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The latest, greatest contender for Manchester’s music throne, Aitch cements his position as one of the most exciting young British rappers with the announcement of his hotly-anticipated debut album, Close To Home. A love letter to the city which shaped him, revealing a well of hidden depths to surprise, delight, and charm his ever-growing legion of fans. preceded by the release of his evocative new single, ‘1989’ built on the irresistible hook from The Stone Roses’ iconic single ‘Fools Gold’, ‘1989’ . The debut album, comprised of 16 tracks, combines a mature and reflective side with the charisma and cocksure swagger he has become known for. Aitch recently anointed as a Forbes Magazine ‘30 Under 30’ name to watch, has recruited an excitingly diverse roster of collaborations for the record. Features the track "My G" with Ed Sheeran.

The Older I Get, the Funnier I Was, which follows Thomas’ brilliant 2020 HBO special The Golden One and his Can't Believe You're Happy Here EP released earlier this year, surveys a range of emotion and offers a broad sonic palette, moving between pop punk, electro, and the obvious influence of the singer-songwriters he grew up listening to in early childhood. It conjures the ennui of Bright Eyes alongside the barefaced storytelling of John Prine, the overstuffed lists of Fred Thomas with the lackadaisical humor of Colleen Green, among many others.

Thomas attributes the dexterity of the record to Duterte, who recorded and engineered most of it in addition to serving up plenty of encouragement when Thomas got down on the process. “As a comic, I used to test out new songs during sets to see if the funny bits were hitting, but since I wrote this in isolation I ended up writing lyrics and worrying less about making jokes,” Thomas says. That said, the album’s plenty funny. Stand-out and lead single “Rigamarole” opens with a Thomas-voiced infomercial that recalls his oft-cited lookalike Jim Carrey as the Grinch, before launching into a buoyant pop song about being depressed.

Whitmer Thomas will admit that when he traveled home to small town Gulf Shores, Alabama to record his HBO stand-up special, The Golden One, he expected to be greeted as a returning hero, a conquering king, or at minimum, a guy with a moderately successful career as an entertainer in Los Angeles. “I expected a big welcome home, open arms, but when I went back I realized: nobody fucking knows me. Nobody remembers me,” Thomas says. “In the years I’d been performing that show, I’d been romanticizing my childhood in this mythologized place, but the visit made me see that I’m not really from there anymore.”

The sense of alienation compounded when Thomas recognized how few people in town remembered his mom, to whom The Golden One is dedicated and largely about. Thomas grew up watching her perform with her twin sister at the legendary Flora-Bama Lounge, where he set the special, and still counts her as one of his musical influences. His new album, The Older I Get, the Funnier I Was, isn’t overtly about his mom, her presence is deeply felt throughout. While in Gulf Shores, Thomas discovered dozens of her old recordings, all of which had been wrecked by Katrina, but upon returning to LA, Thomas paid “a fancy place in Hollywood” to fix the tapes and hired Melina Duterte (Jay Som, Bachelor, Routine) to mix them. The two struck up a collaborative friendship, and Thomas had the sound of his mom’s voice back. “I was listening to songs she recorded when she was about my age, just these heartfelt, sweet Americana songs,” he says. “I decided then that I wanted to lose the Ian Curtis voice I always sing with; I wanted to do what came naturally, because my mom always sounded like herself, even when she was singing some cheesy reggae song about, like, Jamaica.”

Thus he went into The Older I Get, the Funnier I Was knowing it was time to retire his darkwave persona, and leaning into his natural, chirpier voice, which he says sounds “like a 12-year-old’s.” It makes sense: much of the album chronicles what Thomas calls “being a kid and feeling like you have no control and overcompensating by being annoying.” “So much of the album is about witnessing drug and alcohol addiction as a kid and seeing what it does to people, but also realizing that there's nothing you can do about it,” Thomas says. It’s familiar territory (see: “Partied to Death”) but the methodology is different this time around; true to its title, The Older I Get, the Funnier I Was isn’t always looking for laughs. Thomas might’ve left his hometown behind, but his kid self is still tagging along, a Peter Pan shadow he can’t untether himself from. The first line he sings on The Older I Get, the Funnier I Was is: “There should be a room at every party where you can just sit and watch a movie.” Find a 12-year-old who wouldn’t say the same.

Giacomo Smith's critically acclaimed outfit Kansas Smitty's embark on a new chapter with a twist on their sound; modern jazz, African rhythms and classic cinema sculpt We're Not In Kansas Anymore. As the title suggests, We're Not In Kansas Anymore is the beginning of a new dawn for Kansas Smitty's. Their fifth studio album marks a progression from their swing led palette, instead pulling inspiration from modern jazz, African rhythms and classic cinema. Kansas Smitty's continues to be the primary outlet for bandleader, alto-saxophonist and clarinetist Giacomo Smith, a musician and producer whose tireless creativity continues to lift his reputation, recently producing albums for both Jamie Cullum and rising star Jas Kayser.

Giacomo Smith's critically acclaimed outfit Kansas Smitty's embark on a new chapter with a twist on their sound; modern jazz, African rhythms and classic cinema sculpt We're Not In Kansas Anymore. As the title suggests, We're Not In Kansas Anymore is the beginning of a new dawn for Kansas Smitty's. Their fifth studio album marks a progression from their swing led palette, instead pulling inspiration from modern jazz, African rhythms and classic cinema. Kansas Smitty's continues to be the primary outlet for bandleader, alto-saxophonist and clarinetist Giacomo Smith, a musician and producer whose tireless creativity continues to lift his reputation, recently producing albums for both Jamie Cullum and rising star Jas Kayser.

Im Jahr 2017 feierte das Album ‚Second Nature' die triumphale Rückkehr von Lionheart in die melodische Rockmusikszene mit einer Sammlung von kraftvollen und denkwürdigen Songs. Wegen vertraglicher Umstände verschwand das Album 2020 außerhalb Japans vom Markt. Nun wurde das Album neu gemastert, um noch druckvoller zu klingen als je zuvor, hier kommt die Ltd. LP Gatefold Edition in goldener Farbe.

