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- The complete 1967 Film Score by Akira Ifukube - "Element X" Radioactive Green Colored Vinyl - New artwork by Ross Murray - 12" x 12" Art Print - Heavyweight Gatefold Packaging with Matte Finish // Prepare to plunge into panic with Waxwork Records' release of KING KONG ESCAPES Original Motion Picture Score by Akira Ifukube (Godzilla, Mothra vs. Godzilla, War of the Gargantuas, & more) Directed by the king of kaiju, Ishiro Honda, KING KONG ESCAPES follows evil genius, Dr. Hu, on his mission to manipulate Kong into retrieving radioactive Element X from the North Pole. The film stars Rhodes Reason, Linda Miller, Mie Hama, & Akira Takarada. Waxwork Records is honored to release the complete original film score by Akira Ifukube (Godzilla 1954, Mothra Vs. Godzilla, Destroy All Monsters, and many others) as a deluxe vinyl album officially for the first time outside of Japan. Enjoy the dynamic orchestrations that range from tranquility to combat as King Kong fights monsters and the wicked influence of Dr. Hu. We are thrilled to present the official King Kong Escapes score with 180 gram "Element X" colored vinyl, deluxe packaging, new artwork by Ross Murray, heavyweight gatefold jackets with matte coating, a 12"x12" art print, and more!

Stalactite is a collaborative recording project by renown Japanese artist and multi-instrumentalist Susumu Mukai AKA Zongamin and producer Drew Brown, whose discography ranges from his own group Off World to a variety of integral productions for artists such as Blonde Redhead and Beck. Their self-titled debut for the ESP Institute is a grand gesture, a broad stroke that illustrates both singular focus and vast complexity, which is no easy feat considering the almost oppressive immediacy and availability of tools at the disposal of contemporary artists. There’s a level of creative confidence and discipline needed to work so fundamentally, and whether or not the listener has an appetite refined enough to process the tasteful subtleties throughout this production, these same subtleties accumulate regardless and land that listener in a highly considered and developed space. The deceptively naive melodic approach consistent across these nine tracks can feel transparent, familiar to a point the listener can anticipate its path, but when listening with acute focus we find a variable range of texture, temperature, depth and negative space. As alumni of the Minimal, Cold Wave, Synth Pop era, Susumu and Drew successfully personify a motley crew of synthesizers to work in concert, reduced to their core personalities and presented as their most honest selves — austere, shy, cinematic, percolating, bulbous, glistening, cantankerous, rubberized, clumsy and animated. Each masterfully paired with complimentary counterparts, these players assemble into a sound-stage we typically find in live recordings, enveloping and inviting us to the center of an acoustic cavern to wade through sonic impressions of monolithic stalactites.

‘Hive Mind Records are here to help you through the winter months with this generous helping of Wet Tuna with their signature deeply fried rural psychedelia.

Matt Valentine (MV) and Pat Gubler (PG Six) have been jamming together since the mid '90s, floating around in the US psych-folk scene, playing together in Tower Recordings and separately with influential underground crews Woods, The Golden Road, Garcia Peoples and The Weeping Bong Band. Both MV and PG Six have been prolific with their solo work and over the years they've recorded for labels such as Ecstatic Peace, Drag City, Woodsist, 3 Lobed, and Crash Symbols and we are very happy to be joining such esteemed company.

On these recordings, made during the first months of the COVID lockdowns in the forests of the Vermont wilderness, MV and PG Six handle the guitars and synths but they're joined by fellow forest freaks S. Freyer Esq, Jim Bliss, Coot Moon and Carson 'Smokehound' Arnold on bass and drums. Brought to you in their patented mind-expanding SPECTRASOUND, Eau'd To A Fake Bookie Volumes 1 & 2 delivers an irresistible gumbo of deep, cosmic psychedelia, primitive drum-machine grooves and woozy country-funk jams. These 6 songs are cover versions of artists as diverse as The Blackbyrds, Michael Hurley and Jimmy Cliff, but stretched out over 4 sides, the album is entirely Wet Tuna - loose, free-flowing and lots of fun!’

To a degree, all musicians are a product of their environment, the places they record and the venues they play. For proof, check out the alumni of the n-wave era CBGBs venue in New York, Cabaret Voltaire’s Western Works studio in Sheffield or more recently London’s Total Refreshment Centre.

We can now add to that list the Constellations Workshop in Colwick, Nottingham, a project that provides employment through making studio furniture, for out-of-work musicians. It was here, after-hours, that the music on Brown Fang’s impressive and ear-catching debut album took shape.

Both members of Brown Fang, bassist John Thompson and guitarist Henry Scott AKA Henry Claude, have a long association with the Constellations Workshop. Though their musical projects are manifold – Thompson having toured with the likes of The Nectarine No9 and The Selecter, with Scott being both a mainstay of Nottingham jazz circuit and recording ambient music as Fang Jr – the work provided by the community-minded project has kept their heads above water and allowed them a space to record in when the shutters go down and the bandsaws get switched off.

Yet the music showcased on Sherwood Pines is more morning-fresh and sun-kissed than industrial and sawdust-sprinkled. Combining the pair’s brilliant musicianship – think languid bass guitars and Pat Martino-esque jazz guitar licks – with saucer-eyed electronics, occasional downtempo drum machine rhythms and plenty of glistening special effects, the set’s eight tracks are as blissful and becalmed as an early morning saunter through Sherwood Forest on a misty autumn morning.

For proof, check epic opener ‘Tracing Paper’, a slow-build ambient soundscape in which bubbly electronic lead lines and colourful chords sashay around Scott’s sparkling, laidback guitars, and the beguiling ‘That’s All You Can Think’, a subtle tribute to Steve Reich masterpiece ‘Electric Counterpoint’ in which slow-burn, stretched out synthesizer sounds wave in and out of a gradually evolving cycle of delay-laden electric guitar motifs.

