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GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.

That initial fearlessness has since fueled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.

GoldFord is stepping into a more luminous and soulful era as he prepares to unveil his next body of work. Defined by the warmth and light of his latest single, Only You Do, the music remains a dedicated exploration of mental wellness, restoration, and the profound power of human connection. From its opening chords, this new project serves as both a continuation and an elevation of his journey toward healing.

Not only were Derek Cannon and Hardy Thrower a music /songwriting duo from San Diego in California, they were also cousins. Its not often our paths come across such a duo that didnt sing on their own compositions.

Derek Cannon a prolific Trumpet player and Hardy a lyricist put these tracks together circa 1981 with a view to getting them a record deal. They paid for the sessions themselves and went into Golden track studio's located in Santee East San Deigo with a host of singers and musicians.

What came out was just two stunning mid temp hanuting ballad songs with exquisite playing and vocals. From the opening west coast waves crashing on the into of "Think It Over" you are already closing your eye's and painting a picture of the unfolding love story. James Higgins was hired for the vocals on this track and delivers such subtle tone's that are complimited by keyboards by Bill Santos.

Then wait until the flute solo by Ken Abady. Boy i fucking love this song. Its what soul music should be about. Love it stuff like this got recorded in 1982 when their heads could have easily been turned by what was happening in the music world.

"Im In Love With You" is slightly more uptmepo but not by a whole heal. Cannon And Thrower were far too soulful to just throw a 4/4 drum beat on the hope of a top ten winner. They cut way more deeper and soulful than that. Roosevelt Carter was hired for this vocal performance and not letting the duo down performs a beautiful take of the duo's love song. I think special shout out must go the female backing singers of Julie Reyes, Cynthia Hammond and Jamice Garcia.

The two songs were sent to none other than Lou Rawls in hope he may sign them to his record company. This never happened and the tape was later sold on an estate sale of Lou's. The buyer was Christian Peintner who was so kind to lend us the tapes and make this 45 happen. So thanks to him for allowing us to preserve the Cannon And Thrower legacy.

East meets West im neuen Album von Jazz-Altmeister Charles Lloyd.
Mit “Sangam & Friends“ ehrt der legendäre Saxophonist und Flötist seinen engen Freund und langjährigen
musikalischen Weggefährten Zakir Hussain. Das Album vereint bislang unveröffentlichte Aufnahmen des
Sangam-Trios – Charles Lloyd, Zakir Hussain und Eric Harland – mit einer hochkarätigen Besetzung indischer Musikerinnen und Musiker und dokumentiert eine außergewöhnliche künstlerische Begegnung, die
heute eine besondere Bedeutung erhält.
Im Zentrum des Albums stehen Studioaufnahmen, die 2009 in Mumbai entstanden. Anlass war Hussains
jährliches “Abbaji“-Konzert zu Ehren seines Vaters, des Tabla-Meisters Alla Rakha. Nach dem Konzert
begaben sich Lloyd, Hussain und Harland gemeinsam mit einigen der bedeutendsten Vertreter der indischen Klassik ins Nirvana Studio, um die musikalischen Impulse dieser Begegnung weiterzuführen. Mit dem
Carnatic-Sänger Vijay Prakash, Bansuri-Meister Rakesh Chaurasia, Sarangi-Spieler Sabir Khan, Keyboarder
Ranjit Barot und Sitar-Virtuose Niladri Kumar entstand ein faszinierender Dialog zwischen Jazz und den
reichen Traditionen des indischen Subkontinents.
Nach dem Tod Zakir Hussains im Dezember 2024 erhalten die Aufnahmen eine zusätzliche emotionale
Dimension: Sie bewahren nicht nur den Moment einer außergewöhnlichen musikalischen Zusammenarbeit,
sondern auch das Vermächtnis einer tiefen Freundschaft, die in dieser Musik weiterlebt.