Stellar Legions is four experienced space cadets from the Antwerp interstellar legion, led by Captain Andrew Claes (STUFF., BRZZVLL, Internal Sun). With a sound rooted in jazz, improv, hip-hop, dub and electronic music, brace yourself for an intergalactic trip through colourful musical worlds and allow yourself to be carried away to indefinable, otherworldly but always hospitable beacons.

Alongside Claes, the delegates on duty are all heroes from the Allied star: Bram Weijters (Raymond Van Het Groenewoud, Crazy Men), Klaas De Somer (Tourist Lemc, Selah Sue) and Fre Madou (ex-DAAU, Namid). With them, come stories and artifacts from the multidimensional cosmos to our beloved mother planet Earth and this autumn, they passionately present their first omnibus 'Stellar Legions', released 21st October via the groove-obssessed Sdban Ultra label.

The album consists of eight tracks recorded in the studio and live, resulting in one big cosmic experience that exhilarates down to every last arrangement. From Claes' twisted sax on the semi-electronic ecstatic dream world that is an 'An Arp in Tunisia' to the jazzy snatches of 'Wessel' where De Somer's hurried drum patterns and Weijters frenzied keyboard solos catch light, Stellar Legions unites the adventure and improvisation of jazz with contemporary sounds.

At the core of the Stellar Legions sound is a rhythm section Sly & Robbie would have approved of: loose and sticky, grinding and unwinding: De Somer's drums fizz with expectation while the relentless bass strokes from Madou provide the beating pulse. It's fresh, it's raw and it keeps us listening, grooving and wanting more. Elsewhere, 'Odyssey' is a cataclysmic mix of feverish sounds and melodies that take you to an extra-terrestrial place, while the live recording of 'Alcyone', basks in a spatial mix of futuristic grooves and ethereal soundscapes before album closer 'Covix', results in a spacious and wonderfully atmospheric affair.

Electronics wizard Andrew Claes has recorded music in a wide range of styles ranging from free jazz outfit Chaos of the Haunted Spire (duo with Teun Verbruggen) to techno icon Marco Bailey and New Wave hero, Marcel Vanthilt. In addition, he has collaborated with Zach Danziger, Zap Mama, Brussels Jazz Orchestra, Hermes Ensemble, Mauro Pawlowski, Josse De Pauw and many others and released music with the electro-jazz collective AAN/EOP and his solo project, Internal Sun.

Claes is also a teacher of 'Live Electronics' at the Conservatory of Antwerp and a doctorate in the arts, where he is currently investigating the possibilities of an electro-acoustic saxophone. He also regularly gives workshops on the Belgian synthesizer microcontroller platform, Axoloti. His latest achievement is AI-driven robot-jazz project 'BotBop' with Dago Sondervan and Kasper Jordaens, which explores the possibilities and limits of 'computer aided music performance'. Their latest project 'Integers & Strings' premiered at the Sònar festival in Barcelona in November 2021.

We're happy to report that the music on the 'Son of a Biscuit' EP from Kuwahara aka Mick Wilson and Scott Gray is every bit as colourfully eccentric as the title it bears. 'Ginger Cut' is dubbed up cloud of sound billowing over choppy hip-hop breaks, with an old skool female MC poking her head out of it to have her say every now and again. Rich Tea's edit of the track takes it into housier territory but, like one of those old Orb ambient singles singles on Wau Mr Modo, still gives plenty of work to the studio's echo chambers. 'Jaffa Quake' goes for snazzy, jazzy overtones and off kilter breaks, 'Kustard Cream' offers up reggae skank, again served up with plenty of sonic exotica, and there's even a more relaxed, Balearic bonus mix of 'Ginger Cut'. A thoroughly nutty record, but a genius one at the same time.

We Jazz Records presents the second volume of their reworks albums dealing with source material from the Helsinki-based label's catalog. This time around, it's Carl Stone's turn to tackle the source albums at hand and filter the label's output through his musical lens.

We Jazz Reworks is an idea that repurposes some of the label's output 10 albums at a time. That is, the label invites producers whose music they love on board, and one by one, they tackle 10 albums worth of source material, of which they are free to use as much or as little as they choose. The series evolves chronologically, so this volume being number two, the source material is pulled from We Jazz LPs numbers 11 through 20. The artist has complete freedom.

Volume 2 in the series happens with Carl Stone, a legendary figure in creative music. His career spans decades of unlimited musical innovation. Stone's recent output on Unseen Worlds, the label who has also been instrumental in issuing some of his remarkable earlier work, ranks among the most original art of our time and renders notions such as "genre" virtually meaningless.

Here, We Jazz originals by Terkel Nørgaard, OK:KO, Jonah Parzen-Johnson and more are met here with a fresh sense of discovery, spun around and delivered ready for the turntable once again.

Carl Stone says:

"It was wonderful that We Jazz gave me carte blanche to work with any materials from the set of ten releases in its catalog. This freedom to work with everything could have been a mixed blessing though, as it could be a challenge to try to deal with so much musical information. In the end I did what I almost always do: Let my intuition be my guide and to seize upon any musical items that seemed to fit into an overall approach."

"To make a new piece I usually start with an extended period of what really is just playing, the way a child plays with toys. Experimentation without necessary expectation, leading to (hopefully) discovery of things of musical interest, then figuring out a way to craft and shape these into a structured piece of music. Each track uses a different approach, which I found along the way during this play period."

This conceptual approach becomes complete with the design, in which album graphics are treated in a similar fashion, reworking what's there. This time around, the artwork is reinvented by Tuomo Parikka, a regular cover collage contributor for the We Jazz Magazine.

