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Wardown, the emotive and experimental project from Technimatic's Pete Rogers, releases second LP on Blu Mar Ten Music

Where the debut Wardown album was a diary of smeared memory, musically recounting the author's childhood home and his subsequent feelings of dislocation from it, Wardown II expands on the themes of nostalgia and focuses on our collective reactions to a promised future that remains undelivered.

Using aural scraps from that most optimistically futurist period, the 1950s & 1960s, Wardown weaves them into an uneasily dreamy, bittersweet commentary on postmodern nostalgia. The album veers between otherworldly, euphoric harmonies and pumping, mechanical incantations of promises for a new age.

Was für eine erstaunliche Verbesserung im Klang dieser 50 Jahre alten Aufnahme. Unter Zuhilfenahme der originalen, analogen Masterbänder und modernstem, technischem Equipment erscheinen die einfühlsamen Melodien der Originalbesetzung in einem wunderbaren Licht von Romantik und Empathie. Remastert in den Dierks-Studios, wo auch die Aufnahmen entstanden. Produziert unter Mitwirkung von Dieter Dierks.

'No Sub Reino dos Metazoários' is the first and only record by musician and poet Marconi Notaro, out of Pernambuco, Brazil. Originally released independently, however, with the support and distribution of Rozenblit, the 1973 album featuring Lula Cortes, Zé Ramalho and Robertinho de Recife is part of the holy trilogy of "Psicodelia Nordestina" amongst the equally mindblowing Paebiru (1975) and Satwa (1973). For its non-comercial a raw aesthetics, the record became a true rarity among collectors worldwide and one of the most important albums of Brazilian Psychedelia. For years it was known that the master tape of 'No Sub Reino dos Metazoários' had been lost during two floods that wrecked the Rozenblit Studios. Lots of equipment were damaged and plenty of material gone. However what no one expected was that the tapes were kept on the highest shelves in the studio where the water did not reach with the thought of "equipment can be replaced, master tapes are unique". Notaro's daughters inherited and rescued the tape and made it available so that Fatiado Discos could release the first and remastered version from the original tapes since 1973. The lysergic highest moments come with nature elements textures as water and wind mixing together with the unmistaken sound of the Tricórdio Acústico - which is a very unique instrument that Lula Côrtes brought himself from India and then adapted it with the help of a local luthier to the regional sound of the Brazilian northeast. The gatefold designed by Lula Côrtes is portrayed in this release and it also has its inner side designed by Cátia Mezel, apart from an extra insert with unpublished photos of Marconi provided by the musician's family.

Radio Diaspora works on the concept of cultural identity, which is flexible and dynamic. This provocation is generated by referring to all African ancestry moved by the diaspora and its sonorous, vocal, polyrhythmic, and polyphonic codes - all the ancestral heritage that has spread throughout the world following expropriations, genocide, and slavery - sampling and amplifying references that become triggers of energetic approaches. A heavy core of representations and senses aims to exorcize through noise and strangeness all secular violence against people of the African diaspora. In the title song of this album, 'Negro Humor', the respected Brazilian actor Grande Otelo highlights the contradiction of the clown, which awakens joy in everyone but is a sorrowful, lonely figure, ridiculing himself and putting himself in the most embarrassing situations. Relieved, loud laughter echoes in the audience because it is not the target of ridicule. In 'Despacho', Radio Diaspora explores the dichotomy of society by introducing a speech by Brazilian lawyer Hédio Silva Júnior specialised in Afro-Brazilian religion. He questions a rule under discussion in Brazil's Congress that would prohibit the use of chickens in Candomblé and Umbanda rituals. Silva Júnior points out that everyone takes a stand to protect the rights of animals, but the same cannot be said of the defense of young black people and outlying societies. The track 'Meia-Noite' evokes a celebrated point of Umbanda, an Afro-Brazilian religious syncretic cult, permeated by free jazz and electronic atmospheres developed by the duo. The other songs on the album are divided into two parts. They feature the voices of North American icons of the black struggle for civil rights: The tracks 'A.H.M. Al-Shabazz 1 and 2', amid sonic dissonances, use extracts from speeches by the American leader Malcolm X, and in 'Muhammad Ali 1 and 2' we hear quotes from famous interviews given by the boxer and activist. Ali ironizes the questions he asked his mother as a child, why all good and positive things are associated with white. "Mother, how come is everything white? Why is Jesus white with blonde hair and blue eyes? Angels are white, the Pope, Mary, and even the angels. When we die, will we go to heaven? She said naturally we go to heaven. So, I said, what happened to all the black angels they took from the pictures." His Inquiry, however, is seen as a joke by the white audience present at the TV show, which laughs off Ali's scathing criticism. Radio Diaspora uses art as an instinctive force to reject submission to traditions and culture as taming. Music is the weapon. "The (album) sound means to exorcise racism out of our minds and make us ready to act". - Rômulo Alexis

Fast-emerging British singer, songwriter and pianist Reuben James’ virtuoso jazz techniques and soulful, evocative voice have led him to be widely regarded as one of the most exciting and creatively assured artists to have emerged in recent years.

He has written for and performed with an array of international star acts including the likes of Joni Mitchell, Herbie Hancock, John Legend, Disclosure etc.

Reuben’s Sophmore EP ‘Slow Down’ landed to critical acclaim in 2020 we also have in stock (last few copies) in addition to his debut EP from 2019 ‘Adore’ which first brought us to his attention.

