Cerca:davi

A haunting, cinematic journey into a village that exists beyond time and place, Requiem For A Village is Steven Wilson’s most intimate and imaginative work yet. Blending dark folk, rock and electronica, the album unfolds as a continuous 54-minute “film for the ears,” populated by strange archetypes and eerie folklore. The album is narrated by David Tennant and written with Andy Partridge (XTC).

Taylor Ashton kehrt mit Charades" zurück, seinem dritten Solo-Album, das am 6. November 2026 bei Birthday Cake Records erscheint. Produziert und mitgeschrieben von Benjamin Lazar Davis (Cuddle Magic, Okkervil River, Maya Hawke), abgemischt von Jacob Blumberg und gemastert von Philip Shaw Bova, bettet das Album Ashtons warmen Bariton und sein einfallsreiches Clawhammer-Banjo in kantigen experimentellen Pop und klassische Harmonien ein: atmosphärische Kurzgeschichten über Treue, Freundschaft, Schicksal und Selbsttäuschung. Die Gästeliste liest sich wie ein Gipfeltreffen der Brooklyn-Folk-Szene: Maya Hawke, Theo Katzman (Vulfpeck), Aoife O'Donovan und Ashtons Frau Rachael Price (Lake Street Dive) singen alle auf dem Album mit. "Ich habe Taylor Ashtons Stimme als sehr ehrlich erlebt wie Balsam, ganz ohne Künstlichkeit", sagt Leslie Feist.

Zwei neue Songs von Thee Headcoats in einem passend an die Smiths angelehnten Cover! Die A-Seite ist aus ihrer kommenden LP "Children Of The Sect" und die B-Seite exklusiv auf dieser Veröffentlichung. Wir haben mit Billy Childish über die Single gesprochen_ Frage: "Hat dir irgendetwas an den Smiths gefallen?" Antwort: "Ja. Les Dawsons Version von ,Girlfriend in a Coma" (ich glaube, das ist der richtige Titel). Eigentlich habe ich sie gehasst, aber sie hatten ein paar ganz ordentliche Songtitel. Ihr Gitarrist kam mal auf mich zu und sprach mich an, als wir mit Modest Mouse in der Albert Hall mit unserer 100-Watt-PA spielten - er war sehr nett." Frage: "Auf dem Cover ist ein Bild von Dave Davies zu sehen. Was gefällt dir an den Kinks am besten? Hast du Ray oder Dave jemals getroffen?" Antwort: "Ich bin in den 1960er Jahren mit den Kinks aufgewachsen, zusammen mit den Stones, den Beatles, Bob Dylan und Jimi Hendrix. Als ich 1977 gefragt wurde, ob ich bei den Pop Rivets singen wolle, schlug ich vor, dass wir ,Hippy Hippy Shake", ,Wild Thing" und ,You Really Got Me" spielen sollten - Was mir an den Kinks am besten gefällt? Ich mag die R&B-Kinks? Daves Gitarrenspiel, und wir alle stehen total auf den tollen Schlagzeuger und Bassisten, und natürlich schreibt Ray gute Songs - also: Was gibt's da nicht zu lieben? Abgesehen von einer ganzen Menge. Ich habe noch nie einen echten Kink persönlich getroffen, aber wir kannten ein Mädchen, das sie im Rochester Odeon spielen sah. Sie und ihre Freunde baten Dave um ein Autogramm, und er jagte sie schreiend den Star Hill hinauf, wobei sein kleiner Stolz und seine Freude heraushingen."

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. He was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, funk and jazz while retaining an original and distinctive voice.

Sextant from 1973 was recorded just before Headhunters, and can be seen in the same vein, but it’s more than just an introduction to a masterpiece. It features a kind of post-modal, free impressionism while gracing the edges of funk. Three long instrumental tracks explore how far minimalism in jazz can go.

Sextant is available as a limited edition of 2000 individually numbered copies on blue marble vinyl.

This collection compiles all of Crow's studio albums with their original '69-'71 lineup. Crow Music, Crow By Crow and Mosaic are each individually packaged with a liner note insert - all contained in a pizza box style package!

Crow Music gives listeners organ-laden funk wonderment! Combining gritty blues with nasty, hard-charging garage rock, this album includes their Billboard Hot 100 hit "Evil Woman (Don't Play Your Games With Me)."

Crow By Crow sees the band really turning up the heat! Their sophomore release spawned two minor hits, the Larry Williams cover “Slow Down” and an original, “Cottage Cheese.”

Mosaic carried early ‘70s rock to new heights, blending a new mixture of country and blues. With heavy steel pedal on “Watching Can Waste Up The Time,” Mosaic was Crow’s last effort to make it big before vocalist David Wagner departed the group.

NOW Music proudly presents the next release in the ‘ERA’ series with NOW That's What I Call An Era - Ballroom Blitz: 1967-1976 celebrating the colourful world of glam rock, pop and unforgettable chart hits that defined the early-to-mid 1970s, with a selection of pop gems from the late 1960s. Pressed across three stunning coloured vinyl LPs – red, white and gold – showcasing the era’s biggest stars, instantly recognisable anthems, novelty favourites and enduring singalongs from one of the most distinctive periods in UK pop history.

