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Coral Grief, das Rocktrio aus Seattle, und Air Between Us, sein Debütalbum, sind treffend betitelt. Die ersten Töne von Sam Fasons Gitarre im Opener ,Starboard" treffen wie ein Windstoß Seeluft ins Gesicht. In nur wenigen Sekunden schwebt man, zu gleichen Teilen unter dem Himmel und über dem Meer. Es ist ein ähnliches Dazwischen, in dem Coral Grief gedeihen, denn sie konstruieren ein kunstvolles Geflecht aus doppelten Bedeutungen in dieser Hommage und Lobrede auf ihre Stadt und Community. Die Sängerin und Bassistin Lena Farr-Morrissey und Fason sind durch die psychische Chemie verbunden, die man nur durch jahrelanges gemeinsames Spielen in Bands entwickeln kann. Die Gitarre von Fason ist das Segel zu Farr-Morrisseys Anker, und hier schafft er Texturen, die so dicht sind wie der Wind. Das Bindeglied - der Motor in dieser nautischen Metapher - ist Schlagzeuger Cam Hancock, der von gemeinsamen Freunden wärmstens empfohlen wurde. Sein treibendes Spiel dient als Brücke der Ideen, als letztes Puzzlestück, als Meister der Dynamik und Übergängen, der ihre Songs in neue Gefilde treibt, ohne dabei aufzufallen. Gemeinsam lassen sie sich von Stereolab, Broadcast, Th' Faith Healers und Seefeel inspirieren, und umrahmen diese sehr spezifische Sorte von britischer Coolness auf eine einzigartige Weise wie es sie nur im pazifischen Nordwesten gibt. Um die Songs zum Leben zu erwecken, begab sich das Trio ins The Unknown - eine eine stillgelegte Kirche, die als Segelmanufaktur und Aufnahmestudio in Anacortes, WA dient. In Zusammenarbeit mit dem Toningenieur Nich Wilbur, der sich von fünf Matchas pro Tag ernährte, wurde der Arbeitsraum zu ihrem Workshop. ,Wir wollten die Dinge zu dritt angehen, aber auch, dass es so üppig und voll wie möglich klingt", erklärt Fason.

Marco Faraone is the latest artist on DCLTD imprint with his ‘Open Your Eyes’ four tracker. 'Open Your Eyes': the title track combines roiling fast techno beats, with pizzicato 'plucked string' insistent, subtly dominating monotone strand throughout, all peppered with a deep male vocal command - 'concentrate', until the big breakdown's drop is heralded by female voice 'open your eyes' and a fast ride to the satisfying end. Uncompromising and invasive in the best way. 'Enigma': the techno beats ride alongside a resonant synth melody with an 80s vibe, hypnotic and upbeat, counterpointed by a touch of melancholy in the intruding high synth notes in the breakdown. A deep, danceable techno track with emotion baked in.

'Convert The Energy': Fast and dark, with a whomping beat, metallic percussion, and a repeating monotone phrase stealthily gripping the hearer, while urgent, deep male layered vocal riff - 'convert' - becomes a layered, processed vocal delivery of 'machine designed to convert energy', emphasis suitably on the last word. 'Haze': a stotting fast drum beat and hissy hi-hats underlie a repeating melodic synth phrase with a noughties trance feel, crescendoing into a plangent, almost-piano sound, punctuated by single notes like trumpet calls, clattery or jangling intrusions, mysterious and intriguing.