CURACAO BLUE TRANSPARENT VINYL, INSIDE OUT SLEEVE, OBI W/ LINER NOTES, PRINTED INNER SLEEVE WITH SOURCE ALBUM DESIGN REFLECTIONS.

Kalita presents the first ever official reissue of Sweet Clover's highly sought-after 1979 disco single "You're What I Need', backed by an unreleased extended mix and the equally impressive 'Sweet Talk', sourced from the original master tapes.

With original copies released in a run of just 300 copies and now hitting top three-figure sums on the rare occasion that they come up for sale, Kalita finally serve up a chance to obtain this lo-fi disco masterpiece once again.

Accompanied by a never-before-seen photo of the band and liner notes based on interviews with writer and producer Willie McClain, this is another no-brainer from the Kalita camp.

Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She's lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she's funnier, which is a charm endemic to musicians. Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they'd continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta's songs changed and sculpted by their time together. While Kline's musical taste at the time was leaning toward aughts indie rock she'd loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite "droning, meditation, repetition, clarity and intentionality," as well as "'70s folk and pop" as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their "ambient" or "psych" album. Somewhere between those textural elements and Kline's penchant for concise pop, Inner World Peace finds its balance. The first order of business upon setting up camp in Brooklyn's Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC's aesthetic idiosyncrasies to shine. The mood board for "Magnetic Personality" has a neon green and black checkerboard, a screen capture of the game Street Fighter with "K.O." in fat red letters, and a cover of Mad Magazine that says "Spy Vs. Spy! The Top Secret Files." On tracks like "F.O.O.F." (Freak Out On Friday), "Fragments" and "Aftershook," the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don't miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they're coming deeper into their own. Inner World Peace excels in passing on the emotions it holds. When in the towering "Empty Head" Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline's point of view. Says Greta, "To me, the album is about perception. It's about the question of "who am I?" and whether or not the answer matters. It's about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don't leave the house, who are you to the world? Can you take the person you discover there out with you?" - Katie Von Schleicher

Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She's lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she's funnier, which is a charm endemic to musicians. Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they'd continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta's songs changed and sculpted by their time together. While Kline's musical taste at the time was leaning toward aughts indie rock she'd loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite "droning, meditation, repetition, clarity and intentionality," as well as "'70s folk and pop" as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their "ambient" or "psych" album. Somewhere between those textural elements and Kline's penchant for concise pop, Inner World Peace finds its balance. The first order of business upon setting up camp in Brooklyn's Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC's aesthetic idiosyncrasies to shine. The mood board for "Magnetic Personality" has a neon green and black checkerboard, a screen capture of the game Street Fighter with "K.O." in fat red letters, and a cover of Mad Magazine that says "Spy Vs. Spy! The Top Secret Files." On tracks like "F.O.O.F." (Freak Out On Friday), "Fragments" and "Aftershook," the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don't miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they're coming deeper into their own. Inner World Peace excels in passing on the emotions it holds. When in the towering "Empty Head" Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline's point of view. Says Greta, "To me, the album is about perception. It's about the question of "who am I?" and whether or not the answer matters. It's about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don't leave the house, who are you to the world? Can you take the person you discover there out with you?" - Katie Von Schleicher

"It's an album that will no doubt inspire the creation of new bands and artists, a collection of songs that record store employees will recommend to unsuspecting kids looking for something out of the mainstream, and who are ready to have their minds warped." - Flood "Medicine Singers push powwow music into the avant garde" - The Fader The debut album by Medicine Singers is a genre-smashing kaleidoscope of sound combining traditional powwow music with elements of psychedelic punk, spiritual jazz, and electronics in a stunning blend. Building on years of collaboration between Yonatan Gat and Eastern Algonquin powwow group Eastern Medicine Singers, the album features contributions from an all-star cast including jaimie branch, Laraaji, Ikue Mori, Thor Harris (Swans), Joe Rainey, and Ryan Olson (Gayngs). "I look at it like this, everybody is my brother and sister, no matter where they come from," says Medicine Singers leader Daryl Black Eagle Jamieson. "If their culture or music is different, I want to learn about it, and I want to play with them. I think it's our responsibility as artists to show the world that life is not about war and hate. Life is about music, peace, and culture. We need to communicate with people of different cultures and backgrounds. We need to show people how we can work together and make something beautiful." One Dollar of each Medicine Singers album sale goes to the Pocasset Pocanoket Land Trust.

Press play on Lanois’ captivating new instrumental collection, Player, Piano, and you’ll be transported, too. Each song here is a portal, an invitation to lose yourself in the moment and disappear into a world of imagination and memory. Lanois recorded the entire collection himself, capturing a series of gentle, exotic piano performances at his studio in Toronto with the help of co-producer Dangerous Wayne Lorenz, and the results are both intimate and expansive all at once. Melodies unfold slowly with patience and grace; ethereal arrangements drift around them like fog rolling through the mountains. More than just an album, Player, Piano is a gateway into a cinematic sonic universe full of mystery and wonder, a place where the lines between reality and fantasy blur and deep truths and desires reveal themselves in profound and unexpected ways.


“Making this record transported me,” says Daniel Lanois. “I got to travel to Cuba and Mexico and Jamaica. I got to visit with the ghosts of Erik Satie and Oscar Peterson and Harold Budd. I got to go back in time to my work with Brian Eno and Kate Bush and Emmylou Harris. And I did it all without ever leaving my studio.”

What Are People For? make the perfect kind of dystopic dance music for our times. Born from a collaboration between artist Anna McCarthy and musician/producer Manuela Rzytki, the band could be the illicit lovechild of Tom Tom Club and Throbbing Gristle, displaying the ideal balance of hip shaking vibes and dark provocative content.

On their collaborative debut, McCarthy and Rzytki share songwriting duties. The album was produced by Rzytki herself. They are joined by Paulina Nolte on backing vocals and Tom Wu on drums, while Keith Tenniswood mastered the record.