This 45 reissues two Spanish classics-DJ'd, sung, and danced to exhaustion-featuring striking arrangements and rhythms inspired by soul, funk, and rock, pushing flamenco-influenced popular music into previously uncharted territory. The flamenco rock of 'Orgullo' (1974) by Las Grecas will appeal to international listeners already captivated by the Anatolian sound of Baris, Manço, Mogollar_ On the B-side, Paco, Paco, Paco' (1969) by Encarnita Polo is a soul-pop hit with an irresistible syncopated rhythm and killer bass lines. In the final years of Franco's dictatorship, when Spain's popular music was kept on the sidelines of avant-garde and countercultural trends, a number of records emerged that dared to bend and hybridize the country's so-called "national" musical genres (calling it flamenco outright would be imprecise) and infuse them with a dose of modernity. The first 20 seconds of 'Orgullo' (1974) hit with a powerful sonic punch built on ferocious fuzzed-out guitars, distorted keyboards, and thunderous drums that could easily belong in the discography of Led Zeppelin, The Guess Who, or Cream_ until, suddenly, Las Grecas start to sing and Flamenco rock is born. It will undoubtedly resonate with international audiences already drawn to the Anatolian sounds of Bar?? Manço or Mogollar. A few years earlier, in 1969, the brilliant Argentine producer and arranger Adolfo Waitzman had already transformed a harmless light pop tune recorded by a yeyé girl, Encarnita Polo, into a soul-pop hit driven by an irresistible syncopated groove and killer bass lines. The playful 'Paco, Paco, Paco' became a bestselling single in Spain and, more than 50 years later, is still celebrated as a brilliant example of the romance between flamenco-inflected sounds and soul-pop. First-ever single reissue.

With Fuck, Marry, Kill, Tink delivers her most provocative and conceptually sharp body of work to date, firmly reclaiming her position as a premier storyteller in the modern R&B landscape. Moving beyond the diary-entry style of her earlier years, this project utilizes the titular game as a brutal yet honest framework for the complexities of modern intimacy. Tink navigates the chaos of the dating world with a dual-threat precision that few can match, seamlessly blending the grit of her Chicago rap roots with the velvet textures of contemporary soul. Under the executive production of Hitmaka, the album finds its heartbeat in the friction between high-gloss production and raw, unfiltered lyricism.

The album is meticulously structured to mirror the chaotic cycle of urban romance: the adrenaline of fleeting lust, the heavy stakes of long-term commitment, and the inevitable coldness of a bridge burned. In the "Fuck" segment, Tink radiates a lethal confidence, delivering anthems of autonomy and physical desire that demand space in the club and on the charts. As the project transitions into "Marry," she peels back the armor, offering a vulnerable look at the desire for stability and the terrifying leap of faith required to trust a partner. However, it is in the "Kill" section where Tink’s songwriting truly bites; here, she chronicles the aftermath of betrayal and the empowerment that comes from cutting ties, transforming her heartbreak into a weapon of self-preservation.

Ultimately, Fuck, Marry, Kill is a masterclass in "Toxic R&B" that refuses to settle for easy answers. Tink captures the specific anxiety of a generation trying to distinguish between a temporary thrill and a permanent soulmate, all while navigating a world of ghosting and digital infidelity. By leaning into her flaws and her triumphs with equal intensity, she creates a sonic space where listeners feel both seen and vindicated. This isn't just an album about love—it's a survival guide for the heart, narrated by an artist who has seen every side of the game and lived to write the definitive soundtrack for it.

There’s a new sound shaking up the Upper East Side — and it’s not related to Serena this time.

It’s ‘gg’, the new track from Lolina.

We've all heard the rumors of L performing this one around the globe for months, & some of the lucky ones got the chance to catch it live... but now the wait appears to be over for the general public. There are officially plans to release the studio version of ‘gg’, and it's safe to say the track is scandalous. Meeting same time, same place to get to the bottom of it all. Confusion lingers, yet everything stays comfortably in strife. It all keeps moving.

Who is the city even for now? What’s our own involvement in the distress? That’s one secret I’ll never tell!

Why is it that L must use song to persist in this city that never sleeps? Have fables fallen so out of fashion that princesses have to do everything themselves now?

Well... according to some tips we received this doesn't seem to be the case. L has enlisted help from some very exciting sonic connoisseurs, resulting in remixes stronger than a knight in shining armor could ever provide.

So let's check out this track list, shall we?

A-Side
gg (Extended Version)
gg (NEW YORK Remix)

B-Side
gg (Arca Remix)

Sounds like the perfect soundtrack for eating a yogurt cup on the steps of the MET to me.

We seriously doubt you'll be able to ignore this release.
Run the credits, roll the dice.

xo xo
GOSSIP GIRL

Press release by Kaitlin Simotics
Mastering and additional mixing by Amir Shoat
Artwork by Lolina
Vinyl design by Termite Lounge

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality. Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist.

The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical. On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

From 1993, a hallmark UK Dub album returns to the light. Originally pressed in a small run and extremely hard to find, this record was produced at Earthquake Studio by TNT Roots and Winston Dread.