Formed in 2012 by long-time musical companions Oyvind Holm and Hogne Galaen,
the band quickly grew into the six- piece musical force they are today. Their unique
sound fuses cosmic Americana and rich vocal harmonies with catchy melodies, highspirited improvisation, and contagious musical energy that will leave you craving
more.
The six members come from diverse musical backgrounds but are united by their
shared love of psychedelia and cosmic Americana. They draw particular inspiration
from the California sound of the late '60s, with bands like The Byrds, Crosby, Stills,
Nash & Young, and the Grateful Dead as key infuences.
Between 2012 and 2019, the band recorded and released fve critically acclaimed
albums, two of which were recorded in the California desert at the legendary Rancho
De La Luna, nestled among the Joshua trees. Like many other artists, the pandemic
shook their foundations, forcing the band into an involuntary hiatus. In the aftermath
of lockdowns and other imposed restrictions, the backlash from other projects kept
them from picking up where they had left off.
However, the fall of 2024 brought new opportunities. An unexpected email from Mike
Scott of The Waterboys reignited their spirit and motivation. While on tour in Norway,
Scott discovered one of their albums and was so taken by their sound that he invited
them to contribute vocal harmonies to 'The Tourist,' a track off The Waterboys' new
album Life, Death & Dennis Hopper.
Soon after, an even greater opportunity arose--an invitation to join The Waterboys on
tour in the UK and Scandinavia. To accompany the upcoming tour, we've put together
a beginner's guide to Sugarfoot.
The compilation album Cosmic Norse Americana features nine highlights from
Sugarfoot's career so far, along with a newly recorded cover of Emitt Rhodes' 1967
track "Time Will Show The Wiser."
Sugarfoot:
Hogne Galaen - guitars, vocals
Even Granas - drums
Thomas Henriksen - keyboards
Oyvind Holm - guitars, vocals
Bent Saether - bass
Roar Oien - pedal steel
THOUGHTS AND WORDS
The Sugarfoot story begins back in 2011. But before there was Sugarfoot, there were
the Dipsomaniacs, Kulta Beats, Motorpsycho, Too Far Gone, and Deleted Waveform
Gatherings--bands that, in one way or another, featured future members of what would
eventually become Sugarfoot. Six musicians from diverse musical backgrounds,
united by a shared love of psychedelia and cosmic Americana. Drawing deep
inspiration from the California sound of the late '60s, their musical compass points
toward The Byrds, Crosby, Stills, Nash & Young, and the Grateful Dead.
I say eventually, because Sugarfoot didn't start as a band--it began as a duo. Hogne
Galaen and Oyvind Holm had previously played together in Deleted Waveform
Gatherings. But when their drummer moved out of town, the group was put on ice. Not
ones to sit still, the two of them launched a side project to keep the creative wheels
turning.
Throughout the winter of 2011, they holed up in their rehearsal space, writing and
recording rough sketches of what would soon grow into a full album. And that's when
things got interesting. They drew up a wish list--a dream lineup of musicians they'd
love to bring into the fold.
Among the names on that list were Even Granas, Thomas Henriksen, Bent Saether,
and Roar Oien, all soon to be permanent Sugarfooters. Each was invited to contribute
to the project, adding their parts to the pre-recorded tracks--without knowing what the
others were doing. Like assembling a giant musical puzzle, Galaen and Holm later
pieced the album together from these blindfolded contributions. The result was This
Love That We Outwore, released in the fall of 2012.
From there, things escalated quickly. By the following year, Sugarfoot had become a
proper band. Big Sky Country-- written and recorded collectively-- landed in 2014,
solidifying the group's evolving sound, including favourites such as Dolphins Hotel and
Ego In A Bag. When it came time to record a third album, the band felt the itch for
something new. They wanted a change of scenery--somewhere that could spark fresh
inspiration and leave its own sonic fngerprint on the production. So they asked
themselves: where could they go that carried the spirit, the legacy, the stardust of their
musical heroes?
That search led them to the California desert, to the legendary Rancho De La Luna,
nestled among the Joshua trees. Their next two albums, Different Stars (2016) and
The Santa Ana (2017), were both recorded at the Rancho. In fact, The Santa Ana was
both recorded and mixed during a two- week stay in 2015, making it a true time
capsule in the band's discography.

Neapolitan composer, producer, and keyboardist Giorgio Lopez sets sail on Berlin-based label Cosmic Romance with his “Sud des Îles”. Navigating between 80s-inspired grooves, French boogie, and sun-kissed atmospheres, the record unfolds like a musical travelogue, following fictional skipper Georges Taty and his crew of musicians aboard the sailboat “Sud des Îles”, caught between racing waves, late-night jams, and dockside dreams.

From the whirling groove of "Voyager Sans Bouger" to the breezy atmosphere of "Toujours Distante", the eight tracks on Sud des Îles invite listeners to drift away in rhythm and reverie through a songwriting that is both infectious and evocative. Stories of escapes (real or imagined), romantic illusions, and nostalgia-tinted euphoria weave together, propelled by Giorgio Lopez’s arrangements and distinctive keyboard work, as well as by the well-crafted production, carried out together with Executive Producer and label owner Ed Longo.

Featuring lead vocals by Stella, Master Phil, Amanda Roldan, and Bernardino Femminielli, together with the “équipage de Sud des Îles” itself - a tight-knit ensemble of acclaimed musicians from Berlin and Naples – “Sud des Îles” is an invitation to ride the waves to a neon-lit night on a faraway island: no passport required.

