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Introducing a brand new artist on Skep Wax Records, MARLODY releases debut album I’m Not Sure At All. Limited edition white vinyl LP plus digital DL and signed postcard. Marlody’s first album I’m Not Sure At All takes anxiety, weakness, fear - and turns them into strength: powerful melodies, the sweetest harmonies you ever heard, and lyrics that insist on the possibility of hope, without losing sight of the possibility of despair.

Dominated by her extraordinary keyboard playing, Marlody’s songs are illuminated - and sometimes made sinister by occasional bursts of programmed percussion, submarine bass and distant, chiming digital bells. These are deep, darkly beautiful pop songs. When she was a girl, Marlody was one of the higher-achieving classical pianists of her generation, winning competitions and destined for greatness.

She hated it, and threw it all away. In the intervening years, putting more and more distance between herself and her classical origins, she listened to Yo La Tengo and Shellac and a hundred other things that took music to new, untutored extremes. I’m Not Sure At All is the outcome. Marlody’s painful personal journey is not glossed over in the lyrics: Words is about the debilitating effect of psychiatric medication; Malevolence is about the horrible urge to commit inexcusable violence;

Friends in Low Places is a remarkable hymn of solidarity with all those people who’ve contemplated taking their own lives. But the songs are strangely uplifting: they offer up their truths so calmly and are so generously wrapped in harmonies that they feel like gifts. There are great stories here too: Summer takes a child’s point of view, describing the beginnings of new life after the loss of a parent.

Wrong relates the history of an adulterous affair, with a piercing sympathy for the emotional state of the adulterer. There are musical echoes: the infectiousness and daring of some of the vocal melodies might remind you of Kate Bush, the intimacy might remind you of Cate Le Bon, the stabs of anger and pain might remind you of Liz Phair. The keyboard is sometimes as smooth as Fleetwood Mac; other times it’s as raucous and distorted as Quasi. The harmonies are from another place again – you could imagine hearing them in an Unthanks recording. I’m Not Sure At All will be released by Skep Wax on limited edition white vinyl and all digital services.

There's more than a hint of ambition on the double LP sophomore effort from Sam Austin Rabede, the producer known as DJ Black Low. Pretoria, South Africa-born and based, the young man makes amapiano with new ways of expressing this local- turned-global style of dance music. In DJ Black Low's musical imagination, the songs manage to smoothly vacillate between dreamy and firmly-grounded. Adorned with vocalists across most of the twelve tracks, there's a new dimension to Black Low's now-signature approach to abstract, angular deconstruction of the rhythmic developments in his songs. The album references influences and ambitions in its song titles and lyrics while the music itself is anthemic in its sonic and structural aspirations. On many of the songs a slow-burning tension transforms into something unexpected until you're somewhere else as the track concludes. There is an emotional and compositional maturity that builds on his earlier work. Vocals and lyrics are in focus. Production collaborators among Black Low's Gauteng Province circle add to the constantly churning array of ideas that populate this consistently surprising release. Despite being a relative newcomer, DJ Black Low is onto something here.

TRUST's XY recombination series is back with a second volume of cutting-edge sonic fictions: Electro legends Ultradyne join techno avantgardists Peder Mannerfelt, Second Storey, and Alex Cortex in remixing classic TRUST tracks by Microthol, Clatterbox, and /DL/MS/.

Death and Vanilla return with 'Flicker', presenting their unique pop music that defies categorisation. Housed in a beautifully austere post-ironic de-constructed sleeve; 'Flicker' is a modern reflection on these difficult times. World crises notwithstanding, they return reborn, re-arranged and revitalised after assimilating dub reggae, the motorik spirals of Can, the modal meander of Philip Glass and The Cure's dreamier pop sounds; plus the twice removed symphonic ambience of Spiritualized and Talking Heads under heavy manners from Brian Eno. By osmosis their period of transition since 2019's much darker 'Are You A Dreamer?' has hatched new eclectic electronica anthems riddled with melody lines, and layered for lush love. - Forming in Malmö, Sweden, Death And Vanilla gravitated towards vintage musical equipment; from vibraphone, organ and mellotron, to tremolo guitar and Moog synthesisers. Soaking up soundtracks from the 60s and 70s, listening to library music, kosmiche, French Ye-ye pop and 60s psych, Marleen Nilsson, Anders Hansson and Magnus Bodin were fashioned by the city's austere industrial past and flat pack present, and all in the shadow of the Orsesund Bridge that links their dreamworld to mainland Europe and a darker reality. Death And Vanilla at once sound like everything is possible; but nothing else at all. There is a flicker of hope for everyone. - "Deploying vintage instruments in their quest for melancholic utopia." Electronic Sound * "Baroque pop through a dreampop filter." The Guardian Ltd Indie Retail Only Yellow Vinyl LP including DLC!