Reuben released his single ‘BBQ Energy’ in late 2020 followed by the star-studded ‘Tunnel Vision’ featuring Frida Touray, Daley with Tom Misch in early 2021.

Here we have his most recent and arguably most popular singles available for the first time on Vinyl as a Limited Edition release.

With their ability to move seamlessly from the triangle to the donkey jaw, cymbals to Chinese gong, vibraphone to wind machine, percussionists are undoubtedly the most atypical members of the classical orchestra. Paul Changarnier, Nicolas Cousin and Alexandre Esperet are a case in point. Having set their sights on the marimba - Latin American xylophone, cousin of the African balafon - they decided to use it as the main vehicle for their artistic dreams. With the label No Format, they embarked on a project which would see them taking on pop hits of the kind that are produced in mega studios on the other side of the Atlantic and dazzle with a thousand lights and special effects. But they wanted to do it without leaving France or their beloved instruments. They wanted to make pop without machines, guitars, bass or synths. They ended up finding a hitherto unknown instrumental formula that belongs to them and them only, one conceived as the perfect fit for the voices from the well-known French artists that were called upon to interpret the songs. Camille, with her extraordinary energy, makes Rihanna"s "Don"t Stop the Music" waltz in a new organic mode; Blick Bassy redecorates Ariana Grande"s "One Last Time" in the colours of Bassa; Malik Djoudi envelopes Frank Ocean"s "Super Rich Kids" with a subtle ethereal texture; Camélia Jordana made her mark on this bonanza of reinvention by slowing down the tempo of "Dance Monkey"; The voice of Sandra Nkaké, imbued Lana del Rey"s "Video Games" with a solemn and sublime mystery. Like an old love that"s rediscovered with new eyes, an air that comes back from far away but could have been born today, somehow familiar but never seen before. Déjà vu but never heard until now. Déjà Vu: the name of this magnificent, unprecedented experience, this unidentifiable flying platter.

ARTS is proud to presents the second full length from one of the mainstays of the label. KRTM is again free to express his art in the purest form, after "It Will Make The World A Better Place" the Artist found again inspiration to keep working on a second one with a unique flow... for us, "NARCFEST" is pure inspiration and we hope this has an impact on you as it did on us.

On 21 April 1960, Claudio Arrau recorded Johannes
Brahms' 1st Piano Concerto in London with the
Philharmonia Orchestra and Carlo Maria Giulini - under
the auspices of Walter Legge, the legendary artistic
director of EMI, who hired the pianist. The Chilean pianist
is an immense Brahmsian, and here he delivers a
masterly version that is at once heroic and tragically
profound.
The LP benefits from a new remastering in 192htz/24 bit
done in 2022 from original tapes by Art & Son Studio,
Annecy.

Natural Sciences introduce the first issue of Embryo: a 50 page magazine, 12" record, A3 Poster and mix series, ft: Hieroglyphic Being, Beau Wanzer, Fumu, Margenrot, Breathing Problem Productions, December, Ki Jeal, Bacon Grease and other artists and labels from across the underground.

The first issue comes with an exclusive mix from Sawf (available as a QR Code) and killer two-track 12" from Smpl Smpl.

Enclosed in heavy-duty PVC Wallet (w. flap) and outer sticker, inside sticker and hi-gloss A3 poster.

UTO are a duo from Paris who sound like they might be from outer space. Chic and alien, rhythm-centric yet diaphanous and ghostly, they are a group that thrive on contrasts and embrace paradoxes. Described variously as witchpop, dreampop and trip hop, they mine a rich seam of 90's British music from the peripheries, with added je ne sais quoi. Debut album Touch The Lock sees them present to the world their singular vision for the first time. It's an album grounded in reality that communes with hyperreality, unlocking the box where hard-to-reach emotions and thoughts often lay dormant and untapped.

What happens when you let go of something you've always been passionate about? Will it come back? And if so, in what ways and with what impact?
These questions laid the foundation for Toby Whyle's debut album 'Call It A Night'.

It is a journey to find out what feels right to him-this means escaping old patterns and allowing himself to try new things. Musically, he exposes himself unreservedly to the gravitational forces of electronic music and guitar pop by orbiting these points of attraction without ever really getting caught by either of them. Each song moves along its own trajectory, fueled by Toby's thoughts and experiences.

His first single, 'No One Moves', hitting number 1 on the FM4 charts in early 2021, marked the beginning of a new adventure-a journey upon which Toby embarks entirely on his own for the first time. After his first EP, 'A Mood Of Its Own', and the release of further singles, the debut album 'Call It A Night' will be out on May 20th, 2022, on Matches Music.

PRESSTEXT
Writing songs has always been quite natural and ever-present in Toby Whyle's life. And he's written plenty of them over the last decade. However, what's new is the realisation that songwriting is one of his few means to slow down the bright and fast-paced world surrounding us. Driven by the urge to create and develop something new, he started to write again. And suddenly, this feeling of being able to pause time came out more intense and immediate than ever.

In this way, the singer, songwriter, and guitarist manages to stand back from the constant rush, carving out space to move freely at his own pace. " Each song is an empty room, and I can decide for myself how I'm going to furnish it. It might get rather chaotic with stuff piled up to the ceiling, then again there's almost nothing in it", he describes his approach to songwriting. For him, creating melodies, crafting music and lyrics is not just a means of reflecting on situations he finds himself in but also a tool of handling them. Toby's music strives to affect and inspire people in all the different phases in life, as his songs are also a result of the diverse situations he's gone through.