Together, they provided a raw contribution to the early UK Dub scene using a basic setup: a Siel DK-80 synth, a Yamaha home keyboard, a Casio RZ-1 drum machine, and an Atari 1040 computer running Cubase V2.0. The tracks were shaped through an old Dynamix 8-channel mixer and captured on a Casio portable DAT machine.

TNT Roots provided the drum, bass, and chord patterns, while Winston Dread added the lead lines and performed the mixing duties. This raw, undiluted music reflects the evolution of Dub and contains the seeds of all their future work. Their dubplates were staples for legendary UK sound systems like Aba Shanti-I and Iration Steppas, becoming sought-after anthems that defined the "heavyweight" digital roots sound.

These are heavy sounds that stand the test of time. Back on the streets after 30 years, the album has been fully restored and remastered to honor the dubplate masters of UK Sound System culture

Sababa 5 continues their musical journey following the success of their acclaimed self-titled debut album, which fused deep funk and Middle Eastern grooves. Their latest offering, still under the Batov Records label, ventures into more explorative and experimental instrumental compositions. While evolving their musical direction, 'Aspan' delves into the realm of psychedelic rock while retaining the essence of the band's signature Middle Eastern groove.

In recent times, Sababa 5's talent has gained recognition on prominent French radio stations such as Radio Nova and FIP. Their tracks have become regular features on BBC Radio 6 Music, drawing the attention of notable figures and emerging talents like Gilles Peterson, Cerys Mathews, Jamz Supernova, Gideon Coe, and Deb Grant. Leading music publication "Songlines" has praised the band's "slick precision" and the captivating elements they infuse, ranging from "Moog synth licks" to "flavors reminiscent of Wes Montgomery-style guitar."


The expansive and captivating soundscape of 'Aspan' is set to attract a fresh wave of fans while fortifying the group's mastery of substantial grooves with a distinct Middle Eastern essence. With appearances already on European festival stages, the year 2024 holds great promise for Sababa 5, marking a significant chapter in the band's journey.

Following the release of SUN, Crackazat’s stellar fourth album, we’re proud to present a limited repress of Evergreen — his debut album on Freerange Records, originally released in 2021. Long sought after by collectors and currently fetching up to £250 on Discogs, the LP is finally available once again — and at a far more reasonable price.

A groovy vibrant jazz / soul / funk soundtrack for an imaginary hard-boiled movie from the 70s!

The varied selection of instruments (organ, flute, moog, bongos, cello, violin, drums, bass, acoustic and electric guitars etc.) blend flawlessly into each other and make this album an intense and inspired trip... in fact it may turn into a movie in front of your very eyes! Featuring the legendary Edda Dell'Orso on vocals and her husband Giacomo on string arrangements!!!

Byard Lancaster released no less than 4 albums on the Palm Records, label in the 1970s: Us, Mother Africa, Exactement and Funny Funky Rib Crib. On Exactement, Lancaster performs alone for the most part– swapping instruments and occasionally joined by percussionist Keno Speller.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release no less than four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. The recording of Exactement required two sessions in the studio: on the 1st February and the 18th May 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa.

On the cover of Exactement, there are two names: Lancaster (Byard) and Speller (Keno). OK. But for what reason ‘Exactement’? Perhaps because Byard Lancaster wanted to be precise, moving regularly from one instrument to another: piano, to begin, which was the first instrument he learned. Sur "“Sweet Evil Miss Kisianga”", his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John) but this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before even going into a danse alongside Keno Speller on percussion. But above all he makes us aware of a unique sound. We can go on to say that on "Exactement", that perhaps Byard Lancaster, on whatever instrument and by continually seeking, ends up always hitting the right note… ends up by playing exactement the note he had to play.

Known for his signature positive vibes and the triple-platinum single “GOOD TIME,” country star Niko Moon digs into his own origin story on his new 15-track album, ROOTS. Following his 2025 tropical album AMERICAN PALM, ROOTS shifts the scenery to the verdant hills of Georgia where Moon grew up, balancing his trademark optimism with unprecedented transparency about his journey. On the track “AMERICAN DREAMIN’,” he reflects on a lean childhood moving between trailers and motels, inspired by the resilient optimism of his truck-driver dad and waitress mom. He fast-forwards to his current life in Nashville on the ballad “RICH MAN,” celebrating his wife and two children as his true source of wealth, while tracks like “GET COUNTRY” deliver a trap-beat party anthem designed for pure escapism. The album's centerpiece, “GEORGIA (ROOTS),” interpolates the classic "Georgia on My Mind" to celebrate his home state with a feature from his own daughter. Beyond the music, Moon channels his pay-it-forward mentality into his Happy Cowboy Foundation, which provides affordable therapy, proving that his signature smile isn't from a lack of hardship, but a conscious choice to spread encouragement.

