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Long time Djoon club resident and one of Paris’ most prolific producers, Lucas Moinet (Groove Boys Project, Keraw, Projecture) makes his long overdue debut on The Djoon Experience. On the A side, the aptly titled "The Sounds of Deepness" (ft. Stupid Flash on bass) takes you on a raw & soulful journey - while the B side delivers two more 8mn long spiritual soundscapes, “Planet Earth” & “The Piano Ritual” - simply put, this lush, 3 track EP is nothing short of a deep house masterclass.

On their latest album, Sonido Cosmico, Hermanos Gutiérrez embark on a sonic exploration that defies the conventional boundaries of instrumental music. The collection is a richly textured tapestry, interwoven with the intricate threads of Latin rhythms and ephemeral atmospherics: each track a vignette, a carefully crafted narrative without words, where the brothers' transcendent guitars speak in a language all their own.

There is a subtle sophistication in the way Hermanos Gutiérrez fuses the elemental with the experimental. The album resonates with the echoes of their Latin musical heritage, yet it is undeniably contemporary in its execution, both nuanced and expansive.

Sonido Cosmico stands as a reflective mirror to the band's evolving artistry, united by music across age and geographical divides: a sound mosaic as celestial as its title, an expression of a band that has found its voice in the vast universe of modern instrumental music.

Compiled by legendary producer Arthur Baker, ‘Breakers Revenge’ is a near-definitive collection of original Funk, Soul, Latin, Disco and Electro classic tracks from 1970-1984. These tracks, a combination of classics and obscurities, have all since become legendary to Breakdancers everywhere.

First played at South Bronx block parties, community halls and park jams in the 1970s and 80s, spun endlessly by the first three major hip-hop DJs – Kool Herc, Grandmaster Flash and Afrika Bambaataa – and found in the record crates of any DJ of note ever since. Seminal funk and soul tracks such as Dennis Coffey’s ‘Scorpio’, The Jimmy Castor Bunch’s ‘It’s Just Begun’, James Brown’s ‘Get on the Good Foot’, The Mohawks’ ‘Champ’ sit side-by-side here with the ground-breaking, classic electro of Afrika Bambaataa’s ‘Planet Rock’, and Arthur Baker’s own definitive ‘Breaker’s Revenge.’ Breakdancing has come a long way from its New York roots to its respected position as an art form today where, for the first time ever, it is to be featured in the Olympics held in Paris this August 2024.

The ‘breakbeat’ remains at the very heart of hip-hop, the mercurial funk, soul and disco tracks, always 100% guaranteed to get B-Boys, B-Girls and Breakdancers moving at any block party, with the percussive breakdown of each track the pinnacle soundtrack to any dance/battle between Breakdancers of any note. Similarly these tracks have been sampled many 1000s of times over by every hip-hop artist and producer of note. KRS-ONE, Marley Marl, Kanye West, Jay-Z, Public Enemy, Eric B, The Fugees, Outkast, Mos Def, Main Source, Jungle Brothers, LL Cool J, De La Soul and, well, everyone!

Compiler Arthur Baker played a pivotal role in hip-hop history when in 1982 he produced Afrika Bambaataa’s seminal ‘Planet Rock’ (as featured here), introducing electronic instruments into hip-hop for the first time ever and in the process created electro. After ‘Planet Rock’, Arthur Baker went on to remix or produce every major artist of note – from New Order to the Rolling Stones, Al Green to the Pet Shop Boys

Gottwood Festival's imprint Gottwax returns for its eighth installment. At the controls of this release is the London-based duo 'Make A Dance,' whose playful, party-driven sound has been making waves in the underground since their inception. Delivering a lively four-track EP, which includes two originals and two reworks, all of which are club-ready and certainly have 'The dance in mind.' This is going to make it into a lot of DJs' bags this summer and is not one to be missed."

Kicking things off on the A-side is 'Pocket Beagle,' a playful track that exudes energy with its infectious bassline groove and unforgettable vocal. Make A Dance showcases their slick production abilities and sense of humour with this track, which is sure to be a staple at many parties this summer. Moving to the A2, 'Pocket Beagle (Acid Dub)' is the duo's club-ready reimagining of the A1, injecting some serious attitude and character with its acid-infused bassline and metallic top line.

Onto the B-side, we've got 'Woof Doof.' This track is a real groover, with a lively bass and catchy melody. It's a solid addition to any DJ's arsenal and one you can expect to hear at many parties this year.Closing out the EP is 'Woof Doof (Hardcore Labrador Mix),' the duo's haunting rework that cleverly rethinks the B1 but takes you on a deeper journey. With its heavy drum groove, swelling sound effects, and that catchy top line, this track is tailor-made for those late-night dance floors.

We're excited to welcome Make A Dance to the Gottwax family and share the 'Woof Doof' EP with you.

Richard Ashcroft"s fourth solo album "These People" became a fan-favourite in 2016, receiving great reviews and becoming a #3 album in the Official UK Albums Chart. His reunion with Wil Malone, who had previously worked on the string arrangements for The Verve"s seminal albums "A Northern Soul" and "Urban Hymns" added depth and emotional resonance to the album"s sound. Ashcroft demonstrated his continued relevance and creative prowess as a solo artist, reaffirming his status as one of Britain"s most enduring and influential musicians. Released on his Righteous Phonographic Association label via Cooking Vinyl, and now available on vinyl again in a 2LP special edition Clear and Blue Marble Vinyl effect, housed in a Gatefold sleeve.