The band’s love of classic American minimalism – as well as a shared love of the Duratti Column and Robert Fripp – comes to the fore on ‘HDMI I Love You’, which boasts a deliciously dubby bassline, Tangerine Dream style synths and the deepest of ambient chords, while ‘I Nearly Married a Human’ and ‘Fridgewords’ balance bespoke electronics – languid, dewy eyed and comforting – with Scott’s gorgeously laidback, slow-release guitars.

Every great album needs a triumphant conclusion, and Sherwood Pines is no different. You can hear everything that makes Brown Fang great on ‘Goodbye Donkey Jacket’, from the pin sharp, effects laden jazziness of Scott’s guitars and the fluid dexterity of Thompson’s bass, to the pleasingly spacey pulse of the synths and the gentle rhythms of the soft-focus machine drums. It’s a confident, ear-catching conclusion to a debut album that’s been years in the making.

Gold Vinyl

'You Belong There' ist Daniel Rossens ausgefeilte und eindringliche Betrachtung dessen, was nach dem rastlosen Enthusiasmus der Jugend kommt. Es ist eine fesselnde 10-Song-Wiedereinführung in eine Stimme, die sowohl völlig vertraut klingt, als auch durch den Akt des ungehinderten Ausdrucks und der neu gefundenen Selbstsouveränität völlig neu belebt wird. Fast zwei Jahrzehnte lang war Rossen entscheidender Bestandteil von Grizzly Bear, deren gemeinsame Harmonien und verschachtelte Texturen die Musik der frühen 1980er neu interpretierten. Er ist auch Gründungsmitglied der gefeierten Folk-Electronica-Band Department of Eagles. Vor vielen Jahren verliess Rossen die Enge Brooklyns, zog zunächst ins New Yorker Hinterland und dann nach Santa Fé, wo er in seinem Haus in der Wüste langsam die Welt von 'You Belong There' aufbaute. Rossen besorgte sich Kontrabass, Cello und Holzblasinstrumente und spielte fast alle Songs selbst ein, wobei Chris Bear von Grizzly Bear als Gast auf 'Tangle' mitwirkte.

Interior sounds from Madalyn in an album that flits between eerie ambience, environment, and hermetic logic. The music’s timing and sequencing feels distant, the elegant constructions conjured and organised semi-consciously, drawing the listener deeper into the dream and towards a zone where watch hands tick forward accurately and their perception of time unspools. Here each neatly tuned conversation and clockwork assemblage harmonises, spinning tantalisingly just out of range and understanding.

“Puzzle Music is the desire to create images out of diverse pieces of sound. To collect timbral colours in a gradient procession and connect them until they create reason. Principally not knowing how the image will turn out, or what the picture even is. It is the act of placing sound shapes next to one another in the hope that clarity will gradually be revealed.

When grouping the songs together I was thinking of them as mechanisms in a timepiece. I have something of an obsession with Swiss watchmaking, although I think this stems from a desire for creative mastery and the design of an energy source independent of electronic needs. Hopefully the songs all serve a purpose towards the end goal of the album... but also, the way the Oberheim Xpander pans sounds is in a very clear circular pattern, which makes me think of gears turning.”

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

Haze - released via Ki Records - is Greek producer and composer, Hior Chronik's latest creation. Aligning with his previous critically acclaimed album, Descent, Haze creates an electro-ambient world which accentuates modern classical minimalism. It is an album which deeply embodies tranquility, fulfilment and meaningful connection, aspirations born out of Hior Chronik's past in Athens, and realised by his relocation near to a forest in Berlin, where he can truly feel at-home, surrounded by the awe-inspiring beauty of nature. Through 15 tracks, Hior Chronik guides his listeners in an immersive journey which features magical soundscapes built using DX7 and Roland synthesizers, beats from the Lofi drum machine and Volca samples. Inspired by the best of his previous work in moody electro soundscapes, alongside his own history as a listener and lover of early 90's electronic music, artists like, Lali Puna, Solvent and Remote Viewer, this album demonstrates a new dimension to Hior Chronik's artistry which exudes light optimism.

Trauma Collective returns to shock to your system on their fifth release, which comes courtesy of Spain's Rafael M. Espinosa aka Geistform. The Barcelona-based artist, also known for his exploits under the Univac alias, has crafted a singular style that exists at the interzone of IDM, digital noise and electro and having earned him releases on Pi Electronics, Femur and Hands Productions in recent years.
Espinosa executes four programs in sonic warfare on the Antena EP, all sounding akin to complex bitstream amplification. A multi-level barrage of frequencies play offense on opening cut "Proxima B", which sets the theme for more widescreen pulsations that gash the senses, as heard on the syntax error of "Note Repeat" and building up to a climax on the monochromatic soundstage of "Norc" - a jagged and angular exploration in bass artefacts and static redux.
Since unleashing the austere techno of Birmingham legend Mick Harris (as Monrella) and hometown hero Kwartz on unsuspecting ears, the Madrid-based collective has now ventured into more experimental spheres, as heard on the off-kilter mentalism of ASC's Loop Research and the brooding atmosphere of Makunaimadama's limited cassette release last year. Antena is the logical progression for the label's next chapter, where it continues to push the threshold of electronic music's outer limits.

Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark ener¬gies through the Chinese theory of Yin and Yang.

In Chinese, Yin means “the shady side of the hill” and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embod¬ies Moon Duo’s darker qualities — released appropriately on February 3, in the heart of winter in the Northern Hemisphere.

According to guitarist Ripley Johnson, “the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There’s something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and her¬metic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe.”

Adds keyboardist Sanae Yamada, “the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain.”

Als Jóhann Jóhannsson im Winter 2018 überraschend in Berlin starb, endete auch ein hochinteressantes Zusammenspiel der Künste. Jóhann Jóhannsson hatte es gewagt, hatte Musik und Literatur, Musik und Theater, Musik und Film in seinen Kompositionen miteinander kommunizieren lassen, sehr innovativ, oft melancholisch, immer tiefgründig, klassische und elektronische Elemente verschmelzend.
Den Philanthropen und Kunstsammler Richard Thomas interessierten genau solche Grenzgänge. Er stellte sich vor, dass ein Werk entsteht, bei dem die bildende Kunst und die Musik in einen Dialog treten, sich
jedoch nicht gegenseitig übermalen, einander in Produktion und Interpretation nicht nachlaufen, sondern eins werden. Und er hatte einen Künstler vor Augen, den Berliner Maler Thilo Heinzmann, der seinerseits sofort an Jóhann Jóhannsson dachte.