"Impala", das sagenumwobene zweite, ursprünglich 1998 erschienene und längst vergriffene Songs:Ohia Album wird im August von Secret Canadian auf Vinyl neu aufgelegt. Diese Veröffentlichung enthält ein neu gemastertes Demo von "Tess", ursprünglich während der Aufnahmesessions für "Impala" aufgenommen. ,Lorain, Ohio; es ist ein schwieriger Ort zum Aufwachsen. Entweder man entkommt oder nicht. Angesichts der Industrie, die es dort gibt (oder gab) - das Stahlwerk, das Ford-Werk und die Werft - ist die Mischung der Menschen wie keine andere. Eines ist jedoch sicher, es ist eine Arbeiterstadt durch und durch. Was hat das mit einer neuen Veröffentlichung von Songs: Ohia zu tun? Nun, Jason - der Hauptverantwortliche für Songs, wuchs wie ich in diesem gottverlassenen Loch einer Stadt auf und so sehr man die Stadt auch verlassen kann, sie verlässt dich nie. "Impala" ist ein weiterer Beweis für das Songwriting-Talent von Jason Molina. Die hier enthaltenen Tracks bieten einen Einblick in die die Seele eines Mannes, der versucht die Dämonen des Lebens und des Verlusts auszutreiben. Das ist nichts, was man vortäuschen kann. Das kommt davon, wenn man mit dem Wissen aufwächst, dass die Fabriken, in denen deine Eltern gearbeitet haben, keine Option für dich sind und dass deine einzige wirkliche Option ist, zu versuchen, auszusteigen (leichter gesagt als getan). Die auf Jason und Geof Comings reduzierten Tracks auf "Impala" sind die spärlichsten und strukturiertesten Stücke, die die Band bisher veröffentlicht hat. Eine der ehrlichsten und stärksten Veröffentlichungen von Songs:Ohia.

The complete album + 4 bonus tracks - limited edition pressing on 180g red coloured vinyl, contains new specially prepared liner notes by Penguin Guide to Jazz's writer Brian Morton and by Paris' prestigious Jazz Magazine Besides achieving a very personal and characteristic sound, John Coltrane opened the way to free jazz, allowing himself to play long and complex improvisations that increasingly strayed from the tunes in which they were based. By the time he recorded Ballads, He had already delved into freer and longer solos and compositions, and as a result he had his devoted followers as well as his detractors.

Chambers' Music , subtitled A Jazz Delegation from the East , was bassist Paul Chambers ' debut album as leader. Originally released in 1956 on Jazz West , it features Chambers with two his fellow bandmates from the Miles Davis Quintet, John Coltrane and Philly Joe Jones , along with pianist Kenny Drew . Featuring a wellrounded programme that includes Charlie Parker's 'Dexterity', Benny Goson's 'Stablemates, Cole Porter's 'Easy To Love', and Chamber's own composition'Visitation', the album also has the distinction of being the first record to include a composition by John Coltrane - 'John Paul Jones'






[f] John Paul Jones [aka Trane's Blues]

After few years of collaboration, Stinging Ray and iRiE iTES Records, have joined forces to produce this brand new album entitled The Man From Beijing.

Comprising 16 tracks, this album showcases the amazing voice of this Reggae singer rising from the east. His music dives into a wide spectrum of themes, reflecting both personal depth and global realities-from faith and friendship to love, money, and an uncertain future. Through sharp, conscious lyricism, he sheds light on social inequalities and challenges the influence of the powerful, urging listeners to rise above limitations and stay true to their values.
The Man From Beijing is an album that will undoubtedly mark Stinging Ray's career, and will undoubtedly be one of his landmark albums. A must-have for all Reggae Roots fans!

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

African visions, Middle Eastern mirages, and cosmic pulsations: the map of Giuliano Sorgini’s sonic universe continues to expand, revealing new, uncharted territories.

Set for release on 10 July, the 7-inch Savana Selvaggia brings together two extraordinary, previously unreleased tracks, shedding light on one of the most visionary facets of Sorgini’s library music aesthetic. On Side A, “I misteri del mondo” (The Mysteries of the World) transports us to an imagined, ancestral Africa suspended between endless horizons, elegiac wilderness, and analogue electronics.