For 3+ years Razor-N-Tape has held their quarterly A Joyful Noise event in the Sound Room at Public Records. Conceived as a hearkening back to an early 2000s era of NYC nightlife, it is a club night that includes both DJs and live music. Led by JKriv as musical director and bassist, the live band is a collective of luminary NYC talent including singer Brandon Markell Holmes, guitarist Peter Matson, flutist/singer Domenica and percussionist Olatunji Ojore (Underground System), trumpeter Carter Yasutake (Midnight Magic), keyboardist Jason Lindner (Donny McCaslin/David Bowie's Blackstar), drummer Jim Orso (Hot Chip/Holy Ghost!) and saxophonist Stuart Bogie (Antibalas/Arcade Fire). Merging club sensibilities with jazz, funk and afrobeat pedigree, the A Joyful Noise repertoire includes live-interpreted renditions of J’s music and remixes, features by Razor-N-Tape artists, and original works. This album is a document of this special event, capturing all the live energy, moments of dazzling ensemble interplay, and features by artists Adi Oasis, Toribio and Cor.Ece.

DJ Support: Carlita, Husky, David Penn, Claptone, DJ Dove, Jonas Blue, Sam Feldt, Hutch, Illyus Barrientos, Mark Knight & more.

Fool’s Paradise’s latest Sampler sees 4 big releases from Soul Avengerz, Sian-Lee, OFFAIAH, David Penn, Thando, Eric B Turner, Tenacious, Jay Vegas & Olav Basoski.

Four more classics from the Black Vinyl archives to mark the label’s thirtieth anniversary. ‘Especiale’ by Fresh & Low is a timeless Latin-spiced bubbler that always moves a floor. ‘We Can’ by Kerri Chandler is a rare gem from the main man himself. ‘Spirit’ by Brent Laurence got smashed out of the park with this firing David Harness remix in 2022 and the set concludes with the brilliant Scott Wozniak remix of King DK’s vocal gem, ‘Can’t Read Your Mind’.

CHIWAX presents St. David & Wildbox - Dance revival EP
This record was made strictly for the dance floor!
Highly recommended!

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

This compilation album is the result of a unique collaboration between PLAZA and Kunstmuseum Den Haag, inviting listeners on a sonic journey through the museum's hidden collection of instruments, previously unseen by the public . On this special record you can hear a diverse range of musicians from the Hague engaging with this music archive through inspiration, sampling or even playing the fragile instruments themselves.

2026 Repress

Pianeti Sintetici ('synthetic planets' in Italian) is a new conceptual project by Davide Perrone (Primal Code) that draws inspiration from the factories of Magrathea, a planet in Douglas Adams' classic space opera The Hitchhiker's Guide to the Galaxy, where artificial planets are manufactured on commission.

'This concept has always fascinated me, and I chose the name to frame a hypothetical future of synthetic worlds, told with sound,' Davide says. 'I like to imagine the howls of creatures inhabiting solar systems outside our own. Rarefied atmospheres, alien sequences, and unfamiliar tonal scales. So, I see Pianeti Sintetici as an open-ended design research project where I can explore these inspirations.'

Esplora I ('explore') is the first record in a trilogy scheduled for release in 2023. It comes wrapped in a custom-cut embossed sleeve adorned with a captivating interpretation by Hypnus' visual artist Gabriella Holmstrom.

Early support from Brando Lupi, Iori, Takaaki Itoh, Unjin, Eric Cloutier, Forest on Stasys, Konduku, and Saphileaum.

2026 Repress

Few producers embody the soulful heart of House Music quite like Move D. Being a mentor of the label since day one, All That Jelly brings together two defining and desirable cuts from David Moufang’s recent history to one record.
'To The Disco ’77' 2013 original version for the A-side and the 2017 live rework finds its way to the B-side, both freshly remastered by the amazing and sought after Andreas Kauffelt. 'To The Disco ’77', opens with a clean, electro-styled beat that has a restrained power and a controlled tension that gradually blooms as the keys start to lift the mood into something lighter. When the iconic 'to the disco' vocal sample cuts through, it’s like a wink
from the past, threading disco’s golden exuberance through the disciplined swing of classic house. The track is a seamless blend of Funk, Disco, House and Electro with each element raw yet playful, woven into a groove that never stops urging you forward. It’s a masterclass in balance: sleek but deeply human, nostalgic but alive in the moment. It's like listening to the history of dance music in one special track.
'To The Disco ’77 (Move D Live Rework)' stretches the idea out into something even more fluid. The groove loosens, the funk rises to the surface and the extended runtime gives space for guitar and bass lines to share center stage, riffing around each other with organic warmth. The 'to the disco' mantra remains, grounding the track in its celebratory intent. It’s the kind of tune that closes a night perfectly and makes you not want to leave the dancefloor. Reissued together, these versions show Move D’s masterful ability to bridge eras and genres, reminding listeners that the dancefloor is as much about emotion as it is about motion.

