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“Mekons fght off the darkness with stout hearts and great songs on
Exquisite…Recorded remotely during the pandemic, the eternally enduring
post-punk crew’s latest is a fne addition to their enormous catalog…
We’re living through history; it’s a blessing to have Mekons along for the
ride
”– Rolling Stone
Hunkered down and unable to record together, in 2020 the MEKONS created a
glorious digital chain letter of an album. Exquisite is a sprawling manifesto of
connection and defance that deftly slides through fddle tunes, digi-dub, freside
ballads and urgent rock & roll. And that’s just side A.
The original recording plan was to have been the whole-band-in-a-room session in
Valencia, Spain. When the pandemic rendered that impossible the process took a
sharp swerve. The album credits describe it this way: "Exquisite was recorded in
lockdown on mobile phones, broken cassette recorders, clay tablets & other
ancient technologies in Aptos, Chicago, London, Los Angeles, New York & Devon.
"
This legendary group from Leeds, have written contemporary music history for
the last 40 years as radical innovators of both frst generation punk and insurgent
roots music, and Exquisite is another powerful vector of that legacy.

Released on Ruf Records in 2021, Pizza Man Blues is a snapshot of the
moment those certainties were snatched away
The Blues Boy of Matthews’ 2006 debut album has been around the block, and
the genre-crossing songs he now recounts on Pizza Man Blues are written from a
place of hard- won maturity. “This last year, we’ve all had to adapt to
circumstances,” refects Matthews. “I’ve been forced off the road, but I’ve tried to
keep the engine alive, keep earning, not lose my passion. I’ve done so many jobs,
like pizza and fower delivery driver, tree surgeon assistant, volunteering for the
NHS. These songs are all about the experiences I’ve had.”The opening charge of
Mayday would make Motörhead’s Lemmy nod approval, serving a feral fuzz lick
and a speaker-ratting chorus that asks the big questions. From the bruised organ
lines of Can’t Keep Us Apart to the thrilling torn-up guitar tone and Stax-worthy
brass on Anti-Social Media, these are songs that defy genre at every turn. “I just
wanted a ‘Krissy Matthews’ vibe,” he shrugs. “This album was the result.” But as
the indelible chorus of Grateful fades – ‘You’ve got to be grateful for what you’ve
got/ even if it ain’t a whole lot’ – it’s that sentiment that resonates. “Being a
professional world touring musician, in a pandemic, with a girlfriend in another
country, during Brexit, is not ideal,” Matthews considers. “But I’ve still found lots
of things to be grateful for and I’m a very lucky man. The only way to get through
hard times is to focus on the good times…”

Dodging Dues is a startlingly expansive record “startling” in part because it’s relatively short (seven songs, all but one hovering around the four minute mark), but also because it traverses so many moods and styles: languid and dreamy one moment, surging and intense the next. Garcia Peoples (these days a six-person band) “hit their stride” a long time ago, but here they seem to be hitting a di­erent one, working themselves loose of in‑uences (though this tree has roots: traces of Thin Lizzy, of more arcane bits of U.K. folk-prog, of vintage Meat Puppets in some of the softer passages) while at the same time opening themselves up to their own individual strangeness, becoming ever more singular and ever more free.

The words legendary, seminal, and classic get thrown around at will these days, but Rudimentary Peni’s debut album is all of them. Recorded over two days at Southern Studios by John Loder and originally released in 1983 by CRASS off-shoot label Corpus Christi, “Death Church” showed a band moving away from the urgency of their two early 7”s and into their own realm. Creating a template that bands have been trying to replicate ever since, while ticking all the boxes to become a genre-defining album. Iconic artwork, a unique sound and their own lyrical universe. All merging seamlessly. Sonically the album is full of Nick Blinko’s extraordinary vocals and equally remarkable guitar, Grant Matthews’ big meandering driving basslines and Jon Greville's tight and relentless drum work which together made something intricate and hard hitting, with a sequence that makes the 21 songs on the album flow perfectly. Visually, the album is every outsider art lover’s wet dream. A six-panel poster sleeve with every inch covered in Nick Blinko’s claustrophobic black and white line drawings, while lyrically the songs deal with madness, religion, death, and questioning humankind from a dark poetic place rarely found in any art form. Remastered from the original master tapes by Arthur Rizk and housed in a replica poster sleeve, including the original insert, “Death Church” is back in print in LP, CD and cassette after nearly a decade of no official reissues.

Step Down is the definitive noir soundtrack for the end of the age of disinformation. What better way to usher it out than with this heavily blaxploitation influenced funk anthem. Let huge horns, fuzz guitar, harpsichord, and funky flute be your guide. The B-side, La Fachada, pays homage to a San Diego late night favorite with a beautifully dreamy mandolin driven tune. That floaty feeling you get with a belly full of tacos, Tecate, and their staple slow roasted pinto beans. Maybe a few hits of your favorite California grown recreational cannabis too. Wait... what were we talking about...

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their fi rst record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound. With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives.

LTD. CLEAR PINK & BLUE SPLATTER VINYL

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their fi rst record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound. With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives.