Aesthetics and craftsmanship play a crucial role in Toby Whyle's creative process, from crafting songs, recording and producing them, and building and maintaining a particular visual language. He aims to create high-quality and exceptional music that enthuses and delights people, which sparks energy and conveys a certain feeling.

Fresh and zesty with subtle tropical flavours, this is a delightfully listenable debut from Matthieu Beck on Growing Bin. Inspired by the lilting rhythms, jazzy instrumentation and slow listening gems found on his Love In The Afternoon radio show, the Frenchman has crafted a gorgeous collection of laid back sophisti-pop, perfect for long summer days or seasonally affected escapism.
Any suggestion of sorrow in the album title is actually a mislead - this may be a solo LP, but Matthieu's surrounded himself with the musical friends he's made over the years, serving as composer and bandleader to a willing troop of collaborators. Longtime friend and former Metronomy bassist Gabriel Stebbing, Source Ensemble drummer Emmanuel Mario, and of course Laetitia Sadier herself, stepped in to lend their services and bring Matthieu's music to life, before Jérôme Caron (Blackjoy) expertly mixed it all down.
Though the tracklist may read like a travelogue, these nine tracks all began at home with Matthieu sat behind a Fender Rhodes with a drum machine by his side. Soon live bass, saxophone and flute strolled into his unhurried arrangements, retaining the simplicity of his demos while expanding the emotion. Weighty synth drones and bubbling bass balance the airy elements of tracks like "California" or the dream-pop romance of "Rooftop Rome", while the mellow "Malika" and joyful "Retour De Plage" showcase the Frenchman's relationship with jazz. Elsewhere there's hints of digi-dub ("Island" and "Suede"), coastal boogie ("Tokyo Montana"), stripped back city pop ("California") and downtown nostalgia ("Dora"), before Beck arrives at the poetic, progressive but peaceful finale "Piano Fin", which recalls Air at their prettiest, without stepping outside Matthieu's well defined sound.

Rising UK duo Mia Mendi returns for their second outing on Watergate Records with the retro-tinged Robosynapse EP.

The label debut of Mia Mendi was a notable 2021 highlight for the Oberbaumbrücke imprint. Titled 'Ubi’, the EP was a collaboration with Thomas Gandey and demonstrated their full-bodied dancefloor approach, injecting their unique sound signature into a modern progressive house palette.

‘Robosynapse’ is no less exciting (or fun). The title track is a plump nu wave houser, driven by soaring retro synths, a gutsy electro bassline and an 80s guitar solo. ‘Simulated Reality’ buzzes and hums, seven minutes of emotional electro and crispy drumlines, before handing the baton to ‘Cyborg String’, which continues the dreamy throwdown.

Alan Dixon makes his first contribution to Watergate Records and re-fashions ‘Robosynapse’ into a glistening cosmic-tinged beast, amplifying the focus on the guitar lead. Fresh off her label debut with the excellent ‘Mind Control’ EP, Henri Bergmann makes a welcome return to re-work ‘Simulated Reality’ into a powerful melodic gem, heightening the focus on the synths. An added bonus to the pack, Musumeci delivers a supreme chugging re-work of ‘Ubi’. Game on!

Back in 2011 Markus Guentner and Heiko Badje formed Stareaway to follow their vision of creating both enchanting and haunting music from melodies and drones. Combining Guentners complex Wall of Electronic Sound and Badjes ethereal androgyn voice and multifaceted guitar play, they indeed produced some epic works between Ambient, Pop and Shoegaze, strangely shimmering and profoundly mysterious.
Now Stareaways fantastic (and back then maybe a little overlooked) album No Life In This Ghost Town sees its rerelease and is, for celebrational purposes, accompanied by this EP of four stunning remixes by stunning artists Rafael Anton Irisarri (who also did the mastering), Simon Scott (Slowdive), Thomas Fehlmann and David Westlake (ex Sneaker Pimps). Rafael Anton Irisarris magical take on O Suomi sparkles bright, still with melancholia always present. David Westlake emphasizes the Pop-aspect of Appointments, adding lush synth melodies and light-filled grooves while Thomas Fehlmann lets All Over You spiral into Popambients most majestic heights. Finally Simon Scott builds a Kathedrale aus Klang on Dreams May Never. Amazing remixes of amazing originals.

Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energies that inhabit the land of Puglia since the dawn of time.

An harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspective sunset sensations. One Body. Many Souls.

PF004 // The fourth vinyl of Polifonic Records label brings together artists from different cultures and ethnicities to create a seamless blend of sounds with diverse influences. Encompassing genres like house, Balearic beat, and acid, harmonized through ambient arrangements and 4-tothe-floor rhythm patterns to chill and groove to, this record is a material embodiment of the multicultural and polyhedric approach that Polifonic adopts throughout the multiple extensions of our projects.

The first track “Generations of Sunsets” by Lipelis joining with Andy Butler from Hercules and Love Affairs, vividly illustrates the extent of their sonic palette: a journey that runs through a Balearic groove - also with the use of guitar - and expands the mind to exotic places keeping the body moving with its acid touch.

