivering their finest set to date, rooted heavily in shoegaze ripcurls and devastating melody, finishing sentences whispered long ago with depth, variance and force. Singer-guitarists Jasamine White-Gluz and Laura Lloyd and drummer Garland Hastings knock down the fence between nostalgiaand modernity, chaos and control, in a perfectly- realized effort made to bridge their uncompromised musical pasts with the alarmist tendencies of the present. Wait To Pleasure found No Joy set loose in Mexican Summer’s studio, Gary’s Electric, for two weeks in 2012, with producer Jorge Elbrecht at the helm. “Our earlier records are purely guitar-based, rock band lineups,” Laura adds, “and with Wait To Pleasure we seized the opportunity to change things up a bit.”

After over 20 years on DAT these two golden-era masterpieces finally make it to Vinyl. Future Engineers were the pioneers of this sound and the music is as futuristic now as it was then

Repress!

Purple Disco Machine unleashes ‘playbox’ the thrilling next chapter of his disco-house odyssey.


The Dresden based disco megastar leads a rallying call to his disco army of super fans across the globe, with the release of his new single ‘Playbox’, a vibrant, high energy, disco-house treat that marks yet another exciting chapter of his sophomore album release.

With three extraordinary singles having made their way into the ether, Purple Disco Machine has kept his fans grooving throughout this past year - providing a huge ray of sunshine as we need it most. Already a globally renowned producer, Purple Disco Machine has quickly become a household name with the success of his international hit singles ‘Hypnotized feat. Sophie and the Giants’ (an anthem the world over having been streamed over 250 million times) and more recently ‘Fireworks feat. Moss Kena & The Knocks’ (with over 35 million streams to date).

‘Playbox’ is accompanied by an extraordinary video illustrated and animated by Juppi Juppsen, and Mathias Lemaitre Sgard, who created a vibrant homage to classic science-fiction, cyberpunk, retro-futurism spiced up with disco influences for ‘Playbox’. In the clip, Tino, in the form of a space superhero, and his female droid search for an ancient artefact which is said to hold the essence of music and, therefore, possess unimaginable power.

With just shy of 900 million streams across his catalogue to date, and over 9 million monthly listeners on Spotify, Purple Disco Machine continues to live up to the hype of #2 Beatport Artist of All Time. With a succession of notable remixes for Dua Lipa, Mark Ronson, Foals, Calvin Harris, Fatboy Slim, Sir Elton John, Royal Blood, Lady Gaga & Ariana Grande, Duke Dumont, and Diplo & SIDEPIECE, coupled with his own dominating originals ‘Body Funk’, ‘Dished (Male Stripper)’, and ‘Devil In Me feat Duane Harden & Joe Killington’ from his debut album Soulmatic, Purple Disco Machine continues to innovate and elevate at every turn.

Green Vinyl

For its fifth release, french label The Bass Academy goes back into time!!! Originally written by legendary Man Parrish, "Boogie Down Bronx", a cult classic from 1984, sees a mighty resurrection with a "fresh mix" rework from UK Electro veteran Bass Junkie. Not the first time Phil Klein (Battle Trax, Breakin' Records) remixes Man Parrish as he committed in 2002 the heavy “Bass Junkie's Boogie Down Bass Mix” of “Hip Hop Re Bop”. Today, he serves up an uncompromising electro funk mayhem made of old schoolish samples, vintage synth melodies, retro congas, relentless scratches and pounding 808 beats. This brand new Sci-Fi anthem, enhanced with the legitimate legacy from the past, will invite you for some irresistible B-Boy breakdancing movements on the linoleum!!! Tuuuuuunnne! On the flipside, Phil teams up once again with long time partner in crime Simon “The Dexorcist” Brown. Together, as Gods Of Technology, (Battle Trax), they revisit another untouchable song, “Future Computer”, an exclusive to TBA track written by Jamie Jupitor and published in 2017 (TBA02). Metallic sororities melt with nasty vocoder sequences and imparable whispers turn the cut into an ode to the dancefloor thanks to harsh and hammering beats. What a timeless monster in pure West Coast tradition! With abrasive outings to appear on the forthcoming months including an incredible album with Matt Whitehead on Dominance Electricity, Phil Klein definitively returns to studios stronger than ever, putting a end to a short blackout. Rush in this hypnotizing collector 12”, limited as usual to 150 copies as it marks one of Phil Klein’s best releases to date!