Following on last year’s standout 7” release from Diogo Strausz, RNT now reveals the incredible extended mixes of the original pair of tunes, along with a strikingly beautiful remix of the title track by the inimitable Ron Trent. Originally conceived by the Brazilian producer to be long form songs that showcased the deep musicianship of Strausz and his cohorts, extended organ and piano solos and instrumentation now stretch out in all their jazzy glory across one side of a heavyweight 180g 12”.

On the the A-side, Ron Trent takes Emancipação positively interstellar, with added instrumentation and mounting percussion that builds toward a soulful and hypnotic peak, the way only he can do!


Emancipação:
Drums by Patrick Laplan. Moog, organ, electric piano by Rafael Vernet. Sequences and bass by Diogo Strausz. Mixed by Fred Deces.

50 Anos Em:
Grand piano by Rafael Vernet. Sequences, bass, congas, wurlitzer by Diogo Strausz. Additional production by Antoine Gaillet. Mixed by Diogo Strausz and Fred Deces.

Remix and additional production by Ron Trent.

Buckle in for an orgasmic Italo trip, courtesy of Argentinian duo Furor Exótica. The result of a sweaty and shaky journey in their Buenos Aires studio, here they deliver two stir-crazy babies, crafted for dancing lovers worldwide.

The title track ‘Macchina Bum Bum’ builds energy gradually from minimal beginnings, adding spine-tingling vocoder vocals, shimmering synth melodies and a familiar sample as it builds towards a euphoric climax. Prime sunset material.

Meanwhile ‘Fractal’ is a hot and heavy chugger, with its throbbing bassline, trippy vocals, and euphoric synth melodies swelling and swirling together. You can practically smell the sweat on leather.

On remix duties, Donald’s House kick things off with a brilliant reimagining of ‘Macchina Bum Bum’, complimenting the vocals with a squiggly, wiggly, funky and propulsive retro-futurist instrumental. Just try not to throw your hands in the air when the synth melody comes in around the halfway mark! A certified stone cold banger, ready for peak-time deployment.

Bringing things home, label founders Kayroy and GREETINGS deliver a dreamy, psychedelic rework of ‘Fractal’. The vocals are transformed into a trippy, gated refrain, taking center stage alongside mellow, warm synth lines, and underpinned by a robust 808 kick. The track ends in a final crescendo, which should please dancers in a club or lovers in a broom closet alike.

Tom Middleton is focused on the future in many ways. His new alias GCOM is an all-new, 21st century redesign of his original Global Communication concept and collaboration with Mark Pritchard. The new album E2-XO is some of the most advanced music he has ever made, both in sound and concept. signifying a technological, creative and philosophical evolution into the new era; from planetary communication and understanding to Galactic Communication.

Bonobo veröffentlicht sein neues Album ‘Fragments’ auf Ninja Tune mit Gastfeatures von Jamila Woods, Joji, Kadhja Bonet, Jordan Rakei & weiteren!

Mit „Fragments“ veröffentlicht Bonobo alias Simon Green die emotional intensivste Platte die er je produziert hat - keine Überraschung also, dass er es auch als sein Opus Magnum betrachtet. Auf dem Album sind Jamila Woods, Joji, Kadhja Bonet, Jordan Rakei, O'Flynn und Miguel Atwood-Ferguson zu hören. Das Album entstand zunächst aus Ideenfragmenten und Experimenten und wurde schließlich in einem Ausbruch von Kreativität zusammengefügt, der sowohl durch Zusammenarbeit als auch durch Greens Flucht in die Wildnis befeuert wurde.
Als einer der größten Namen in der Dance-Musik kann Green auf drei Grammy-Nominierungen und 2 Millionen verkaufte Tickets für die Tour zu seinem 2017er Album, „Migration“, zurückblicken. „Migration“ war ein Top-Ten-Album in mehreren Ländern, ein Top-Five-Album in Großbritannien, erreichte Platz 11 der deutschen Albumcharts und war Billboards Dance-Album Nummer eins in den USA. Außerdem ist er ein beliebter Mainstage-Performer bei den größten Musikfestivals der Welt. „Fragments“ ist eine Serie von zwölf klanglichen Bekenntnissen, die einige der härtesten und tanzbarsten Grooves enthalten, die Green je geschaffen hat. Die Balladen sind perfekt platziert. sie fangen eine Welt im Wandel ein und glühen vor Hoffnung. Die Ideen herauszukitzeln, erforderte anfangs einige harte Arbeit. Der ständig auf Tournee befindliche Green arbeitet am besten, wenn er in Bewegung ist, folglich zwang ihn der weltweite Stillstand zum persönlichen Stillstand.

"Moody Disco Vol. 1" finds Los Angeles disco/funk maestro, KCRW fave & rising TikTok star (250k followers for his "Interpolation" videos) LUXXURY aka Blake Robin exploring new disco directions.

