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Chiminyo is a UK-based jazz/electronic artist and the founder of the new label NRG Discs (having previously released on Brownswood, Nightdreamer, Gearbox, and Astigmatic, with artists such as Gary Bartz, Shabaka Hutchings, Maisha, Nubya Garcia, Cykada, Uniri, as well as solo). Chiminyo is a versatile musician who blends the raw energy of live drums and percussion with cutting-edge electronic production.

His early solo releases showcased his knack for unique approaches to making music, using self-coded software to trigger synths and samples from every cymbal crash and drum hit, eliminating loops and click-tracks. This DIY, tech-driven methodology allowed Chiminyo complete, spontaneous control over his music—all from the stool behind his drum kit—creating a sound that is both daring and innovative.

Chiminyo's latest project, NRG, continues this trend of innovative thinking. Born from discussions around the UK jazz scene, Chiminyo concluded that this musical expression is less about "jazz" and more about the energy (NRG) that fuels it. As a result, NRG has evolved into a semi-regular event where Chiminyo brings together some of London's finest musicians for live, improvised performances that encapsulate the spirit of the scene. These live recordings are then given the magic production treatment by Chiminyo and co-producer Aviv Cohen, transforming them into the masterpieces we get to hear on wax.

The first three NRG LPs were a massive success, generating over 600,000 streams, selling over 800 copies (without distribution support), and receiving airplay on BBC Radio, Jazz FM, NTS, Soho Radio, and many more. High-profile DJs like Gilles Peterson and Jamz Supernova championed the albums, which were also covered in print by The Guardian, Jazzwise, Echoes Magazine, and various online channels. This success led to an invitation to record a live album at Ronnie Scott's, one of London's most iconic jazz venues—an incredible opportunity for any artist.

NRG 4 brings together some of the best jazz and electronic musicians in London. The album features Marisia Osu (harp), James Akers (tenor saxophone), Daniel Casimir (double bass), Lyle Barton (synthesizers), and Tilé Gichigi-Liperé (live electronics)—an all-star lineup whose members have released multiple records on Concord, Brownswood, Jazz Re:freshed, Astigmatic and more, and have collaborated with artists such as Laura Misch, Nubya Garcia, Blue Lab Beats and Emma-Jean Thackray. Three tracks are graced with features from Jorja Smith's backing vocalist BAELY and Cuban saxophone maestro Regis Molina.

Limited to 400 12" LPs (350 standard, 50 screen-printed limited edition).

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

Steve Bicknell returns to KR3, once again unleashing his mastery of power electronics!
Following his two reinterpretations of last year's "JK Flesh Remixes" and four years after his solo EP "A Day In The Life" in 2021, Bicknell takes us deep into the realms of his sonic mysticism, marking a significant milestone in the fifth anniversary of the label.
Several Streams of Thought LP - is an unrelenting and immersive odyssey, presented through nine tracks, seven of which will be available on a double 12-inch vinyl, with two exclusive cuts in a limited 7-inch format.
The album hits hard, straight to the brain, with no warning, across sides A, B, and C. Each side is a raw, untamed techno experience, with Bicknell's unmistakable signature dominating throughout, delivering unwavering intensity and relentless impact.
However, on side D, a transformation takes place: a 15-minute soundscape that turns the embedded waves into breath - a blinding light emerging from the darkness. It's a moment of tribalism and evocative magic, offering a refreshing pause, a return to balance after the intensity of the shadows.
The 7-inch, available in a limited edition under the title "the eye of the invisible world", contains two tracks - one on side E and the other on side F.
The mystical sounds complete this dual experience: one part filled with dark, untamed energy, while the other brings a sense of mental lightness, emphasizing breathwork and emotional self-
healing.
S | B is back, stronger than ever!

I’m Sad as Hell and I’m Not Going to Fake It Anymore is the best, sharpest, briefest, and fourth record from Paper Castles, the band fronted by Jericho, Vermont’s Paddy Reagan. In one way, it’s a simple and modest collection of nine fuzzy guitar-led pop songs. The title, a play on the iconic scene from Network (written by Paddy Chayefsky), can be clocked as nothing more than that at first glance, playful. But like the music behind it, Reagan thinks you can sit with the title if you want.