Following the critically acclaimed Fantômes… Futurs, praised by FIP, France Inter, Radio Nova, ARTE and International jazz press, double bassist and composer Kham Meslien returns with Vévés électriques, a deeply immersive second album where memory, landscape and improvisation merge into a singular sonic journey. Joined by Laurent Bardainne, Roger Raspail, Naïssam Jalal and David Neerman, Meslien expands the intimate language of his double bass with subtle loops and organic textures, weaving together echoes of Iceland, the Caribbean and imagined territories. Blending spiritual jazz, contemporary classical influences and ambient soundscapes, Vévés électriques is an invitation to drift beyond geography and into a profoundly personal exploration of emotion, identity and freedom.

Set upon an oil-smooth sea, an immense range of directions opens up before Kham Meslien for “Vévés Électriques”, his second album after “Fantômes… Futurs.”

With only his double bass and bow as vessel and sextant, a distant journey nevertheless begins to take shape. Vibrations and the striking of strings against wood quickly trace lines and winding paths across the surface of the water—so many routes to follow before leaving them behind, allowing the outward journey to become an inward voyage as well.

After an improvisation intended to shed light on the course ahead, isolated lands came into view: the shores of Iceland, the lands of the far north, places cut off from the rest of the world by vast expanses of water. Islands battered by a harsh climate that can only be endured by drawing warmth from deep within oneself.

Then the Caribbean arc appeared. The archipelago, a setting for joyful and unsettling experiences, takes Kham back to a childhood from which the passing years have carried him away. Rather than following the conventional channel of the music of these places, the West Indies emerge through memories whose colors are still vivid.

Through the morning mist, Roger Raspail’s percussion locks into the same frequencies of the groove. Double bass and struck skins then become companions on a road that intersects with Laurent Bardainne’s saxophone. Carrying a dreamlike message, David Neerman’s vibraphone also joins the narrative to write a few chapters of its own, while others are enchanted by the flute and voice of Naïssam Jalal, or struck by the metaphorical rhymes of rapper Rocé.

On the surface, through the themes along which the pieces navigate, landscapes slowly reveal themselves and change shape as the shore draws nearer or recedes. Straying from the marked course and allowing oneself to drift, breaking free from pure acoustic sound by adding loops first played live and then sampled, allows Kham to explore the depths. The depths of the ocean, as well as those of his soul. To enter a world of improvisation that reveals itself even as he explores it. Examined up close, feelings become shells to pick up and hold to one’s ear, so that they can be felt intensely until they take material form.

This sea, which had appeared peaceful, became the stage for a succession of stories and images, which then accumulated to give birth to a larger narrative.

Sentimental Ultra marks DJ HEARTSTRING’s debut proper on Steel City Dance Discs, and their first album project, releasing November 13th 2026. Starting life as a mixtape before a happy accident or two took it down a different path, the 15-track album finds the pair chasing not just peak-time euphoria and what they can conjure in a club setting, but everything around it, too. The befores and the afters. The soft and the supercharged. What life felt like when they were young. Featuring collaborations with SWIM, Spriitzz, BAUGRUPPE90, Sam Gellaitry, Saidah, DMA’S, KennyHoopla, Monk, 3NDLES5, David Jackson and secret act, they fold formative years influences such as indie rock, rap, ambient and breakbeat into their sought-after sound, and balance them with contemporary-coded ideas.

This blend of worlds is at the crux of the album’s concept visually as well. Sentimental Ultra is an exploration blurring the lines of hard and soft, taking inspiration from subculture communities around football hooliganism and skateboarding. The cover is shot by iconic British photographer Ewen Spencer, renowned for his work around Skins, The Streets and more. The collaboration has seen DJ HEARTSTRING land features in Numero Berlin, Notion Mag and other cross-cultural editorial platforms ahead of the album announcement.

To date, the project has already received various milestones across international radio, including Arielle Free’s Big Whopper for third single ‘Another Year Alone’ and DJ HEARTSTRING landing a coveted BBC R1 Residency in November. Adding to this is the slew of digital looks and accolades for DJ HEARTSTRING’s set recordings including their closing set at Soenda Festival earlier this year which is on 115k views since being published in May 2026, their Melbourne Boiler Room published in 2025 with +1 million views and their Belfast Boiler Room published in 2023 with +1.1 million views.

Since DJ HEARTSTRING’s 2021 debut, when they rollicked through the club door with their Destiny of the Moment and Eternal Euphoria EPs, alongside a slew of self-released, pop-and-R&B-indebted edits, DJ HEARTSTRING have followed their hearts and won over legions more with an emotional dance music style that’s fast become synonymous with their name.

There’ve been big releases such as 2025’s You Are The Sun, I Am The Sky EP, and buzzy collaborations with fellow synapse-igniters like SWIM, Narciss, southstar and S.C.D.D.’s KETTAMA. The past few years have also seen remixes for Charli XCX and Sam Smith, Romy, Sugababes and Empire of the Sun, sets everywhere from Berghain to London’s 3000-capacity Roundhouse, their own Teenage Dream parties and a must-listen contribution to the BBC Radio 1’s Essential Mix series, which showcased just some of the sonic inspirations behind their signature, like Eurodance and trance, plus heaps of DJ HEARTSTRING material.