Leading the EP, "Let's Stay Together” blends house and jazz-funk rhythms with his trademark dusty basslines, dreamy ‘70s keys, and minimal vocals. Next up, “Don't Give Up (I Believe in You)” is a fresh, funk-infused fusion of 'Forget Me Nots'-style Rhodes, infectious bass, dusty lo-fi beats and a simple, uplifting mantra-like vocal delivered by Robin in his gorgeous falsetto.

On the flip, "Two Hearts" revitalizes a familiar 80s Hi-NRG topline with a new chill-yet-funky instrumental. Rounding out the EP are two popular remixes never before released on vinyl, the upbeat piano house classic “Pleasure!” and Crackazat’s floor-filling take on “Hold On.” Moody though it may be, the EP is a gimmer of hope near the end of a dark period.


DJ Support:

Purple Disco Machine, Polo & Pan, The Reflex, JKriv, KCRW

Gold Vinyl

12” EP by the lovely French synthwave duo known as DEUX. GERARD PELLETIER and CATI TETE formed Deux shortly after meeting in Lyon in 1981. Their music can be described as minimal synth with stripped down rhythm compositions and suitably cold duets. A perfect blend of archetypal Kraftwerkian pop and French synth, these set of songs comprise their later years (1985) and stylistically sound like classic house combined with the romance of New Wave. This EP features previously unreleased newly remastered studio and demo tracks. Pressed on 180 gram gold vinyl, limited to 999 hand-numbered copies. Note: due to a pressing plant issue, the color of the vinyl isn’t precisely gold – it’s more of an olive golden brown.

The ambient / cross-genres label Concentric Records launches its first solo release as a special edition LP written and composed by the celebrated and influential techno / experimental producer Tobias. It is the first strictly-ambient solo album of Berlin's Tobias. aka Tobias Freund.

Entitled Hall Ov Fame, the 42min. full length album is a rare ambient journey into a sonic world that is full of narrative and cinematic imagination, blurring boundaries between perceived and staged reality, past and future memory.

“I have movies in my head” describes Tobias Freund the source that inspired his new album to fill it with a fantastic life of its very own. Consequently, each of the eight tracks represents a scene out of a fictitious short film, some of them with a claustrophobic and tense atmosphere while others appear light and hopeful on the screen of imagination. What they have in common is an adventurous spirit that is inherent in and played out by three main characters: repetitive electronic and acoustic patterns, voices from far away and field recordings of obscured origin. All the episodes combined introduce this “Hall Ov Fame” as a psyche-cinematic event which resonates with “ambience in its natural shades” to evoke the whole range of sensations that make a proper, suspenseful mind movie.

Tobias. (Freund) is long established as an influential artist and has - since the early 1990s - been working as a professional producer, sound engineer, label owner and strictly live musician. The Berghain resident constantly keeps exploring the vast synth-driven Techno, Experimental and Ambient territories on journeys in-between genres, both as a live act and on his countless releases.
Besides his early solo projects (such as Pink Elln, Metazone or Phobia) he’s also been collaborating with Dandy Jack (as Sieg Über Die Sonne), Ricardo Villalobos (as Odd Machine), Max Loderbauer (as NSI.), Valentina Berthelon (as Recent Arts) and AtomTM to only name a few. With his vast experience, diverse output and interests, Tobias. doesn’t tire to actively push against existing boundaries and explore new areas of electronic music. By this he stands in a long tradition of electronic music, scrutinizing the self while reaching out towards the unknown, approaching sound with an appetite for the new, in the tradition of true innovators.

Hall Ov Fame follows a compilation in three parts that introduced Concentric Records’ roster and exploratory sonic realm over the past year and half, featuring unique and wide-ranging works by (in order of appearance) Pole, Daniela Huerta feat. Cornelia Thonhauser, Samuel Rohrer, Vladislav Delay, Jake Muir, Hotel Neon, Soundwalk Collective, Etapp Kyle, Tragic Selector (Daisuke Tadokoro & Terre Thaemlitz), Kareem Lotfy, Christina Vantzou, Jana Winderen, Echium, Max Loderbauer, William Selman, Petre Inspirescu, Supply, The Waves, HOLOVR, ASWA.

Written and Produced by Tobias Freund at Non Standard Studios, Berlin. Mastered by Tobias Freund. Lacquer Cut by Mike Grinser. Cover Image: TV Caption of Marcello Mastroianni in 'La Città delle Donne' by Federico Fellini, 1980. Artwork by Blackbirds Inc.

Having released his debut album Around The Corner in 2018, as well as a critically acclaimed LP in collaboration with Los Angeles-based musician Tristan de Liège two years later, Keno aka David Hanke's latest opus, Out Past The Current, brings together not only some of his finest remixes from the past four years but also a handful of new and exclusive works.

Once again Hanke's love for more downtempo styles is on show - a passion that has immersed the producer into the electronic music scene since the early 2000s. Developing his own style over the last few years with lush instrumentations, more complex songwriting and distinctive drum programming, his songs and remixes ease the mind with echoes from the past.