I'm Sad as Hell... was tracked by Benny Yurco (Michael Nau, Lily Seabird, Robber Robber) in a little over eight hours across two days, a testament to the quartet’s perfection of these songs on stage, and to Yurco’s comfortable Little Jamaica Recordings in Burlington.

Tompkins and Mangan lock into a wonderful foundation for Kitz’s lolling guitar lines on “Clean + Organized,” while on “Avalon,” the band sings harmony for the most ironic line in the waltz (“We don’t really want company”) before their instruments explode into technicolor. “Lying Here” showcases PC deftly navigating washed out verses and tight knit, twangy choruses, all in a tidy, under-three minute package.

Lyrically, Reagan is at his finest: playful and savage, biting and beautiful. Double entendres and clever wordplay abound—a line like “it's not the ideals but the high heels that’ll make you a man” from “Modern Myth” will make you wish John Prine was still around to hear it. On “Name Changer,” when Reagan sings “I’ll never change my name again / Got a real good handle and I don’t want to give it in,” what kind of “handle” is he referring to? I’d like to think Elvis Costello would smile at most lines in the Attractions rave-up “Content Creator.”

Parisian mambo " is the second album by " Cecilya & the Candy Kings ". The entire LP is an homage to the city of Paris, that has made musically grown up the catalan singer since she settled down in the capital of love. The 11 songs of the album take you to a musical journey back to the 1950"s by the hand of a woman with a powerful and luminous voice committed to the causes of her time. Cecilya"s lyrics, intimate and universal at the same time, not only speak about love and celebrationas the old rhythm"n"blues did. She speaks about dreams (broken or not), internal struggles, healing,emigration, her native Mediterranean sea, the chance to be a freewoman, the superficiality of the world we live in and the nostalgia for better times.The music, signed Rodolphe Dumont, has been carefully created and produced to sublimate Cecilya"s personal universe. The retro sound ambiances and catchy melodies truly take us back to the times of Elvis and Marilyn Monroe. "Parisian mambo" captures the essence of the cream of rhythm"n"blues from the golden era: a mix of blues,rock"n"roll, boogie-woogie, mambo and far more.The musicians on the album are:Cecilya Mestres on vocals, Rodolphe Dumont on electric guitar, Sax, Gordon on tenor and baritone saxophones, Olivier Cantrelle on piano, Abdell B. Bop on double bass and Denis Agenet on drums.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

Mucha, AKA Amanda Butterworth presents a stunning double header for Frequency Domain's tenth birthday release. But when up against one of the most thoughtful, precise, yet loose and rave inducing producers in the history of synthesisers, there was only ever going to be one opening point being made here. Surgeon's remix is typically essential for any techno fan. So while the original 'Skin' is this patient, rhythmic but beat-less slice of post- (or pre-)club stuff, full of ecstasy moods and comedown overtures, Surgeon's take refocuses us on the repetitive vocal patterns and slaps a wonderful compelling broken kick underneath to create a proper dancefloor builder. B-side 'You Make Me Go Under' goes for a neo-Bjork style IDM leaning piece, which then gets a moody, apocalyptic Datassette cut to top off an exceptionally strong package. Buy it. Buy it now.

"So the bad news is, in a fit of pique, I asked Chat GPT (nicely) to compose a one-sheet for the new Shit and Shine double album, Mannheim HBF. The even worse news (yes, even worse than resorting to such tactics) is that the resulting biography is halfway passable and on some levels, superior to the sort of thing being published by what’s left of our weekly coupon-shoppers. But for fuck’s sake my friends, Craig Clouse did not get to where he is today today by settling for halfway passable and neither should you. That Shit and Shine’s discography is vast and dizzying is already well established; what’s not nearly as established are these recordings being specifically dizzying. I don’t know if there’s anyone else in modern music as skilled in waltzing around the periphery of so many disparate idioms ('noise', being one of the least prominent this time around) and somehow, against all odds, tying ‘em together in the most intricate of knots. And who doesn’t love knots? We all have our favorite ways to experience music that’s all-engulfing, but whether your preferred method is thru a stadium sized sound system or ear buds affixed as you’ve leapt off the tallest building in Bastrop, TX (the Jerry Fay Wilhelm Center for the Performing Arts, since you asked), not for the first time, Shit and Shine is entirely appropriate in either instance, possibly every instance. There are moments where I think this is a club record. The Friars Club, however. Far be it from me to provide guidelines for how and when you take in Mannheim HBF. 'No interruptions', 'no distractions' are merely suggestions on the label’s part, though we cannot be held responsible for what happens if you ignore ‘em. Thank you."