U.S legendary producer Debonaire returns to Fdb Records to deliver his third EP to date!!! Thirteen years after “The Rise Of The Bass Planet” on French imprint run by Vstee, one of the Miami Bass pioneers, Claudio Barrella introduces “Badass”, a future classic EP taken from his eponymous album published in 2022 on Debonaire Records Inc.

Fulfilled with timeless electro references, this collection of four untouchable joints pushes once again the boundaries of old-school sound to the next-level. Ode to the glorious days of electrofunk, relentless “He Is The Master” on A side serves up a brilliantly dancefloor Hip-Hop/Electro monster enhanced by a nice flow of cut’n’paste samples featuring Newcleus, Schooly D, Dynamix II, Man Parrish, Cybotron and thousands of other unmissable classics. Here comes an outstanding Time Machine that will definitely break out your linoleum.

Second tune of the opus, slow “Badass Reprise (Wax Version)” signs a hip-rock masterpiece a la Rage Against The Machines characterized by a dirty Californian spirit. Fat!On the flipside, robotic “Computer Program”, written along with his partner in crime DJX aka Maggotron, offers a cutting-edge mayhem bas(s)ed upon crystal clear sororities, some heading vocoder robot lyrics fusing with Sci-Fi tones in the background. Ace!

The Absolute climax of the 12’’, “You Feel Me Now” brings a massive cocktail of beats and low frequencies, injecting serious 80's vibes over frantic scratches and sharp 808 programming.

Packed in a beautiful white sleeve and brilliantly illustrated by DJ and Plastic designer Julien Dumaine, this collectible wax will provide intense cyber vocals and retro flavored electro to your subwoofers! Must have!

The story of Lucia Rango, an Apulian singer who was active for a short period during the Sixties, rightfully belongs to that category and meets all requirements for becoming a legend. In 1967, when she was almost unknown, she recorded Lucia Rango Show, an entire album made of songs taken from the repertoire of her friend Piero Ciampi, who worked closely with her on their selection and arrangements. Being one of the most maudit and personal authors of national songwriting, Ciampi had always been a perfect outsider: blunt, shy, extremely talented, and unable to adapt to the rules of the music business. But above all, the Leghorn-born singer was a superb songwriter. The match between his songs and Rango's classical voice and ethereal beauty looked like a very promising one, but never brought any success.
Arranged and orchestrated by Maestro Elvio Monti, and embellished by the participation of Alessandro Alessandroni's I Cantori Moderni, the record is a perfect child of the Sixties, featuring beat tunes and “yè-yès”, Italian canzone, intense ballads, Brigitte Fontaine-like atmospheres and a rediscovered duet of Lucia with her friend Piero, Non chiedermi più, whose recording was known among insiders at the time but sadly appeared to be lost forever. Ciampi's voice lives again in a song that has remained unreleased for more than 50 years within this new expanded version of Lucia Rango Show, thanks to the long research of journalist Lucilla Chiodi (Musica Jazz). Needless to say, the album is an enormously valuable historical document for all fans of Ciampi's output and Italian music in general: along with classics such as Fino all'ultimo minuto, Quando il giorno tornerà and Hai lasciato a casa il tuo sorriso – all originally included in Ciampi's first LP released under the alias Piero Litaliano in 1963 – Lucia Rango's voice consigns to history as many as six songs conceived and written specifically for her recording debut by Ciampi along with Elvio Monti. To date, Rango's invaluable interpretations are the only versions ever recorded of Samba per un amore, Il tuo volto, Stasera resta qui, Primavera a Roma, Ti ho sognato and Sono stanca.

Lion Machine 23 is a four piece Rock band fronted by singer / guitarist & songwriter extraordinaire Daland based in North London, a mix between Oasis and Nirvana, who have already packed out venues across the city, as well as a recent tour of Argentina featuring a support for the Arctic Monkeys. This four song EP has been co-produced with West London’s finest, JBJ Studios Stormzy, Skrillex & more is due for release this Spring! UK dates incl festivals tbc.

2023s one to watch with true rock n roll style, prepared to get blown away by Lion Machine 23. `Liar’ kicks off with heavy grinding guitars, over which lead
singer Daland’s vocals laments the tone. Solid-driving strobe-lit bass completes the track with a rejuvenating catchy chorus when Daland belts out Liar you can’t help singing along.

Turning the noise up a notch on `The Mobile Phone’ lead singer Daland charismatically vocalises the good and bad of having technology at your fingertips. Bursting into a perspicuity of unending guitars and drums energise the track.

‘Always’ Summer festival anthem in the making, carries that feel good factor.

‘Fucking Under The Water’ Always a crowd pleaser.