Parlophone Records/ISO Records are proud to announce TOY:BOX. The previously unreleased TOY album will be released on 7th January 2022, the day before David Bowie’s birthday. Available in six 10” vinyl versions, TOY:BOX is a special edition of the TOY album. The ‘capture the moment’ approach of the recording sessions are extended to the sleeve artwork designed by Bowie featuring a photo of him as a baby with a contemporary face. The package also contains a 16-page full-colour book featuring previously unseen photographs by Frank Ockenfels 3.

TOY was recorded following David's triumphant Glastonbury 2000 performance. Bowie entered the studio with his band, Mark Plati, Sterling Campbell, Gail Ann Dorsey, Earl Slick, Mike Garson, Holly Palmer and Emm Gryner, to record new interpretations of songs he’d first recorded from 1964-1971. David planned to record the album ‘old school’ with the band playing live, choose the best takes and then release it as soon as humanly possible in a remarkably prescient manner. Unfortunately, in 2001 the concept of the ‘surprise drop’ album release and the technology to support it were still quite a few years off, making it impossible to release TOY, as the album was now named, out to fans as instantly as David wanted. In the interim, David did what he did best; he moved on to something new, which began with a handful of new songs from the same sessions and ultimately became the album HEATHEN, released in 2002 and now acknowledged as one of his finest moments.

* 180 gram audiophile vinyl
* Inclusief insert met songteksten
* 20-Jarig jubileum uitgave
* Voor het eerst verkrijgbaar op vinyl
* Gelimiteerde editie van 1.000 individueel genummerde stuks op transparant vinyl

Het Nederlands muziekduo bestaande uit Thomas Acda en Paul de Munnik heeft met hun popliedjes een grote schare fans opgebouwd. Het tweede studioalbum genaamd Naar Huis heeft daar zeker aan bijgedragen. Met de pakkende teksten van nummer als "Het Regent Zonnestralen" en "Niet of Nooit Geweest" drongen ze in 1998 de hitlijsten binnen. De harmonieën en begeleidende arrangementen vormen ook op dit album weer een geslaagde mix van emotionele verhalende nummers en slimme grappige passages. Zelfs een bluesy gitaarsolo gaan ze niet uit de weg, zo blijkt uit het aanstekelijke "Zitten voor de Blues". Alle nummers tezamen maken het tweede album ook weer tot een evenwichtige en fascinerende muzikale rit.

Acda en de Munnik is een van de succesvolste duo's van Nederlandse bodem. Met een muzikale diversiteit en teksten die ingaan op de het strand, de jeugd en het leven weten ze de luisteraar te raken.

Naar Huis is verkrijgbaar als gelimiteerde editie van 1.000 individueel genummerde stuks op transparant vinyl.

For a number of years now, A Guy Called Gerald has largely made music only for himself. But this special EP is borne from Gerald’s unique and long-lasting friendship with Analog Room founders Mehdi Ansari, Siamak Amidi and Salar Ansari. They first met in 2013 when Siamak booked Gerald to play his Analog Room party in Dubai – a leading underground light in the UAE’s then emergent scene. Away from the glossy VIP hotels and expensive bottle service parties
typically associated with Dubai, Analog Room only deals with quality bookings of the caliber of Move D, Roman Flügel, Moritz Von Oswald and the likes. Gerald immediately fell in love with the party. Its strict music-first, no-nonsense policy appealed to him and he’s returned many times over the years.

By then, of course, A Guy Called Gerald’s musical legacy was already assured. The Manchester icon is best known for his 1988 hit single Voodoo Ray – the touchstone of his hometown’s dawning acid house scene. As well as being an early member of 808 State, Gerald embraced breakbeat and jungle, ran his own Juice Box Records label and worked with the likes of Columbia, Perlon, K7! and many other vital labels. His skills on everything from synths to keys, samplers to
drum machines stood him apart then – and still do today.

“This release is based on a real friendship,” Gerald explains. “I feel part of the Analog Room family. Back in the early days, that’s how it was. These days, it’s like, ‘Oh, you’re famous, let’s do something.’ I’m not interested in that. I’m not interested in being a celebrity or living that life. I’m the same as I was 30 years ago, all I care about is the music. With Mehdi, we have spent hours jamming in private in Dubai, we have partied together. We’ve vibed together for so long and he’s shown me new parts of the world I should be making and playing music in, away from the trendy scenes in other places. So this is an exclusive just for him.
I’m not looking at doing anything else with anyone, and the music is just about celebrating individuality rather than trying to fit in anywhere.”

When Iranian-born Mehdi decided to start Moozikeh Analog Room – which translates from Farsi as “the music of the Analog Room” – Gerald was one of the first artists he asked to release on the label. It might have taken some time for Britain’s Dirty Little Secret to materialize, but boy it’s been worth the wait.

Says Mehdi, “The magic comes through proper relationships and friendships.
That’s why Analog Room worked. It was a great room, an amazing sound system, with amazing artists doing their thing. Bookings were so on-point because we had agents around the world, on the dancefloors, spying up artists who were killing it,
and Gerald was one of them. He was a perfect fit from the first gig and our friendship grew from there. He’s always been very kind to me. We have this common language of music without any bullshit, and that is where this EP comes from.”