Italian 90’s riviera house meets percussions and ethnic grooves in the born new track from the Milano duo Eternal Love. “Kuasi Riviera” reflects perfectly the nature of Polifonic between clubby atmospheres and connection with the wild world.

Then comes the darker side with Yu Su, who switches it up with new diversions in tempo and rhythm throughout “Oil” with a blend of deep basslines and obscure soundscapes contributing to this journey through space and time.

Benedek’s “Desperado” doesn’t shy away from deep diving right back to the 90s Italian house overlapping bold soundscapes through the lens of a contemporary producer. Distinctive,
immersive, and dauntless.

QphoriQ joins Fides Records with a 4 tracker Electro-Tinged EP named “Emerald Journeys”. Analogue synths, complex structures and pulsating drums are remarkable in QphoriQ style while a dj-friendly remix by label boss Z.I.P.P.O shows the eclectic nature of the label.

Bassist and composer Milo Fitzpatrick (Portico Quartet) launches new collaborative project with saxophonist Jordan Smart (Mammal Hands)

Vega Trails is a new project from double-bassist and composer Milo Fitzpatrick, a founder member of Portico Quartet, who has also performed with the likes of Nick Mulvey and Jono McCleary and features saxophonist Jordan Smart (Mammal Hands, Sunda Arc) in a richly powerful duo bringing together two powerfully charismatic musicians. The project which takes its name from Carl Sagan's science fiction novel 'Contact' (a book about signals of new life detected from the Vega system) andwas born out of a desire to bring the elements of bass and melody to the foreground in their rawest form and Fitzpatrick explains that he deliberatelychose the stripped back approach.

"There is so much in just one musician's sound; the emotional, the intellectual, the vulnerability and power of their character. But often these delicate nuances can be submerged in the quest for a group sound. In Vega Trails I wanted to grant the musicians space to breathe and be heard and for the listener to witness the intimacy and depth of a conversation between two voices, bass and melody. I was also interested in how the limitations would guide both the composition and performance and to push us both to places close to the limits of what we could play, and it is in this place where I believe the character of a musician blossoms and comes forward".

Tremors in the Static was composed during Lockdown as Fitzpatrick immersed himself in music that had space and sparseness such as Swedish fiddle music and Indian Classical music. Jan Johansson's legendary 'Jazz på Svenska' (jazz versions of Swedish folk songs) was another influence, as was a collection of ancient lullabies by Spanish soprano singer Montserrat Figueras. Through exploring the harmonic and textural possibilities on the bass, Fitzpatrick would cycle riffs and motifs whilst singing melodies, and he began to create the music debuted here. However, it was only after listening to Charlie Haden's album of duets, 'Closeness', that the project would come into focus as a duo, and Fitzpatrick immediately knew that the second musician had to be Jordan Smart.

"I saw Jordan play at two Gondwana Records events – in Berlin and Tokyo. Both times I was mesmerised by the intensity and conviction of his playing. His commitment to the cause of transcending himself and the listener made a lasting impression on me. When I began writing this record, I knew I needed a strong player who had equal conviction in their playing as me, but also someone who understood the importance of melody"

It was an inspired idea as Smart brought an openness and positivity which allowed the music to be both experimental and bold. Smart's ability to play tenor and soprano saxophone with equal command, as well as bass clarinet and Ney flute, allowed them to open up the pallet of sound and pull the melodies into varying emotional landscapes.The final piece of the puzzle was the performance space. Fitzpatrick knew that he wanted the two players to react off of a third element. The music was written for an ambient space which interacted with the notes: decaying and disintegrating them into silence. They found the perfect space in a church in Fitzpatrick's local neighbourhood of Stamford Hill.

"The recording space is the canvas on which the sound interacts and flows, it is the frame in which notes can live, breathe and die and is as important as the other elements. A resonant recording space, like a church, allows this stripped back sound to resonate, echo and linger, enough to create images and landscapes in which stories can play out".

This then is Vega Trails, a project that brings together two open-mined and communicative musicians for the first time, to tell beautiful winding stories together and to create something soulful and new.Something bigger than both of them and something that leaves us all richer for hearing it. Enjoy!

Marbled Colour Vinyl!

Remixes of Space Ghosts Dance Planet album from Apron's Jarren, Central (Regalbau) and Nelson Of The East.

Black Vinyl!

Remixes of Space Ghosts Dance Planet album from Apron's Jarren, Central (Regalbau) and Nelson Of The East.

This explosive set of 22 floor filling synth-italo-tech-disco blasts from the past charts the rise and heyday of the synthesizer in Finnish pop music. Compiled by renowned Helsinki DJ and music historian Mikko Mattlar, these 22 choice cuts from 1978 to 1992 include many cult hits and impossibly rare tracks, such as the Fenno-Italo-disco cult classic Satan in Love by Emilia and the synthetic experiments of Argon and Syntax.

Picture London, thirty years ago, as Neneh Cherry gears up to release her debut album Raw Like Sushi - a thrumming, restless, vibrant city that in 1989, much like today, pulsed defiantly against a backdrop of increasing political doom, rocking to the joyful noise of culture leaping across boundaries, radically reordering itself. Rents are low.

Soho hums to the chatter of poets, vagabonds and petty sex tourists drinking in the same elixir of possibility. The divisions between the queens of Old Compton and mods and punks of Carnaby Streets look huge but feel slight. A spirit of multiracial unity permeates the air.