Ltd. Purple & Black Splatter Vinyl. It's been four years since Zach Saginaw, aka Shigeto, returned home to Michigan from a stint in Brooklyn, NY, and since then, the multi-faceted musician has become a part of the fabric of Detroit's music scene. While always having a personal approach to his projects, Saginaw's influences for his third album, The New Monday are more about the community of Detroit than anything else. Named after a weekly DJ event called Monday is the New Monday that Saginaw does at the unassuming Motor City Wine with a group of friends, The New Monday is the result of Saginaw diving into the city's deep record culture, where there legacy of artist's of the past help Saginaw embrace his own contributions. "It's focused on a couple things and they all kind of come together to represent dierent things," explains Saginaw. "My time back in Detroit, back living in Michigan and spending time with a lot of kind of original people who have always been here, learning from them, hearing stories from them, being influenced by them, and inspired by them." While, in the past, projects like Lineage or No Better Time Than Now were rooted in strong personal messages, family and relationships respectively, The New Monday represents a communal eort where solidarity is the key. Going for a simplified approach of just trying to make good tracks, The New Monday is diverse in its styles leaning more into a dance music direction - new ground for a Shigeto project. A new air of confidence in Saginaw has expanded his horizons since his return to Detroit, but traces of his past work will continue to be present. "I don't want people to think I'm leaving anything," says Saginaw. "I'm still me. It's a result of me being immersed in the culture, and inevitably making music that is influenced by that culture whether it be house, techno, jazz, rap. It doesn't matter. It's all coming from what I love about Michigan." While The New Monday still features the jazz textures long associated with Shigeto projects, the varied elements that make up the album cohesively come together to show the distinct inspiration that Saginaw has drew from since his return home to Detroit. Like on "Barry White", which features Detroit hip-hop artist ZelooperZ (a member of Danny Brown's Bruiser Brigade crew who Saginaw also has a side project with called ZGTO), Saginaw captures everything he's been doing all on one track. As much as it's hip-hop influenced, it's a mutant that encompasses elements of dance music, jazz, and ambient sounds. Throughout The New Monday, Saginaw poignantly references the musical influences that have either always been with him or newly discovered. It is Saginaw's interpretation of Detroit's rich culture of innovative artistry, but done so with respect for the history and to contribute, not disrupt. "I think over the past four years, I can confidently say that I found my place here," describes Saginaw. "I'm happy here and I feel that I have the respect from the people I need respect from, that I want respect from. It's all of the result of embracing it and embracing, not Detroit, but embracing community, embracing family,








f A2D (FT. ZEELOOPERZ & SILAS GREEN) AAPV






f A2D (FT. ZEELOOPERZ & SILAS GREEN) [AAPV]

Baby Blue & Halloween Orange Vinyl. In their decade-plus together, the four-piece_Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals)_have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album.Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love. Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all.Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally.""Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "I-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh.""We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness_we can kinda surprise each other, like a good punchline would."

- Legendäre experimentelle Jazz-Aufnahmen von David Lynch und Angelo Badalamenti von Anfang der 90er Jahre. - die Musik wurde versatzweise in David Lynchs Film- und Fernseharbeiten verwendet, ist aber nie als richtige Veröffentlichung erschienen. Thought Gang wurde nach der Ausstrahlung der zweiten Staffel von ,Twin Peaks" geboren, als die Hauptproduktion des Kinofilms ,Fire Walk With Me" gerade erst begonnen hatte. Das esoterische Jazz-Side-Projekt von David Lynch und Angelo Badalamenti entwickelte sich ursprünglich aus dem Slow Cool Jazz, der die ,Twin Peaks" TV Serie mitgeprägt hatte. Thought Gang erblühte zu einem experimentelleren Sound: horizontlose Aussichten auf LSD-getränkten Freejazz, geschnürt mit gesprochenen Wortnarrativen und ausgedehnten Geräuschkulissen. Der Soundtrack zu ,Fire Walk With Me" präsentierte zwei vorläufige Tracks ("A Real Indication" und "The Black Dog Runs at Night") von einem Album, das von Mai 1992 bis 1993 stückweise aufgenommen und zweieinhalb Jahrzehnte lang nicht veröffentlicht wurde. In den folgenden Jahren tauchten Fragmente und Arbeitsversionen von Thought Gang-Material immer wieder auf: in einem von Lynch geführten Adidas-Werbespot; in Szenen in ,Hotel Room", ,Mulholland Drive" und ,Inland Empire"; in gelöschten Szenen von ,Fire Walk With Me" und am meisten in Showtimes dritter Staffel von ,Twin Peaks". "Frank 2000" und "Summer Night Noise" sowie ein alternativer Instrumental-Mix von "Logic and Common Sense" unterlegen Szenen der dritten Staffel und helfen, den ausgesprochen experimentellen, rauschhaften Soundtrack der Serie zu definieren. David Lynch über Thought Gang: "It's sort of like jet-fueled jazz in a weird way, but it's all based on stories. It's Modern Music."