'Other Dimensions Lp', Terrence Dixon's latest work and the new adventure in 30D's ExoPlanets sublabel, comes for the very first time released in full length format, split in two sides, showing Terrence's two faces. As everyone knows, words can not describe the music of this Detroit visionary, but we'll try. Futuristic, avant-garde-esque, mesmerizing, trippy and minimalistic / reduced techno funk as expected in A side, but highly emotional and evocative, as only he can do. On the flip side, Terrence redefines and takes to another level the concept of dark, experimental, abstract, atmospheric, alienated and dystopian music, a true musical trip (perhaps a nightmare???) to dive into. An extremely personal and intimate album.

With the two-part EP Mediterranean Dreams, Perugia producer and composer Feel Fly revisits his musical roots and pays tribute to the sounds and ‘sun-kissed nostalgia’ that informed his style.


Mediterranean Dreams Part 1 collected four tracks, and added that Feel Fly touch of emotive chord progressions and layered production onto cosmic disco grooves to powerful dancefloor effect. Now with Mediterranean Dream Part 2, Feel Fly switches the tempo both up and down, to fully demonstrate his affinity for club moments of all shapes and sizes.


Nebula flies out the gate with full intent, recalling classic Detroit techno while pushing the vibe even more wide-screen - it’s driving, melodic dance music that delivers on the fine details as much as it does on the life-affirming, big picture sentiment.


Optical Bells opens in meditative style, not unlike a new dawn in a Tibetan monastery, before each element of the track slowly reveals itself and assumes its place. It’s an arrangement technique that Feel Fly employs masterfully, and gives the impression of a camera lens moving into focus, or a storyteller setting the scene. The revolving chord changes pull you in and while whisking you away, you’re compelled to engage with the moment - like being asked to dance by a mysterious stranger.


The B side kicks off with Luce Eterna Ai Sognatori, still keeping the tempo high while cherry-picking disco house drum patterns and piano synths with a slight Italo flavor to create an irresistible slice of dancefloor dessert. This is a soundtrack for Sognatori, in whose dreams anything is possible.


The EP finishes up with a superb cut of echoey balearic dub in the form of Templum Dub. Putting the drums through its mixing desk paces, Feel Fly reanimates the drum kit with delays, phasers and flangers, and wraps it up in hazy drifting pads that could accompany any moment of contemplation - from that morning espresso to a midnight phone call.


Mediterranean Dreams Part 2 acts as the perfect compliment to its prequel Part 1, and shows a producer at the height of his powers, reimagining his musical roots and composing a love letter to the sounds and stories of his youth.

At its essence BAIT is a band that has become a long distance relationship. For 18 months it’s lived in the cloud, with a rope around its neck. We’ve all had enough restrictions but restrictions force you to work with what you’ve got. Restrictions are precisely what BAIT needed to breathe out, sink to the bottom and propel itself back into the light of day clutching a new record.

‘Sea Change’ is the debut full-length album from BAIT. It’s a digital post-punk lockdown docu-record which watches the clock, gets the jitters, and lashes out just like the rest of us. It’s an internal monologue that accounts the anxiety, the struggles, the pressures experienced living by the sea during a global pandemic.

“This record is true to the environment it was created in, everything was developed remotely and we were forced to collaborate through isolation. I had to sing lower to avoid fucking off the neighbours…At one point I drove out to the middle of nowhere to demo some screaming parts in the driver’s seat of my car, I’m lucky I wasn’t arrested.” - Michael Webster

The legendary Disk Union Japan and 180g present the best of today's Brazilian music!

A completely unique and beautiful album from contemporary Brazil blending soft pop, indie folk, sixties psychedelia, lo-fi and flavors of the brazilian Clube da Esquina!

- First ever vinyl release of this top album out of contemporary Brazil
- Essential solo effort from former member of Brazilian underground leaders Diesel, Udora and Transmissor
- Analog recording process
- 180g heavy vinyl, comes with download card

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Leonardo Marques makes a kind of music that creates bucolic and romantic scenarios whose sound goes among indie folk, sixties psychedelia, lo-fi and the brazilian Clube da Esquina.

As Chicago's Dusty Groove tell us about the album:
"A really beautiful album from contemporary Brazil – but one that resonates with some of the best soft pop elements of the late 60s and early 70s! Vocals are in English and Portuguese, and the instrumentation is this fantastic blend of light elements given a really airy spin – almost as if Nick DeCaro and Sean O'Hagan got together in the studio to work on a set that has slight bossa inspirations – but is something completely unique! This is the first we've ever heard of Leonardo Marques, but we'll sure be watching out for him in the future – as he's got this way of embracing so many elements of things we love, yet never stays slavishly in their own territory – wending his way beautifully through songs that include "Ainda E Cedo", "All The Hearts", "Nao Te Escuto", "The Girl From Bainema", "Um Sopro", "In Your Arms", and "So Que Me Enfeita"."

„Zwischen dem, was man sich vornimmt / und dem, was daraus wird / steht viel zu oft ein Leben / das sich dafür nicht interessiert.“ (EMMA6)
Wie kann es weitergehen mit dem Musikmachen, wenn man sein Leben nicht im Dispo oder in tausendfach getaggten Stockbetten des Konzert-Venues sieht? Wie kann man seine Leidenschaft bewahren, auch wenn sich nicht mehr alles um Wochenend-Ausfahrten, Merch und Cola-Rum dreht? Was für Lieder will man schreiben, die anderen aber vor allem einem selbst immer noch aus dem Herzen sprechen? Und natürlich: Wohin im täglichen Leben mit all dem Rock’n’Roll?
Mit ihrem vierten Album, mit „Alles Teil des Plans“ hat das Trio aus der Nähe von Köln Inventur betrieben – und bietet auch für die Hörer*innen den Soundtrack zu einer intensiven Auseinandersetzung mit sich selbst auf. Sehnsuchtsvoller Indie-Pop und Katharsis. Doppelten Boden gibt’s woanders, hier geht’s um alles, Leute.
„Ich liebe es, wenn ein Plan funktioniert“, das war einst die Catchphrase des „A-Teams“, einem ziemlich unsubtilen Ensemble.
EMMA6 sind dagegen eher das A-Team des Zweifelns, sind Honig auf die Wunden, sind Chronisten eines fragilen Erlebnisparks der 1000 Möglichkeiten – und „Alles Teil des Plans“ rettet einem mehr als nur ein bisschen das Leben.
Danke dafür!