And now, Sentimental Ultra arrives off the back of DJ HEARTSTRING’s busiest summer to date with landmark festival plays at Awakenings in the Netherlands, Lost Village and Maiden Voyage in the UK, We Love Green in France, Lost Paradise in Belgium, Movement Festival in Detroit and Arc Festival in Chicago. Hot off the heels of their festival run, the Berlin duo show no signs of slowing down with a 3-date Australia tour at the end of September whereby they sold a cumulative 15,500 tickets across Melbourne, Sydney and Perth shows, all on presales. In addition to some pop-up in key markets around album release including Ireland, Scotland, Berlin and London, the Sentimental Ultra official tour also encompasses a European hard ticket run including Belfast’s Telegraph Building (2,000 cap), Brussels’ Braindance (2,000 cap), Paris Phantom (3,400) and DJ HEARTSTRING’s biggest London show to date - Brixton Academy (5,000) - an apt follow-up after selling out Magazine (4,000 cap) weeks in advance in February 2026.

There’s plenty still in store, and plenty of places to catch them throughout the rest of what’s set to be a landmark year. Shows from Miami to Manchester (for the sold-out KETTAMA presents Steel City Dance Discs WHP takeover) to Dublin’s District X, a hometown Teenage Dreams event and 2 colossal ADE headlines at Dockyard and Sugar Factory - with more plans bubbling behind the scenes. DJ HEARTSTRING season is well and truly upon us.

This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.

Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.

Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."

That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.

Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.

The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.

Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.

As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."

2026 repress!

Here is the debut, self-titled album from a.s.o., singer/songwriter Alia Seror-O'Neill, and producer Lewie Day. 'a.s.o.' is a thematic consolidation of the previous three singles and an impressive artistic progression. Day and Seror-O'Neill show they've mastered the format of the radio-friendly pop song and found how to subvert it completely. Across eleven songs, they have built a rich and compelling body of work.

We know where we are now, emotionally complex, trip-hop torch songs for club freaks. But the palette has broadened to encompass ethereal dream pop à la Cocteau Twins, slow- burning AOR-soul, and dubwise stylings. As a result, 'a.s.o.' is a satisfyingly coherent listen but never a musical monoculture. Variously there are nods toward Julee Cruise, Fleetwood Mac, and the uneasy listening of Portishead. It's an album that wears its influences lightly, is never weighed down by them, and always sure of its own identity.

It's anchored by Alia's unique voice. Her words speak of restraint and release, taking us from the elegiac to the euphoric. This elegantly crafted, perfect pop music sounds like it has had enough of your shit. And Day's music is the perfect foil; deep, slightly menacing, restrained, and powerful. The album has a cinematic texture, as with David Lynch; the seemingly familiar becomes uncanny and strange the closer we look. a.s.o. take our emotions for a joyride before leaving us floating in space.

'a.s.o.' is a journey; by its end, we all are changed

Sean Thompson hat mehr als ein Jahrzehnt damit verbracht, sich zu einem der vielseitigsten Gitarristen in Nashville zu entwickeln. Derzeit ist er als Gitarrist für Margo Price auf Tour, und sein flinkes, lyrisches Spiel hat Bands unter der Leitung von Erin Rae sowie einer ganzen Reihe von Größen der ,Music City" geprägt. Außerdem ist er neben Rich Ruth und Spencer Cullum ein Drittel des kosmischen Trios Shrunken Elvis, dessen gefeiertes, selbstbetiteltes Debütalbum 2025 bei Western Vinyl erschien. Mit ,Inner Principles", seinem ersten rein instrumentalen Album, bündelt Thompson all diese Instinkte zu etwas, das sich wie ein echtes neues Kapitel anfühlt. Es ist ein Jazz-Fusion-Album im reichhaltigsten Sinne des Wortes: virtuos, aber schnörkellos, experimentierfreudig und stilistisch von einem Titel zum nächsten unruhig. Die acht Stücke bewegen sich mühelos zwischen ECM-artiger Weite im Geiste von John Abercrombie, rauchigem Akustik-Picking, lockeren Late-Night-Boogies und eleganten Post-Rock-Abenteuern, mit Synthesizern, die hin und wieder in Richtung Jan-Hammer-Territorium blitzen. Man könnte meinen, ein Großteil dieser Musik stamme aus dem Jahr 1978 oder 1983, und genau diese Zeitlosigkeit ist der springende Punkt. Thompson spielt ein rasantes Spiel namens ,Finde den Einfluss" und zieht dann weiter, ohne sich jemals lange genug an einem Ort niederzulassen, um wie eine Hommage zu klingen. Im Kern ist das Album ein Trio aus Thompson, Eric Slick am Schlagzeug und Alec Newman am Bass, ergänzt durch eine Handvoll bewährter Mitstreiter: Jake Davis, der produzierte, als Tontechniker fungierte, abmischte und Synthesizer beisteuerte; sein ,Shrunken Elvis"-Bandkollege Rich Ruth an der Gitarre; sowie Jo Schornikow am Keyboard. Dieses Zusammenspiel des Ensembles ist das Herzstück der Platte, und trotz aller technischen Meisterschaft ruht sich ,Inner Principles" nie auf seinem Können aus. Jeder Track strahlt echtes Gefühl aus, vom weitläufigen, treibenden ,Underwater Way" bis zum zarten ,Waltz For Mama". Thompson hat ,Inner Principles" digital in Eigenregie veröffentlicht und das Material live beim BigEars-Festival vorgestellt. Western Vinyl presst es nun zum ersten Mal auf Vinyl und verschafft damit einem der stillen, aber unverzichtbaren Musiker Nashvilles sein bisher umfassendstes Statement.