Neuauflage seines klassischen dritten Albums auf LP
und Expanded-CD, mit dem 5 Wochen lang auf Platz 1
der AC-Charts (und Platz 7 der Pop-Charts) stehenden
Titelsong und Gastauftritten von Mitgliedern der Eagles,
Jackson Browne, David Sanborn, John Sebastian, Phil
Everly, Tom Scott und anderen.
1979 hatte sich JD Souther schnell als vollendeter
Singer/Songwriter und Interpret etabliert - er schrieb Hits
für die Eagles, Linda Ronstadt, Bonnie Raitt und James
Taylor und lieferte zwei inzwischen unverzichtbare
Veröffentlichungen für David Geffens Asylum Records. Für
sein Debüt bei Columbia Records stellte er eine
hochkarätige Band zusammen (Waddy Wachtel an der
Gitarre, Don Grolnick am Klavier, Kenny Edwards am
Bass und Rick Marotta am Schlagzeug, dazu Danny
"Kootch" Kortchmar an der Gitarre, David Sanborn am
Altsaxophon und Dan Dugmore an Gitarre und Steel).

Timelash is the evolution of Embassador Dulgoon’s cryptozoological sci-fi opus ‘Hydrorion Remnants’ converging with Corum’s surreal sonic mapping as ‘Beguiling Isles’. The combined cinematic vision jettisons listeners through a psychedelic wormhole far beyond the usual perception of known audio latitude.

Aguirre Records has gone all out to inject this tribal dino DNA double slab of wax presented as twelve expansive and mesmerizing tracks of historical mutations linking early communication developments with speculative astrobiological impressions heard as mysterious & riveting melodies that wash over dizzying percussive styles and suspenseful ambience.

A variety of unexampled sounds take shape throughout as tectonic tablature, reptilian choral movements, bubbling bioluminescence, tube calls, orogenic bells, crustacean chatter, lost continent scales, high plains drifting riffs, and primordial soup lapping splashes revealing to listeners a living mural that is ’A Morphology of Wonders'.

The conjuring of cratonic creature harmonics resonate wildly from this interdimensional duet, emerging as Neopangaea music of now

DJ Support: Disclosure, Ross From Friends, Eliza Rose, Floating Points, Emerald, Jaguar, Danny Rankin

3 years in the making, Peaky Beats debut 10 track LP 'Bloodlines' takes us on a spiritual journey through ancient and modern middle eastern sounds fused with the spectrum of UK Bass music. Heavy subs and intricate rhythms bring this listening experience to life from the hypnotic melodies to the samples only a well-trained ear can catch. As well as teaming up with some good friends on two collaborations, Peaky has delved into a diverse and new sound whilst staying true to his musical roots in late 90’/ early 00’s UK Garage / Dubstep.

Released in 1999 on Taylor Deupree’s 12k label, »optimal.lp« was the debut album by Dan Abrams under his Shuttle358 moniker. For its 25th anniversary, Keplar presents it on vinyl for the first time with three previously unreleased tracks—the digital version also includes a alternative version of »Tank«—as well as a new artwork recreated by Daniel Castrejón and a remaster by Andreas LUPO Lubich based on the original pre-masters that were been restored and cleaned up for the reissue project by Abrams. »optimal.lp« was inspired by the rich tradition of ambient music and the rhythmic complexity of 1990s electronica while also sharing many traits with the then-emerging clicks’n’cuts movement, making it a true sui generis piece of work—both informed by tradition and visionary, idiosyncratic and seminal for many artists after him.

Abrams developed an interest in ambient music when he was still a child, scouring through cassette tapes of environmental sounds, new age music, and world percussion. Discovering Brian Eno’s »Thursday Afternoon« as a young teenager marked a turning point for him. »It gave me the idea that ambient music could be an intentional creative act, that tone itself is a legitimate form of expression,« he says today. During the 1990s, he increasingly immersed himself in the electronica scene and the output of labels such as Instinct, where Deupree worked as an Art Director and released his first records as Human Mesh Dance. Abrams found a home on 12k after sending Deupree a demo tape that would later evolve into »optimal.lp,« released as the label’s fifth catalogue number.

Abrams was still in college when he started experimenting with a sound module, his laptop and a mixer as well as a MIDI card and a small controller. »Each note was composed in MIDI and played back when I was ready to record,« he explains his working process at the time. »The tracks could be replayed, but the sound interactions with glitches and noise would be a little different each time. I decided to base the concept of the album on these interactions.« Each piece started with a single sound or tone that, as Abrams puts it, already contained the entire composition: »I let these interactions guide me, and tried to complement them as I added sounds. It’s a conversation of sorts with the medium.«

While refining this technique that he would go on to use on every album until 2004’s »Chessa,« reissued by Keplar in 2021, he also used the first-ever Native Instrument product, the Generator soft synth, to write the record’s title track—possibly making it the first album on which it was being used. »optimal.lp« is marked by this curious interplay of cutting-edge technology, the limitations with which every college student with a small budget is faced, and boundless creativity. »I’ve talked with other artists about how we feel about our early work,« Abrams says today. »We all agreed that there were elements that remain a part of us in a timeless way, despite our techniques—or lack thereof—at the time. ›optimal.lp‹ has a lot of things that will always be with me, that are me. I think I left some clues in there for my future self.«

This sense of timelessness remains tangible after a quarter of a century after the album’s original CD release and is even being expanded upon by the vinyl reissue, which is complemented by three pieces that were made while Abrams was working on the album. The digital release even features an entirely new take on the original album’s final piece, »Tank.« While Abrams let one of the masters go through his customised reverb unit when preparing the reissue, he started recording the results of this accidental dialogue between past and present. It’s a fitting tribute to an album whose delicate circular rhythms, rich textures, and ethereal melodies are precisely so exhilarating because their interplay seems to suspend the passing of time altogether.