10 brand new tracks across two discs from Chicago legend BOO WILLIAMS! "DEPTHS OF LIFE" fuses classic melodic deep house with spacey acid and hard swung rhythms in BOO's signature style. A must cop for fans of SJU, PRESCRPITION,...

Two classic Anita Baker tunes rerecorded from scratch for today’s dancefloor. As soulful as house can get!

The A side sees Houston’s Sheleah Monae bringing the heat and her vocal skills on ‘Sweet Love’, in 2 variations.

The flip side has the incredible Nimiwari shining on ‘Whatever It Takes’. With rave reviews from DJ Spen and Booker T and a digital release on Quantize, this is a future house classic. Krewcial’s production once again blends lush sophisticated live strings and live bass and keys to his swinging drum programming.

PLAY DEAD release a career-spanning anthology, a CD digipak with sixteen of their most essential tracks (also as a ten-track limited-edition blue vinyl LP). Between 1980-1985 they grew into one of the UK"s leading post-punk bands with regular indie chart hits and a large loyal live following. They built up through exposure from three John Peel sessions, extensive gigging (with UK Decay, Sex Gang Children, Killing Joke, The Cult and more), subsequently headlining UK and EU tours in their own right and landing a live spot on the UK"s top music TV programme, The Tube. On various labels they issued a series of singles and three studio albums: The First Flower, From the Promised Land and Company of Justice, the latter produced by Conny Plank. This album is collected from all of those releases.

Xiu Xiu setzen sich seit 20 Jahren mit Verarbeitung, Empathie, Ungehorsam und Neuordnung des Grauens auseinander. Ihr neues Album 'Ignore Grief' ist eine Platte mit zwei Hälften. Angela Seo singt auf der einen, Jamie Stewart auf der anderen. Die eine Hälfte ist real, die andere imaginär. Die realen Songs versuchen, das Schlimmste, was das Leben den 5 Bandmitgliedern zu bieten hat, in eine Art verzweifelte Form zu bringen, die ihre Herzen und ihr Gedächtnis in diesen schrecklichen Erfahrungen nicht zermalmen und verrohen läßt. Die imaginären Songs sind eine abstrakte Erkundung des frühen Rock'n'Roll-Genres 'Teen Tragedy' als Ausgangspunkt, um die Emotionen der Band zu dekontaminieren, weil sie weiß, was diesen fünf Menschen widerfahren ist.

- LP auf Silver Ghost farbenem Vinyl mit DL Code in breiter Außenhülle mit Booklet (Lyrics, Poesie)

Warp setzt die Autechre Reissue-Serie mit den Alben #6 und #7, 'Confield' (2001) und 'Draft 7.30' (2003), fort, die beide seit Ende der Nullerjahre nicht mehr erhältlich waren. 'Confield' erscheint als Doppelvinyl mit bedruckten Innentaschen und DL-Code (WAV/FLAC/MP3). 'Draft 7.30' kommt als Doppelvinyl mit bedruckten Innentaschen im Hochglanz-Cover und DL-Code (WAV/FLAC/MP3).

- 'Offcuts from grooves, traces of symphonic strings, limping breakbeats, a weird oriental tune. What sounds like computer confusion becomes quite a beautiful picture of the chaos of your brain.' - The Guardian****

- 'Es existieren auf Draft 7.30 Momente, in denen die Musik fließt. Ein reißender Strom ist zwar ein Tümpel gegen Autechre-Tonströme, aber die subjektiven Definitionen von Ruhe und Entspannung waren schon immer vielfältig. Sicher ist nur eines: Der Nachbar wird weiterhin genervt sein.' - Sven Niechziol