The whole project stems from a publication and exhibition by McCarthy laying the foundations for the content and lyrics of the album, which is humorous, poetic and political. As a lyricist, McCarthy uses her storytelling ability to explore anxieties and desires, digging into free surreal word associations reminiscent of Su Tissues’ tongue in cheek experiments with Suburban Lawns, but also explosive and gripping like a Kae Tempest rap.
Rzytki’s precise sonic palette and talent at penning structured bangers perfectly complement McCarthy’s playful and subversive language manipulations. Rzytki's beats are rooted in old school Hiphop loop principles and an authentic love for the analog. Her use of an array of synthesizers and other "real" instruments adds to WAPF's depth, soul and sincerity.

The album opens with a joyful anthem, full of energy and melodic hooks. The audience is confronted with the quintessential titular question What Are People For? and told that they are just a mere disposable commodity. Throughout the album, lyrical themes revolve around underground aspects of society, violence, political ideologies, sexuality and mysticism. The content is deep but the album is as danceable as it is biting.

73, with its drum machine hysteria and hypnotic synth basses is a a text collage written on the 73 bus through London, consisting of situations and conversation snippets encountered along the way. Drones indulges in the narrator’s paranoia as they feel they are being watched by cigarette machines, whilst the haunting choir is half spoken, half sung, ending on the orgasmic chanting of the word “mummy”. Nursery Rhyme brings more soothing incantations. There is definitely an affinity for fairytales, albeit adult ones and especially the anarchistic ones such as The Moomins, who were a consistent influence on the band. The artwork for the record, created by McCarthy, is a beautiful children's book-style painting of the group in a forest, seemingly about to engage in a magical encounter to which we are invited.

WAPF? have absorbed and digested a variety of influences. Trip hop, Punk and Techno are rubbing shoulders on Party Time. 1977 was coined “Summer of Hate” in the UK and unsurprisingly in WAPF?’s Summer of War, ethereal singing alternates with a powerful marching Garage/Grime chorus reminiscent of street protests and UK culture.

Mz. Lazy starts like an invitation to meditation and references Gertrude Stein’s book Ida in which she develops the idea that publicity is a new religion and people are now famous for being famous. Repressed anger explodes into violence and freedom at the end of the song as our heroine eventually grabs an axe to destroy her oppressors.
Fantasize, on its part, is raw, sexual and liberating while the closing track Bring Back the Dirt is a welcome hymn into a world that is becoming more and more sanitised.

While exploring deep subject matters throughout their album, WAPF? manage to remain satirical, exciting and funny. Each and everyone of their songs have a cathartic quality.

The visual identity of the band is intrinsic to their appeal. Live, they are eccentric, wild and unapologetic, wearing see-through costumes, bright miniskirts and intricate headpieces while delivering their songs with sharp intensity. Their performances radiate queer sexiness and transcend B52's thrift store aesthetics, creating a space for collective dreaming.

WAPF? is a rare combination of contemporary punk energy, irresistible groove, absurdist dry humour and astounding depth of field. They have the mighty power to create a party with their music and soon you will find yourself lifting your arms as if controlled by an external force, to chant: WAPF? WAPF? WAPF?

– Marie Merlet (Malphino, Little Trouble Girls, London)

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

Perpetual Doom proudly presents the new album from Austin Leonard Jones: Dead Calm. On this collection of nine new tracks, the Texas-based troubadour channels his eclectic talent into a melancholy country groove. Full of signature tumbleweed melodies and his deadpan wit, it is an essential addition to Jones’ unique and varied catalog.

Like any good country record, Dead Calm starts with a joke and ends in tears. “A werewolf walks into a bar,” Jones sings on opener “Cape Fear,” where vampires pour drinks and no one seems to escape. The town might be full of the undead, but it could be anywhere—after all, as Jones says, “It’s hard on the living in Cape Fear.” The slide guitar and faint bright keys set the tone for an album that mixes domestic sorrow with a touch of kitsch, like Conway Twitty at a seasonal Halloween outlet. “I’m the sole survivor of the all-night show,” he sings on “Back in the Black Lagoon,” “and it cost a thousand tears for every episode.” Somewhere between a funeral and a costume party, Dead Calm bursts with classic songwriting sure to get you on the dance floor and crying.

All these ghost towns, desert bars, and haunted capes emerge from the small town outside Austin where Jones wrote and recorded the album. Alongside producer Jesse Woods, he crafted a sound based on the traditional country palette of acoustic and slide guitar, organ and gentle drums. Songs like “Night Parrots” and “Demon Sands” take stock of life’s disappointments as Jones’ maudlin voice and Jesse Siebenberg’s pedal steel twist tighter around each other. “The Australia Song” puts autobiographical storytelling first, while “Exotics” laughs at our tendency to seek satisfaction in far-off places and things. It all comes together on “Its Treachery,” where Jones confronts the intimate betrayals of “a whole life not working out as planned.”

Sound familiar? Austin Leonard Jones invites you to join the club.

Taylor Swift’s new studio album Midnights is available everywhere on October 21st. It’s a collection of music written in the middle of the night, a journey through terrors and sweet dreams. The floors we pace and the demons we face - the stories of 13 sleepless nights scattered throughout Taylor’s life.


Each Vinyl Album Includes:

13 Songs
Full-size gatefold photos
A collectible 8-page lyric booklet with never-before-seen photos

Heist Recordings has been pushing the envelope for house music since day one and we’re always on the lookout for artists that represent our vision on electronic music. Our next guest on the label fits that profile and more. He is the embodiment of modern-day electronic funk and a true wizard on the keys: Atlanta raised cool guy Byron the Aquarius.