A series of Clutch catalogue releases reimagined and individually curated by one of the band members and reissued as part of the Clutch Collector's Series. The artwork is in the vein of the original yet strikingly different. The vinyl releases are remastered each album includes a numbered insert autographed by all band members.

3kelves and Dylan C. Greene unveil their debut EP, THEY'RE NOT GONNA KNOW, a four-track blast of high-energy, filter-heavy disco house released on their San Francisco-based label C3DO Recordings. Inspired by early-2000s sample house and modern club energy, the EP opens with ISSINME, a hard-hitting disco cut with soaring string melodies, followed by SOGOOD, a slow-burn synth tool built for extended sets with a twist in the back half. SLIDE brings blistering uptempo energy and big chorus vocals, while FORYOU closes the project on an emotional note, celebrating the duo's journey so far.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time shnatures exemplify her forays into angular indie rock more now than ever before, especially on her debut Bayonet Records single "Wakare no Kotoba"-its wide-interval arpeggios in odd meters being some of the most technically difficult guitar work Mei has ever implemented in her songwriting. Translated to "parting words" in English, the self-described "anti-love song" serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Ravi, Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time shnatures exemplify her forays into angular indie rock more now than ever before, especially on her debut Bayonet Records single "Wakare no Kotoba"-its wide-interval arpeggios in odd meters being some of the most technically difficult guitar work Mei has ever implemented in her songwriting. Translated to "parting words" in English, the self-described "anti-love song" serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Ravi, Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

Betty Harris (born 1939, in Orlando, Florida) is an American Soul Singer with a reputation that far exceeds her commercial success of the 1960s. Her recordings for the Sansu record label are highly sought after by fans of both Northern and Deep Soul.
In 1964, Betty Harris switched record labels from Jubilee to Sansu, a New Orleans label, where she was introduced to and produced by the legendary New Orleans producer Allen Toussaint. Her recordings with Sansu produced 20 singles. Of those, only "Nearer to You" charted (Billboard Hot 100 # 85), an atmospheric, dramatic soul ballad, now considered one of the milestones of deep soul. However, practically all of her recordings for Sansu featuring Allen Toussaint's raw yet sophisticated Southern Soul arrangements are considered prime specimens of the classic soul era. Notable recordings include "I'm Evil Tonight"; “Show It”; "I Don't Want To Hear It" and "Twelve Red Roses", favored among Northern Soul fans, plus "Can't Last Much Longer" and "What'd I Do Wrong".
In 1969 her Sansu recordings were compiled into a U.K. album—Soul Perfection—now highly prized around the world and reissued here in its original form for the first time.

Auf weltweit 1.000 Boxen limitiert, remastert sowie mit bearbeitetem Artwork ausgestattet - diese Boxset-Edition beinhaltet 5 farbige 180g-Doppel-Vinyle (inklusive D-Seiten Etching)!

Masterpeace (1999): Dieses Album markiert die triumphale Rückkehr von David Wayne am Gesang und verbindet den kultigen Metal Church-Sound mit einer modernen Produktion. Tracks wie "Sleeps With Thunder" und "Into Dust" strahlen rohe Kraft aus und machen dieses Album zu einem Meilenstein für Fans des traditionellen Heavy Metal.

The Weight Of The World (2004): Nach einer langen Pause meldete sich Metal Church mit Ronny Munroe am Ruder zurück. Songs wie "Leave Them Behind" und "Madman's Overture" unterstreichen die Unverwüstlichkeit der Band und zeigen eine neu belebte Energie, die ihren Platz im Pantheon des Metal bestätigt.

A Light In The Dark (2006): Dieses Album ist eine Hommage an die Vergangenheit und ein Schritt in die Zukunft. Es enthält Hymnen wie "Mirror Of Lies" und eine gefühlvolle Neuaufnahme von "Watch The Children Pray" Es fängt die Essenz von Metal Churchs Fähigkeit ein, ihre Wurzeln zu ehren und gleichzeitig neues klangliches Terrain zu erkunden.

This Present Wasteland (2008): Ein sehr nachdenkliches und intensives Album mit Tracks wie "Deeds Of A Dead Soul" und "Breathe Again", das persönliche und gesellschaftliche Themen mit eindringlichen Melodien und treibenden Rhythmen verbindet. Es ist ein herausragendes Kapitel in ihrer Karriere.

Generation Nothing (2013): Dieses Album ist eine Rückkehr zu den Heavy-Metal-Ursprüngen der Band und liefert modernisierte epische Hymnen. Songs wie "Scream" und der kraftvolle Titeltrack "Generation Nothing" spiegeln eine Band wider, die tief mit ihrer Vergangenheit verbunden ist, sich aber gleichzeitig entschlossen nach vorne bewegt.