incl. dl code

Alt-rap dissident Jam Baxter announces his newest solo venture, Fetch the Poison. Conceived during a state-wide alcohol ban in Mexico, the album is Baxter’s first to be composed in complete sobriety — though his hallucinatory style of storytelling and cast of monstrous characters make a welcome return. Lyrics on Fetch the Poison meld Baxter’s Latin American experience with visions of a grisly alternate dimension: sun, sea and glittering vistas are sullied by hollow-eyed addicts, shady bar tenders and duplicitous lovers. Amongst deft bars, the rapper includes a number of spoken word pieces that echo the prose in his now sold out book Off-Piste. The album also features Blah Records' Nah Eeto & Black Josh, as well as DJ Sammy B-Side and Jehst, alongside Brazil’s NOG, Black Alien and Xamã. Baxter reunites with frequent collaborator Chemo on production — now under the moniker Forest DLG — for much of the album, with appearances from Jack Danz, Dr Zygote, Wundrop (CMPMD) and Midlands' electronic stalwart Lenkemz. Despite its diverse credits, tracks are connected by icy, spaced-out electronics with beats twisted through tape distortion and anchored by chest- rattling bass. Baxter began writing the album in Mexico just before the pandemic began while holed up in the city of San Cristobal De Las Casas, Chiapas, as the world shut down. “All the streets were eerily empty and it was amazing. I had the city to myself,” he says. “Then suddenly there was a state- wide alcohol ban and I could no longer casually sip tequila as I went about my business. I didn’t really have a choice but to write” With no alcohol to fuel him, and San Cristobal largely silent, the rapper says he was surprised to find himself in a deeply creative — and prolific – state. “I took to it amazingly well, and I wrote this whole album in three months of clear-headed bliss in the same apartment. I would sit and write all day, and occasionally walk up a mountain when I got stuck ... or go and feed the stray dogs at the church on top of the hill. It was weirdly the most fun I’d had in years.” Fetch the Poison is Baxter’s seventh solo album.

Safari In DLes Disques Bongo Joe are happy to announce the first official repress of L"Éclair acclaimed first album Cruise Control. Almost impossible to find a fair price, this album is the roots of L"Éclair well known poly-groove vibe. Back in the days, the guys were obsessed by afrobeat, funk and psychedelic music. Recorded live by Vincent Hänggi, Cruise Control has a totally unique sound. Witht this, you"ll understand everything you missed about the Geneva based crew! Released originally on Rock This Town, we"re happy to work with directly with L"Éclair to repress this gem. If you already missed it once, don"t sleep this time!

Pink vinyl / printed sleeve / incl. dl code

2x12"
2023 Repress in full colour sleeve / silver vinyl / incl. dl code


The Dragonforce EP could be the best work yet to emerge from the studios of Laurence Reading aka Halogenix. Flipping from the Japanese comic book influence of the title track to the beautiful future soul of Independent is something not many other producers are capable of. Tekina brings even more ingenuity with a delicate light/dark fusion whilst Reminisce is awash with warmth and ethereal feels. An essential EP.

Reissue of 2022's Critically Acclaimed LP - first pressing sold out directly through band - first time available to Retail! Vinyl is baby blue w/ white splatter and included DL code. "Pigeon Pit's folk-punk twang is as raw as it is rambling, but never reckless in its tender heart.” - NPR

Classic Black Vinyl, DL card. Jane Weavers experimental ensemble in collaboration with Peter Philipson and Raz Ullah, Fenella returns with a hallucinogenic excursion into ambient textures and hypnagogic drones on new album 'The Metallic Index'. Taking further steps into their combined compositional universe with this follow-up to 2019's acclaimed Fehérlófia album. Loosely based on a genuine story accounting the short-lived abilities of a young psychic nurse in 1920's London, Fenella's niche muse justifies this celebratory return to vinyl but not once does it fall into the supposed tropes of staid hauntological-plunderphonics which repeatedly come to muddy our thirsty streams. Fenella make spirited melodic progressive pop music that pulsates with the same magnetism that fans of Jane Weaver's own The Silver Globe and Modern Kosmology have come to expect and hold closely. Handcrafted using a generous archive of some of the best vintage equipment in the country (partly recorded at Soundgas studios in Darkest Derbyshire) the sound structures you hear at the heart of this album form the basis for Fenella's best work yet, while the individual spectral vocalisations and ethereal electronics that circle the room capture this trio's return, as peripheral visions, in full-phantasmic bloom. "A sonic exaltation and refinement of craft, going further into the realms of atmospheric abstract cosmology blissfully morphed with the mythopoetic" The Quietus