In April 2022, Aurora read a letter that changed her life. The letter was co-authored by indigenous activists entitled "WE ARE THE EARTH" and called for a revolution as a collective response to global warming - to "heal the land". They described a connection to the land "through our hearts" and the earth as "the heart that beats within us". The letter prompted Aurora to ask herself: what happened to the heart? She then began to study books on human anatomy to understand when and why Western culture lost sight of the deeper purpose of our most vital organ.

"WHAT HAPPENED TO THE HEART?" is a journey from weakness to strength, from self-destruction to self-healing. It is a touching and introspective musical journey that explores the loss of spiritual connection in modern society, the healing power of vulnerability and the call for change through reuniting the heart with politics and personal growth.

Dispatches From Solitude is their latest album from Ortrotasce on the mighty Dark Entries. For over a decade, the man behind this project, Nic Hamersly, has been making brooding yet propulsive darkwave anthems that draw on the similarities and differences between industrial and synth-pop, all while connecting past and present sounds. He recorded this album during the Covid and post-Covid era and it captures some of the prevailing moods of those times across eight expertly crafted synth-pop tracks that delve into grief, romance, and the weird and wonderful nature of our modern world.

“The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”

As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light.

The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act.

From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence.

Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore.


Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming.

“The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”

As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light.

The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act.

From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence.

Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore.


Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming.

1st press sold out
LTD repress soon

Following Chicago’s tradition in special edits and dj personal reworks to extend crucial parts and surprise the dancers, Theo Parrish has always sparkled his legendary sets with his own versions of classic and obscure disco, funk and soul cuts to maximum effect! Some of those were available to fans in mid 2000s via the Ugly Edits series, now it’s finally time for the LOVELY EDITS.

Officially licensed and using the original parts from the master tapes, here we have Theo’s takes on two absolute staples: BT EXPRESS ‘Peace Pipe’ and GEORGE DUKE ‘I Want You For Myself’.

*REMASTERED ROUGH TRADE 4 TRACK E.P LIMITED TO JUST 500 COPIES*

Everything on “Up Home!” is bigger, richer; the guitars are huge, as though they’re being played through the clouds, massive gusts of blue-green noise that move across the stereo spectrum like weather systems. “Baby Milk Snatcher” is built around face-flattening dub bass, with glinting piano and shards of guitar ricocheting through the song. “W.O.G.S.” is delirious to the point of expiration; “One Way Mirror” is their attempt at weird, lopsided ‘anti-funk’, the song’s melody crushed by avalanches of six-string interference. And the closing “Up” is AR Kane’s masterpiece, a disembodied thud pulsing at its heart as a six-note guitar melody spirals ever onward, Ayuli’s voice lost in its own reverie, hymning escapism via references to Jamaican political activist Marcus Garvey’s ‘black star line’.
• Jon Dale, lead review in Uncut Magazine
who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and
artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!
The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in
1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding
landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This
remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

On her sophomore album "Germ in a Population of Buildings", upsammy moves through her surroundings with the curiosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments in constant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-based artist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopic and gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material into vibrating electro-acoustic rhythms and unstable, psychedelic textures. upsammy's debut album, 2020's critically-acclaimed "Zoom", was praised for its careful reimagining of IDM, evolving vignettes that nodded towards the dancefloor without being shackled to its rigid set of rules. On "Germ in a Population of Buildings" her process has evolved considerably; the skeletal trace of IDM is still present but it's been trapped in amber, allowing her unique sonic landscape to develop organically. 'Being is a Stone' is a proof of concept in many ways, layering upsammy's contorted voice in rickety patterns beneath a lattice of fragile rhythms and faintly melancholy synths. It's never immediately obvious where the sounds are coming from - a hiccuping beat might be glass cracking underfoot, and larger pulses could be wet concrete, rusted iron or bent plastic. As the sounds develop they morph into each other, demolishing what came before and building on top of the ornamental wreckage. On the dynamic 'Constructing', upsammy's sound design fluxes through hyperactive bass music structures, abstracting expectations at every turn. Often her sounds are whisper quiet, rattling and vibrating until heavier masonry drops and disrupts the structure. And when discernible rhythms subside into the background, like on the album's eerie title track, they become almost illusory, morphing between the real world and the electronic. upsammy's processed voice works like a bridge between these realms, snaking between stark, whimsical melodies on 'Patterning', arching from AutoTuned detachment into cooing, dreamy intimacy. By considering the harmonies between each location she's visited, upsammy has been able to build a unique topology that's an uncanny digital amalgam of her lived experience. It's a thoughtful alternative in an era more concerned with flatting the landscape than crumpling it and examining its peaks and troughs.