On Side B, “Arabian Safari” opens the door to a mystical, Arabic-tinged soundscape where African imagery blends with Middle Eastern influences and kosmische futurism. Driven by a potent mix of electronic drums, hypnotic sequencing, and fiercely inventive synths, it strikes a sonic kinship with the finest European Krautrock.

The dialogue between these two tracks perfectly highlights the composer's artisanal, experimental approach. Here, the Solina, Minimoog, modular circuits, pulsating synth lines, and suspended melodies intertwine to form a fascinating, enigmatic, and deeply personal sonic world—one built entirely by Sorgini in his Cat & Fox Studio in Rome, located a mere stone's throw from the RAI headquarters.

Two forgotten tracks. Two cinematic journeys whose original visuals have been lost to time. Two missing puzzle pieces in the ongoing recovery of the work of a composer who sounds more modern today than ever before. A magnificent sonic transmission from a bygone era that lands with the force of a contemporary revelation.

The second full-length album from Simon Herody - French born, Berlin based multi-instrumentalist and composer. Featuring the visual universe of Paul Waak.

Water from Mars retraces the imaginary odyssey of a near-future conquest of space - a sonic journey conceived as a soundtrack for the imagination. Blending acoustic and electronic instruments, Herody navigates between sci-fi jazz, left-field ambient dub, space lounge, and 4th world music, crafting a world where melancholy and forward-thinking curiosity coexist in weightless suspension.

Indulgent, textured, and uncompromising - for fans of glitchy synthesizer textures, cinematic atmospheres, and music that refuses easy categorization.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

”What Parts & Labor have figured out how to do, in a way no one else really has, is to make noise anthemic.” —PITCHFORK “Visions of disaster sound more optimistic with every album.” —THE NEW YORK TIMES “Parts & Labor is … creating rock albums that everyone who cares about rock music should own.” —CHICAGO TRIBUNE ”Part psychedelia, part noise, part all-out rock... exhilarating stuff.” —THE GUARDIAN ”East Coast art-punk with a 21st-century overhaul.” —Q ”A joyous explosion of sound.” —MOJO After a 14-year hiatus, prismatic noise-punk fireworkers Parts & Labor, a beloved institution of Brooklyn's '00s underground, re-emerge with a double-drummer lineup and colossal double album. The 79-minute Set of All Sets (July 10, Ernest Jenning Record Co.) is an expansive, blown-out gush of apocalypse-pop that imagines utopias and confronts the overwhelming weight of the infinite. Their first album since 2011, Set of All Sets finds the band re-energized, rebooted and expanding their punk-kosmische, matching their skyscraping melodies and squelching electronics with hypnotic rhythms and frenzied tumbles of percussion. Parts & Labor co-founders Dan Friel and BJ Warshaw are joined by the simultaneous battery of drummers Christopher Weingarten and Joe Wong — asynchronous members during their critically acclaimed four-album run on indie rock titans Jagjaguwar. The power trios that made 2007's breakthrough Mapmaker and 2011's swan song Constant Future have merged into a single four-piece, at once a brand new vision, a clamorous continuation and a recapturing of the deafening sound of their "final" two shows in 2012. With eight weaponized limbs from two veteran drummers, Parts & Labor surges forth with rhythms inspired by Tanzanian singeli, ecstatic free improv and the motorik of vintage krautrock. Friel and Warshaw beam with the most majestic and triumphant melodies of their career, windswept cascades of bubblegum Boredoms and Big-Music-gone-hardcore.

Legendary lyricist AZ returns with Doe Or Die III, the long-awaited next chapter in one of hip-hop’s most revered album series, Doe Or Die III delivers polished production, razor-sharp storytelling, and the timeless sophistication that has defined AZ’s career.

Blending classic East Coast grit with modern finesse, Doe Or Die III features standout collaborations and lush, cinematic beats that complement AZ’s signature smooth delivery alongside features from Nas, Jadakiss and more. A must-have for collectors and fans of elite lyricism.

* 180 gram audiophile vinyl
* Gatefold sleeve
* High quality PVC Protective Sleeve
* 4 page booklet with liner notes and photos
* Selection of easy listening songs, includes "Ticket To Ride", "Rainy Days and Mondays", "Please Mr. Postman", "Yesterday Once More" and solo songs by Karen's "Still Crazy After All These Years" and Richard's "Karen's Theme"
* Limited first pressing of 3.000 individually numbered copies on white vinyl

The Collected album by the Carpenters brings a beautiful collection from the immense popular soft-pop duo. From their humble beginnings in the late '60s until today, siblings Karen and Richard Carpenter are one of the most successful duos in musical history. With Karen's absolutely perfect vocal delivery and Richard's creative arrangements, they are unstoppable.