The lengthening days and the long beautiful evenings: it must be time to treat yourself to this wonderful (and highly limited) 10” single from Julian Cope’s Dope feat. Fuck Authority. Consisting of two 20 minute tracks, main track ‘666’ is a Deutsche sing-a-long from beyond the grave, replete with martial side drums and cacophonous orchestral strings. With raised steins, our gruff-voiced male choir recounts their bolshie nursery rhyme – a beguiling tale of a mysterious tree that predicts the future. Simultaneously traditional and avant-garde, ‘666’ will remain in people’s heads long after the vinyl has been ejected. Meanwhile, awaiting listeners on the other side of this epic release is Dope’s most overtly psychedelic offering thus far. Off-kilter and raging, this non-LP B-side is entitled ‘1381’, after the year of Wat Tyler’s Peasant’s Revolt. Unbalanced? U-Betcha! As Fat Paul’s cataclysmic FX and Holy McGrail’s Space Echo obscure and overwhelm Fuck Authority’s vast stereo bass guitar, one can only praise the poor technicians who captured it all on vinyl. Yes, with its fabulous packaging and earworm chorus, this unlikely 10” release must be a candidate for Single of the Year surely?

The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band’s Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater” mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late 80’s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific’s best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!

Nach dem überwältigenden Erfolg seiner globalen Smash-Single "Ordinary", die auf Platz 1 der Global Charts landete, Platz 3 der Deutschen Single Charts erreichte und bislang über 650 Millionen Streams generierte, ist Alex Warren bereit, die Musikwelt erneut im Sturm zu erobern: Für den 18.07.24 kündigt er nun sein mit Spannung erwartetes Debütalbum "You'll Be Alright, Kid" an!
Neben den Titeln des ersten Album Parts, wie z.B. die Standout Tracks "Carry You Home" und "Before You Leave Me", enthält das neue Werk die Erfolgssingle "Ordinary" sowie seine neueste Single "Bloodline" mit Jelly Roll - und natürlich viele weitere brandneue Songs!

After more than a decade of music-making, Durand Jones & The Indications have blossomed as a unit and are basking in their successes. On their aptly titled new album, Flowers, The Indications unfurl their true colors _ embracing all their roots and influences, maturation and confidence, and share them with the world. Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, selling out shows across Europe, Japan, Australia, and New Zealand to the West Coast_ where DJI has a strong following among the lowrider and vintage soul enthusiasts. For as far as Durand Jones & The Indications have come, Flowers grew from the desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Pulling sonically and spiritually from each of the group's previous releases and solo work, Flowers is the next stage of DJI's inspired soulful discography. DJI are not only accepting their flowers, but indulging in their sweet and sexy fragrance.

After the release of their world debut Catch A Fire, Bob Marley & The Wailers would embark on a U.S. tour supporting the legendary Sly And The Family Stone.
Yet after five dates, they were fired from the tour, supposedly for upstaging the main acts! Left with no money and nowhere to go, they performed one legendary
show at San Francisco's The Matrix!

These recordings, taken from a studio session before their legendary performance, find Bob Marley and The Wailers at their best.
Featuring the classic lineup of Bob Marley (vo/gt.), Peter Tosh (vo/gt), Joe Higgs (per.), Earl Lindo (pf.), Family Man Barrett (b.), and Carlton Barrett (ds.),
the Wailers are imbued with the kind of Rock and Roll energy that could only come from outshining Sly Stone! Even sweet rocksteady ballads such as
“Stir It Up” take on the form of a rock and roll anthem in this session.

Discovered and released on CD by P-VINE in 2005, these mythical studio recordings are finally getting a long deserved analog release!

The double LP on black vinyl comes complete with an obi-strip! Don’t miss this reggae gem from Bob Marley and The Wailers!

There’s something oddly comforting in the idea of a dead star still sending signals — distant, mechanical, yet somehow filled with meaning. Inertia and the whole record, tap into that contradiction: the sensation of being impossibly far from home, yet still drawn toward something vast, unseen, and filled with memory.

Written & produced by Dangkhoa Chau
Mastered by Stefan Betke at Scapemastering
Vinyl pressed at AFG Record Manufacturing
Distributed by Readymade Distribution
Curation & artwork by Severja

DJ Support from Danny Howard, Charlie Hedges, Dombresky, Claptone, Mark Knight, Chris Lake, Junior Sanchez, Ferreck Dawn, Milk & Sugar, Boston Bub, Gene Farris & more.