The EP is a mixture of different things. Some of it is unreleased material from the vaults revisited, some of it is brand new. It opens up with the devastating Old Skool – a writhing, physical track with naughty bass. The drums hark back to Gerald’s early days of making jungle but reimagined through a modern perspective. As the synths spray about the mix and the percussion bounces atop the jostling drums, muttered vocals draw you in deeper. Sugoi is an experimental
track that fuses ambient synth design with the spacious and eerie atmospheres of jungle. Nimble drums get you on your toes as the spangled synths twist and turn in all directions. It is a thrillingly original, impossible to define track.

Flash Fight is built on a captivating rhythm that sits in the area where house, techno and jungle intersect. It is warm and cavernous, physical yet elegant as it bounces on rubbery kicks and lithe synths roam in and out of earshot. Perfect for those sweaty, cozy back rooms, it’s another masterclass from Gerald. Closing out the EP is False Religion, a deep-rooted house track with elastic drums and
haunting, wispy pads. As a subtle acid bassline rises and falls way down below,
Gerald’s own mystic whispers leave listeners hypnotized.

Following on from Analog Room co-founder Salar Ansari’s debut release on the label, this EP is a statement of intent. More releases will follow from some of Analog Room’s most frequent international guests, but only when the time is right. Moozikeh Analog Room is a label of love, one that is focused on putting out the best possible music at all times rather than chasing hype.

A timely reminder of why A Guy Called Gerald is one of the world’s most enduring electronic artists.

Welcome to the jazz funk world of the late great Mr Weldon Johnathan Irvine. This great man managed to write music that both inspired and in awed 50 years ago, as it still does today. He takes you to another world, with his gentle yet almost crazy energy. He was way ahead of his time producing these monumental, instrumental masterpieces. Mr Irvine was such a calm and kind gentleman, who just oozed music. He sadly passed away in 2002. It is a great honour to be able to release some of his music from his Nodlow music label on to 7” for the first time.

In 1974 Weldon released his “In Harmony” LP. The two tracks we chose are, “Fat Mouth” which, as expected, features the signature Weldon rift. This Clavinet-heavy groove is backed up with the mighty Joe Jones on Hammond organ; and is all held steady with the pumping drums from Napoleon Revels
“Turkish Bath” is a laid-back jazz groove, with Weldon laying down a superb lead Rhodes story and melody. Backed up with Joe Jones on the piano. Weldon’s keyboard echoes throughout his music with such simplicity.

“I’m reeling, I’m restless,” sing Deep Throat Choir from the heart of their second album. That restlessness manifests in a set of tremendously abundant, original songs from the east London female and non-binary vocal collective, founded by Landshapes member Luisa Gerstein.

 Released via Bella Union, ‘In Order to Know You’ is a multi-layered assertion of freshly expansive range, driven by two core virtues: a sense of strength in unity and an open embrace of its singers’ personal experiences, shared through collective, supportive vocal expression.

 After 2017’s largely covers-based debut album, ‘Be OK’, the choir recognised the call to evolve. “Having been singing together for five-plus years, and having released an album of mostly covers, it felt like the logical next step to make our own music together,” says Gerstein. “This album is the alchemy of all the specific voices and players that make up the choir, and a collaborative process of writing and sharing music and ideas. Sonically, I wanted to move beyond just voices and percussion, to see what richness could be brought with acoustic instruments and electronics, and to transition from a choir that
does covers to a band with loads of vocalists.”

 ‘In Order to Know You’ heads towards its climax without seeming to touch the ground, from the title track’s devotional exhalation to the stealthy, smoky shimmer of ‘Unstitching’. Its lyrics drawn from a poem by Emma Cleave, the sublime ‘Field of Not Knowing’ closes the album in a vivid tapestry of folkgothic images (moon beams and pipistrelles) and serene-to-soaring arrangements, revelling in possibility: “It’s the place where I begin,” sing the choir.

 For Deep Throat Choir, the result is both an exquisite culmination of journeys taken so far and a lustrous, exquisite springboard for further adventures. Their travels began in 2013, when the collective took shape from a desire to strip music back to the basic elements of raw female voices and drums, united in a fashion that both honours and transmogrifies personal expression.

 A small group of four or five singers steadily expanded, with Zara Toppin’s drums providing a propulsive energy. Cathartic live shows and collaborations followed, ranging from team-ups with Peggy Sue, Stealing Sheep, Horse Meat Disco and Matthew E White, to performances at Green Man, Wilderness, the Southbank Centre’s WOW festival, London’s Scala and beyond. ‘Be OK’ provided a gutsy showcase for the band’s close, collective strengths, bolstered by weekly gatherings at a church in east London to blow
the roof off. A fruitful collaboration with techno-pop duo Simian Mobile Disco on the 2018 album ‘Murmurations’ followed: a testament to the choir’s alchemical abilities.

Alogte Oho & His Sounds of Joy are back with a new single release after their album debut "Mam Yinne Wa", which can be seen as a harbinger of the second album. You can hear another Frafra Gospel masterpiece by the king of this genre.