Back in May 2019, Vancouver trio Corner Boys released their sole album… and promptly split a few months later. In retrospect, they couldn’t have known that the album’s title (‘Waiting For 2020’) would soon seem grimly ironic - and we all know why, right? No reason to go over all that shit again. But while the past two years have at least seen drummer/songwriter Patrick McEachnie staying active across two essential records with hardcore heroes Chain Whip, lockdown saw him switching roles. Basically, he bought a guitar and made an excellent record all on his lonesome, and as followers of his other projects will have come to expect, it’s fucking excellent. ‘Glad To Be Forgotten’ is the debut album by Pack Rat - in some ways you can see some level of crossover with Corner Boys in its manic energy and dedication to hooks (cuts like ‘Next Time Hit Me’ and ‘My Own Reality’ are so damn catchy, you could be forgiven for thinking you’ve already been listening to ‘em on repeat for the past 20 years). Familiar reference points show up (the melodies of the Pointed Sticks; the garage-slanted rifferama of Rudi or The Undertones) while a tinny budget synth keeps things ticking along nicely, just to remind you that this is a homespun DIY project. But honestly, this has the feel of a fully fleshed-out project and leaves you desperate for another fix of its sweet’n’sour tang. For anyone who loves the collision point between ‘New Rose’, powerpop sunshine and sheer rock’n’roll exuberance, this is essential. For everyone else, this is surely the gateway to all of that good stuff. You want to hear the tunes that’ll star on future generations’ equivalents to the Killed By Death comps? That’ll set your pulse soaring and your pogo muscles into overdrive? That’ll remind you of why this punk rock business still feels worth dedicating your life to, even after all this time? Hey, Pack Rat’s got ‘em. Now do your part

After A First Ep Acclaimed As A « Summer Soundtrack 2018 » In France, Young Miel De Montagnewill Release His First Lp, Between Pop (muddy Monk, Flavien Berger ..) And Electronics (salut C'est Cool, Jacques ...), That Makes Him One Of The Most Attended French Electro-pop Artist.

Wicked compilation with works by Ghanaian producer Dick Essilfie-Bondzie, soaring synths.., wicked grooves, smacking drums, hypnotising organs and bumpin' basslines. This one is fire!

INCL 12-PAGE BOOKLET

Lauded London 6-piece Melt Yourself Down are back armed with a new approach for their fourth studio album Pray For Me I Don’t Fit In. Created for misfits, by misfits, Pray For Me I Don’t Fit In sees Melt Yourself Down embrace a celebratory punk agenda. Having realised they are never going to fit the mould, the group deliberately draw on their myriad influences, speaking all languages musically and lyrically. Led by the potent sounds of Sax pioneer Pete Wareham, the punchy sax hooks pay homage to the traditional horn sections of late 60’s early 70’s era of Jazz, Soul and Rock n Roll, while showcasing African pentatonic scales and dance-inducing rhythms with raw 70’s rock and punk. This album sees vocalist Kushal Gaya celebrate his diversity - tonally, texturally, and emotionally while embracing lyrical depth. Recorded and produced by band favourite Ben Hillier (Blur, Depeche Mode & Nadine Shah), delivering his distinct musical depth, resonance, and dark drive so essential to Melt Yourself Down’s sound. This album is the band’s most cohesive work to date.

Vinyl Edition of 300 copies

Aesthetical in collaboration with Sync presents "Detect" by Marco Monfardini.

Originally developed as an audio/video live performance, Marco Monfardini based his research for Detect on the decoding of inaudible sounds, sound generated by electromagnetic emissions left from electronic devices and inaudible to the human ear. By using various electro-smog detectors Marco Monfardini creates a sort of detection mapping where electromagnetic emissions are the starting point for the sonorous development of each single composition.

A path that creates a parallel with our lives by questioning how much these emissions affect unconsciously our choices, tastes and perceptions, seeking a relationship between the massive use of technology in everyday life and our emotional state.
The album Detect is developed in 15 tracks in continuous play, an imperfect, faulty mosaic inhabited by invisible beings manifesting themselves in the form of sound streams, mutable entities that find a definitive form in the pattern of the compositional structure.

The album opens with “aR1 detection", sounds of pure detection place themselves in the sound space giving the initial coordinates for the exploration of unconscious parallel areas. The boundaries transform and gradually expand until they flow into the structure of "kernel variations", a growing rhythmic pattern decodes the impulses projecting a perspective that dissolves in the unstable and fluctuating electromagnetic emissions of the subsequent "[a]3020t detection", "binary defect "and "core[2] ". “[A.box]emission” confronts the use of sound downloaded random from internet sample banks and the emissions generated during the download itself, micro sound fragments arrange themselves in an organized and regular pattern, shaping a rhythmic structure. The first part ends with the short “[sa]6030” and “[det]x1a”, absence and presence provide an alternation of movements, inaudible and elusive signals all trying to establish a contact with our perception. “det : scan” opens the second part of Detect, a sort of scanning, leaving EMF (electromagnetic field) textures, a static multilayer that progressively expands until it dissolves into the rhythmic emissions of a common smartphone “[4s]detection”.The track “[rs]zone” " is pushing itself deeper, two minutes of sound speleology that reveal the existence of sound artifacts that seem to vanish getting in contact with the light accented by the bass drum of "[det] 0100+" a constant, rhythmic pumping, a luminous pulsation that reveals an apparent void, which seems to subside entering in the winding and waving atmosphere of "conductive [area]" and "[s3] microfunktion". Detect comes to the end with “[emf]terminal” a mirror of the unarrestable technological acceleration intercepting the flow of data that feeds the system of communication , digital micro waste suffocates the living space by centering up the invisible in an unconscious map.