Byron has a solid history on the label: He remixed Parker Madicine back in 2017 and did a mad solo on the 2019 released Dam Swindle track ‘The life behind things’. We’ve done some shows together and stayed in touch while Byron was working together with Jeff Mills on his 2020 jazz crossover record ‘Ambrosia’ on Axis. Now, after a solid string of releases on labels like Shall not Fade and Purveyor Underground, Byron is making his solo appearance on Heist. His ‘Akira’ EP goes from dark basement grooves to dreamy broken beats and features a remix by New York dance music wizard Kush Jones.

The Akira EP kicks off with ‘I love yo’. In this track, Byron decides to leave his keys at home and goes in deep with a moody club workout. ‘I love yo’ is a track that juxtaposes dreamy samples with rough percussion and vocal chops with a clear nod to the work of Mr. G. The melody is mellow, but don’t be deceived; clever drum programming and plenty of sub take this track into the club vibe just the way Byron likes it: warm, hazy and sexy AF.

Byron is not known for delivering straightforward house tunes, but when he does deliver them, he does it in style. Enter ‘Get up’; the A2 of the EP. There’s everything we love about house music: smart vocal chops, driving percussion, classic house keys and a booming sub to get you bumping to this beat.

The B-side sees Byron up the tempo and take a deep dive into bass territory with ‘Love’. In this track, there’s lush pads running over a percussive broken beat and chopped R ’n B vocals to add some serious sex appeal. It’s deceptively simple and clean but ever so catchy, which clearly shows Byron’s prowess as an electronic music producer.

Going back to classic house mode, we’ve got ‘Success’: A spoken word house track that fits right in with the classics. Byron sets the mood with some bumpy key-and synth work while brainstorming about originality and blackness throughout the track. Even though the message underneath might be a serious one, Byron succeeds in delivering this in a fun, uplifting way that never gets pretentious or divisive.

The EP finishes with a remix by New Yorker Kush Jones. This is an artist who understands how to build a groove. He could take you anywhere from house to juke, footwork and techno, which is exactly why he’s been getting so much love for his music recently. Kush is an artist who sees no boundaries in his music and still manages to create his own sonic universe. His remix of ‘I love yo’ takes a dreamy approach with soft chords running over an electronic groove with a pure and improvised feel. All elements fit together perfectly and it’s the clever ad-hoc programming and arrangement that suck you into his unbounded world from the first beat.

As always, enjoy the music and play it loud.

Yours sincerely,
Maarten & Lars

Back by popular demand here is a very limited repressing of this krautrock masterpiece with connections to Kraftwerk.

Lengthy and strongly percussive cosmic fussion instrumentals with a middle-eastern flavour by this Kraftwerk-related outfit led by Basil Hammoudi (Organisation). A great, unknown album from the jazzier end of the krautrock spectrum (think of Kollectiv, Thirsty Moon, Niagara, Annexus Quam, Embryo...)



Remastered sound, faithfull gatefold sleeve reproduction, insert with liner notes.



A limited repressing of only 500 copies - please note that the first pressing sold like hot bread and has been unavailable ever since, do not miss this killer edition repressed by popular demand!

Reissue! Before the acclaimed albums "Legends Never Die" and "All My Heroes Are Dead" brought his career to new heights, R.A. The Rugged Man spent years as an underrated rap enigma, with a slew of storied records to his name that had never received a proper release.

With the 2009 compilation "Legendary Classics Vol. 1, R.A. finally unleashed many of the lost gems that earned him a reputation as one of hip-hop's most feared lyricists, showcasing his undeniable history.

An essential collection from a true hip-hop original, the album features appearances by The Notorious B.I.G., Havoc of Mobb Deep, Jedi Mind Tricks, Kool G Rap, J-Live, Hell Razah, Tragedy Khadafi, Akinyele, and Sadat X, along with track-by-track commentary from the Rugged Man himself. This "Legendary Classics Vol. 1" reissue also includes the new bonus track “The Greatest” featuring famed Italian singer Marcella Puppini, which has never before been available on vinyl.

OVERVIEW: Field Medic’s latest album doesn’t waste any time getting to what feels like a mission statement for the record with the first lines “I want to fall off the face of the earth and probably die” on opener “Always Emptiness.” The longtime songwriting project of Kevin Patrick Sullivan - Mr. Field himself, the bay-area native who finds himself living in LA these days - has always had moments of melodrama like this, but his latest album grow your hair long if you’re wanting to see something that you can change feels as emotionally charged and poetically devastating as anything he’s ever given us. Sullivan has been turning turmoil into beautiful music for almost 10 years as Field Medic. The project that had origins in busking San Francisco streets has blossomed into a full-time touring act with a few TikTok viral moments. 2018’s full-length Fade Into the Dawn and the pandemic-era mixtape/album hybrid Floral Prince both offered a glimpse into how Sullivan’s songwriting has evolved since his earliest songs

Giacomo Smith’s critically acclaimed outfit Kansas Smitty’s embark on a new chapter with a twist on their sound; modern jazz, African rhythms and classic cinema sculpt We’re Not In Kansas Anymore.

As the title suggests, We're Not In Kansas Anymore is the beginning of a new dawn for Kansas Smitty’s. Their fifth studio album marks a progression from their swing led palette, instead pulling inspiration from modern jazz, African rhythms and classic cinema. Kansas Smitty’s continues to be the primary outlet for bandleader, alto-saxophonist and clarinetist Giacomo Smith, a musician and producer whose tireless creativity continues to lift his reputation, recently producing albums for both Jamie Cullum and rising star Jas Kayser.


“I want people to feel a big range of emotion - I want people to see things”, says Smith. “There's joy and there's humour, but there's also spirituality. There's seriousness, there's loss and longing - and those are all there on purpose. We've experienced them as a collective and I’ve experienced them as an individual”.

Giacomo Smith’s critically acclaimed outfit Kansas Smitty’s embark on a new chapter with a twist on their sound; modern jazz, African rhythms and classic cinema sculpt We’re Not In Kansas Anymore.