"Doose Mam" is a soulful piece that goes straight to the limbs with its repetitive rhythm. The jubilant middle section, in which the wind instruments and the choir pass the balls to each other, is to be emphasized. "Gure Yose Me" ties in with the Frafra Gospel tradition of making use of reggae rhythms. Here we hear a stepper played by Josie Coppola, Europe's No.1 reaggae drummer. Both pieces were produced both in Berlin and in Kumasi by Max Weissenfeldt in Philophon's in-house Joy Sound Studios.

After a life-threatening illness, Dagobert Böhm returns with a collection
of dreamy pieces between folk and jazz
On it, Böhm's sensitive guitar lines are complemented by Fender Rhodes, vintage
synthesizers and discrete electronic beats. Guests like Karl Seglem on
Saxophone, Knut Hem on dobro as well as pedal- steel and percussion virtuoso
Ómar Guðjónsson add further impulses.'Within a Dream' is not supposed to turn
the world of music upside down. It's just supposed to make it a little more
beautiful - more dreamlike, if you will.

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

Freddy vs. Jason hit theaters in 2003—60 years after the release of cinema’s first monumental monster team-up, Frankenstein Meets the Wolfman (1943). Directing this long-anticipated monster mashup was Ronny Yu, a Hong Kong action director,

Wiseblood is one of the most well-known Corrosion of Conformity albums and was released in 1996 as the fifth studio album by the American heavy metal band. The album charted on the Billboard Top 200 Album Charts and peaked at #104. The history of Corrosion of Conformity in modern heavy music is highly significant, not least due to guitarist Pepper Keenan’s formation of all-star project Down, along with Pantera’s Philip Anselmo and members of Crowbar.

Wiseblood includes the tracks “Drowning in a Daydream”, which was nominated for Best Metal Performance at the 40th Grammy Awards, and “Man Or Ash”, on which Metallica’s James Hetfield provides backing vocals.

Wiseblood is available on black vinyl.

Punchline: Enjoy this first single "Waiting For A Star To Fall" from swedish allstar band AT THE MOVIES, doing unique cover versions of their favourite movie songs. Taken from their upcoming album "The Soundtrack of Your Life - Vol. 2" and with members from Pretty Maids, HammerFall, King Diamond, The Nightflight Orchestra, Therion and more! 1. SINGLE - 12.11.21 „Waiting for a star to fall“ 2. SINGLE - 19.11.21 „Last Christmas“ 3. SINGLE - 10.12. „(I Just) Died In Your Arms“ 07.01.22 on album release day): - „Heaven Is A Place On Earth“ FOCUS TRACK: „(I Just) Died In Your Arms“ "Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

OK, it’s taken us to get to our 11th release for some filthy organ funk to grace the label, and who better than The King Rooster.
Hailing from London, The King Rooster are a heavy funk quartet consisting of Ian Stevens on bass, Mark Claydon on drums (both
from another heavy funk band - The Getup), Sam Montero on keys and James Forster on guitar.
Collectively the band have played, recorded and shared stages with the likes of Sir Joe Quaterman, JTQ, Gizelle Smith, Reuben
Wilson, Speedometer Pee Wee Ellis and many more.
The band have released a clutch of heavy duty organ funk 45s on various labels over the last few years (Our Label, FNR, Dinked,
Burning Soul) and a spectacular LP, also on Dinked. But it was when we heard ‘Snitchin’, Stitchin’ & Bitchin’ on Funk Night Records
that we decided 45 Live needed some Rooster funk on the label!
It is entirely evident that the guys all have a deep love for raw funk, that gritty, slightly shambolic garage sound, punchy instrumentals
designed to hit you in the gut, pure soul from the pure funk perspective. It’s all about the ‘nasty face’!
Here we have 2 hard hitting organ screamers kicking off with ‘Snake Bait’ on the A side, a raucous 144bpm dancefloor burner.
Scratchy guitar, thumping bass and manic drums underpin a swirling and ever building Hammond Organ into a firey crescendo.
Whilst over on the B ‘Stickin’ it’ takes some cues from The Meters sound with its trance like organ riffs and bluesy flavour. It’s a raw
mid-tempo head nodder which, like the A side, keeps building and building into such a cookin’ groove.

Clear Orange Vinyl w/ bone splatter. Limited edition of 300. Linernotes written by Josh Homme. Originally released on CD in 2001 on Josh Hommes own Rekords Rekords-label and now on vinyl for the first time! 20th anniversary! Remastered for the vinyl release. There must be something in the sand of sweltering Palm Desert, a California town that has birthed Kyuss and Queens of the Stone Age, as well as Fatso Jetson. Like Kyuss/QOTSA, Fatso Jetson built a name for themselves by putting their own unique spin on the Sabbath sound, but unlike their counterparts, larger than life singer/guitarist Mario Lalli's true love lies in both jazz (Thelonious Monk, Eric Dolphy) and experimental rock (Frank Zappa, Devo). On paper, this conglomeration of different styles sounds like the perfect recipe for a train wreck, but it somehow all comes together on disc, as evidenced by the trio's 2003 offering, Cruel & Delicious. Issued on old pal Josh Homme's label, Rekords Rekords, the trippy songs perfectly fit the feel of the album's cover (a sun-bleached photo of a long stretch of desert highway), especially such standouts as the saxophone free for all "Drinkin Mode," the melodic "Light Yourself on Fire," the bouncy instrumental "Heavenly Hearse," a barely recognizable cover of the Devo obscurity, "Ton O Luv," and the jazzoid freak-out, "Pig Hat Smokin." Cruel & Delicious is an enjoyable slice of hard rock, well off the beaten path

Whether or not they are actual twins, Shiho and Yuhiro do create magic on their Basic Fingers debut.