Early support from Rocky (X-Press 2), Lovefingers (ESP Institute) Ross Allen (NTS), Sean Johnston (ALFOS), Logan Fisher (Tryouts), Chris Sweet (Northern Soul Rave Patrol), Darren Stewart (La America), David Elders (MFSB Edinburgh), Craig Christon, Linda Boyle (1BTN), and Dave Jarvis (Faith).

Skyrager, aka Danny McLewin (Psychemagik/Ghost Vision) delivers a long awaited, genre-busting trio of edits on the legendary Moton label to light up all rooms and dancefloors this season...

DJ Support: Boss Priester, Prozak, Kepler, Osmosis Jones, Bullet Tooth, Archie Hamilton, The Trip ,Reeshy, ADMNTI, M-High, Oldboy, Mattik, Ben UFO

On Da Floor return with their second release, this time a 4 track EP: Helmed by Leeds-based DJ and producer ODF, this release captures the eclectic, genre-bending essence he’s become renowned for.

Limited pressing act fast!

The highly acclaimed U.K post- punk band Joy Division was originally called Warsaw . Formed in Manchester, England in the late 1970s, the group consisted of Ian Curtis on vocals, Bernard Albrecht (aka Sumner, aka Dicken) on guitar, Peter Hook on bass and Stephen Morris on drums. Hook, Albrecht and Curtis hooked up at a local concert and later formed the group Warsaw. The band's name was taken from a David Bowie- Brian Eno composition, "Warszawa". The 5 bonus tracks on this album are demos cut by the group at Pennine Studios in Manchester on July 18, 1977 with Steve Brotherdale on drums. The first eleven tracks presented here were the result of a recording session for that album that took place in early May of 1978. Rehearsals leading up to the session resulted in two new songs being added to the group's existing repertoire: "Interzone" and "Transmission." "Interzone" was based on the backing track of the song "Keep On Keepin' On," to which the band added their own lyrics. The result was a song distinctively their own. "Transmission" was written by the band during the final week of rehearsals. The first verse contains a quotation from Alistair Crowley's The Book Of Thoth. The two recordings are interesting renditions of songs which would later became famous.

On 24th May, 2024, the exact day of its Golden Jubilee, Diamond Dogs will be issued as a limited edition 50th anniversary half-speed mastered LP. The first single from the album, ‘Rebel Rebel’, reached number 5 in the UK and the album would also reach similar heights on both sides of the Atlantic reaching number 1 in the UK and number 5 in the USA.



This new pressing of Diamond Dogs was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. The half-speed was cut by John Webber at AIR Studios



The writing of the album was influenced by Bowie not being able to secure the rights for a theatrical production of George Orwell’s 1984 and the work of William S. Burroughs, whom Bowie had interviewed for Rolling Stone in November 1973. The songs on the album created an urban apocalyptic scenario with Bowie appearing on the cover as a controversial half-man, half-dog hybrid painted by the Belgian artist Guy Peellaert from photos by the world-renowned photographer Terry O’Neill. Since its release, tracks from Diamond Dogs have been covered by artists such as Beck, Tina Turner, Duran Duran, Def Leppard, Joan As Police Woman, Dead Or Alive and The Struts.

Ghost Dubs, real name Michael Fiedler, aka Jah Schulz, announces a rebirth with 'Damaged', his first album for The Bug's PRESSURE label..

Having recently dropped two criminally overlooked, experimental dub LPs, with his 'Dub Over Science' series, the German producer/bass specialist, now stretches his own parameters of outwardness still further, with these twelve fresh explorations of dub deviance. For those who feel the fusion of dub techno and ambient drone had creatively ended with the demise of the short lived, Berlin based Chain Reaction label. Ghost Dubs now upgrades, and extends that legendary blueprint's abstract methodology even further and deeper, floating away upon a wonderfully warm sea of hiss and static bliss. This is dub so atomized that it disintegrates within your eardrums. Its music, where the machines take over and virtually all traces of humanity are erased. But thankfully, the warmest soul still oozes seductively from the pores of Fiedler's robo riddims. Relentlessly hypnotic, seriously sedated, 'Damaged' celebrates the point of departure within it's mesmerising low end grooves. Album opener 'Chemical', provides an opiated slo-mo skank, which sounds like Plastikman's 'Consumed' era pulsations drenched heavily in sub aquatic fx. A triumph of surface noise surfing and sub woofer testing relentlessness, it provides the perfect intro to this compellingly immersive album. For batty shakers and headtrippers alike, there's added thrills aplenty, as Ghost Dub's richter scale tremor rhythms remain impressively massive, and the atmospheric depths of 'Damaged' appear tantalisingly oceanic. Throughout the duration of the dreamy selection, there is an obsessive balance of bewitching ambience and heavyweight bassbin shaking. The lead single 'Thin Line' itself provides a missing link between African Headcharge's early percussive body probes and Rhythm & Sound's addictive radiance, with the slightest hint of Burial's doomed romantic hauntology added for good taste. Alternately, and no less gracefully, 'Dub Lobotomy' bizarrely resembles Miles Davis 'Get Up with it' chopped, screwed, and relocated to a futuristic Kingston Town. Impressive indeed, Fiedler's mastery of live dubbing on his mixing desk shines accross the duration, and gives the album an improvised edge, and sense of peripheral chaos. Elsewhere, spooked steppars('Hot Wired'), haunting house ('True to life') and 4th World psychogeography('Undone'), combine to ensure there is a forever changing mixture of flavours percolating within the admirable consistancy of the overall sound.