Alex Preston launches his AP Edits series exclusively on vinyl with Prime Direct Distribution. AP Edits Vol.1 features 2 of Alex’s favourite high energy edits that have been supported by Claptone and Mark Knight.

At this point the vast swathes of unreleased Muslimgauze material Bryn Jones left behind when he passed away over 25 years ago is as legendary as any of his work. And sure enough, there's still some being unearthed today. The new »Single #One« is the first in a series of four (three 7"s and one 12") taken from one of Jones' customary completely unlabelled DATs he sent to labels seemingly as fast as he finished them. Both sides here indicate that, even on what might have been throwaway efforts for other artists, Jones was constantly chasing his muse around new corners.

Side A begins with the kind of tough percussion loop often found on Muslimgauze releases, but even as foreboding synths start to swell in the background, Jones introduces a rhythmic, peppy little keyboard riff far jauntier than most things he created. Side B, meanwhile, takes Jones' looped hand percussion in a dubbier direction, but unlike other times he explored that space there are some elements (phased zaps, a slightly skanking rhythm) that, while not reggae exactly, makes this feel more like a traditional dub than Jones tended to make. Both sides stand in testament to a creator who never stayed in one place for very long.

Eine Italo Disco Rarität aus dem Jahre 1983 jetzt wieder als farbige 12“ Maxi Single erhältlich:
Mike Cannon - Voices In The Dark

Zusätzlich zu den raren Original Versionen, gibt es als Highlight auf Seite B zwei neue und exklusive Remixe von Flemming Dalum und Fabio Ricci.

Mylène Farmer, 86/97 - 26 ikonische Titel des größten weiblichen Stars Frankreichs. Außerdem zum ersten
Mal auf CD die Studioversion von „La poupée qui fait non“ im Duett mit Khaled.
Mylène Farmer, 86/95 - Mylène Farmer, 86/95 - 8 ikonische Titel des größten weiblichen Stars Frankreichs.

Poor Creature is comprised of Ruth Clinton, Cormac MacDiarmada and John Dermody, all three are members of other bands (Landless and Lankum respectively) who have built a large following on re-interpreting songs from the past Songs that have existed for centuries can seem immutable and anchored to time. A new generation of Irish musicians are keen to acknowledge that musical legacy, while reimagining the songs within a contemporary context. Poor Creature's sound - particularly in the context of contemporary Irish folk - offers something unique. There's the gauzy, underwater, almost psychedelic seams of 'Bury Me Not' and 'Adieu Lovely Erin'. 'All Smiles Tonight' and 'Hicks' Farewell' nod to the influence of American folk/bluegrass acts like Doc Watson and the Louvin Brothers. These shifting sounds are made possible by producer John 'Spud' Murphy, who has produced all of Lankum's albums, and worked with Junior Brother, OXN, Pretty Happy, Ye Vagabonds as as well as the final two albums by The Jimmy Cake, with whom John has played for over 20 years. "There's something about the everyday and the fantastical, being entangled, which I think Irish music does so well." This also sums up All Smiles Tonight, moving through stories and loss and history to create an otherworldly and timeless album for the ages.

Accomplished Polish beat-maker Emapea has made memorable appearances on many Cold Busted label compilations – such as in the IWYMI and Bust Free series – and has been selected for inclusion in Mark Farina’s next Mushroom Jazz installment. All this activity has mouths watering for the debut full length album from Emapea, and the appearance of Seeds, Roots & Fruits doesn’t disappoint one bit. Featuring sixteen exceptional tracks ranging from hip hop to acid jazz to psychedelic trip hop in the style of Mo’Wax, Emapea’s long player is indeed, as a wise man once said, “a journey into sound.” Seeds, Roots & Fruits rises above the average beats album to reveal the enduring depth of this young producer

From the depths of personal reckoning to the forefront of the UK"s alternative scene, SPLIT CHAIN have spent the past two years transmuting raw emotion into sound. Their debut album, motionblur, out soon on Epitaph Records, is a thunderous statement of intent-an electrifying fusion of shoegaze, grunge, and nu-metal that surges with both nostalgia and forward momentum. Sonically, motionblur captures a distinctive aesthetic, steeped in the melancholic haze of early 2000s alt-rock yet sharpened by the intensity of modern hardcore. Guitars drenched in chorus and distortion crash into ethereal, hook-laden vocals, forging a sound that"s at once crushingly heavy and deeply immersive. Following a string of self-released singles that organically amassed millions of streams, SPLIT CHAIN"s signing with Epitaph catapulted them further into the spotlight. Their first label-backed single pushed their streaming numbers past the 15-million mark, earning them accolades as AltPress" Breakout Artist of the Month and Revolver"s "Badass Rising Band to Know." With nods from Stereogum, The Needle Drop, BrooklynVegan, and Metal Injection, the buzz around Split Chain is undeniable. With motionblur, SPLIT CHAIN aren"t just making an album-they"re making a moment. And if their trajectory so far is any indication, this is only the beginning.