Hell 2 is not the first album from Austin’s Blank Hellscape, but it’s certainly the most fully-realized. OK, at least it’s the LONGEST. The three-piece nightmare band knocked around the claustrophobic end of the house show circuit for a longish spell but right around pre-‘dermic times, the trio of Ethan Billips, Max Deems and Andrew Nogay morphed into a multi-dimensional synapse-snapper with little regard for genre nor their own self-preservation. On that front, Hell 2 was echelons in the making; it would not be an exaggeration to say the writing / recording / editing process was arduous and lengthy enough it nearly took Blank Hellscape out of the game for good. But before you declare, “better luck next time”, strap yourself in to your favorite listening chair / apparatus and bask in this sprawling double album, to these ears, an uncanny musical & lyrical representation of the confusing, scary and thoroughly oppressive state we currently find ourselves in (not specifically Texas, but yes, Texas, too). I could not be more proud to dub this their long-awaited MAGNUM OPUS, and not simply because doing so will totally fuck shit up for whoever puts out their next album.

The Oh Sees wasted no time in racing headlong into nightmarish battle with the mighty Orc, clawing even farther up the ghastly peak stormed so satisfyingly by their previous A Weird Exits. The band is in tour-greased, anvil-on-a-balance beam, gut-pleasingly heavy form, nimbly braining—with equal dashes of abandon and menace—on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you’ve come to expect. On Orc, fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet-footing shifting ground to pinion John Dwyer’s cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer toward the violence of their live shows, with a few tasty swerves into other lanes: heavy to lush, groovy to stately. Throughout, it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues. They hit all the sweet spots the heads foggily remember, and there’s plenty to sweat over if you just hopped into the sauna. More evil…more complex…more narcotic…more screech… more blare…more whisper…there’s even more Brigid. Less “Thee,” but more of everything else.

Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'".

Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians — collectively known as the Memphis Cats — include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Analogue Production's reissue here is perfection. Mastered by Kevin Gray from the original analog master tape. Double LP cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a Stoughton Printing tip-on old style gatefold jacket.

After the dazzling debut of their first LP "Latin Freaks", the Funkool Orchestra is back with a brand new single that anticipates the release of their second studio album. A pure adrenaline double sider 7" vinyl with two dancefloor killer tracks.

"Tengo che ffà"
A dancefloor where the sun never sets, pulsing with a Mediterranean heartbeat. Funkool Orchestra return with "Teng Che Fa", a vibrant fusion of funk, disco, and Neapolitan groove. Following their sold-out debut Latin Freaks, this Maledetta Discoteca production delivers pure feel-good energy: sweaty, euphoric and made for endless dancing under golden skies. Perfect for global grooves, nu-disco, and upbeat funk playlists.

"P-Funk (Dance with Pezz)"
A rhythm that grabs your hips and won’t let go, while you smile to the world. Funkool Orchestra set the dancefloor on fire with ‘2-P–Funk’, a percussive, Latin-infused groove drenched in funk and soul. This Maledetta Discoteca production is built for shaking and radiating pure joy, packed with irresistible horns and unstoppable rhythm. Perfect for Latin funk, soulful disco, and global grooves playlists.

FUNKOOL ORCHESTRA: Valentina Conte – Voice; Daniele Mango – Voice; Pask Bluenne – Voice; Adriano Rubino – Trumpet; Riccardo Colicchio – Saxophones; Mario Tammaro – Trombone; Enrico Pizzuti – Guitar; Mattia Leone – Keyboards; Dario 'Pezz' Gessato – Bass; Peppe Shaf – Drums; Paolo 'Batà' Bianconcini - Percussions

Recorded, mixed and mastered by Fabrizio Piccolo at Auditorium Novecento (Naples)
Graphics and Illustrations by Jack Bulgaro

12" EP. Azmari is thrilled to announce the release of their fourth opus, 5-track EP 'In Oculis'. The EP is a reflection of the band's collective desire to reinvent themselves. With a more minimalistic approach, the four musicians have created an eclectic, intense, and vibrant body of work, recorded during various residencies in Belgium and abroad. The result is a fusion of genres that range from powerful grooves to cinematic jazz, from floating melodies to entrancing soundscapes.