[a] A1

[c] A3

[e] A5 core[2]
[f] A6 [A.box]emission (2)
[g] A7

[i] B2 [4s]detection
[j] B3
[k] B4 [det]0100+
[l] B5 conductive[area]
[m] B6 [s3]microfunktion
[n] B7 [emf]terminal

Gloson veröffentlichen ihr lang erwartetes zweites Album! Es enthält eine Hexalogie von sechs fulminanten Doom/Sludge/Post-Metal-Tracks, die von der Menschheit in ihrer schlimmsten und reinsten Form inspiriert sind. Ein Versuch, der Bedeutung des Ganzen nachzugehen und unseren Untergang dadurch vorherzusehen. Aufgenommen und gemischt von Ulf Blomberg vom Hoborec Recording Studio und gemastert von Magnus Lindberg von Cult of Luna
Erhältlich als Jewelcase-CD sowie Gatefold-2-Vinyl in klassischem Schwarz!

In a career spanning more than three decades, composer and multi-instrumentalist Arjen Lucassen has established himself worldwide as a driving force in progressive rock. The multi-talented Dutchman is best known for his rock opera project Ayreon, but also regularly devotes himself to musical side projects that explore all different aspects of his musical personality

Lucassen is committed to maintaining a consistent vocalist lineup on Star One. For "Victims of the Modern Age," he reunited the high-powered cast of lead singers from the first album, "Space Metal" (2002): Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), and Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). The different vocal styles of these great vocalists, ranging from soaring power vocals to haunting melodic passages to brutal growls, give each song a stunning variety of vocal textures

As for the instruments, the Dutchman recorded the rhythm guitars, Hammond organ, Mellotron, Solina strings and analog synthesizers himself and invited drummer Ed Warby (Ayreon, Hail of Bullets, Gorefest) and bassist Peter Vink to provide the powerful rhythm tracks. He also enlisted the intimidating solo skills of former After Forever keyboardist Joost van den Broek and guitarist Gary Wehrkamp (Shadow Gallery), both of whom contributed characteristically blistering solos. In addition to this formidable lineup, Lucassen recruited three other vocalists - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze and former Black Sabbath frontman Tony Martin - for several bonus tracks on the album

For the first time, "Victims of the Modern Age" is available on vinyl as a gatefold 2LP+2CD & LP booklet, as well as a Ltd. 2CD digipack.

Repressed! When asked at the time about what to expect from this collaboration with Edo G, the legend Masta Ace fired back without hesitation: “People are gonna be surprised when they hear the mixture of styles. We both have a different approach. It’s like the old Reeses commercial... Ya got peanut butter walking down the street. Coming from the other direction is chocolate. Someone trips and blam, a peanut butter cup was born. Something new and amazing was created that no one had ever thought of!” When one thinks of Boston and New York, the first thing that comes to mind is the infamous Red Sox/Yankees rivalry. But this time when Boston met New York, it was a collaborative effort to bring the world one of the tightest Hip Hop efforts of 2009. Two of the game’s most exceptionally creative and well-rounded artists, Edo. G and Masta Ace brought the two cities together with Arts & Entertainment. Like their home cities, these artists have a long history and have influenced the world. Hailing from Brownsville, Brooklyn, Masta Ace got his proper introduction setting off the quintessential Juice Crew posse cut, “The Symphony.” Not long after, Edo G’s debut Life Of A Kid In The Ghetto and it’s lead single “I Got To Have It” went to the top of the Billboard Rap Singles chart with heavy rotation on Yo! MTV Raps. Both Ace and Edo have continued to stay relevant, drop albums, tour the globe, and influence up and coming artists everywhere. Joining the duo on Arts & Entertainment was a notable list of prominent artists from NYC and the Bean including Posdnuos of De La Soul, Large Professor, DJ Spinna, KRS-One, Marsha Ambrosius, Mr. Lif, Akrobatik, Chester French, Double O of Kidz in the Hall, M Phases, and more. The album continues to be a fan favorite to this day, especially the never-gets-old cuts “Little Young” and “Dancin’ Like A White Girl,” and this re-issue is sure to be well received once again.

Carpenter Brut bezieht seine Einflüsse aus 80er-Jahre-Fernsehshows und B-Filmen, die mit Synthesizern bestückt sind. Der geheimnisvolle und diskrete Mann hinter dem Fünfeck - oder, wie seine Fans es nennen würden, das Brutagram - erinnert an eine Begegnung zwischen Justice Beats und dem Universum von John Carpenter. Wenn man jedoch die von ihm selbst produzierten EPs hört, würde man einen Hintergrund aus Beton und Metall erkennen, der für Dario Argento und die religiöse Erziehung mit Gewalt steht. Das erklärt seine Vorliebe für den Okkultismus, seine Leidenschaft für Kitschsounds und seine Vorliebe für alle Arten von Genuss.

Nach der Veröffentlichung seines ersten Studioalbums „Leather Teeth“ im Jahr 2018 und einer Reihe von Konzerten in ganz Europa und Nordamerika kehrt Carpenter Brut mit seinem zweiten Album zurück.