From the depths of personal reckoning to the forefront of the UK"s alternative scene, SPLIT CHAIN have spent the past two years transmuting raw emotion into sound. Their debut album, motionblur, out soon on Epitaph Records, is a thunderous statement of intent-an electrifying fusion of shoegaze, grunge, and nu-metal that surges with both nostalgia and forward momentum. Sonically, motionblur captures a distinctive aesthetic, steeped in the melancholic haze of early 2000s alt-rock yet sharpened by the intensity of modern hardcore. Guitars drenched in chorus and distortion crash into ethereal, hook-laden vocals, forging a sound that"s at once crushingly heavy and deeply immersive. Following a string of self-released singles that organically amassed millions of streams, SPLIT CHAIN"s signing with Epitaph catapulted them further into the spotlight. Their first label-backed single pushed their streaming numbers past the 15-million mark, earning them accolades as AltPress" Breakout Artist of the Month and Revolver"s "Badass Rising Band to Know." With nods from Stereogum, The Needle Drop, BrooklynVegan, and Metal Injection, the buzz around Split Chain is undeniable. With motionblur, SPLIT CHAIN aren"t just making an album-they"re making a moment. And if their trajectory so far is any indication, this is only the beginning.

Habibi Funk is more than happy to announce our 31st release which happens to be our 3rd various artists compilation. The album is dedicated to the cassette tape scene in Libya from the late 80s to early 2000s, from disco to reggae to pop. All songs previously unreleased outside of Libya and not available on any DSP platforms.

Though they may not have intended to do so, Naptown's trinity, also known as 81355 (pronounced BLESS), rang out as revolutionaries with their 2021 debut record This Time I'll be of Use. When Oreo Jones, Sirius Blvck, and Sedcairn come together, genre evaporates into enthralling poeticism and sonic hypnosis. Their sophomore LP Bad Dogs, releasing July 11th on Joyful Noise Recordings, acts as an expansive continuation of 81355's signature sound: an angelic, gritty, enthralling urban hymnal for the disillusioned mind. The history of 81355 stretches far back into the history of Naptown's creative scene. Jones and Blvck struck a match as one of Indy's most influential hip-hop collectives, Ghost Gun Summer, before they brought on Sedcairn (Moose Adamson) in 2020. Before Adamson infused 81355 with his melodic soundscapes, he produced Grampall Jookabox, an underground indie meets jangle pop project. Though they may be known primarily for their musical notoriety, the members of 81355 are steadfast in their commitment to uplifting their community with collective creative expansion. Sean (Oreo Jones), alongside his partner Jane Sun Kim, produces and curates Chreece, the largest Midwestern Hip-Hop festival hosted in the heart of Naptown. Niq (Sirius Blvck) is pivotal in the empowerment and advancement of Indy Hunger Network, a local non profit that addresses food insecurity across Indianapolis. Moose (Sedcairn) is a key contributor to Joyful Noise, an Indy based independent label cutting records for artists of all genres. For the first time, the project's live band is part of the production, with Sharlene Birdsong on bass guitar, Dimitri Morris on guitar, and Pat Okerson on drums. The Bad Dogs listening experience also seeps into visual realms: a short film titled Sleep Study will be released in tandem. Sleep Study_soundtracked, written, and produced by 81355, who also star in the film alongside friends and fellow artists from the community_features afrofuturistic sci-fi undertones that explore the toxifying implications of algorithmic control, postmodern brain rot, and late-stage capitalism. As the texturally emotive punctum of its cover art (painted by Stockholm based artist Julia de Ruvo) conveys, the heart of Bad Dogs draws its perseverance from the wild reservation dogs pulsing through the rust-hued indigenous lands of New Mexico and beyond. They are untethered in their roaming, sacred in their fierce communal belonging, yet undefined by a physical place. A vital essence mirrored by 81355: boundaryless, primal creative cultivation that defies what some may attempt to categorize as hip hop or progressive rap.