This 2LP set inside a gatefold sleeve brings together their hits, album tracks and more. It delivers the best selection of easy listening songs in a nutshell. Glorious pop nuggets by the Carpenters will melt the heart and uplift the soul, including "Close to You", "Ticket to Ride", "We've Only Just Begun", "Superstar", "Rainy Days And Mondays", "Bless the Beasts And the Children", "Hurting Each Other" and many more.

An Easter egg is the track "Karen's Theme" by Richard Carpenter, who dedicated this song to Karen after her tragical death in 1983.

Producing a distinctively soft musical style, they became one of the best-selling music artists of all time. During their 14-year career, the Carpenters recorded 11 albums, 31 singles, five television specials, and a short-lived television series.

The Carpenters had three No. 1 singles and five No. 2 singles on the Billboard Hot 100 and fifteen No. 1 hits on the Adult Contemporary chart. In addition, they had twelve top 10 singles. To date, the Carpenters' album and single sales total more than 100 million units.

"It began somewhere between sleep and memory.
After first meeting in dreams, in Brussels and Berlin, on landscapes that felt strangely close to Vilnius, Marija Rasa aka emer and Ugnė Uma leisurely rewrote those visions into songs.

What followed became a collection of moments suspended in idle summers, familiar faces, gentle motions, skin touched by golden sun. These songs wander through closeness and distance, tracing the delicate emotional shifts between us, who almost understand each other completely.

‘you and me’ lives in the space where magical realism meets everyday intimacy: honey-colored evenings, recurring thoughts, and the slow surrender to things unfolding on their own."

Originally released in 2003, With A Heartbeat brings together Pharoah Sanders, Bill Laswell and Graham Haynes in a collaboration that remains as elusive as it is forward-thinking. Now reissued by Glossy Mistakes, the album receives its first official vinyl edition, remastered and available both in standard black and a limited burgundy pressing.

At the core of the record lies an unusual but striking element: the steady pulse of a human heartbeat. Rather than a conceptual gesture, it becomes the foundation of the music itself-treated as a deep, bass-like rhythm that anchors the entire album. Around it, Laswell builds his unmistakable sonic world, drawing from dub techniques where basslines expand, dissolve, and re-emerge, and where space becomes as important as sound.
Across its extended compositions, the album unfolds slowly and deliberately. Layers of electric sitar, guitar, keyboards and subtle percussion drift in and out, creating a fluid, almost tidal movement. The heartbeat remains present throughout, grounding even the most abstract passages in something physical and immediate.

At the center stands Sanders' saxophone-searching, expansive, and deeply spiritual. His playing moves freely across the structures, at times echoing the lineage of John Coltrane, while also reaching beyond it. Alongside him, Haynes adds a complementary voice, weaving through the shifting textures.

The result is a work that resists easy definition: part spiritual jazz, part future-facing experiment, shaped by dub's sense of space and transformation. Meditative, immersive, and deeply rhythmic, With A Heartbeat unfolds like a living organism-guided not by fixed tempo, but by the pulse of life itself.
With this release, Glossy Mistakes continues its work of bringing essential and forward-thinking recordings into new formats, preserving their depth while opening them to new listeners.

Lonnie Liston Smiths 'Expansions' ist eines der einflussreichsten Alben aller Zeiten, dessen Sound viele verschiedene Genres streift. Es ist ein Grundpfeiler der Dance-Musik und eine Hymne für die britische Clubszene. Zum 50. Jubiläum feiert Ace Records diesen Einfluss mit einer hochwertigen Deluxe-Vinyl-Edition des Albums. Mit dem Original-Masterband haben sich die Mastering-Spezialisten ins East Londoner Carvery-Studio niedergelassen, um das Album komplett analog aufzunehmen - es hat noch nie besser geklungen! In einer laminierten Klapphülle verpackt, die Jack Martins Original-Illustration des Künstlers so erstrahlen lässt wie nie zuvor. Dazu kommt ein ausführlicher, illustrierter Covertext von Frank Tope, der die Reise der Platte durch das Universum von ihrer spirituellen Jazz-Tradition zur Club-Hymne erzählt. Diese Album-Story wird mit Unterstützung von Gilles Peterson, Norman Jay und anderen erzählt. Das Album als Ganzes ist unverzichtbar und geht über die Tanzbarkeit des Titeltracks hinaus. Mit seinen sieben Tracks zählt es zu den großen Jazzalben der 70er Jahre. Produziert von Lonnie Listen Smith und Bob Thiele, sollte es in keiner Plattensammlung fehlen.

