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Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album,
‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.
Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.
Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave nd courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ -
‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she
enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy. It's only just begun.’
Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each
song is definitely a standstill moment.’
Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends,
relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’
Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”
And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always
figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her. She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.
While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the
world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before. ‘falling or flying’- released on September 29th

After a busy and prolific work on his acoustic-electronic project and soundtrack compositions, Mischa Blanos wears again his clubbing outfit, returning with a three track EP for his techno and live electronics awaiting crowd in the dancing arena. Linear EP evokes the ethereal experience of clubbing, where time feels like grinding to a halt as if plunging through an open door into a new world.

Taking the vantage point of the dancefloor, Mischa Blanos recalls entering this space where time doesn't play a heavy role anymore. Be it two hours or eight in a nightclub, be it day or night, dusk or dawn, one doesn't seek time traveling but time stopping, as a way to relieve the time burden in our high-speed society. We tend to perceive that time is running at a faster pace, but time itself does not pass, what passes are things and living beings. Time is neither linear nor circular, time does not flow or move, but allows us to do so. And it is here on the dance floor that this reality can be felt.

Everything is moving, vibrating and changing from the flashing lights to the loud decibel kicks and everyone is both audience and performer on the stage. They all belong to the scene. Sometimes this could mean an individual experience, being completely absorbed in dancing or a parallel space, and other times it means togetherness, feeling an integral part of the experience. In his techno dedicated Linear EP Mischa Blanos speaks about clubbing as a form of escapism, but a form that can help us to reach a better understanding of our relationship with time.

Industrial Music Producer Geistform Releases New Album "Resonancia". Renowned industrial music producer Geistform has released a brand new album titled "Resonancia", featuring 11 mesmerizing tracks that explore the boundaries of industrial minimalism. The album is undoubtedly their best work to date and is reminiscent of legendary bands such as Pansonic, as well as other experimental industrial music pioneers, blending together elements of noise, electronica, and minimalism to create a sound that is uniquely Geistform. "Resonancia" is an exploration of sound and texture, and it takes listeners on a journey through haunting soundscapes and intricate rhythms that evoke feelings of both dread and fascination. Geistform's distinct style shines through in every track. From the opening track "Ciclos Por Segundo" to the haunting "Metaobjeto", Resonancia is a captivating listening experience. Geistform has been creating unique and innovative music for over the years, and "Resonancia" is a testimony to his artistic prowess. By exploring the possibilities of industrial music and raw minimalism, Geistform has created an album that challenges fearless listeners and it showcases Geistform's ability to push the boundaries of the genre while still remaining faithful to its roots.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

Maurice Louca & his band Elephantine announce Moonshine, shining brightly with a live, raw, collective sound. Maurice Louca's band is incredible: double drummers Tommaso Cappellato & Özün Usta, Piero Bittolo Bon on alto, Daniel Gahrton on baritone and Isak Hedtjärn on clarinet, Rasmus Svale Kjærgård Lund on tuba, Rosa Brunello on bass, Els Vandeweyer on vibraphone, Louca on guitar/lap steel/synth.

As Asher Gamedze puts it in his essay: "Abstract territories of freedom, always grounded, expansive, multiple, internally differentiated, and elephantine."

One of the most gifted, prolific and adventurous figures on Egypt's thriving experimental arts scene, Louca has in recent years garnered a global reputation through three previous solo albums and an expanding, evolving lineup of genre-defying collaborations. The Wire called his 2014 sophomore solo effort, Salute the Parrot, "remarkable music-dense, driven and splashed with colour.

For Louca, Elephantine serves as both the pinnacle of his wide-ranging experience and a bold next step in his development as a composer, arranger and bandleader, from Cosmic Jazz, African and World music to transcendental modal traditions. The music-from its pensive lulls through its stretches of hard-grooving hypnosis and moments of avant-jazz.

The Perfect Storm is a 2000 disaster drama film directed by Wolfgang Petersen. The film is an adaptation to the non-fiction book of the same name written by Sebastian Junger. It stars George Clooney, Mark Wahlberg, John C. Reilly, and Diane Lane amongst others. The story follows a commercial fishing vessel that was lost at sea after being caught in 'The Perfect Storm' of 1991.

The soundtrack was composed by Academy Award-winning composer James Horner, who is known for scoring Titanic (1997) and Avatar (2009). The score revolves around a rolling, six-note motif to evoke the waves of the North Atlantic Ocean. The soundtrack also features the song "Yours Forever", performed by John Mellencamp.