"I Became Birds feels like emo once again flipping the switch on its eternal energy source." - PITCHFORK // "One of the most arresting and interesting rock albums in recent memory." - SPIN // "Composed of self-deprecating wails, crashing guitar riffs, and a flicker of lyrical hope that almost feels naive _ in other words, the perfect foundation for classic emo catharsis." - STEREOGUM //// With I Became Birds, Florida's Home Is Where push their unique blend of whirlwind hardcore aggression and warm, open-hearted folksy melancholy to even further heights. Frontperson Brandon MacDonald's Dylan-esque eccentricities are on full display here, from the occasional blast of harmonica (like on early standout "Long Distance Conjoined Twins" or the disaffected, despondency-soaked closer "The Old Country") to their knack for abstractly evocative neurosis-as-poetry. But far from being a copycat act, Home Is Where's wearily raw-throated aesthetic and dynamically vivid compositions feel idiosyncratic and vital. The bittersweet folk melodies seep deeply into the band's DNA, adding an element of accessibility and immediate nostalgia to otherwise churning and angular song structures and sonic assaults. Vocals range from an intimate, gentle, and disarming croon to a full-bodied expectoration of the soul, oftentimes in the same song (like "Sewn Together from the Membrane of the Great Sea Cucumber," which splits the difference between mournful, gothic post-punk and staccato-heeled screamo with aplomb). A devastating rhythm section and nimble, versatile, yet powerful guitar work assist with the record's genre-bending, which ranges from maniacal chemical mixtures to gymnastic flips, twists, and turns. And yet, even amid the din, Home Is Where find ample time for hooks-- the oddball effervescence of lead single "Scientific Classification of Stingrays" and the shimmering, propulsive, delightfully off-kilter late-album stunner "Assisted Harakiri" are more than proof of that. Ultimately, I Became Birds shows Home Is Where hitting an early high-water mark. A brisk record-- six songs in roughly 17 minutes-- it never takes a dip in enthusiasm and inventiveness. Home Is Where's inexhaustible creativity and restless energy is bound to serve them well, and I Became Birds is all the proof anyone needs.

The Sorcerers' latest long player lands in perfect time for the summer, offering a further progression into their unique take on Ethio-inspired jazz. Other Worlds and Habitats is, of course, released on ATA Records and is blessed with the analogue recording and painstakingly loving production we have come to expect from this boutique studio. This, The Sorcerers eagerly anticipated fourth LP, follows on from the success of I Too Am A Stranger, a record which garnered praise from BBC Radio 2’s Jamie Cullum, “I love this, this is so good!”, Ethio-jazz legend Mulatu Astatke, “I like the grooves, and it is good to see The Sorcerers interpret Ethio jazz in their own unique way”, and Nightmares on Wax, “This sounds great! Love the way it's recorded”.

Never ones to stop moving forward, and ever vigilant to avoid the realm of pastiche, The Sorcerers see the Ethiopique sound as a building block for their natural progression as a group, but a block that sits at the base of a much larger, ever expanding, structure, The addition of keyboardist Johnny Richards, whose use of the Jen 73 piano, Mellotron and Farfisa Compact Duo, alongside the core members of the group, has opened some exciting doors for The Sorcerers, fusing the future looking optimism of the late 60s and 70s (when artists began to experiment with the new electronic technology and synthesisers becoming more readily available) and more traditional sounds. Taking inspiration from Ethiopian keyboardist Hailu Mergia and Nigerian musician William Onyeabor, Other Worlds and Habitats, as the name suggests, showcases The Sorcerers' shift to a new, and deeply exciting, musical landscape.

The Sorcerers’ Other Worlds and Habitats is a natural progression in the world they have created for themselves. Richer for shared experiences, and accepting the rise of the machines, they prove that while their journey is always going forward, there are many different paths to take.