Both of them have made edits and reworks for quite some time and the idea of combining their crate digging skills with their love for edits is nothing short of brilliance.

On the A side, the Twins goes all in with 'Magic Theme', a driving percussive, exploding latin groove that's relentless in its dance floor and chin stroking pleasures.
It's heavy on rhodes and jazz funk solos, a jazz dance bomb for the peaktime hours, what's not to like?

They also bring us 'It's Bright', a joyously celebratory piano jam, the perfect fit for your sunshine filled dancefloor.

Enjoy !

"Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

Massachusetts hardcore band Defeater have announced their new self-titled album. Defeater will be released May 10 on Epitaph. This is Defeater's fifth full-length release and their first in 4 years. The first new single, "Mothers' Sons" features blistering guitars that take the song into something chaotic and beautiful. Defeater was produced with Will Yip (Quicksand, La Dispute, Blacklisted, Ms. Lauryn Hill) whose enthusiasm and talent pushed the songs to their fullest potential. Defeater showcases the band at their most devastating and sonically arresting to date. It is as pummeling as it is atmospheric. Yet it's been a long journey to where the band is now. Years of touring took their toll on the friends that make up the current lineup of Derek Archambault (vocals), Jake Woodruff (guitar), Adam Crowe (guitar), Mike Poulin (bass) and Joe Longobardi (drums). Health, substance abuse issues, and ejecting a longtime member had made a touring hiatus necessary. After a few months at home, working and decompressing, the fire to write a new record caught everyone in a major way. The result of time off and the band's renewed energy, Defeater has created their most organic batch of songs yet. And in Defeater fashion, the instrumentation is complimented by a narrative approach. Archambault explores his own "Glass family" (an homage to the J.D. Salinger characters) from new perspectives.

Who better to help you celebrate that most wonderful time of the year than holiday favorites Bad Religion? Tackling eight chestnuts in their classic punk rock style. From "White Christmas" with its nod to pioneers The Ramones, to the glorious choirboy intro to "Hark! The Herald Angels Sing," Christmas Songs is the record you need to get your holiday household's toes tapping. Limited pressing - 1000 units worldwide, for the first time on green and yellow vinyl.

Chìsake Algonquin: to chant; to conjure; to cast a spell; this generally involves a shake-house, or shaking tent, in which the conjurer goes into a trance; the conjurer then has an out-of-body experience, going into the future to predict coming events, or into the past; as well as going into any locality in the universe to seek out someone or something generally practiced for ancestral divination.

The unaccompanied flute pieces within this album are adaptations of Anishinaabeg shaking tent chants. The Anishinaabeg also known as Anishinaabe are a group of culturally related Indigenous peoples that reside in areas now called Canada and the United States. They include the Odawa, Saulteaux, Ojibwe (including Mississaugas), Potawatomi, Oji-Cree and Algonquin peoples. The word Anishinaabeg translates to "people from whence lowered". The Anishinaabeg origin myths describe their people originating by divine breath.

The shaking tent or conjuring lodge was the setting for a divinatory rite performed by specially trained shamans otherwise known as Chìsakewininì. During the shaking tent ceremony the Chìsakewininì would construct a special cylindrical framework typically of birch or spruce uprights planted in the ground with respective wood hoops to bind it together. This created a tensile structure of which birch bark, deer skin, or cloth was used as a covering. Rattles of caribou and deer hooves, or cups of lead shot, were tied to the frame. The floor was usually softened with freshly cut spruce boughs. The vertical axis of the shaking tent represents the realm of mediating beings, while the horizontal axis the earth or world of humans. The Chìsakewininì would enter the shaking tent at night and once inside would not be visible from onlookers. The singing of chants and drumming would summon the Chìsakewininì's spirit helpers, whose arrival was signified by animal cries and erratic tent shaking. During this transcendent state, the Chìsakewininì could dispatch these spirit helpers or Manidò to distant regions to answer questions from the onlookers about the most auspicious places to hunt, the well-being of a distant relative, and what would happen in the future.

The chants were usually sung using vocables before, during, and after the Chìsakewininì entered the shaking tent. Like many other similar divination ceremonies, singular or collective, the opening chants begin lyrically. They gradually turn to more reductive abstract structures midway and then end in lyrical chants. This symbolizes the performer and listener leaving the external literal world, entering a more abstract state of mind, and then returning. Traditionally all songs were carved on birch bark for record-keeping with mnemonic pictographs or other marks for future use. Tally mark clustering, sometimes used for song-keeping throughout the Anishinaabeg, is used for this album's track titles and numerical sequence.