Album - 3 singles - vinyl “Make all the uncertainty and adventure of growing up sound like the best days of your life” - UPSET “A ripper that channels sounds from all throughout punk history” - Brooklyn Vegan "On a take-no-prisoners assault" - Tom Robinson, BBC 6music “California compacted into three rowdy minutes” - The Rodeo “Scorching slacker pop” - CLASH Reminders approach punk rock from where they know it best: a forgotten seaside town. Formed on the Isle of Wight in 2017, the band cut their teeth writing songs about teenage lust and suburban boredom, gaining attention after they independently released Water Sports and Major Cities. Fresh-faced and excited, the then-teenagers coined their sound 'beach punk'; a tongue-in-cheek ode to their hometown that they stand by today. 
 Firmly solidifying their identity as breakneck but bubblegum, a pop-tinged punk band, Reminders work to introduce themselves to anybody willing to listen. After an unexpected hiatus during COVID which delayed the release of their album, the band are now raring and ready to go with their new label home at Venn and forthcoming tour dates. 
 Already championed at radio by BBC Radio 1, BBC 6Music and BBC Introducing, as well as landing placements on esteemed Spotify and Apple Music editorial playlists alike, they were labelled 'scorching slacker pop' by the influential CLASH Magazine, dubbed 'About to Break' by UPSET Magazine, and have already shared stages with rock legends and pop stars Liam Gallagher, The Killers, and Camila Cabello. Debut album Best Of Beach Punk released 1st April 2022

Das legendäre Label Def Jam veröffentlicht ein Compilation-Album seiner weiblichen Künstlerinnen auf Vinyl! Auf dem Album „The Women Of Def Jam“ sind unter anderem Teyana Taylor, Jhené Aiko, 070 Shake, Ashanti, Alessia Cara und auch Foxy Brown mit ihren größten Hits vertreten. Aber auch ein paar männliche Def Jam-Künstler haben es als Featuregäste auf das Album geschafft, darunter Jay-Z, Pusha T und Ludacris

Die Popband aus Thal schaffte trotz Pandemie mit ihrem Partyhit „Marie“ und der Folgesingle „Sono il Destino“ den Durchbruch im gesamten deutschsprachigen Raum. Mit „Marie“ gelang ein Hit für die
Geschichtsbücher! Ihre aktuelle Single „Bowie“ stürmt derzeit die Charts.

Doch was ist die Essenz von ALLE ACHTUNG? Optimismus, Lebensfreude und eine geballte Ladung Liebe, verpackt in einer Symphonie aus harmonischem Krawall. Genau diese Gegensätze machen ALLE ACHTUNG zu einem Unikat und inspirieren den Titel
ihres kommenden Albums.

„Liebe & Krawall“ erscheint am 1. April 2022 und beinhaltet die Hits „Marie“, „Bowie“ und „Sono Il Destino“ sowie noch nie gehörte Titel mit garantierten Hitpotential. Was meint die Band mit ROMANTISCH
RANDALIEREN? Ist das COOL ODER NICHT? Was klar ist: wer tanzen, träumen, lachen, weinen oder mitschreien möchte, für jede Emotion ist gesorgt.

Nach über 12 Millionen Streams, einer Gold- und Platin-Auszeichnung in Österreich und Auftritten in TV- Shows wie dem ZDF Fernsehgarten, der Roland Kaiser Show, den ORF Stars am Wörthersee, ORF
Studio 2, ORF Guten Morgen Österreich, ATV Heinzl & die VIPs, der ARD Silvestershow, ORF Gartenparty der Stars und vielen mehr, war ALLE ACHTUNG auch zwei Mal für den Amadeus Austrian Music Award nominiert.

Roxy Music veröffentlichen am 1. April eine neue Half-Speed gemasterte Version ihres Albums „For Your
Pleasure“.

Im Jahr 1973 folgte nach dem Debutalbum von Roxy Music das zweite Album mit dem Titel „For Your Pleasure“. Für die Produktion des Albums konnte die Band mehr Zeit im Studio verbringen, was zu einer
aufwändigeren und experimentelleren Produktion führte. Brian Enos Mischung aus Tape-Loop-Effekten ist in „The Bogus Man“ unüberhörbar und „Do the Strand“ wird als die typische Roxy Music-Hymne gefeiert.

Das Album schaffte es bis auf Platz 4 in den britischen Albumcharts.
„For Your Pleasure” wurde von Miles Showell in den Abbey Road Studios neu gemastert. Um die verbesserte Audioqualität widerzuspiegeln, wurde das Artwork überarbeitet und mit einer glänzenden Laminierung versehen, sodass das Album nicht nur eine Schallplatte, sondern ein Kunstwerk ist.

Das Album erscheint als 1LP.

Chris Imler likes to play drums standing up. He‘s the dandy with the killer offbeat, or, as one major German newspaper once put it, the "Grand Seigneur of the Berlin Underground". He has been making his mark on countless Berlin musical affairs since long before the fall of the Wall, with The Golden Showers, Peaches, Oum Shatt, Driver &Driver, Die Türen, Jens Friebe, to name but a few. He has also been perfoming across Europe as a solo artist for the past decade.

In "Operation Schönheit" (German for "Operation Beauty"), he has recorded his most, well, beautiful album to date. But Benedikt Frey's warm production subverts its own beauty with a multitude of clanking and ingling synth sounds, making the work very much about the cosmetic surgery it performs on itself. It's all in the tradition of the more experimental and electronic side of post-punk in which Imler and his unique groove are rooted. It doesn't take insider knowledge of Berlin's post-punk underground to realise that that Imler groove consists of rhythm that sings, vocals that dance and a look that fits, as illustrated by "Disappoint Me", his latest video: https://youtu.be/YeVJ75ljjB8

Elsewhere - such as in "Movies" - the rhythm sings, less electronically reduced, into the acoustics of an old, high-ceilinged Berlin apartment; metal clatters, a zither trembles and Imler plays with the metronome. Sometimes he moves ahead of time, sometimes trails behind it. He always manages to be in his very own groove, which carries everything along. And this is precisely the essence of the Imler rhythm, which lends itself to being applied to the very rhythm of life: Stretch and compress your time and loop it according to your own groove! Optimise nothing but feel everything! And dance to it! Even when contemplating everyday information overload, as Imler's high-speed mumbling suggests in the hectic yet smooth opening track "Temperature".

But being the ultimate night owl he is, Imler manages to make even the odd bout of paranoia seem like a good thing: like some kind of krauty, groovy B-horror-soundtrack-inflected high-pressure environment, "Whip Me" is a cross between Conrad Schnitzler and Bauhaus. In the title track, whose lyrics were written together with Jens Friebe, he intones: "You want to be something greater / You break your leg / When it heals again / You break it again" and sounds like the most gleeful fatalist you can imagine. Because in his city, one can still lose oneself better than anywhere else - a night easily becomes a whole universe that can be traversed, marvelled at and played with, and one might find one's old self again only when hearing "church bells" and "small birds singing". At least that's how Imler illustrates it in "Emptiness full of stars", and it seems likely that those "stars" are the human companions of the Berlin night in question.