As the title suggests, We're Not In Kansas Anymore is the beginning of a new dawn for Kansas Smitty’s. Their fifth studio album marks a progression from their swing led palette, instead pulling inspiration from modern jazz, African rhythms and classic cinema. Kansas Smitty’s continues to be the primary outlet for bandleader, alto-saxophonist and clarinetist Giacomo Smith, a musician and producer whose tireless creativity continues to lift his reputation, recently producing albums for both Jamie Cullum and rising star Jas Kayser.


“I want people to feel a big range of emotion - I want people to see things”, says Smith. “There's joy and there's humour, but there's also spirituality. There's seriousness, there's loss and longing - and those are all there on purpose. We've experienced them as a collective and I’ve experienced them as an individual”.

By early 2020, Kayleigh Goldsworthy had finally figured out who she was. The long-time hired-gun musician from Syr- acuse and based in south Philadelphia, who had spent a decade backing up the likes of Dave Hause, Bayside, Frank Iero, and others, was ready to commit fully to a solo career of her own work. The day after New Year’s Day 2020, Gold- sworthy started recording her second solo LP, seven years after her debut Burrower, with Will Yip at Studio 4 outside Philly.

Then everything changed. The job and life Goldsworthy had pursued since her teen years was ripped away: tours, shows, studio time, even band practices and writing sessions, all gone. Along with those went away a hard-won sense of self.All those things that had given Goldsworthy the confidence and push to believe in herself and her work disappeared.

“I had figured out who I was,” says Goldsworthy, “then this whole thing happened, and I had to figure out who I was again.”

If Meatraffle is the Marxist/Leninist Big Brother house band then SCUDFM is a band of naughty Baby Socialist Anarchists who never pay to get in. SCUD play songs about Electronic Components, House Cleaning, the 2nd 'Ndrangheta War, Boats, Meatraffles, Allergies, Tactical Ballistic Nuclear Missiles plus serious subjects like Trade Unionism and Women's Rights. The band are also great to hang out with, in fact they are even more entertaining as offstage citizens and can recite all the times tables with ease.

The long awaited debut LP by South London supergroup SCUDFM is primed and ready for launch.

If Meatraffle is the Marxist/Leninist Big Brother house band then SCUDFM is a band of naughty Baby Socialist Anarchists who never pay to get in. SCUD play songs about Electronic Components, House Cleaning, the 2nd 'Ndrangheta War, Boats, Meatraffles, Allergies, Tactical Ballistic Nuclear Missiles plus serious subjects like Trade Unionism and Women's Rights. The band are also great to hang out with, in fact they are even more entertaining as offstage citizens and can recite all the times tables with ease.

The long awaited debut LP by South London supergroup SCUDFM is primed and ready for launch.

‘Stumpwork’ is the follow-up to 2021’s ‘New Long Leg’. The
South London-based group’s first studio album, recorded in
just two weeks with producer John Parish at the iconic
Rockfield Studios, became a huge critical and commercial
success reaching #4 in the UK Album Charts and featuring in
Best Of 2021 polls across the board. Buoyed by its success,
Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard
(bass) and Florence Shaw (vocals) returned to rural Wales in
late 2021, partnering once more with Parish and engineer
Joe Jones. Working from a position of trust in the same
studio and with the same team, imposter syndrome and
anxiety was replaced by a fresh freedom and openness to
explore beyond an already rangy sonic palette, a newfound
confidence in their creative vision. A longer period in the
studio afforded the time to experiment, improvise, play,
sharpen their table tennis skills.
‘Stumpwork’ was inspired by a plethora of events, concepts,
and political debacles, be they represented in the icy mess of
ambient elements reflecting a certain existential despair, or
the surprising warmth in celebrating the lives of loved ones
lost through the previous year. Surrealist lyrics are as ever at
the forefront - but there is a sensitivity now to the themes of
family, money, politics, self-deprecation, and sensuality.
Furious alt-rock anthems combine across the record with
jangle pop and ambient noise, demonstrating the wealth of
influences the band feed off and their deep musicality. With
the pressure of their debut album behind them, Dry Cleaning
have crafted an ambitious and deeply rewarding new work
that marks them out as one of the most intelligent and
exciting acts to come out of the UK.
LP pressed on white vinyl.

‘Stumpwork’ is the follow-up to 2021’s ‘New Long Leg’. The
South London-based group’s first studio album, recorded in
just two weeks with producer John Parish at the iconic
Rockfield Studios, became a huge critical and commercial
success reaching #4 in the UK Album Charts and featuring in
Best Of 2021 polls across the board. Buoyed by its success,
Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard
(bass) and Florence Shaw (vocals) returned to rural Wales in
late 2021, partnering once more with Parish and engineer
Joe Jones. Working from a position of trust in the same
studio and with the same team, imposter syndrome and
anxiety was replaced by a fresh freedom and openness to
explore beyond an already rangy sonic palette, a newfound
confidence in their creative vision. A longer period in the
studio afforded the time to experiment, improvise, play,
sharpen their table tennis skills.
‘Stumpwork’ was inspired by a plethora of events, concepts,
and political debacles, be they represented in the icy mess of
ambient elements reflecting a certain existential despair, or
the surprising warmth in celebrating the lives of loved ones
lost through the previous year. Surrealist lyrics are as ever at
the forefront - but there is a sensitivity now to the themes of
family, money, politics, self-deprecation, and sensuality.
Furious alt-rock anthems combine across the record with
jangle pop and ambient noise, demonstrating the wealth of
influences the band feed off and their deep musicality. With
the pressure of their debut album behind them, Dry Cleaning
have crafted an ambitious and deeply rewarding new work
that marks them out as one of the most intelligent and
exciting acts to come out of the UK.
LP pressed on white vinyl.