New York hip hop and Chicago house continue their euphoric colonisation of nightclub culture. Amid this maelstrom, Neneh Cherry emerges, capturing the entire, giddy rumble of this rolling community street culture in one record, Raw Like Sushi. With no interest in genre, Raw Like Sushi upsets and inverts everything you thought you knew about how pop can work, at it's brightest and most effective.

One of the greatest debut albums of all time, born halfway between Never Mind The Bollocks and Boy In Da Corner, Raw Like Sushi was ready to escort you right to the centre of it's dancefloor, dripping hot sweat under a mirrorball at 3am - and its particular magic remains just as potent today.

To celebrate the 30th anniversary of an album that culturally, musically and stylistically defined a generation and everything that followed, Raw Like Sushi has been remastered at Abbey Road and will be released in super deluxe format across 3CD and 3LP heavyweight vinyl box sets, and 1CD and 1LP formats.

The box sets include a stunning 48-page 12x12 book packed full of iconic photos, new interviews, liner notes and memorabilia. The album features five of Neneh’s biggest singles - including the worldwide smash hit single ‘Buffalo Stance’ as well as hit singles ‘Manchild’ produced by Massive Attack’s Robert Del Naja, ‘Kisses On The Wind’, ‘Heart’ and ‘Inna City Mamma’. It also features rare mixes of key tracks by Massive Attack, Arthur Baker, Smith N Mighty, and more.

Since the release of Raw Like Sushi 30 years ago, Neneh Cherry has continued to define and redefine culture, style and music releasing five studio albums, including 2018’s Broken Politics, produced by Four Tet, which was met with critical acclaim by the likes of The Guardian, Rolling Stone, The Times, Q and Pitchfork.

Neneh went on to tour the album throughout 2019 including her largest ever headline show at London’s Roundhouse, and festival performances at Glastonbury, Latitude, Primavera, Pitchfork and more proving her music and message more relevant than ever.

SONIKKU announces the release of their new album ‘Joyful Death’, via Bella Union. “I love songs that make you want to cry and dance at the same time,” says Tony Donson, the London-based musician who records as SONIKKU. That sense of unfettered release and liberation drives their new album, ‘Joyful Death’. A fluent, fertile and full-colour hybrid of vibrant Italo-house, liquid synth-pop, righteous disco and French philosophical asides, it’s an album that signals the emergence proper of SONIKKU - a fully formed dancefloor artist. It’s also a farewell of sorts, perhaps, but with an emphatic rebirth at its heart. “This album feels like a transformation in the sense that I’m creating the music I’ve always wanted to make. A fully realised, coherent pop record that showcases my craft as a song-writer and producer.” Total control of their craft is swiftly asserted on ‘Let The Light In’, where the
influences of lost-in-music disco and the Pet Shop Boys merge under vocals from immersive, exploratory British singer-songwriter Douglas Dare. The pace accelerates as ‘WKND’ gets into a groove pitched somewhere between Madonna, Daft Punk and Indeep, with LA future-pop singer LIZ primed for dancefloor abandon on vocals. Meanwhile, SONIKKU’s independent intent is firmly asserted on the freestyle-inspired ‘Don’t Wanna Dance with You’, where singer Aisha Zoe coolly brushes off unwanted advances in favour of dancefloor pleasures.
LIZ assumes vocal duties again for ‘Sweat’, a song fully equipped to make dancefloor devotees do as its title suggests. Dreamily melodic evidence of SONIKKU’s dynamism (and love of melancholy Swedish electro-pop queen Robyn) beckons on ‘X Hopeless Romantic’, where Little Boots contributes a sweetly loved-up vocal over a sublimely
infectious chorus. Pummelling synths signal a dramatic shift of pace on the almost electro-darkwave dash of ‘Remember To Forget Me’, where actor/singer Chester Lockhart presides over a summit meeting between Depeche Mode and New Order. Performance artist Tyler Matthew Oyer takes the vocals for the Italo-disco-inspired title-track, a vividly imagined album manifesto - of sorts - inspired to varying degrees by an 1892 poem, French thinker Gilles Deleuze’s concept of the “body without organs” and a 1997 anime called The End Of Evangelion. Finally, that grand piano takes over as Dare returns, presiding over an achingly stripped-back version of ‘Remember To Forget Me’. With help from friends and artists they admires on vocals, ‘Joyful Death’ is a hugely confident and self-contained leap forward for SONIKKU after his time as a feted DJ. Having moved from Derby to London at the age of 18, Donson worked as an intern (at MTV, Dazed & Confused, SHOWstudio and elsewhere) then turned to DJing (from
London to Tokyo, Paris and Berlin) after they were signed to London label Lobster Theremin. Though they continues to DJ regularly at Tottenham’s LGBTQ rave-up Adonis, they have extra ambitions in mind: “I love DJing but I’m more looking forward to developing a live show.” LP pressed on mint green vinyl with digital download.

For Fans Of.. Durand Jones & The Indications, Frightnrs, Thee Sinseers, Jr. Thomas & The Volcanos, Bobby Orozo. Producer, songwriter, and member of Thee Sinseers. Upcoming LP on Colemine Records. Joey embodies the East LA sweet soul scene, and it now dipping into reggae! As the leader of the modern Chicano soul outfit, Thee Sinseers, and releasing a string of singles as a solo artist, Joey Quinones and his crew have recently been ushering in a new era of modern soul. It is the type of music that shares a genesis with the birth of soul and R&B sounds emitted from the classic lowrider cruising down Whittier Boulevard to the sunshine-y vibes of traditional ska and dancehall reggae. And with his debut 45 on Colemine, Quinones shows that he's adept at not just the slow and low, but also the mellow sounds of early reggae. We are proud to present "For You" by the ever-sweet and oh-so-talented Mr. Joey Quinones.