And so once again Imler becomes Berlin's most important cultural ambassador: that scene of the eternally, and somehow successfully, failing creatures of the night, once the envy of the international postmodern bohème, has, despite many claims to the contrary, not been completely "optimised away", and its attitude to life is perfectly summed up in Imler's groove. And, of course, his look. "Schau Hin" (German for "Look!"), he sings in the track of the same name, masterfully dubbed out with the help of Melbourne's Leo James.

Quite right! Look - and listen.

Yours, Johannes von Weizsäcker (The Chap)

Embrace is the sixth studio album by Dutch trance DJ and producer Armin van Buuren. The album features hits like “Another You (ft. Mr. Probz)”, “Off The Hook (ft. Hardwell)”, “Looking For Your Name (ft. Gavin DeGraw)” & “Heading Up High (ft. Kensington)”. Other notable collaborators include Angel Taylor, Cosmic Gate, Eric Vloeimans and many others. The album was originally released in 2015 through Van Buuren’s own label Armada Music. Critics noted how the record has a poppy, commercial appeal, but still allows the emotional essence of trance music to shine through.

Embrace is released as a limited edition of 2500 individually numbered copies on black & white marbled vinyl. It comes with a
4-page insert with pictures, lyrics and credits, and the run-out groove contains secret inscriptions.

12” album of previously released Dub album by Nkrumah “Jah” Thomas from Kingston, Jamaica. Re-issued on WHITE vinyl.

Nkrumah “Jah” Thomas is an esteemed reggae deejay and record producer who first came to prominence in the 1970s, later setting up his own labels ‘Midnight Rock’ and ‘Nura’.

Berlin and London based avant-pop duo Private Agenda will release their second full-length album – A Mannequin – on Lo Recordings on 22 October via digital, limited-edition LP and music box formats.

Berlin and Reunion based duo, Amine Mesnaoui and Labelle are set to release their debut album on revered London independent imprint Lo Recordings on the 1st of April 2022.

‘African Prayers’ is a collection of seven new compositions, which includes lead single ‘Bleu Noir’, that aims to bring a contemporary and fresh interpretation to the Lila Ritual of the Moroccan Gnawa masters - also known as the Ritual of the Seven Colors.

With a firm belief they can deliver a sound that finds its anchor in heritage and yet escape folkloric clichés and stereotypes, the two musicians have strived to make something that is rich in meanings, minimal but complex, simple but deep. This is a record that is universal and invites the listener to the depth of meditation, to the dance, even to the spiritual state of trance.

Mesnaoui plays a prepared piano that is modified by different objects, which are inserted into its strings while Labelle simultaneously plays electronic instruments and further processes the piano sound. These instruments are not native to the traditional context

2022 180g vinyl repress of 'Flight to Denmark', the best-selling SteepleChase album by legendary US pianist Duke Jordan Charlie Parker's favourite pianist and the composer of the famous "Jordu", Duke Jordan (b. April 1, 1922 in New York) ended his five-year seclusion from the jazz scene when he was invited to play and record in Denmark in 1973. This first recording by Jordan for SteepleChase turned out to be an enormous success which brought Jordan back in the spotlight. "I am convinced that this is Duke Jordan's finest record." - Jazz Journal

"A totally captivating listening experience." - Billboard
"Flight to Denmark is an essential album for anyone who enjoys substantial piano music." - Coda
Personnel: Duke Jordan (piano), Mads Vinding (bass), Ed Thigpen (drums).

7" Black Vinyl limited to 1000 copies.

Teenagehood, brotherhood and a genuine love for alternative music has united THE GOA EXPRESS from the off. Hailing from the industrial town of Burnley and adopted by the Manchester culture carriers, their teenage years can be viewed as something of a hedonistic pilgrimage into the underbelly of suburban rock and roll- their first gig having been 3 songs blasted out their mates garage, the next on top of a local vintage shop where the floor nearly caved in: “when there’s fuck all, you make do with what you got”. The intensity of this friendship has resulted in the occasional bust up along the way, yet it only adds to the burning chemistry that the band offer on record and on stage. Together, brothers James Douglas Clarke (Guitar + Vocals) and Joe Clarke (Keys), along with Joey Stein (Lead Guitar), Naham Muzaffar (Bass) and Sam Launder (Drums) all contribute to a fuzzy wall of diverse sound, becoming harder to pin down with their constantly evolving, psych-umbrella’d, rock and roll. What sets THE GOA EXPRESS apart from other musicians who sit comfortably within scenes is that their identity as a band has been growing organically long before the 5 of them decided to pick up instruments and teach themselves art of killing time. Their genuine joy in the everyday; their attitude and antics seem to hark back to the glory days of the NME- if they talk about a night out, you want to be there because these lads ooze charm and wreak havoc. This purist, old school approach to creating music through unified experiences and stimulated good times is married with the plain fact that they are very much young people of this generation, and while they see its flaws its hyperreality, its sheep-like tendencies, they still understand the importance in the immediacy of pop music: of a banging riff, or a glorious chorus and how effective this can truly be, and they want everyone along for the ride. With influences ranging from Spacemen 3 and The Brian Jonestown Massacre to French existentialism, from Beat Literature to long hours working at the Bookies to the journey into the sunrise on the night bus home, it is their ability to be all these things at once which makes THE GOA EXPRESS a guitar band for the 21st Century. Nothing is ever a compromise because they are so unapologetically themselves in everything they do- proud Northerners with a DIY foundation that aren’t afraid to look into the often dim future and see themselves shining brightly in it, unforgiving and unpretentious. So far, the band have released 3 singles with great success. The first: ‘Be My Friend’, produced by Ross Orton right next Sheffield’s famous ‘City Sauna’ brothel, presents itself to us as a cheeky, snarling pop song, holding undertones of raw cynicism laden with psychedelic sunshine. Ross Orton’s studio was also right next door to where the band recorded their last single ‘The Day’ with Nathan Saoudi of Fat White Family at ‘Champ Zone.’ Both these producers have been able to give these instant pop classics a grittier feel, capturing the essence of the unfettered lifestyle the band were living at the time that they were able to capture themselves in the music video for ‘Be My Friend’. After signing with Ra-Ra Rok, (WU-LU/Bingo Fury) the band released anthemic summer hit ‘Second Time’, that went straight to the 6 music B-List before quickly heading up to the A-List 2 for 2 weeks. This was followed by the release of its B-Side ‘Overpass’ that almost immediately caught the eyes and ears of BBC Radio 1’s Jack Saunders, who had the band on his ‘Next Wave’ Segment. Closing the year that saw them play to 1000 strong crowds at festivals like Latitude & End of the Road, the band headlined their biggest headline show to date at Manchester’s Gorilla. Its fair to say that this really is only the beginning.