(REISSUE)

Genius Loves Company is the final studio album by rhythm and blues and soul musician Ray Charles, posthumously released August 31, 2004. Recording sessions for the album took place between June 2003 and March 2004. The album consists of rhythm and blues, soul, country, blues, jazz, and pop standards performed by Charles and several guest musicians, such as Natalie Cole, Elton John, James Taylor, Norah Jones, B.B. King, Gladys Knight, Diana Krall, Van Morrison, Willie Nelson, and Bonnie Raitt. Genius Loves Company was the last album recorded and completed by Charles before his death in June 2004.The album is known as one of Ray Charles" most commercially successful albums. On February 2, 2005, Genius Loves Company was certified triple-platinum in sales by the Recording Industry Association of America following sales of over three million copies in the United States. It also became Charles" second to reach number one on the Billboard 200, after Modern Sounds in Country and Western Music (1962). On February 13, 2005, the album was awarded eight Grammy Awards including Album of the Year and Record of the Year.

Following their eponymous debut in 2007, Exploding Head is A Place To Bury Strangers’ most notable record, garnering the New York noise rock outfit critical praise and a cult fanbase. Lead by Oliver Ackermann, the band had a simple goal for ‘their first proper studio album’; “to create the craziest, most fucked-up recording ever."

Recorded at their Death By Audio studios in New York and released on Mute Records, the album was critically praised for its explorative sound, taking inspiration from shoegaze icons such as Jesus & Mary Chain and My Bloody Valentine. Pitchfork described the album as “frustrated aggression, lacerating feedback… saturated with slender indie-pop melody."

The album has now been digitally remastered by Oliver Ackermann and is presented in three formats; Deluxe 2LP (Band Website & Tour D2C Exclusive), 2CD Deluxe & 1LP Standard. This 1LP 140g Transparent Red Vinyl is housed in Standard Sleeve and features exclusive sleeve notes by music journalist Tris McCall.

CABAL is one of the most brutal and promising heavy acts hailing from Copenhagen, Denmark. The band aims to create a visceral and doom-laden atmosphere throughout both their music and visual expression. The production is crystal clear, whilst the songwriting draws inspiration from everything from black-and death metal to djent and hardcore.

The young band has since the release of their debut album “Mark of Rot” in 2018 managed to make a name for themselves in both Denmark and the rest of the world by playing renowned festivals like Copenhell, Roskilde Festival, Euroblast Festival and Complexity Fest as well as touring in Europe, Japan and North America.

CABAL released the sophomore album “Drag Me Down” in April 2020-a dark descent into a personal hell brought to life by crushing instrumentals, an oppressive atmosphere and dark personal lyrics delivered with relentless intensity, while still leaving room for experimentation and expansion of CABAL’s signature sound. Add to this guest appearances from metal titans Trivium’s Matt Heafy, rising metalcore stars Polaris’ Jamie Hails and Denmark’s Blackgaze darlings MØL’s Kim Song Sternkopf and there is no doubt that CABAL is a band with friends in every corner of the metal scene.

CABAL is now ready to unleash their third and most ambitious album to date “Magno Interitus”, in collaboration with the metal label mastodons Nuclear Blast. This album sees CABAL expanding on the foundation they’ve built with previous releases, but also sees the band experiment more than ever before.

Having already played to 40,000 fans this year in their native Ireland, The Coronas release their new single If You Let Me, and their highly anticipated new album Time Stopped, the follow-up to 2020’s intl breakthrough and critically acclaimed True Love Waits. Prior to the release of the Time Stopped album on the 7th October, the band will embark on a 25 date European, North American and Australian tour. The tour culminates in a 4 night run at the Olympia Theatre with the final show expected to be the band’s 60th consecutive sell-out show at the prestigious Dublin venue. Known for high energy live performances and audience singalongs, it’s not surprising that The Coronas were named #1 Live Act of the Year in Ireland’s Hot Press 2022 Readers' Poll.

Lead singer Danny O’Reilly explains the origins of the new single:

“If You Let Me” is a subtle declaration of support - lyrically it’s our answer to the Jackson 5’s ‘I’ll Be There’. When you see that someone you care about is going through a tough time and even though you know that you should wait until they ask for your advice or help, you can’t stop yourself from telling them how you feel about their situation.

Produced by long-time collaborator George Murphy (Mumford & Sons, The Specials, Ellie Goulding) and mixed by Grammy award winning Peter Katis (The National), sonically If You Let Me is a joyous, catchy, indie-rock jaunt that really shows The Coronas at their radio friendly, foot-tapping best.

GRAMMY-winning global superstar Kelly Clarkson has released When Christmas Comes Around…, her ninth studio album via Atlantic Records. The 15-track collection sees Clarkson reunite with long time collaborators Jason Halbert, Jesse Shatkin and more for a mix of new original songs and Christmas classics.

The album features a mix of new original songs and Christmas classics, alongside show-stopping collaborations with Ariana Grande (“Santa, Can’t You Hear Me”), Chris Stapleton (“Glow”) & Brett Eldredge (2020’s hit single “Under The Mistletoe”). When Christmas Comes Around… marks the latest album from Clarkson since 2017’s Meaning of Life and her second holiday offering following 2013’s Wrapped In Red.

Kelly Clarkson is among the most popular artists of this era with total worldwide sales of more than 25 million albums and 40 million singles. The Texas-born singer-songwriter first came to fame in 2002 as the winner of the inaugural season of American Idol. Clarkson’s debut single, “A Moment Like This,” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best-selling single in the U.S. Further, Clarkson is one of pop’s top singles artists, with 19 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favourites as “Miss Independent” and “Because of You.” Clarkson has released eight studio albums (Thankful, Breakaway, My December, All I Ever Wanted, Stronger, Wrapped In Red, Piece By Piece, Meaning of Life), one greatest hits album, and two children’s books (New York Times Top 10 best seller River Rose and the Magical Lullaby and the follow up River Rose and the Magical Christmas). She is the recipient of an array of awards including three GRAMMY Awards, four American Music Awards, three MTV Video Music Awards, two Academy of Country Music Awards, two American Country Awards, one Country Music Association Award, and two Daytime Emmy Awards. She is also the first artist to top each of Billboard’s pop, adult contemporary, country and dance charts.