Inspired by the strong storytelling sensibilities of 60s folk icons and making a sound that sits her snugly alongside the likes of Aldous Harding, Julia Jacklin and Waxahatchee.

Written after a relationship’s end, Rowena Wise’s Senseless Acts of Beauty is a stunning and searingly honest record.

A new yet accomplished artist, Rowena grew up in the Western Australian surf town of Margaret River perfoming in her family’s folk band. Now grown up and living in Melbourne, her electric solo live performances of recent years has seen a real word of mouth build around her.

A songwriter inspired by the strong storytelling sensibilities of 60s folk icons, Senseless Acts of Beauty delivers on the promise hinted at by her live show. Full of emotional depth, its ten tracks offer heady ruminations on love, loss, and alienation. And by electing to record them all live in the room, often in one take, the kinks and blemishes add weight to the lived experience of Rowena’s lyrics.

Actress' zehntes Studioalbum, das himmlische und meditative „Statik“, wird am 07.06.24 von Smalltown Supersound veröffentlicht. Die Zusammenarbeit zwischen Darren Cunningham und dem geschätzten Osloer Label entwickelte sich organisch nach dem Actress Remix für eine 12“-Auskopplung eines Carmen Villain-Songs aus ihrem Album „Only Love From Now“. In diesem Sinne war das gesamte "Statik"-Projekt, von der Konzeption über die Entstehung bis zur Veröffentlichung, mit einer fast unnatürlichen Leichtigkeit gesegnet. Für Actress, der den Großteil seines subtil majestätischen neuen Albums in einem ausgedehnten Deep-Flow-Zustand schrieb, dient das Projekt als zusammenhängendes Zeugnis künstlerischer Befreiung. Das Ergebnis ist ein kontemplatives Album, das von einem Gefühl der Freiheit durchdrungen ist, während es gleichzeitig die Expertise seines Schöpfers durch forensische Aufmerksamkeit für texturale Details und die für Actress typischen Resonanzen unterstreicht. Bei genauem Hinhören können sich einflussreiche Visionen von Wasserwelten, wie dem mythischen Atlantis, und Beschwörungen von fliegenden Vögeln (und vielleicht auch Menschen) offenbaren. Egal, ob Statik dazu inspiriert, über oder unter dem Horizont zu schweben, Actress und Smalltown Supersound versprechen eine sichere und transzendente Reise.

Outrageous white label manoeuvres from Manchester mates AR & BS, transporting a Yacht legend to the furthest reaches of the cosmos. Psychedelic sprawl, robo-drama, AOR emotion - this disc's got it all !

AR extends, expands and excels on his A-side epic, delivering a dance floor journey which moves from weirdo wonk to the hands-in-the-air heaven in a transformative ten minutes. The loose and lysergic groove of the intro builds into a How Shroom Is Now wall of sound, takes a detour into heavy hip hop headnod and settles into vocal sincerity, all before dropping that HUGE chorus. Festival tested and club ready - everyone say Armen!

On the flipside, we catch up with Stockport staple BS, who puts down the Pet Nat, swaps the grape vape for a gary and gets stuck into a serious slice of cosmic chug.

Slo-mo and sleazy, this arpeggiator heavy heater sees a crooning 80's vocal surf a mechanical groove purpose made for backwards dancers and eyeball lickers. The combination of wild emoting and synthetic drama is pretty much everything, but just wait for that breakdown.

Double A-side coz you gotta double drop your GARIES!

10-piece UK afro-fusion outfit TC & The Groove Family are proud to share their new EP ‘We Have Each Other’. Releasing on Friday 7th June via Bridge The Gap, the project sees the band refine the sound debuted on their 2022 album ‘First Home’. Returning to work once again with producer Tom Excell (Nubiyan Twist, ONIPA), the project explores a darker sonic palette, channelling a deep appreciation of UK bass and electronic music alongside afro-jazz sounds and hip-hop sensibilities.

The record documents a time of change within the group - a new lineup, plus members living in different cities and pursuing various paths - whilst also reflecting the turbulent socio-political climate, and the major shifts and changes on the horizon for humanity. However, despite the heavy subject material, the band strike an optimistic, uplifting tone, with MC Franz Von channeling the music into a message encouraging listeners to look around and embrace
community, whatever that may look like. Bandleader Tim Cook shares:

“Our collective purpose is to craft music that empowers and energises individuals to embrace their true selves with pride, celebrating the unity and strength we radiate as one community. No one needs to be alone when they are striving for common humanity. No one should be lonely when we celebrate each other, drawn together by a sound that says it’s good to be me, it’s better to be us. As our MC, Franz Von says, music brings peace, love & energy”.

Opener and lead single ‘Stand Strong’ is a love letter to afrobeat, creating a contemporary twist with its Khruangbin-esque guitar lines and weaving horns, whilst ‘Here, Now’ takes the tempo down to an atmospheric haze of dubbed-out ambient effects, pierced by uplifting horn melodies. ‘Blessed’ sees the group welcome Nubiyan Twist’s Aziza Jaye for a dancehall-meets-North African-flavoured feature, subtly reimagining what Elephunk era Black Eyed Peas would
sound like today.