Freakout/Release ist das achte Album der britischen Electronic-Pop-Legenden ist ein weiterer Meilenstein in einer mehrere Jahrzehnte andauernden Karriere der Band.

Freakout/Release ist das achte Album der britischen Electronic-Pop-Legenden ist ein weiterer Meilenstein in einer mehrere Jahrzehnte andauernden Karriere, in der Hot Chip immer wieder für Innovationen gesorgt und eine vielseitige, klangstarke Songstruktur entwickelt haben. Und während sie unverändert in Topform unterwegs sind, fühlt sich Freakout/Release wie ein ganz neues Kapitel für die Band an - ein kühnes und selbstbewusstes Album mit Texten voll dunkler Emotionen und dennoch so erbauend, wie es nur eine Hot Chip-Platte sein kann.

Freakout/Release ist das achte Album der britischen Electronic-Pop-Legenden ist ein weiterer Meilenstein in einer mehrere Jahrzehnte andauernden Karriere der Band.

Freakout/Release ist das achte Album der britischen Electronic-Pop-Legenden ist ein weiterer Meilenstein in einer mehrere Jahrzehnte andauernden Karriere, in der Hot Chip immer wieder für Innovationen gesorgt und eine vielseitige, klangstarke Songstruktur entwickelt haben. Und während sie unverändert in Topform unterwegs sind, fühlt sich Freakout/Release wie ein ganz neues Kapitel für die Band an - ein kühnes und selbstbewusstes Album mit Texten voll dunkler Emotionen und dennoch so erbauend, wie es nur eine Hot Chip-Platte sein kann.

Chicago-meets-Philly when Vic Spencer and Small Professor connect on Mudslide, the incredible new album from this pairing of raw talents. Coalmine Records is proud to share this project with the world, and it marks Small Pro’s third collaborative release on the label after he previously linked with Guilty Simpson and the late Sean Price.

For the producer, it was an exciting new opportunity to team up with an emcee who’s gruff-voiced, hilarious, and can out-rap anyone on the planet. “Plus, my past Coalmine projects have their own neo/prog-boom-bap vibe, and ‘Mudslide’ continues that particular sonic blueprint,” Small Pro said.

And for fans of that sound, you’re not going to find a better example of that sound than this album. It’s just as experimental as it is steeped in the traditions of rap thanks to Vic’s boundary-pushing rhymes and Small Pro’s immensely satisfying instrumentals.

Tracks like “Lil Jon’s Weed Stash,” “Ew McNasty’s Revenge,” and “Selfcare Welfare” marry psychedelic vibes with grounded and clever lyricism. Another immediate standout is the lead focus track “Pitfall Music,” which features a mean-mugging guest verse from Flee Lord with cuts supplied by acclaimed turntablist, DJ Revolution.

Mudslide will be available digitally, as well as on CD, cassette and vinyl in three configurations; classic black, brown w/ white color-in-color, and a limited Ghostly Brown vinyl edition.

Mice Parade returns from a decade of silence to release lapapọ, an album that spans the many styles of their storied career,and features guest singer appearances by Angel Deradoorian (Dirty Projectors) and Arone Dyer (Buke & Gase). The rock is louder; the West-African-inspired highlife breaks are chubbier; the dueling drumkits are more complex, the instrumental passages more serene. What started as a home recording project in the late 90s soon morphed into a formidable and completely unique live band of incredible musicians from around the globe, all live-mixed and effected by legendary UK engineer Brandon Knights (aka Dub Warrior), the longtime sound engineer for Lee Scratch Perry, Soul II Soul, Gladiators and others. After 9 albums and nearly 15 years years of worldwide touring, including festivals across the UK, Iceland, mainland Europe, Turkey and Japan, and supporting Stereolab across the US, Mice Parade fans can finally hear some new music, and the live band hopes to safely reunite later this year. Throughout it all, Adam has mostly recorded with same ethos: allowing only one take for each track, forcing him to either leave in mistakes or address them with mutes or distractions, and embracing the Bob Ross concept of 'happy accidents.' This was a strict rule for the first several albums, and while he eventually became less strict about it, it's still a goal that is achieved more often than not. Perfection is not the goal - indeed, there should be no such thing in music. Most songs are not even written before pressing the record button, but instead are built piece by piece in improvised fashion. lapapọ is a Yoruba word meaning something akin to "totally" or "altogether."

zake & Wayne Robert Thomas come together to serve up a thoughtful and healing deep dive into "what it means to continue living life in the face of loss and uncertainty." Their album is one of great depth emotional and full of subtle struggles that we can all relate to. 'To Those Who Dwelt in a Land of Deep Darkness' was first put out as a 10" lathe but now gets pressed dup properly to 12" vinyl with three extra tracks taken from the original recording sessions. They say the best art comes out of adversity and that is certainly true here.

Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we’ve had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We’ve also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists.

White Vinyl

The 25th release on Auxiliary is a remix 12" by ASC. Featuring four remixes of the EP of the same name, released in 2014, Return Of The Emissary Remixes is an inventive and creative re-imagining of the original tracks.