With a tip of the cap, and nod of the head to Pole('Second Thoughts'), its no surprise then that PRESSURE would then turn to the great, Berlin based producer Stefan Betke, to master/cut this collection at his infamous Scape mastering room. And a fine job he did too, as high quality sound and levels are definitely maintained throughout.

If you like your melodies submerged, your dub narcotic, your basslines obese, and your beats evaporating, 'Damaged' provides the perfect prescription and entry point into Ghost Dub's spectral soundworld.

Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.

Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.

He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.

Unlock the allure of The Hot Spot through its unforgettable soundtrack, a captivating collection that brings the film's sultry ambiance to life.

Set against the backdrop of a small Texas town, The Hot Spot follows Harry Madox, a charming drifter with a dark past. As he arrives in town, he becomes embroiled in a web of seduction and deceit, navigating his way through a love triangle involving the sultry waitress, Gloria, and the alluring femme fatale, Dolly. Tensions rise and passions ignite, leading to a thrilling climax where desire and danger intertwine. Directed by the visionary Dennis Hopper, the film is a masterclass in mood and atmosphere, capturing the essence of 1990s neo-noir.

The Hot Spot has garnered acclaim for its stylish cinematography and gripping narrative, but it's the music that truly sets it apart. It's an amalgamation of swampy blues, jazz and rock — all mixed and recorded in a sparse, bloomy and eerie sort of way.

Critics hailed the soundtrack as "an electrifying fusion of jazz and blues that perfectly complements the film's seductive undertones." The blend of sultry melodies and haunting instrumentals creates an immersive experience that resonates long after the credits roll.

This recording is just so damn fine, so airy and warm. And the musicians aboard on this Dennis Hopper film are a who's who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought-after and collectible record among audiophiles. This soundtrack is essential for any music lover or film buff, capturing the very essence of the film's seductive spirit.

What's Left is the new album by Tom Henry, releasing November 20th, 2026 on Royal Oakie Records. Where his debut album Songs to Sing and Dance To leaned into big dreams, What's Left is a record about what remains once the dust settles, delivered with the wit and charm of a young rocker in his prime. The familiar influences are still there — Paul McCartney and Big Star loom large (though there's a little more Third/Sister Lovers this time around), but now the songs are lush and polished, with new sounds creeping in around Henry’s trademark power pop hooks. On a handful of tracks you can even hear strains of Syd Barrett influenced acid-folk alongside psychedelic rock that recalls The Brian Jonestown Massacre or The Beatles at their most lysergic.

Produced in collaboration with David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain), and engineered by Glasebrook and Stephen Shirk, the album was tracked across two cities at Shirk Studios in Chicago, IL and The Garden Shed in Oakland, CA, where Glasebrook also handled mixing and mastering. The record's cross-continental origins reflect the movements of Tom’s own life over the past half decade, which found him departing his native Chicago for Los Angeles before returning home four years later, and lend the album its distinctive sound of Midwestern grit mixed with California sunshine across all twelve tracks.

Opener "Someone I Need" sets the tone: an old-fashioned, up-beat rocker built for a roadside diner jukebox somewhere out along the backroads of your mind — it's crunchy tape tones and horn arrangement lending warmth to the song as the narrator asks for a dance and beckons the listener along for the ride. By "It's Not Meant to Be," the record turns inward, wrestling with the exhaustion of trying to find love in the modern age — especially for someone who wears their heart on their sleeve and often comes to find their suitor's wardrobe doesn't have room. "Silverlake Song," reminiscent of early Donovan, kicks off with otherworldly sitar — a wry postcard from the west, tracing how the shimmering promise of L.A.'s Silver Lake enchants, bargains with, and ultimately tries to ruin the starry-eyed dreamer — and very nearly succeeds.

In addition to Tom–who sang and played guitar, bass, and keys–the album features musical contributions from co-producer David Glasebrook, Brian Daley, Joe Daley, Finn Swingley, Lewis Patzner, and labelmates Graham Patzner, Charles Lloyd, and Simon Beins. Liner notes come courtesy of Ian F. Svenonius, who — in the guise of one Johnny Sincere of Integrated Star Management Ltd. — recounts his company's failed attempt to sell Tom Henry a gimmick: a space suit, a coal miner's neckerchief, a lounge pianist's dead-eyed shades. Tom turned them all down. As Svenonius tells it, when reminded that every story's been told and every gimmick's been used, that all that's left is to admire the photographs of what's gone before, Tom simply shrugged: rock 'n' roll is an eternal spring, and if this is what's left, that's just fine with him — it's what he likes to do.