At the EP’s centre-point and emotional peak, title track ‘We Have Each Other’ showcases the band’s jazz fusion, Latin and dark electronic influences. The tracks growling, subbed-out bass tones return as a theme for ‘Wile Out’ - a UK hip-hop & jungle tinged collaboration with SANITY complete with virtuosic, tight-knit grooves, furious horn lines and a whirlwind of immersive turntablism.

Originally formed in Leeds, TC & The Groove Family’s sound reflects the diverse musical and cultural backgrounds at the core of the project, with songs exploring grooves and genres including afrobeat, broken beat, jungle, jazz and grime. Their music has drawn widespread acclaim, supported by tastemakers including Jamz Supernova and Craig Charles on BBC Radio 6, BBC Introducing West Yorkshire, Jazz FM, Rinse FM, Radio FIP and more. The group have performed at the likes of Glastonbury, We Out Here, Greenman and Boomtown, and will embark on a UK tour across May & June in support of the release of ‘We Have Each Other’.

After the resounding success of their last album "Garden Island," released in 2021, the octet hailing from Tenerife is back with a new album titled "Ganzfeld."
While "Garden Island" drew inspiration from the philosophy of César Manrique and his groundbreaking ecological work on the island of Lanzarote, for this new album, Gaf & The Love Supreme Arkestra turn their creative gaze to the lowland areas of northern Tenerife aka Isla Baja (the low island). Here, they envision a retro-futuristic soundtrack for a misty coastal drive, filled with humid atmospherics and expansive jams featuring their trademark blend of avant-jazz, psychedelia, and freestyle rock.
Evoking a natural synergy to the proceedings, this new work presents the octet in a more ethereal tip than its predecessor. Saxophones, trumpet, bass, guitar, synths and marimba come together with added winds (Herreño and Vietnamese flutes) to create a wide spectrum of auditory escapism that, were it not for the band’s aforementioned natural instincts could result into a nightmarish vision. Instead they create an holistic esoteric sound where sea and earth come together in ecstatic ways conjuring images of peace and menace whilst never letting their raw, explosive energy go unchecked.
Another standalone work from a band that rejects banality, constant in their pursue of experimentation at the edge of the Atlantic ocean. Drive on!

In a heartfelt tribute to Mike Wells, who tragically passed away in 2022, Viasonde, with the blessing of the Wells family, embarks on a mission to reintroduce Gridlock to the world. The four main Gridlock albums will be reissued on vinyl for the first time, starting with "The Synthetic Form" double LP.
Available on June 7th, this limited edition release will be featured on clear vinyl with black and bone splatter alongside black vinyl. Additionally, 50% of the proceeds from LP sales will be donated to the American Foundation for Suicide Prevention, honoring Wells' memory. Both formats are extremely limited and Non-Returnable.
In the mid-90s, a resurgence in Electro-Industrial was firmly focused on dance-floors. At this pivotal time, two San Francisco metal scene defectors, Mike Wells and Mike Cadoo, connected through a mutual friend. Bonding over their shared appreciation for non-metal influences, Wells, armed with a sampler and a couple of synths, had crafted a few tracks. Cadoo swiftly added vocals to these compositions, and thus, Gridlock was born.
With relentless dedication, the duo embarked on sculpting a grittier, more ominous variant of electro-industrial. Steering clear of the upbeat rhythms typical of the genre, they opted for a dystopian, dirge-like pace. Drawing inspiration from iconic acts like Skinny Puppy, Einsturzende Neubauten, and Fields of the Nephilim, they pieced together the Sickness demo. Eager to share their creation, they distributed the demo to anyone who would lend an ear, including many users on the rec.music.industrial newsgroup. Despite numerous rejections from industrial music labels citing its lack of danceability, Pendragon Records saw potential and took a chance.

Thus commenced the earnest endeavor of crafting their debut album, "The Synthetic Form." Upon its release, it marked a pivotal moment in industrial music, ushering in a fusion of classic, experimental, and dystopian ambient elements. Pendragon Records tantalizingly teased the album as "Unleashing a World of Your Demons," offering a glimpse into its bleak exploration of themes like regret and personal turmoil.
Over the years, Gridlock evolved through three subsequent albums, progressively exploring diverse sonic territories beyond the confines of industrial music. However, their journey met an acrimonious end with the duo parting ways, leaving behind their albums as poignant relics, elusive on digital platforms and sought after by collectors at premium prices... until now.

D3 unveils a collection of unreleased tracks from the British duo Synchrojack, who have previously released material on Ferox, Mosaic, 4th Wave and Vibes And Pepper Records. The compilation, entitled "Sugarhouse", is divided into two EPs. The first part features 3 original tracks entitled "Trap & Move, Unlock & Power of Eight", accompanied by remixes from Russ Gabriel, the mastermind behind the Ferox label, and Tom Churchill, a respected figure in deep house from Cardiff. Expect high quality deep house tracks characterised by dynamic drums, enchanting basslines and lush synths, all coming together to create an irresistible and seamless groove.