Inverse Ratio is transformed into a more uptempo Grey Area affair, while Fenris gets a heavier workout on its remix. Flipside sees a sparser approach to Zoning, while Night Clouds notches up the intensity somewhat. A statement of intent from Auxiliary and ASC.

'Youngest Daughter' is the debut album from folk-pop quartet GUISE. Spear-headed by singer songwriter Jessica Guise, it follows the release of 'The Fun Part' EP released on XMR March 2020. The album is produced and mastered by husband Frank Turner and features guest appearances from Emily Barker, Callum Green and Lukas Drinkwater. Will be released on CD, white vinyl and download. Live shows and festival appearances planned for throughout the year to support the release. As well as shows in Germany in September and main support to Will Varley on his UK tour in May 2022. *Release Timeline: Track 1 ‘Don’t Come Back’ - released as a single + IGT 25th February 2022 First single ‘Don’t Come Back’ isn’t a song about one particular person so much as a string of disastrous decisions. It’s about the brutal transience and sheer depressing turnover of romantic entanglements I found myself in living in London during my 20s, and about crashing headlong into people who just bounce off and bounce along like dodgems. It’s also about sometimes being the dodgem myself, and not giving myself too much of a hard time about it. Featuring Callum Green on drums and dear pal Lukas Drinkwater brought his marvellous upright bass to the party, and a stunning acoustic guitar solo. Track 2 'I Know When You Leave' - 25th March 2022 - IG track I wrote the words to ‘I Know When You Leave’ on a bus in Italy, and the tune came to me later back in London, Separation from the person I love is a pretty normal part of my life, but that doesn’t make it easy all the time; things are generally just a bit worse when we’re apart, and that’s what this is about. Recorded almost completely a cappella, with a subtle measure of floaty keys tumbling in towards its crescendo, ‘I Know When You Leave’’s barren instrumental landscape adds to the sense of longing and isolation at the track’s core. Features Emily Barker on backing vocals.

From colossal opening track 'A Cleaved Head No Longer Plots', CONAN’s upcoming magnum opus will overrun you like a steamroller. The British kings of brutally heavy slowness put their down-tuned pedals to the limit, crushing ears and minds when huge, rumbling chords and riff beasts muscle their way in over lances of infinite distortion. On tracks such as 'Levitation Hoax', CONAN showcases their trademark sound combined with uptempo, fierce riffage, and a pounding, impulsive groove in epic Caveman battle doom grandeur, before the song drags you into a safe, deep black hole. Second album single, 'Righteous Alliance', emphasizes that CONAN are the masters of their craft, while Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio of bass, drums and guitar. Evidence of Immortality was recorded and mixed by Chris Fielding, was mastered by James Plotkin, and also sees former band member Dave Perry performing on 'Grief Sequence'. Bow down and hail CONAN, as their sound will live immortal on the battlefield of doom, and their new album will be the ultimate Evidence of Immortality! 1. SINGLE - EN On first single 'Levitation Hoax' off of Evidence of Immortality, CONAN showcases their trademark sound combined with fast-paced riffage and a pounding groove in epic doom metal grandeur, before dragging you into a safe, deep black hole. The British trio is one of the leading and most heavily touring doom metal bands of modern times, with millions of streams on Spotify alone. This further proves that their sound will live immortal! 2. SINGLE - EN Evidence of Immortality single 'Righteous Alliance' emphasizes that CONAN are the masters of their craft, while frontman Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio. Boasting sold-out international headline tours, frenetically acclaimed appearances at Hellfest, Desertfest and more, and millions of streams on Spotify alone, England’s doom metal masters strike back again on their new album. Hail Conan!

Eleventh album from the Juno-nominated Burlington, ON post-hardcore and emo band that has sold 1.2M+ albums worldwide. Produced by Sam Guaiana The Devil Wears Prada, Between You & Me, Like Pacific. The lead single “It’s Over” streamed upon release on NME [“return to emo roots coupled with a post-hardcore edge…intense melodies”]. Further praise from HM Magazine, Loudwire, Rock Sound. Eight of Silverstein’s albums have charted in the United States, including A Beautiful Place to Drown [2020, #5 Billboard “Hard Rock Albums” “#7 “Alternative Albums”], which was nominated for “Rock Album of the Year” at the Juno Awards]. They’ve toured with Good Charlotte, Blessthefall, August Burns Red, Silent Planet, Four Year Strong. They toured the United States and Canada this autumn with support from The Plot in You and Can’t Swim, and they’ll be back on the road in the United States this spring with The Devil Wears Prada. Released independently via Australia's leading heavy music label UNFD.

Eleventh album from the Juno-nominated Burlington, ON post-hardcore and emo band that has sold 1.2M+ albums worldwide. Produced by Sam Guaiana The Devil Wears Prada, Between You & Me, Like Pacific. The lead single “It’s Over” streamed upon release on NME “return to emo roots coupled with a post-hardcore edge…intense melodies”. Further praise from HM Magazine, Loudwire, Rock Sound. Eight of Silverstein’s albums have charted in the United States, including A Beautiful Place to Drown [2020, #5 Billboard “Hard Rock Albums” “#7 “Alternative Albums”], which was nominated for “Rock Album of the Year” at the Juno Awards]. They’ve toured with Good Charlotte, Blessthefall, August Burns Red, Silent Planet, Four Year Strong. They toured the United States and Canada this autumn with support from The Plot in You and Can’t Swim, and they’ll be back on the road in the United States this spring with The Devil Wears Prada. Released independently via Australia's leading heavy music label UNFD.