This autumn sees the release of ‘En de stilstaande tijd voor (elektro-)akoestisch ensemble’ (And Stationary Time for (electro-)acoustic ensemble), the new album by composer and musician Sietse van Erve. With this release, Van Erve marks a definitive turning point in his artistic career: bidding farewell to his long-standing pseudonym Orphax to continue under his own name.

From Rewire to the Studio
The foundations for this album were laid during a memorable live performance at the Rewire Festival 2025 in Den Haag (The Hague). There, Van Erve presented the composition for the first time with an ensemble featuring Anne La Berge (flute), Gareth Davis (bass clarinet), and Dario Calderone (double bass). The leading Dutch newspaper De Volkskrant praised the performance as "incomprehensibly still", drifting on a single, drone-like tone through which the instruments softly float.
Van Erve recalls the intensity of that debut: “I don’t think I’ve ever been as nervous for a performance as I was for Rewire. A packed hall in Amare, during such a major festival”. Following a second successful performance at Festival Musica in Strasbourg, the decision was made to capture the work permanently in the studio.

A New Vision of Nostalgia
The composition originates from Van Erve’s fascination with time and nostalgia, inspired by a 1960s postcard of a Spanish village where time seemed to freeze. While based on a solo piece from 2020, the (electro-)acoustic instrumentation provides a completely new interpretation. The transition from solo electronics to an ensemble brought unique challenges. Van Erve explains: “Certain effects can be triggered with a single knob on a synthesizer, but they result in almost unplayable parts for other instruments. In those situations, I presented the challenge to the group and we searched for a solution together.’’

Identity and Evolution
The album also marks a personal transition for the artist. Regarding the departure from his moniker, he states: “I was looking for the right moment, and now it feels right. With this project, I have finally been able to do what I’ve had in my head for a long time... I feel I have achieved something, and that is why I think it is a good time to initiate the name change."

Realisation through Crowdfunding
Recorded in the spring of 2026 at Studio 150—located in a former church in Amsterdam-Noord known for its exceptional acoustics—the album was captured by Joeri Saal. The production of the deluxe vinyl LP and CD was made possible through a successful crowdfunding campaign via Dutch platform Voordekunst, where supporters contributed to the studio and production costs.

Oráculo Records joins forces once again with Unknown Pleasures Records under the banner of “The Black Alliance” to celebrate one of electronic music’s most influential acts: SUICIDE. Widely regarded as pioneers whose radical approach helped lay the foundations of minimal synth and darkwave, Alan Vega and Martin Rev receive a tribute from artists who carried their influence into new territories. Absolute Body Control, Gabi Delgado of DAF, Patrick Codenys and Richard 23 of Front 242, and Dirk Da Davo of The Neon Judgement appear alongside some of the most compelling contemporary projects in the international dark music underground. Spread across two records, this collection of cover versions also features SUICIDE songs revisited by Alan Vega himself with Marc Hurtado, presented on vinyl for the first time. Their presence creates a direct connection between the original voice of SUICIDE and the generations shaped by the duo’s uncompromising vision. An instant classic in spirit and scope, “SUICIDE Pioneers’ Celebration” honours a legacy that continues to resonate across the underground. Produced in a one-off pressing of just 500 copies, this is a collector’s edition to discover, play and treasure for years to come.

5 ausgewählte Italo Disco Maxi Singles in einer Box. Eine limitierte Sonderauflage für unsere vielen treuen Italo Disco Fans.

Joe Yellow
Maurice Yesterday
Fokewulf 190
Steve Barrow
MAC Jr.

Ein Highlight zu einem unschlagbaren Preis!

The debut release by Confusion on Incompetence Records documents an exercise in disciplined spontaneity, a jam session where organic interaction is rigorously shaped into form. Recorded live in Belgrade by Dmitrii Steinberg, Aleksei Siubaev, Viktor Volkovich, Evgenii Piankov, and Leonid Lipelis, the material was subsequently dissected and reassembled with a scalpel like precision reminiscent of Teo Macero’s landmark edits for Miles Davis. What emerges is not a loose improvisational document but a suite of cohesive constructed pieces: weightless structures suspended over a hypnotic pulse, steeped in cosmic vibes and soft psychedelia. There is a slo mo insistence to the grooves, a kosmiche drift that folds jazz funk rituals into something both intimate and expansive. For musicians previously orbiting rare groove, house, indie rock, and modern composition, Confusion expands their explorations into a terrain where genre dissolves into texture and intention. The record’s mesmerizing beauty lies in its restraint, motifs surface, dissolve, and return as if refracted through magnetic tape memory, each fragment locked into place yet breathing with human elasticity. Rather than presenting virtuosity, the quintet channels it into atmosphere, into a patient, glowing continuum that feels less like a jam and more like a carefully mapped inner cosmos, calibrated for deep listening and slow revelation.

David Rodigan MBE and Defected Records announce the release of House Of Roots; a specially curated three-track remix project by the legendary tastemaker, DJ & broadcaster, reimagining Defected classics as they’ve never been heard before.