2024 marks the 25th anniversary of Schizo, the first full-fledged album by Heideroosjes on Epitaph Records. The album features fan favourites “Time Is Ticking Away”and “Fistful Of Ideals”, the track “Iedereen Is Gek” was in high rotation on the Belgium radio station Studio Brussel, and “Jerry Rules In The Land Of The Free” even made it on the famous Jerry Springer TV Show. This landmark album introduced them to the rest of Europa and United States and was followed-up by an extensive tour, playing with kindred spirits such as Pennywise, The Misfits, and The Offspring. Celebrating its anniversary, Schizo is available as an expanded edition for the first time, including live versions of “Sjonnie & Anita” and “Fistfuckparty At 701”, recorded at Pinkpop Festival in 1999. Schizo (Expanded Edition) is available as a limited edition of 667 individually numbered copies on white coloured vinyl, housed in a gatefold sleeve featuring updated and revised artwork.

Leicester punk sextet Jools have today released their new single ‘97%’, a provocative track spotlighting the ubiquity of sexual harassment in the lives of women. This comes alongside the band’s announcement of signing to UK indie label Hassle Records (Brutus, The Used, Casey), and the release of an upcoming double A-side 7” single in June.

‘97%’ draws on vocalist Kate Price’s own personal experiences and those of the women in her life. “The point of the song, however, is not to explore my experience as an isolated incident, but instead to force people to confront such commonplace experiences in a manner in which they can’t look away,” Price says. “Everybody knows a woman that has been harassed or assaulted, but nobody seems to know an abuser. That simply doesn’t add up. I want that song to feel uncomfortable because I want everyone who hears it to realise that just because they are not an abuser, that doesn’t mean they aren’t responsible for changing the culture and experiences of every woman. It’s a cry for justice in the world.”

To experience Jools in their most chaotic and unpredictable full flight is, the band were once told, to not know whether you are about to be kicked in the face or kissed on the cheek. Even that, however, feels like an understatement.

At any moment the Jools experience, on stage and on record, can turn on a sixpence from that of unbridled rage at the world to a celebration of the beauty that can still be found hidden in its murky corners. The punk rock of Jools is at once visceral and violent, cathartic and confrontational, and at the next exultant and exhilarating. Jools is duality by design, where contradiction is empowerment harnessed as a force for progress, sonically and societally.

A collective of musicians – Mitch Gordon and Kate Price on vocals, Chris Johnston and Callum Connachie on guitar, Joe Dodd on bass, and Chelsea Wrones on drums – spread between London and Leicester, Jools found each other as much by accident as design in the

earliest days of 2023. Together, they serve as a creative confluence for inspirations that move from the punk and post-punk of The Smiths, Fontaines DC, Iggy Pop, Amyl & The Sniffers and PJ Harvey, through the shoegaze of My Bloody Valentine and Slowdive, and into territories marked metal, rap and pop.

"The 20/20 Experience - 2 of 2" ist das vierte Studioalbum von Justin Timberlake und wurde im September 2013 veröffentlicht. Es ist der zweite Teil seines Zwei-Album-Projekts, nach "The 20/20 Experience" - inkl. "Take Back the Night", "TKO", "Not a Bad Thing" u.a.

Four years after releasing their debut record, Indus are back in 2024 with Negra, their second album. This record explores the essence of the night through dance, seduction and mystery, while paying homage to Colombian amphibious cultures and the land as that place that has seen us moving and that we always return to. With these ten songs Barranquilla producer Oscar Alford, along with Andres Mercado and a select group of collaborators, builds a bridge between the sounds and histories of the Pacific and the Caribbean, bringing together territories like a river running through them and connecting them. Oscar says that on this record "there's this confluence of various cultural universes, on the one hand there's the traditional music of the coast and river areas, there are various maestros who collaborated on the record and they brought that, also there's electronica which is a universal language, and even hip hop and more urban genres like dembow." The record kicks off with "Deja," a ritual of initiation, a galactic, synthetic entrance into a place of plenty, a journey to the ethereal and the night. It's followed, like light and guide, by the song "Alfa Indi," with Gamero singer Nelda Piña, a release of electronic sounds evoking creation in all its senses. The night is an excuse for and a generator of desire, seduction and flirting in "Candela tu Trá," in collaboration with Tomás Llerena, grandson of the legendary Petrona Martínez. The earth is evident in tracks like "Canción del muerto," homage to the marimba maestro Gualajo, with his brother Pacho Torres and Bogotá rapper N. Hardem, a song that could be a farewell ritual and tribute to the land as the place to which we always return, one that holds the history of those who walked that land and left their mark on it. We hear this in "Corre Cimarrón" with Ka Oddun, portraying the journeys of fleeing enslaved ancestors as they tried to survive until they reached the palenque, a place of freedom. Negra explores the mysticism of the night and the cosmos within the Colombian musical tradition. A dialog between root rhythms, voices and synths with bases oscillating between techno-champeta, afro-tech and future-dembow. With this record Indus comes across as one of the most versatile acts on the Latin American scene, especially in the way they reinterpret ancestral music and resignify its sound.