For this new project, Azmari teamed up with a long-time collaborator, Guillaume Souffrice (alias Mosso Mosso), who had already been Azmari's guitarist in the band's early days. Souffrice's expertise as a music therapist and multi-instrumentalist, combined with his passion for cross-cultural rhythms and melodies, adds a new depth and dimension to the band's sound.

Souffrice's extensive travels have taken him from Iranian Kurdistan, where he studied the daf (a large frame drum used in Sufi ceremonies), to northern India, where he immersed himself in the modal subtleties of the shehnai (Indian oboe). His love for psychedelic guitar tones and the classic wha-wha pedal remains at the heart of his musical approach, creating a fusion of tradition and experimentation.

The EP opens with 'Night Plants Can Run,' a track that starts with a rhythmic loop on the Berimbau, a Brazilian percussion instrument traditionally used in Capoeira. The song offers a steady, groovy journey between Rio de Janeiro and Sarajevo, with a guitar theme doubled by the saxophone, all underpinned by a deep 4/4 groove. The middle part of the track introduces a lot of percussion (an Azmari signature move) that gives a sense of urgency and chase, inspired by the band's experience playing the track in the studio, imagining a pursuit through the depths of the Amazon.

Next, 'Disassembling the Matrix' takes listeners on a 9/4 march that feels both elusive and powerful. Born from a jam session where an arpeggiator loop wouldn't stop, the band decided to continue with it, highlighting the beauty of a spontaneous creation once again. 'Lizzard's Dream' is a guitar-driven trip that gradually intensifies in energy. The song surprises with a sudden groovy break - a moment that was initially the core of the track - before returning to its soft and introspective theme, closing out the A-side of the vinyl.

The fourth track, 'Eyelights,' was born from the shores of Vevey Lake in Switzerland. It reflects the result of a long period of mental observation and rhythmic exploration. Three different time signatures were used to create the song's intro, which comes together as they go along. The melody loops with a peaceful and nostalgic vibe, creating a dreamlike atmosphere. Under the direction of Frederik Segers, who produced the EP, 'Eyelights' takes on a cinematic feel, with classical upright piano sounds that are a first for Azmari.

The EP closes with "17th Tiger Print," which takes us to the banks of the Ganges. Souffrice's shehnai leads the track into a hypnotic, hallucinatory dimension, where the interplay between his instrument and the baritone saxophone creates a textured, mystical atmosphere. This track encapsulates the essence of Azmari, a sound that bridges cultures and emotions in a minimalist yet highly effective way.

'In Oculis' marks another milestone in Azmari's musical evolution, blending the band's signature style with new influences and experimentation. Whether you're a longtime fan or new to their sound, this EP promisesto take you on another ride around the world.

"10th Anniversary Edition Ghostface Killah, legendary Wu-Tang Clan member, invites you to rediscover the cinematic brilliance of 36 Seasons, his tenth studio album and unforgettable concept masterpiece.
Originally released ten years ago, this album tells the compelling story of Tony Starks as he returns to Staten Island after nine years, seeking a peaceful life but nding anything but. 36 Seasons is a testament to Ghostface’s storytelling genius and raw lyrical power.
To honor its 10th anniversary, 36 Seasons is being reissued in a range of special formats packed with exclusive bonuses. Fans can look forward to three vinyl editions, including a Deluxe Double Vinyl featuring all original tracks alongside instrumental versions."

"10th Anniversary Edition Ghostface Killah, legendary Wu-Tang Clan member, invites you to rediscover the cinematic brilliance of 36 Seasons, his tenth studio album and unforgettable concept masterpiece.
Originally released ten years ago, this album tells the compelling story of Tony Starks as he returns to Staten Island after nine years, seeking a peaceful life but nding anything but. 36 Seasons is a testament to Ghostface’s storytelling genius and raw lyrical power.
To honor its 10th anniversary, 36 Seasons is being reissued in a range of special formats packed with exclusive bonuses. Fans can look forward to three vinyl editions, including a Deluxe Double Vinyl featuring all original tracks alongside instrumental versions."