Back in print. Mirimur vinyl issue of the 1981 dub classic by Scientist, easily one of his best.

180g vinyl, excellent quality pressing

Limited to 300 copies. No repress.

This is Queenie DJ and Music producer from China I’m thrilled and honoured to have YangBing — a true master of Chinese electronic music — join this project with his remix for spring

About this EP — “Four Seasons (IIII Season)”It took me two years to complete this album (from pre production to Released )
This EP was inspired by the distinct feeling and atmosphere of each season. The four vinyl colours reflect that same seasonal bloom.

Track by Track:

1. Spring (Splash Fluorescent Pink Vinyl)
This song was born during Spring Festival in Guangzhou. To capture the local spirit, I sampled the classic Cantonese opera “The Princess’ Flower” — a touch of tradition. YangBing’s remix then injects vibrant electronic energy, making the track blossom with the renewal of spring.

2. Summer (Splash Blue Vinyl)
I was sitting by the sea in Xiamen, coffee in hand, feeling the sun and ocean breeze wash over me. Right then, it hit me: a jazz-house tune would be the perfect soundtrack to that summer afternoon. This track is that moment, frozen in sound.

3. Autumn (Splash Yellow Vinyl)
For me, autumn is a bridge to winter — a time for natural soundscapes. You’ll hear birds, evocative chimes, and traditional Chinese textures like the Jiangnan pipa and urgent gong rhythms. Part of this song was inspired by Yangshuo, where mountains and water truly embody the season’s essence. It’s where East meets West, sparking something special.

4. Winter (Splash Pure White Vinyl)
A downtempo rhythm to ease busy minds. Winter’s morning light enters on the lingering birdsongs of autumn, followed by subtle holiday warmth and the quiet feeling of falling snow. To me, winter is a season of gathering — of holidays, family and friends.
(coloured vinyl 12" 180g comes in different coloured vinyl, we cannot guarantee which colour you will receive))

Acclaimed composer, producer, and multi-instrumentalist, Kutiman and psych-soul singer/musician Dekel reunite for a stunning showcase of lush modern grooves on album “Hope”.

Long-time collaborators, the duo present an album that is a masterclass in heartwarming, positive cinematic soul, contemporary jazz, deep grooves and rich, lush psychedelia. With contemporary indie-grooves alongside soft, hazy instrumentals, the release will appeal to fans of Michael Kiwanuka, Khruangbin & SAULT.

NU-S3RVO Vol. 2 is the second compilation released by NU-S3RVO. In this release, we continue our exploration of the sounds of modern East Asia, shifting our focus toward female creators within the local scene. This album features works from seven producers based in Beijing, Shanghai, Hong Kong, Guangzhou, and Chengdu, spanning genres from Ambient and Bass to IDM and Techno.

The juxtaposition of “Eastern” and “Female” is not intended to annotate a specific identity, but rather to present an entirely autonomous field. For too long, the “East” has been constructed as a feminine, mysterious, and sensory-indulgent mirror of the “Other.” Such aesthetic norms act not only as gendered shackles but as extensions of colonial logic, forcing both women and the East to share a fate of being “spectacularized” for the gaze. Electronic music, as a creative medium, derives its radical freedom precisely from its departure from this destiny of “spectacle.” It represents the oscillator’s transcendence of physical acoustics and functions as a liberatory technology, offering creators a sanctuary to dismantle traditional constraints and reconstruct the self. In fact, since the inception of modern sound, women have been at the very core of inventing and defining the technologies, interfaces, and expressive techniques of the craft.

Stripping away the romanticized and semioticized cultural shells, each local artist in this compilation is a master of diverse technical crafts. Through their unique logic and emotional resonance, we aim to establish a decentralized acoustic language within the fissures of modern civilization.

With the Ease EP, Austrian producer and DJ DOS presents a concise continuation of the sound he has developed since the mid-2010s. Often linked to the early lo-fi house movement, his productions combine rough-edged drum textures, reduced melodic elements and a clear rhythmic focus, balancing club functionality with a more introspective tone.