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

Das dritte Solo-Album des US-Superstars, Schauspielers und ehemaligen Mitglieds von N*Sync. Das Album "20/20 Experience" war die lang erwartete Nachfolge seines Albums "FutureSex/LoveSounds" (2006). Das Album enthält Kollabos mit den Produzenten Timbaland und Jerome "J-Roc" Harmon sowie einen Gastauftritt von Rapper Jay-Z.

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

In each new volume of the series, DTM Funk will collaborate with another befriended DJ/producer, assembling a varied collection of productions representing the sound of the guest selector. For the second edition, we look to Soft Focus, also know as Forbidden Fruit, Title or Toon Janssens. Already for years in the game but still one of Belgium's most skilled producer.

SKRR Vol-002 will focus around the groove that Soft focus brings to the humanity; "downtempo grooves, cinematic sound and abstract waves for the brains, the body and the soul".

Featuring 10 tracks from the likes of Bert Cools, Memotone, Dries Laheye, Arthur Brouns and more.

The compilation perfectly fits the philosophy of the record label. "The meaning of San-Kofa implies that all music comes from somewhere", explains DTM Funk. "If you acknowledge the music's origins and its essence, it becomes so much more valuable, and you become better prepared for the future".

Emilíana Torrini erwacht aus der Pause mit einem brandneuen Album, MISS FLOWER. Es ist die Rückkehr zu einer illustren Karriere, die Chartstürmer wie "Sunny Road" und "Jungle Drum" von gefeierten Alben wie "Fisherman's Woman", "Me And Armini" und "Tookah" sowie ikonische Soundtracks wie "Der Herr der Ringe: Die zwei Türme" umfasst. Emilíana hat mit ihrem vielseitigen Stil aus Folk-, Pop- und elektronischen Einflüssen eine Grammy®-Nominierung, Ivor Novello- und isländische Musikpreise erhalten und eine Generation unauslöschlich geprägt. Ihr neuestes Werk, MISS FLOWER, verspricht, mit ihrem unnachahmlichen Gesang und innovativen Kompositionen das Publikum erneut zu fesseln.

Inspiriert von einer Kiste mit Briefen, die sie an die Mutter ihrer Freundin Zoe – Geraldine Flower – schrieb, begibt sich Emilíana Torrini mit ihrem neuen Album auf eine zutiefst persönliche Reise. Diese Geschichten lösten Torrinis kreative Vision aus und hauchten der fesselnden Erzählung, die sich durch MISS FLOWER zieht, Leben ein. Verspielt und frei, experimentell und erwachsen taucht Emilíana Torrini in verschiedenste Welten ein, lebt in den einzelnen Songs grosse Liebesgeschichten, kleine Dramen und intensivstes Leben. Und baut damit nicht nur der unnachahmlichen Geraldine Flower ein Denkmal, sondern auch weiblicher Selbstbestimmung und Unabhängigkeit.

For fans of: Spectrum / Recurring Era Spacemen 3, Loop, AR Kane, MBV, bdrmm, Cocteau Twins, Telescopes and early 90s Creation records.

Following a series of meditative explorations in the form of the Singularity Zone series of releases, The Oscillation have returned with a new sense of vigour and purpose. Refreshed and re-energized, the result is The Start Of The End, an album that casts more light and shade than ever before to create a mood of hope and re-birth.

At once warm and welcoming, The Start Of The End is an album quite unlike anything that The Oscillation have ever released before. Fuelled by optimism and taking stock of what’s good about life and what needs to be jettisoned, the record is a result of spiritual and physical re-charging and cleansing.

Leaving the claustrophobic environs of the big city for a more bucolic backdrop, the change in location has left a profound mark on Demian Castellanos, the creative force behind The Oscillation. Where the exorcism of dark emotions of previous album Untold Futures left Castellanos wondering if he’d ever make music again, his new surroundings stirred something within him.

“When I made my new home, I allowed myself time to do nothing for a while,” says Castellanos, “and I then started some new songs without worrying about them being on an album. I just wrote with the mindset to put out something positive.”

He continues: “I did a lot of reflecting on the past and really wanted to change something in myself, but not knowing how and thinking that a lot of people must be feeling the same way.”

Recalling the creation of The Start Of The End, Castellanos says, “Writing and recording in an environment where I had little contact with people, no hanging out or partying or even having conversations was very interesting.”

The result is an album that’s recognisably the work of The Oscillation while pointing to a variety of new directions. Be it the celestial majesty of the title track, the melodic infusions that drive opening track ‘War On The Mind’ or the pulsing grooves underpinning ‘Faraway’ and ‘Body Electric’ or even hypnotic repetition at the heart of ‘Mantra’ and ‘The Eternal’, this music brimming with zeal and confidence. And to crown it all, closer ‘Sovereign’ is akin to communing with angels.

The Start Of The End is a line in the sand and one that points to a better tomorrow.

Opening a window into her memories, Luna’s sophomore LP promises all the polish of her previous work while demonstrating a deliberate and intimate lyricism. A collection of songs exploring love, loss, grief,
realization, recovery, and remembering, these guitar-driven ilhouettes mark the start of a new era for Shadows. Shapeshifting for us, she trades sparkling electro pop for emotive indie rock. Limited
Transparent Ruby Red Vinyl