"10th Anniversary Edition Ghostface Killah, legendary Wu-Tang Clan member, invites you to rediscover the cinematic brilliance of 36 Seasons, his tenth studio album and unforgettable concept masterpiece.
Originally released ten years ago, this album tells the compelling story of Tony Starks as he returns to Staten Island after nine years, seeking a peaceful life but nding anything but. 36 Seasons is a testament to Ghostface’s storytelling genius and raw lyrical power.
To honor its 10th anniversary, 36 Seasons is being reissued in a range of special formats packed with exclusive bonuses. Fans can look forward to three vinyl editions, including a Deluxe Double Vinyl featuring all original tracks alongside instrumental versions."

Remixed by Brad Wood (Sunny Day Real Estate, Touche Amore) and mastered by Brad Boatright.

Forced Down was first created by Amenity vocalist: Mike Down and Pitchfork drummer: Joey Piro. The band was completed by vocalist Rob Base as well as members of other San Diego hardcore alumni including Scott Bartoloni from Heroin.

Full of idealism, love and anger the band recorded (2) vinyl 7”s including their swansong double-7”: “Stifle”. The Forced Down mission statement reads: “As the social values in our society become more set in stone, the individual is forgotten. When what the individual stands for goes against the ideas of the masses, and is considered a threat to order, be it right or wrong—they are forced down— disciplined to maintain "the order" Some conform, some resist, some fall, and they are forgotten”…. "time to rise from our knees and live on our feet"

RIP: Mike Down.

Following the hyperactive “Blood Karaoke” (2022, Reading Group), “Performing Belief” builds rhythmic thickets from gathered sounds interwoven with synths, drum machines and other samples. Having built these rhythmic nests, Krivchenia then called on two contemporary mages of the low end: electric bassist and fellow Angeleno Sam Wilkes (Wilkes/Gendel) and double bassist/multi-instrumentalist from Krivchenia’s native Chicago, Joshua Abrams (Natural Information Society). Wilkes and Abrams bring the presence of a grounding human witness to the rhythmic undergrowth, providing a centering and even at times melodic voice to the gathering. This alchemy carries a profoundly fresh sense of time, blurring the edges of the quantized grid and the generic boundaries of electronic music.

The core of the album is a lush, opulent matrix of percussion ranging from the familiar—hand claps and drum machines—to the mysteriously verdant, sampled largely from Krivchenia’s own performed field recorded collection. For years, he would record any and all of his musical encounters with natural objects: performing on a particularly resonant log on a hike, throwing rocks into a pristine pond, tap dancing in the mud. This archive of “natural” sounds became the fertile soil out of which the tracks on “Performing Belief” grew. What is gained in the process is not just a novel set of sounds, but a new rhythmic language. The particular give, the anticipatory rustle, the extra breath of a hollow log when functioning as a kickdrum provides a greenness that overtakes the rhythmic grid, giving this music a peculiar kind of stickiness. This rhythmic language, set in Krivchenia’s long-fermenting electronic musical palate, feels like a revelation, even while it calls back not only to his wonderfully elastic timekeeping behind the kit with his beloved band Big Thief, but also to his prior work in computer music as well as his deep study and love of the vast human archive of drumming. “Performing Belief” is in good company in the rank and file of the legendary Planet Mu label. From the foundational early releases of the likes of Jega and Venetian Snares, to the contemporary envelope-warping work of Jlin and hundreds of brilliant releases in between, Planet Mu has been a beacon of forward-thinking rhythmic music for decades, informing Krivchenia’s own sense of the weird metaphysics of musical time since he was a kid. Krivchenia’s contribution to this history calls to mind the principle of organic danceability that subtends Mu’s whole catalogue, while bending our sense of rhythm in new and gracious dimensions. Krivchenia brings out the loamy complexity of natural rhythms, a clearing as generous as it is inviting. Let the drummer give you some.