»Februarys« is a collection of recordings taken over the past few years from these sessions. First started in a hotel room in Iceland and finished in Deupree’s studio in 2021. It is a diary of sorts, collecting these times into a small box of sounds. Taylor Deupree and Marcus Fischer have been collaborating on music for over 10 years. Ever since, and at every opportunity they are together, they record. Whether it’s in one of their respective studios, on stage somewhere or in a hotel room on tour, the tape machines are running. For some reason, this often seems to happen in the month of February.

This is the first time ever Har Mar's breakout 2nd album is available on vinyl. Just in time for the 20th anniversary of its original release. This is the album that contain electro pop classics such as Power Lunch (feat. Beth Ditto) and EZ Pass. The album features collaborations with members of The Faint and Busy Signals. This LP also contains two vinyl-only bonus tracks, "Brothers and Sisters" and "EZ Pass (Mint Royale Remix.)." The artwork was re-imagined by Project Dimmel, who designed the original cover and layout back in the day, and the jacket cover is embossed for an extra-cool tactile feel! It was remastered for vinyl by Jesse Mangum at The Glow.
The inner sleeve contains new liner notes by Sean Tillmann and a bunch of fun pictures. TRACKLIST: 1. Intro 2. Power Lunch (feat. Beth Ditto) 3. Elephant Walk (feat. Clark Baechle and Tiny E) 4. We Could Be Heavy 5. You Can Feel Me 6. H.A.R.M.A.R. (feat. Beth Ditto) 7. One Dirty Minute (feat. Dirty Preston) 8. No Chorus 9. Let’s Get This Party Kickin’ 10. Freedom Summer 11. Love Jam No. 1 12. EZ Pass 13. Brothers and Sisters 14. EZ Pass (Mint Royale Remix)

Jan Anderzén and his partners celebrate the transcendental power of ecstatic music. Alas Rattoisaa Virtaa is the first Kemialliset Ystävät album in four years. It is the result of chance enhancing online collaboration methods, desire to get lost in the sound archives and the high art of meticulous editing. The album title is from visions of rivers running down from Heart of Darkness to the City of Joyful Noise. If contemporary music is a high speed train passing by then KY's music would be an orgy of light under a railway bridge.

A band member Lars Mattila experiences the music of Alas Rattoisaa Virtaa in spatial terms:

"There are worlds accessed only through our auditory system. I hear a Wunderkammer of freestanding sound objects. Rhythms like sequences of seemingly random stuff laid out on the forest floor: a pair of thrones, a Henry Moore sculpture, a watermelon, two thrones, a Moore sculpture, a melon... I trust the path to go on even if I can't see behind the hill. There's motion, wether it be drunk driving or super human rapid eye movement. The sheer amount of detail makes it impossible to take everything in at once. One's perception and shifting focus reshape the experience on each listen. I remember my visit to Cappella Palatina in Palermo where Normann architecture, Arabic arches and Byzantine dome form a harmonious whole. Various cultural and spiritual influences are recognized as equals. The sense of space also brings to mind the end scene of The Lawnmower Man when the dude is trying to escape the virtual world."

First ever vinyl release of this tribal ambient gem. A plethora of exotic rhythms and sonic meteorological phenomena. Loops, leftfield beats, and all kinds of textures from the 4th world and beyond. Originally released in 1994 on CD, it is a true beauty of electronic hypnotism and sonic exoticism. Through a highly developed process of layering, Jeff composes and performs music rich in texture, depth, mood, and subtle detail. His blend of electronic and acoustic instruments and textures produces haunting yet inviting soundscapes with a strong sense of place that hover somewhere between the exotic and the familiar. Moreover, you will find here collabs from other great artists: Dennis Rea (Savant) on guitar and Rob Angus with drum programming.

Jeff Greinke began composing and performing music in 1980 while studying meteorology at Pennsylvania State University. After moving to Seattle in 1982, Jeff formed the production company and recording label, INTREPID, through which he produced his first LP, Cities in Fog. He has since released twenty other recordings on various U.S. and European labels. He has composed music for film, video, dance, theatre, radio, and art installations. Jeff has toured throughout the United States and Europe and has performed in China, Canada, and Mexico. He has also been a member of numerous ensembles and is founder of the group LAND.

An original and particular approach to rhythmic electronics, with an incredible sound, like in all of Potter's works. Six hypnotic tracks from Colin's archive of rarities, for the first time on vinyl, perfect to play really loud.

These six pieces were recorded between the late 80s & mid-90s at IC Studio, which was then located in Tollerton, North Yorkshire.

“I wanted to make some tracks which were much more rhythmic. By then the studio was a 16-track and I had acquired more equipment for making sounds and changing sounds. There was an Akai S950 sampler, an Emulator II, Roland TR727 and Yamaha RX11 digital drum machines, a Roland Juno 60, and some new effects processors. I even, briefly, used an Atari for MIDI sequencing, but using a computer in the studio felt a bit weird in those days. Ironic really, given the situation now. There were a lot of new methods to learn and the tracks on this album were the result of some of these experiments, during which I also found ways of integrating the old analog synths with the newer machines. Mixing was still done hands-on, in real-time, with alternative and often radically different takes being made of the same multitrack. Very different to the way things are done now. Better or worse? Who knows? But different.” - Colin Potter, IC Studio, London 2022.

Colin Potter is a sound engineer and musician currently based in London. He has worked within the fields of electronic and experimental music for over 40 years, collaborating with the likes of Current 93, The Hafler Trio, Organum, Andrew Chalk, and most notably as a key part of Nurse With Wound alongside Steven Stapleton. He started the esteemed ICR (Integrated Circuit Records – still active today) label in 1981 releasing a several wonderful home studio recordings of his own, as small run cassette releases.