TOPS were formed in Montreal when song-writing duo David Carriere and Jane Penny decided to join forces with drummer Riley Fleck. Since then they have become one of the most influential underground bands of the past decade, creating a space for sophisticated pop music in the indie world. Their tendency to opt towards making straight-forward, stripped down and honest recordings lets their pop songwriting shine out in the open. With a heart firmly attached to their sleeves, their songcraft delves into the emotional intricacy of personal relationships, asking questions about power and desire. Riley Fleck’s measured drumming and David Carriere’s trademark guitar licks mesh with Marta Cikojevic’s lush keyboards. All these elements work in tandem and in service of Jane Penny’s unmistakable, wistful voice. The result of this mixture is a collection of four self-produced records and a handful of singles that cover a range of moods and a complex emotional realm while maintaining a groove and musicality. Soft rock infused pop hits flow easily, surrounded by their signature moody ballads.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivalled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12' release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature - gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones, 'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music - mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan's vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP - exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'død' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session - as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

SATURATED! The various artist series on vinyl has proven to be the epitome of curation in bass music since its inception.
The whole package is curated such that each track perfectly flows into the next.
Each volume is carefully hand-picked and serves as a snapshot of bass music at that moment,
SATURATE! has earned its spot as the first choice for those seeking fresh sounds from established and emerging artists.
and has been leading the way in all thing's bass heavy, breakbeat, experimental, glitch, hip-hop, psychedelic and trap for years now. They have a track record of propelling artists to the next level. Their roster includes some of the scene's biggest names. These compilations present
A weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene.
Get it now!"

Hailing out of Philadelphia, PA, OT The Real has been working relentlessly to put himself on the map. Following the successful release of several projects (including The Irishman, You Are Who You Eat With, Evil Empire, and more), OT now links up with producer DJ Green Lantern to bring you Broken Glass. The new collaborative album is fully produced by DJ Green Lantern and also features heavy hitters such as Benny The Butcher, Millyz, SKNJ, Mizz, Uncle Murda and Eto. The duo showcase their talents on each of the 13 tracks with an undeniable rapport among OT's gritty bars and Green's filthy production. This one is pure hip hop through and through and a must cop for every fan and collector alike.

Pressed On Emerald Green Vinyl
Limited To 300 Copies!
OT's First Vinyl Release!

Ever Crashing, the second LP by Kennedy Ashlyn aka SRSQ pronounced ‘seer-skew’, is the summation of a nearly three-year journey of soul searching, songwriting, and self-discovery: “I became myself in the process of making this record.” From the first choral swells of opener “It Always Rains,” it’s clear this collection exists on an ascendant plane, capturing an artist in super bloom. Every song hits like a single, heaving with guitar, synth, strings, live drums, and oceans of Ashlyn’s astounding voice, balletic and illuminated. The tracks gleam with detail, often assembled from as many as 100 separate tracks, all of which were written and played solely by Ashlyn – a feat of world-building as daunting as it is devastating.

For her, however, the process is intrinsic and intuitive – even a matter of survival. Her 2018 solo debut emerged in response to the tragic Ghost Ship fire in Oakland, which took the life of her bandmate and best friend Cash Askew. Similarly, Ever Crashing began materializing in the wake of an ADHD and bipolar disorder diagnosis, prompting a profound personal overhaul. Ashlyn cites such periods of turmoil as a muse of sorts, when “songs begin to echo within me,” gradually reverberating clearer and more vividly. As melodies and arrangements come into focus, the songs act like containers, vessels in which to externalize and exorcise tumultuous emotions, a transformation she memorializes in the climax of “Élan Vital:” “Reeling in and out of deep despair / I am saved by song.”

From swooning end credits balladry (“Dead Loss”) to orchestral slow-burn torch songs (“Abyss”) to dizzying shoegaze heavens (“Someday I Will Bask In The Sun”), the album exudes a sense of aching grandeur and bewildered joy, rich with triumphs hard won and lost loves never forgotten. Melodies pirouette and crescendo in dazzling, elevated acrobatics, somewhere between Kate Bush and The Sundays, threaded with ethereal undercurrents of shimmering shadow. Riffs brood and sparkle over crystalline synths, buoyant bass, and patient percussion, steadily building to holy moments of tidal power, finessed to perfection by producer Chris Coady (Beach House, Slowdive, Zola Jesus). Ashlyn’s is a dream-pop of questing catharsis, vulnerable but orchestral, as dense with hooks as heartbreak.

The album’s title refers to Ashlyn’s recurring sensation of being trapped in the crest of a wave, turned and churned in the surf, mirroring the cycles of self-flagellation and surrender that she battles being bipolar. But as the poetic raptures of these songs attest, her creative process thrives at transmuting trauma into potent music of arresting beauty and hidden divinity. Ever Crashing is an aching, rare work, shaded with gradients of reverie and regret, loss and letting go, “mourning the person I thought I should be, mourning the person I never was.” But even in its pain, Ashlyn’s voice exerts a redemptive gravity, yearning to transform and transcend: “Even on the inside / I’m bracing for impact / I’m waiting to destroy my life / To become sunlight.”