House Of Roots has been born out of a partnership that’s blossomed since David first touched down at Defected Croatia in 2025, with his performance becoming one of the defining moments of the entire festival. After returning to Croatia for this summer’s festival finale, Rodigan - this time armed with the House Of Roots remixes - delivered another landmark set, underlining exactly why he remains such a revered DJ & selector.

The House Of Roots project reimagines Defected’s rich catalogue through the lens of reggae, dub and drum & bass in a celebration of music genres that have continually inspired one another throughout the decades.

Enlisting legendary drum & bass originator Shy FX, jungle maximalist CLIPZ, and fabled dub reggae producer & engineer, Prince Fatty, to remix three of the label’s seminal records - Fish Go Deep’s 2006 classic ‘The Cure & The Cause’, Soul Central’s ‘Strings Of Life’ (2004) and The Vision’s ‘Heaven’ (2019) - House Of Roots marks some of David’s most important and intriguing curatorial work yet.

House of Roots comes as a limited edition 7” box set including the 3 remixes plus exclusive dubs and instrumentals plus a 16 page sleeve note collectors booklet.

2LP Black Vinyl im Gatefold Cover!

Mehr als 50 Jahre dauerte die Karriere von David Bowie, dennoch war es ein Schock, als er Anfang des Jahres 2016 plötzlich verstarb. Der Musiker, Sänger und Produzent hinterlässt der Welt ein beeindruckendes Gesamtwerk mit 25 Soloalben und vielen weiteren Livealben, Kompilationen, Soundtracks und Gastauftritten. »Legacy (The Very Best Of David Bowie)« heißt der neue Best-of-Sampler, der jetzt noch einmal einen Blick auf die größten Hits seines Lebens wirft – von Klassikern bis hin zu seinen letzten Aufnahmen. Natürlich darf die Sammlung dabei auch nicht auf seine größten Hits verzichten, darunter »Let’s Dance«, »Space Oddity«, »Starman«, »Ziggy Stardust« und viele weitere. Mit »Lazarus« hat es auch ein Song von seinem letzten Album »Blackstar« auf die Kompilation geschafft. Zu den weiteren Highlights auf »Legacy (The Very Best Of David Bowie)« gehört unter anderem eine neue Version von »Live On Mars?«, die von Produzent Ken Scott gemixt wurde. 20 Songs haben es auf das Album geschafft.

Consummate selector DJ Sundae returns to Efficient Space with Nothing Ever Was, an immaculate compendium of phantom independent melancholia spanning '60s/'70s village green folk, outsider shoegaze and new millennium domestic pop. Each recording an emotional exorcism, Sundae breathes oxygen into music that was barely there in its own time, made in quiet places and crawl spaces, shared only with a precious few via private presses, hobby labels and now-decaying CD-Rs.

Free of any prescribed epoch, continent, scene or rarity, Noughties homemade indie pop opens both sides with the 4-track wonders of The Motifs and Betelmire, unlinked contemporaries finding their place alongside Andrew Jay's Crazy Horse rust, the regional-garage adolescence of Pauline Scribner and the anaesthetised Mancunian guitar-poetry of the late Quigley.

The remaining coordinates zigzag between the UK and US. Folk wayfarers John Strang & Valentine Lewis Lloyd, Virgin Insanity, Kusudo & Worth and Penny Wager's spartan Garden of Eden acoustica find their mirror in Empress and Slumber's close-quarters indie pangs. Chicago power pop fixture Phil Angotti is caught at his most tender, while Teri Rini takes the final bow with her universe-stopping hotel lounge torch song.

A deeper, more personal exploration of Sky Girl's sentimental songwriting, Sundae found himself amassing a cache of tracks too undeniable to remain confined to his anonymous mixtapes for TTT, P.A.M. and Good Morning Tapes, or bi-monthly hour on NTS Radio. Again his emotional sorcery draws together an unlikely cast, their unwritten narrative assembled from fragmented memories of past lives left behind by future horse trainers, ketamine therapists and Fab Four cover band careerists.

With not a second squandered across 1LP, it took a village to bring this new companion into being, with David Bergot's forensic audio restoration, dreamlike imagery from Matthieu Crozier, Ivan Liechti's elegant design and a perceptive foreword by kindred spirit Jessica Pratt.

We’re delighted to announce the new SFJ album Tabibito-tachi 旅人達 (The Travellers) on WONDERFULSOUND

SFJ's album under the duo name, due for release at the end of November. As Oscar SHOLTO Robertson and David Bardon's first outing as recording artists in their own right — following years spent producing and playing session for other acts — the campaign is in its early stages, with the album's arrival set to anchor the wider push. A live launch party in London is planned around the LP's end-of-November release date, marking the duo's first live outing to celebrate the record. Radio and press activity is yet to come; the campaign will build from the single's release through to the album launch and live show.

Recorded in Rented apartments and rehearsal rooms on the move last year through Japan, China and London, the album grew out of a constantly shifting creative process.


"We set up wherever we were staying, turning temporary rooms into makeshift studios and capturing ideas as they emerged between journeys."