Danish quintet David Miilmann Group return with You Belong, their third album and a vibrant, uplifting statement built around guitarist David Miilmann"s distinctive slide guitar voice. Rooted in soul and blues but shaped within a genre-defying jazz context, the band brings a life-affirming energy to music that moves between groove, melody, and open improvisation with ease. Set for release on April Records on June 12th, 2026, You Belong centres on Miilmann"s approach to the guitar, drawing on the phrasing of singers like Curtis Mayfield, Freddie King and Aretha Franklin. His slide playing - developed as a way of emulating the human voice - sits at the core of the group"s sound, cutting through a warm, rhythmically grounded backdrop that blends jazz, rock, and Brazilian influences. At its core, the album captures a working band in motion. The five musicians move fluidly between composed material and looser, more exploratory sections, guided by close listening and a shared sense of direction. That chemistry comes into focus on "It"s Happening Again," a groove-led track steeped in a warm, 1970s-inspired production style. Built on a relaxed but propulsive feel, it captures the simple joy of time spent with close friends - familiar, unforced, and full of possibility. "The Day After" offers a more spacious counterpoint. Written as a reflection on those rare, quiet mornings following a meaningful moment - a concert, a celebration - it unfolds with a sense of ease and openness, led by Miilmann"s melodic slide guitar and supported by a restrained, attentive rhythm section. The band"s take on "My Favorite Things" reshapes the well-known material through their own ensemble sound, acknowledging the influence of John Coltrane while carving out a more textural, guitar-led approach. The album"s title, You Belong, points to the group"s broader outlook: an inclusive, community-driven approach to making music. That idea runs through both the compositions and the band"s dynamic - less about spotlighting individuals, more about building a collective sound. Since their debut Waiting for Myself (2021), David Miilmann Group have carved out a space with their emotionally direct, genre-fluid approach - earning two DMA Blues nominations, reaching the finals of the Jazz Competition, and receiving regular airplay on P8 Jazz. With You Belong, they refine that approach into something more defined: a warm, groove-driven sound shaped by song, feel, and the unmistakable voice of Miilmann"s slide guitar.

HARTHBALL are an avant/noise/rock wrecking ball of a band from Nanaimo, Canada. Rooted in total improvisation, free expression, and a deeply psychedelic sensibility, EarthBall operate on pure instinct.
They hurtle onwards in a combustion of spontaneous composition, shooting from the hip, as they fall out of the sky ablaze. The group encompasses Isabel Ford (vocals, bass), John Brennan (drums, percussion), Jeremy Van Wyke (vocals, guitar, trumpet), Kellan Maclaughlin (guitar, talkbox), and Liam Murphy (saxophone). Each member brings a rich and varied musical history, with past and present projects including Shearing Pinx, Plan Your Future, Kamikaze Nurse, Eschatons, and Psychedelic Dirt. Collectively and individually, they have collaborated with artists such as Deerhoof, Raven Chacon, Chris Corsano, and William Hooker, deepening the band’s exploratory reach and collective language.
Since forming in 2021, EarthBall have released six cassettes and three fervently received LPs on Upset The Rhythm, including November’s widely acclaimed Outside Over There. Their latest release, Actual Earth Music - Volume 3 & 4, follows the first instalment in the series and captures two mind-quaking highlights from last winter’s European tour. This is EarthBall plunging to full fathom five, transforming into something rich and strange - channeling the fleeting moment as it fractures, erupts, and dissolves into the unknown.
Side A captures a thumping performance at Cave12 in Geneva. Frazzled from a white-knuckle alpine descent, the group settles into a hypnotic sprawl, stretching time and form across a colossal 53-minute set (with the first 22 minutes presented on the LP; the full performance appears on the CD edition). The Cave12 recording is a study in tension and release; ruminative, volatile, and barely contained. Drums stumble and surge, saxophone howls cut through the air, and Ford and Van Wyke’s voices briefly pull together the circle twice, before the tumult lapses into a spinning maelstrom.
Side B meanwhile presents a scorched excerpt from EarthBall’s crushing performance at Le Guess Who? Festival. As Van Wyke reflects: “Having the most excellent Dwarfs of East Agouza play before us only heightened our intention to bring the noise. Listening back, the thing that strikes me most is how we truly were operating in the ever-elusive but always sought-after ‘group mind’. Ninety-degree changes are super tight. Izzy and I are finishing each other’s sentences. Liam’s horn is cradling our outer and inner space. Kellan’s talk box rains down like the voice of a reawakened spirit, and all this havoc is safely stowed in the rumbling ox-cart of John’s solid drumming”.
Actual Earth Music - Volume 3 & 4 marks another ascent in EarthBall’s ever-expanding, totemic discography, an ecstatic storm of raw immediacy and unfiltered expression.