The Perfect Storm is available as a limited edition of 1000 individually numbered copies on red & black marbled vinyl and includes an insert.

. The genre-defying Welsh group define their vision with a breath-taking new album, Islet’s ‘Soft Fascination’ is an ecstatic experience in music, an explosion of emotion subsumed in sound. The album is filled with high energy cadence and meditations on collective joy, a balancing act underpinned with glorious melodies and Emma Daman Thomas’ evocative vocals that swirl in the symphonic surf. Self-produced, and with instruments recorded live with few overdubs, the effect is direct, it veers from the upfront and immediate to the spacious and challenging. The first half is intentionally fast, intense, almost relentless. The second half is more spacious, as the album unravels and becomes more hazy. There is excitement and fascination and a willingness to show a lack of restraint in realising it, traversing hailstorms, hedgerows, broken promises and poisoned prayers; constantly breathing real life all in. Featuring standout singles: the pulsating ‘Euphoria’, the liberating flow of energy on ‘River Body’ and the recurring conundrum of choice of ‘Hat Person’, ‘Soft Fascination’ is an album of rare beauty. “A bewildering psychotropic storm” The Line Of Best Fit. // “Free-flowing experimental pop.”

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

The second installment of this remarkable journey into the underground scene maintains the same profound level of depth and significance as its precursor. Showcasing tracks from Electroliners, High Lonesome Soundsystem, Single Cell Orchestra, DJ Emma, and Spun's own Central Fire project, all harmoniously enclosed within the captivating and arresting artwork by Villain Standard, this release stands shoulder to shoulder with its forerunner. Beyond a mere compilation, it's an indispensable extension of the narrative that has indelibly shaped the culture of underground American dance music within the region, embodying the era and the individuals involved. This is the authentic underground sound that reverberated across San Francisco and its surrounding environs, a truly distinctive and exceptional moment in time and space.

UNOS, a Belgian artist with roots in the Philippines, has long been a part of the Darker Than Wax family, repping the label in Europe and beyond for a number of years through her parties and DJ sets. As she begins to put her unique productions out into the world, we are pleased to give her first release a home on the label.

Borrowing its title from the exuberant Filipino dining tradition - a communal, bare-handed feast among friends and families - UNOS' debut EP Boodle Fight highlights her sincere love for communities forged through club culture. The release was conceptualised during her first Asia tour through Singapore, Bangkok, and Manila in 2019, where the artist became acutely aware of the crucial role that community plays in sustaining a culture. Shortly after these foundational travels, the pandemic threatened the lifeblood of this

culture, prompting her to draw on her feelings from the tour to maintain hope. With the release of the EP, UNOS revels in the return of togetherness to club culture after the pandemic - just like a musical boodle fight.

Boodle Fight ties together this celebration of community with a number of other influences and experiences in the artist’s life. First single ‘Angermanagement’ is a ballroom-inspired roller, focusing on contemporary voguing culture’s ability to translate anger into queer empowerment. ‘Powerslide’ is a piano-driven house cut that attempts to capture the energy of a legendary Darker Than Wax block party in Singapore in 2019, while the frenetic pace of ‘Headlock’ evokes imagery of a crowded club scene that the artist sorely missed in 2020. True to the spirit of a Boodle Fight, the bright chords and bouncy rhythms on ‘Flavourtown’ imagine the best aspects of an inclusive space where diversity is celebrated like a buffet. Closing out the record, ‘Loveletter to Summer’ reflects on the tropical warmth of her roots in the Philippines. Boodle Fight manages to pack in quite a few themes and inspirations, while still maintaining a polished consistency from front to back, and announces UNOS as a producer to watch.

Morning Glory

Every twenty four hours is a chance to begin again and it is a renewed commitment to be involved in the cycle of nature - to play by rules set forth by something greater than ourselves that constantly resonates in the ears of those who are at peace. At the edge of each one of these beginnings, there is a brief moment that belongs to only "it". A special portion of time that directly connects to the circular motion of Space and Time. It is truth before reality. Realness before rationality. Self before consciousness.

We can feel it when we first see light and the recognize an indication that the new day has begun. It is honoring what makes all this possible.


Axis Expressionist Series.

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.

Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life.

Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

The influence that 80s gay nightlife had on electronic music, pop music in general and the evolution of clubbing for
subsequent generations is pretty much incalculable. In spite of the shadow of AIDs and reactionary political and media
forces both at home and in the USA, the period 1980 – 1990 bore witness to a dazzling explosion of dance music that
artfully drew a line from the peak of late-70s disco to the emergence of house and its 90s glory days. The art of the
12” single, the thrill of the remix, the rise of the superclub, the electronic spark of chart pop, the challenging of gender
barriers… all had their origin in the gay clubs. It’s not unreasonable to make the claim that by the end of the 80s,
virtually ALL chart pop music sounded like it had its origins on the dancefloors of Heaven nightclub!
Over 4LPs and 24 tracks, ‘Box Of Sin’ strives to tell the story of that decade, and to tease apart the strands of 80s gay
clubbing to show a period of unrivalled creativity and disco diversity. Via the box’s themed discs it shows how highenergy became house, how gender-bending synth bands took over the pop charts, how pop stars the whole world
over found a route to fame via the gay clubs, and how the era’s biggest producers aimed their masterworks purely at
the dancefloor. High energy, deep house, Eurobeat, synthpop, divas, acid house… all combine to paint a picture of a
rich and vibrant lifestyle. Along the way, ‘Box Of Sin’ unearths some overlooked gems rarely compiled today:
meanwhile some of the decade’s biggest names in club music gather to get into the picture – from Whitney Houston
to Dead Or Alive, Bananarama to Bronski Beat, Aretha Franklin to Inner City.
Based on the actual club charts at the time and with a stunning design package inspired by the small ads section of
80s gay press, ‘ Box Of Sin’ comes fully annotated and with an introduction by renowned gay author Paul Burston.
Throughout, it’s illustrated with photography documenting 80s gay clubbers in action, provided for Demon by The
Bishopsgate Institute, the UK’s LGBTQ+ archive. The project also resurrects the much-loved brand ‘Disco Discharge’, a
recognisable hallmark of quality among collectors and aficionados of club music heritage.

Ted Milton and Graham Lewis return as Elegiac with their second release – a four track EP inch titled “Meet My Stalker”. The pair of idiosyncratic sonic stylists, bullish outsiders with a Dadaist's ear for unexpected rhythms and ear-catching turns of phrase return showcasing a new track – the title of the EP - along with three bass heavy dubbed out no wave versions of tracks from their self titled debut LP.

Ted Milton is a prolific poet, with several volumes under his belt, as well as an avant-garde puppeteer. Yet he's probably best known as vocalist/saxophonist with psycho-funk afro punk fake no-wave pogo jazz trio Blurt. Milton's group has produced an impressive string of albums, not to mention his numerous solo recordings.

Meanwhile, Edvard Graham Lewis has a history of strong solo releases, both under his own name and as He Said. And of course, as bassist, lyricist and sometime vocalist with post punk innovators Wire, he's been responsible for numerous landmark releases, from 1977's Pink Flag, to 2003's Send, to 2020's Mind Hive.

Arranged, like the album, by electronic composer and sound artist Sam Britton whose sure touch pieces all the elements together. Kicking off with a stripped down driving shortened version of “He Folds” with its eerie honking sax and kraut like pulsating bass the perfect complement to Milton’s chorus echoing throughout. “Boat” is another album track beefed up with Milton’s chants backed by layered percussive blasts and squawking sax. “Meet My Stalker” makes its first appearance here with its infectious snarling looped bassline and Milton’s refrain “It’s a wind up”. Closing out with another album highlight an elongated version of “Vancouver Slim” all synth bleeps and ricocheting grumbling sax and hypnotic vocals. Punchy, idiosyncratic, packed with melody and groove, this second release is the fascinating sound of an evolving Elegiac.

The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo- psychedelic resonance of a uniquely bowl - shaped 12 -string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into "flow states," letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untet hered, silhouetted against an open horizon. "Cape Perpetua" kicks off the collection's divergent palette: sparkling acoustic fingerpicking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. "The Skin And The Glove" deploys jangle to different effect baggy, soaring, grey skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure - esque ballad, "Vanity," infusing poetic gravity to the doomed refrain: "If the valve breaks / then the earth quakes / and history finds a way / to put you in your place." "Yield To Force", the closing track of the EP, may be the most anomalous offering of the set. A 15 minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It's music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab's evolving domain, their sound poised to bloom at the precipice of transformation.

2023 Reissue

After releasing Undefined, Kazufumi Kodama and Babe Roots, the 4th release from a Japanese experimental dub label newdubhall welcomes the ever-evolving pioneer of minimal dub and dub techno Deadbeat, a solo project of Scott Monteith hailing from Canada. Side A 'Things Fall Apart' will feature a beatless dub ambient which shares a perspective of free jazz and 'Adieu Chez Cherie,’ an absolute knockdown four on the floor dub techno on the flip side. Though simple, both sides are layered with complexity, let yourself experience the profundity of newdubhall with this masterpiece.