From Chile now Rotterdam comes that extraordinary One Lady Rock'n'Roll Orchestra giving you the most obscure Covers of the Cramps, Motörhead or the Drifters, Recorded in Peru and the NL Ladies & Gentlemen welcome to violence, der künstlerischen Gewalt der emotionalen Kraft, Sinnlichkeit und grenzenloser Stärke... Willkommen in der Welt von Bang Bang Band Girl, der allmächtigen ein Damen-Band, die dieses fabelhafte Album komponiert und gassenhauer neu um-komponiert, spielt, singt und produziert. In Chile geboren, dann auf der ganzen Welt gelebt und jetzt im niederländischen Rotterdam heimisch, ist das Album ein echtes Sonic-Meisterwerk, das wie eine Jukebox die grandiosen Hits unseres Bang Bang Band Girl spielt. Eine wild abgespacte Wand aus Fuzz gitarren, Theremin, Reverberation-Feedback und einer warmen, gefährlichen und doch süßen Stimme bringt Ihnen die Hits von The Troggs (Wild Thing) Wanda Jackson (Funnel Of (trash) Love) Hasil Adkins (No More Hot Dogs) Nancy Sinatra (bang bang) Motorhead (the Watcher) The Drifters (Up On the Roof) Dave Diddle Day (Blue Moon Baby) The Heartbreakers (All By My Self) Elvis Presley (Heartbreak Hotel) the Cramps (Call Of The Wighat) alles selbst aufgenommen und gespielt in Rotterdam oder Lima, Peru, ausgenommen Walter Daniels (daddy long legs, Oblivians, john schooley etc) spielt Saxophon in Blue Moon Baby und Veronik spielt das Theremin in Heartbreak Hotel, wir können nur aufstehen mit den Füssen stampfen und laut applaudieren und eine weitere Münze in die Jukebox werfen, nur um in den Tiefen der Nacht zu tanzen. (Frank Zwiler) Vinyl-LP mit DLC, Poster-Booklet-Inlay und Gratistrip ins All, CD in Karton-Digisleeve inklusive 12seitigem Insert, kein Kunststoff bis auf die CD

Classic Black Vinyl repress in soon note new price. LP with DL card. “a songwriter testing the limits of her sound and redefining herself in the process” - Pitchfork // “Rundle’s voice floats above the seething morass, graceful and triumphant, an angel welcoming the apocalypse” Stereogum // The cover to Emma Ruth Rundle’s fourth solo record, On Dark Horses, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world. The first peek behind the curtain came with her Sargent House debut Some Heavy Ocean, where layers of distortion were excised in favor of acoustic guitar and Rundle’s beguiling vocals. There was a distinct difference by the time Rundle released Marked For Death, a stark and deeply personal meditation on mortality and self-destructive behavior. Her entire musical trajectory from the cinematic instrumentals of Red Sparowes to the lush haze of Marriages and onward through her solo career seems like a gradual disclosure of intimate secrets. With On Dark Horses, Rundle doesn’t shy away from uncomfortable realities or retreat into a private world, but it does capture an artist who has survived their personal nadir and come out stronger on the other side. Taking the full arrangements of Marked For Death on the road demanded a backing band, which Rundle pieced together from tour companions first Dylan Nadon from Wovenhand and Git Some and later Evan Patterson and Todd Cook from Jaye Jayle. Rundle’s budding romance with Patterson prompted a move to Louisville, Kentucky, which not only amplified the equestrian themes of the record but also yielded a new writing process. “This the first time I haven’t played all the guitars on my own record,” Rundle says of Patterson’s contributions to the writing process. “It was stressful letting go but it was also rewarding.” The collaboration worked both ways, with Rundle contributing to Jaye Jayle’s No Trails and Other Unholy Paths. That album’s “Marry Us” mirrors On Dark Horses’ “Light Song”, with the union of Rundle’s siren vocals and Patterson’s poised baritone conjuring a dizzying and feverish update on the duets of Johnny Cash and June Carter. The eight tracks of On Dark Horses capture the evolution of Rundle as an artist, with vestigial traces of the savvy guitar work of Electric Guitar: One, the siren song beauty of Some Heavy Ocean, and the amplified urgency of Marked For Death all factoring into the album’s rich tapestry. Rundle arrives at the end of the album with an ode to a traumatized and heartbroken friend on the grand and triumphant “You Don’t Have To Cry”. After laboring over the majority of the material for the album, she wrote the finale in one sitting, describing its easy birth as a gift from the gods. It’s a fitting closer, a song announcing Rundle’s newfound hope and reminding us to take control during our darkest moments instead of succumbing to them. Track Listing: 1 Fever Dreams 2 Control 3 Darkhorse 4 Races 5 Dead Set Eyes 6 Light Song 7 Apathy on the Indiana Border 8 You Don’t Have to Cry