Catalina Matorral is a duo; Marion Cousin and Borja Flames make up its double head and four hands. At the beginning of the 2010s, they were called June et Jim -- they released some disturbing EPs before joining the label Le Saule (a small, chivalrous table whose holy grail is everything unheard, where folk- singing is avant-garde and avant-garde is synonymous with enchantment). Their first LP, Les Forts (2012), evoked the songwriting of indie-hobos inspired by Latin America, contributing to the rejuvenation of French music. Noche Primera (2013) went even further by vibrating in various reveries, from African songs to Spanish medieval music, from Purcell to Bach. It blew hot and cold under a psychedelic candlelight. The record in question has been maturing for seven years in eccentric barrels, marinating in the shadow of Marion and Borja's respective evolutions, nourished by their individual obsessions. Marion fixated on songs and dances from the Iberian Peninsula. This gave birth to a minimalistic, organic record featuring the cellist Gaspar Claus, where humming trembles among frowning pizzicatos, thin drones and throbbing arpeggios. She went on to release another album with the electronic duo Kaumwald, an oeuvre at the crossroads of vernacular narratives and experimental music, simmering everyday songs in an insolently modern production. Meanwhile, Borja leaned towards an intellectual, synthetic and furious pop; made two albums to awaken the dead, somewhere between Moondog and Battiato. They are two conceptual, electrifying and dance-inducing recordings for the phosphorescent masses. ...chimeric narration, heady verses, pop fragments, horizontal synths, distorted technologies. One would think they're listening to an opera composed by Robert Ashley or Laurie Anderson, based on an improbable libretto written by anthropologist Jeanne Favret-Saada, and performed by holograms of Brigitte Fontaine and Areski -- who unexpectedly regurgitate bits of blunt folk, binary jazz, baroque songs and ghostly madrigals. Micro-events, great enchantments. This record was written and recorded by two people, tinkering feverishly for seven years. It was blessed with the furtive appearances of faithful friends: Gaspar Claus played the cello; Igor Estrabol the clarinet, trumpet and flugelhorn; Renaud Cousin the drums; Ernest Bergez played the violin and whimsically mixed the tracks like a bonesetter-scientist. At the crossroads of worlds, eras and moods, Catalina Matorral invents a curiously rural science fiction that confounds poetry with white magic and puts French music in a permanent tension between the cosmos and manure...

Genuine, warm, almost primal house music to celebrate the first release of Time To Play Records, a label founded by Filippo Tazzer on the wave of the ten-year Vicenza party dedicated mainly to black music. The debut of the label bears the signature of Reekee, Emilian producer founder of Wrong Notes Records and globally recognized for the releases on Uzuri Rec. And the prestigious collaborations with artists such as Kai Alcé, Erik Rico, Patrice Scott and Alex Attias .Side A opens with “Don’t look back”, which will then also be the title of the ep, in which you breathe the air of Detroit for the construction of a powerful and hypnotic rhythm, embellished with refined piano turns. Then follows Butterfly, who blends the intense bond between Reekee’s exquisitely house background and his passion for jazz, which is touched with light keyboard virtuosity.On the B-side, Reekee “completes his work with Wanna be Away” by flirting with his Drum machine to reach the territories of the broken beat. The ep is completed by a remix of Don’t look back signed by Colosimo (it will be his second release of Time to Play records), capable of essentially working on the drums of the song and giving it an acid touch perfect for the most energetic tracks.

The 13th edition of Batov Records’ essential Middle Eastern Groove 45s series showcases the irresistible Mediterranean psych sound of Les Dynamites, backed with a heavyweight dub by Israeli digging & beats pioneers, Radio Trip, as they pay homage to the 70s band Lehakat Tzliley Ha’oud.

Rudolf Abramov hit all Optimo Music's buttons at once. Drums, energy, songs, instrumentals, super production, Post Punk echoing, dance floor destroying, home listening friendly, and completely unique.

Who are they and what are they about? Read on...

Rudolf Abramov is a duo based in Berlin. They seem to open a door to unexpected musical encounters. It's an almost impossible task to sum up their sound in a comprehensible way, but in their own words their music is 'a response to a seemingly endless conflict about disgust, acceptance and love.' Since the duo likes to invite other musicians and fellow humans to add to their pieces, this often creates another layer to their unexpected musical encounters.

"Losing Perspective" is the result of a journey that began with a week-long recording session outside the city. Back in Berlin the skeletons of the track gradually grew in flesh, experience and emotion, describing this time in a vibrant and ever-changing city; a city where the faded colours sometimes seem more appealing than the unifying glow of the new.

In order to preserve for ourselves the conflicting colours in their fantastic disharmony, we have therefore watched the pieces change rather than moving them in a particular direction. The result is a number of tracks with different facets that derive from different moods and voices, indulging in diversity.

At the end of this process, we look back at this colourful collage and connect our own very personal history with it and both resolve in harmony. When asking the cat from our studio’s courtyard for example, she said that "Losing Perspective" was about stray tomcats who have lost their old home port to a newfangled establishment wandering randomly through the days in search of songbirds, distraction and rest. And we feel like she kinda has a point there.