When South Korean balearic prodigy Mogwaa came to MM Discos with an idea for his rst full-length album, we were a bit surprised.
He said, ‘I want to do an album of bossa tracks with synths, a drum machine and my guitar’. We obviously had to take him up
on that deal.

Fresh from the recent Bandcamp feature on his own brand of danceoor-ready modern boogie, Seungyoung Lee (aka Mogwaa)
arrives back on MM Discos with his - and our - rst full length exercise. With six tracks per side of 80s inuenced synth and bossa
badness, ‘Hazy Dreams’ is an exercise in simplicity, and more proof of the ever-expanding musical horizons of one of the scene’s
most virtuosic instrumentalists.

Pairing a sensitivity to the construction of ambient, funk, bossa and cassette-tape 80s experiments with his own cinematic subtlety,
‘Hazy Dreams’ takes a gentle, minimalistic approach, crafting its own escapist world that oers a welcome diversion from the
steady ow of busy balearica and downtempo.

Opening track ‘Full Bloom’ paints a picture of midsummer at dawn, some clear-skied island where lush vegetation climbs through
hibiscus gardens. ‘Nacimiento’ is an AOR/bossa crossover evoking West Coast yachting in full afternoon, and A3, ‘Soothing’, adds
a touch of wistfulness with reverb-doused guitars over meandering bass motifs.
The easy kick-and-snare combo of ‘Levitation’ sets the scene for a drum machine love aair, unrequited love on the rocks, and
‘Flashback’ plays with short delay trails and o-kilter melodic sequences, where you feel the soft presence of the nebula approaching
at the break of day. Closing out the A-side, ‘Dispatching’ reaches out even further into the imagined cosmos of Mogwaa’s
picture-perfect world, portraying an ambience at dusk, observing, calmy, as pued-up pink clouds melt into the evening canvas.
On the other side, Mogwaa explores quiet corners with ‘Illusions’, a slow meditation on the nature of simple presence, and ‘Echoes
of You’, a stream of subdued brush strokes that crescendo into higher frequencies on gently undulating pads. B3, ‘Moondance’,
ups the tempo and recalls classic Mogwaa with its sideways shue and starry melodic refrain, pivoting through folk-dance
moods and surprising chord changes.
Nearing the end of the album, ‘Footprints’ wades through tall grass in search of altered states, innite and hypnotic, changing
course only to crouch down and study the landscape, and B5, ‘It always comes and goes’, pictures the to-and-fro of jetstreams and
comets in the blinding midday sky. Finally we have the closing credits of ‘Swingin’ that looks o into the horizon, jaunty and exalted,
a guitar-led tribute to an easy-going world, and ultimately mindful of the power of dreams.
We’re humbled to have such a special record for our rst full-length release on the label.

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Their approach to music beckons the voices of years gone by, clearly evoking inspiration from bluegrass icons like Bill Monroe, Jimmy Martin and the Stanley Brothers. Described as one of the busiest, hardest working, and most entertaining bands in bluegrass, The Kody Norris Show brings back to the stage, old school suiting swagger with their custom matching suits, harkening visual spectaculars like those who donned the legendary western wears of designers like Nudie and
Manuel. Their sophomore album with Rebel Records, titled 'Rhinestone Revival' has everything that their fans love from The Kody Norris Show...and more! The album boasts 12 hard driving traditional bluegrass tracks, upping the honky-tonkanty, with the addition of percussion to really achieve a proper toe tapping collection.

A Crimson Shore is Saåad’s first studio album since Présence/Absente in 2018. In the interim, Toulouse-based composer and producer Romain Barbot has enriched his experience as an artist through multiple collaborations, the composition of soundtracks and commissioned pieces, as well his involvement with the bands FOUDRE! and Sables Noirs.

This new chapter in the artist’s discography reflects this artistic maturity, evoking the project’s finest ambient recordings while revealing a new, unfiltered and decisive personality. Saåad’s use of a more direct musical language (exclusively electronic on this album) is intended to lay bare the inner life of its creator: the tracks are structured in a cycle of loops, vibrations and drones which respond to and confront each other like the torments of existence, torn between the twilight of sombre music reduced to its purest function of catharsis and the dawn of a new, luminous narrative journey.

A Crimson Shore is a raw, all-encompassing album, shot through with the fear of death, of growing old, of accepting it, of grief — past, present, imagined and future — and the search for a transcendental refuge.