The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear teeth, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener's attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in the middle tracks traditionally represented the "throat rattling" vocalization of the tonic note or sometimes known as the horizon of which the melody floats off of. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with the Chìsakewininì ceremonial actions. All songs are repeated seven times to signify the seven sacred directions: east, south, west, north, above/sky, below/earth, and center.

Years & Years has today announced details of brand new album, ‘Night Call’, which will see a release on Polydor Records on January 7th. Olly further introduces the record today with a brand new track, the pulsating ‘Crave’, and its incredible video featuring some of the cast of ‘It’s A Sin’ (Omari Douglas, Nathaniel Hall, David Carlisle) plus the likes of Munroe Bergdof. The record-breaking show won Best New Drama at the National Television Awards earlier this month, continuing a phenomenal year for Olly (which has also seen the release of first single ‘Starstruck’, its rework with Kylie, and a show-stopping performance of ‘It’s A Sin’ alongside Elton John at the BRIT Awards).

A daring dance track about leaning into submission to the point of embracing it, ‘Crave’ – says Olly – “is a playful way of inhabiting the deranged sexual energy I’ve always wanted. In the past I felt like I’ve been dominated by toxic relationships, and I felt like it would be fun to turn it on its head.” Consider this a risqué cut of kinked-up, club-ready pop, and Olly Alexander using his platform to push the boundaries of mainstream superstardom.

From its iconic artwork to its euphoric, rejuvenated sound, ‘Night Call’ is a thrilling new chapter for Years & Years. Inspired as much by pioneering figures like Sylvester as it is French House, at the centre of the record is that mermaid of a muse: a beautiful icon luring men to their death, on an album partly about those searching for love (or a lover) but ultimately finding power in themselves. Embodying the new perspective of a character – like Ritchie in ‘It’s A Sin’ - also deeply influenced Olly’s songwriting, with songs that blur the line between fantasy and reality but are bound together by their explorations of queer life. Hedonistic and escapist, ‘Night Call’ captures that joy and anticipation of going out precisely because, says Olly, “I was writing from a fantastical space, stuck in the same four walls. I wanted to have as much pleasure as possible in the music.”

As Years & Years, Olly Alexander has become one of the world’s most trailblazing modern pop stars. Across two hugely successful albums to date, the singer, actor, fashion icon and cultural vanguard has earned 5 Brit Award nominations, surpassed 4.4 billion global streams, and played triumphant homecoming shows at London’s O2 and Wembley Arenas. Along the way, Olly has also become a fearless, once-in-a-generation voice on important discussions around mental health, and issues affecting the LGBTQ+ community - all of which, in its own way, has taken him to ‘Night Call’, and the most essential Years & Years album to date.

GLASVEGAS return with their triumphant fourth album ‘Godspeed’, – the music we all need right now. The latest single Shake The Cage (für Theo) sums up the dazzlingly eclectic sound of Godspeed perfectly – this is an electronic barrage with devastatingly powerful spoken word lyrics which call to mind I’m Gonna Get Stabbed from the band’s astonishing debut.

The single is perfectly positioned at the end credits of Alan McGee’ new movie ‘Creation Stories’, written by Irvine Welsh and executively produced by Danny Boyle. Hand picked as the only current track to grace the music mogul’s biopic, it is a kind of


dystopian, free-associative ‘Choose life’ sermon (’Stand on a wave / calculate quantum mechanics / Surf, dance / Believe in chance”) set to the escalating dread and claustrophobia of a John Carpenter murder-chase.

Ever-evolving Australian outfit The Possé debut on cult deep house label Pulp with Moods & Vibrations. Their fresh new four-tracker includes a remix from Space Ghost.

Andrew Elston and Ross Ferraro are the core members of The Possé, but the group often expands or contracts with various other musicians. Since 2017 they have released on the likes of Plastic World, Ken Oath Records and Kolour LTD, and bring plenty of Southern Hemisphere heat to all their productions.

'Parting' opens up with plenty of soulful Detroit house flavours. The dusty drums get you in the groove while subtle acid and silky pads bring a feel-good, sun-kissed vibe. Remixer Space Ghost is Sudi Wachspress, a real album specialist who has released on Tartelet and Apron Records. He has a uniquely lo-fi house sound that draws on funk
and soul. This remix is a late-night jam with gorgeous trumpet motifs and scuffed-up drum patterns all finished off with warming sunset chords.

Then comes 'In Focus', a brilliantly loose and jazzed-up jam. The skipping drums are run through with playful keys and humid chords that cannot fail to bring the party. 'Prime Mover' is a little more direct and dynamic but no less heartfelt, with more expressive melodies and infectious drums. A liquid Mix of 'Prime Mover' layers in fatter bass and more crisp percussion to take you to another level. Moods & Vibrations is an EP of rich, musical house grooves that are overflowing with soul.