Legendary indie travellers Half Japanese return with their new album Adventure. The prolific outsider combo, helmed by the ever-optimistic Jad Fair, delivers a heartwarming set of upbeat sonnets celebrating the power of love, affection, and maturity. More than 50 years since Jad and his brother David emerged from their lo-fi bedroom in Uniontown, Maryland, USA, Adventure takes the latest incarnation of the band down new and more refined avenues. Recorded in London at Vacant TV and produced by Jason Willett and Jad, Adventure presents a more pristine and polished canvas for Jad to expand upon. The addition of Euan Hinshelwood to the sonic palette, with saxophone, harmonica, and piano, creates a smoother backdrop for the band's less lubricated sound. Lemonade Sunset is an ode to the world of wonder, a spacious overture built with melancholy in mind but relishing the positivity of life. By contrast, Step On Up revolves around a glorious rising piano motif that hints at Steely Dan if they were high on energy drinks and spinach rather than their usual tipple. It's a light-hearted evocation of the good times. Magnificent is a homage to living in the present tense, powered by the bittersweet saxophone, with a glorious piano-led sub-melody offsetting Jad's positivity: "magnificently magnificent," no less. Elsewhere, ringing percussion and sharp arrangements provide Jad with a sturdy and far reaching soundtrack to lament over. Adventure sees Half Japanese covering new ground, with Jad's considered soliloquies set in a sumptuous setting. The lineup for Half Japanese on Adventure includes Jason Willett (bass, keyboards), Gilles-Vincent Rieder (drums, percussion), John Sluggett (guitar, piano, bass), Mick Hobbs (guitar), Euan Hinshelwood (guitar, saxophone, piano, harmonica), and Jad Fair (vocals, percussion). Sadly, longstanding member Mick Hobbs passed away last year. "Absurdly underrated art-rockers" - Record Collector. * "Fair's ability to bang out music behind him is matched perhaps only by Mark E Smith" - The Wire.

20 Jahre - das letzte Studioalbum der britischen Death-Metal-LegendeThose Once Loyal ist das siebte und letzte Studioalbum der britischen Death-Metal-Band Bolt Thrower. Ursprünglich 2005 veröffentlicht, zählt es bis heute zu den stärksten Werken der Band. Mit präzisem Songwriting, markanten Riffs und einer kompromisslosen Produktion verkörpert das Album alles, wofür Bolt Thrower bekannt sind: kraftvoller, schnörkelloser Death Metal mit Haltung.Die Texte behandeln Themen wie Loyalität, Erinnerung und die Auswirkungen von Krieg - ernst, reflektiert und ohne Klischees. Musikalisch bleibt die Band sich treu: midtempo-lastige Songs, eingängige Gitarrenarbeit und ein wuchtiger Sound, der auch nach zwei Jahrzehnten nichts an Wirkung verloren hat. Ein Album, das sich nicht nur an Fans der Band richtet, sondern auch an alle, die klassischen Death Metal mit Substanz schätzen.Jetzt erhältlich als 20th Anniversary Edition in der neuen Farbe Military Green.01. At First Light - 4:0202. Entrenched - 3:4203. The Killchain - 4:5704. Granite Wall - 3:4705. Those Once Loyal - 4:1706. Anti-Tank (Dead Armour) - 4:1507. Last Stand of Humanity - 3:2308. Salvo - 5:3209. When Cannons Fade - 5:44

Full of Hell Coagulated Bliss bio Full of Hell burst forth with incredible force from the small, dagger-shaped city of Ocean City, Maryland, 15 years ago. Over five full-lengths, five collaborative full-lengths, and countless splits, EPs, singles, and noise compilations, they’ve evolved at extraordinary speed, their music becoming more complicated and technical without ever slowing down or losing its soul. Everything on a Full of Hell album feels like a blur: smears of guitar, harsh noise shaken like gravel in a bag, singer Dylan Walker’s snarl and bite carrying him into outer space or into the core of the earth. They’re coiled, interlocking, impossible to penetrate, and they move with alarming speed. They have now reached terminal velocity. Having created their own context, they’re now able to walk around within it, to survey its terrain, to visit far corners and see who’s nearby. Coagulated Bliss sounds like Full of Hell, but it’s nothing like any Full of Hell record that’s come before it.

'A Necessary Escape' ist der Soundtrack zum demnächst erscheinenden Film 'Dakar: Race Against The Desert'. Die physischen Formate umfassen CD, Vinyl und eine limitierte Farbvinyl-Edition in Curacao-Blau. Es ist der vierte Album-Soundtrack von M83 und wurde in Frankreich und den USA von M83s Anthony Gonzalez zusammen mit den regelmäßigen M83-Mitwirkenden Joe Berry und Clement Libes aufgenommen. Der Film erscheint am 12. Mai digital bei Universal Pictures und feiert seine weltweite Kinopremiere am 26. Juni in der MK2 Bibliothèque in Paris. Unter der Regie des französischen Schauspielers und Regisseurs Jalil Lespert wird hier die weltberühmte Rallye Dakar begleitet - ein Event, das seit 45 Jahren die ultimative Bewährungsprobe für Belastbarkeit, Können und Ausdauer im Motorsport darstellt. Das 9.000 Kilometer lange Rennen dauert 14 strapaziöse Tage durch raues Wüstengelände. Mit beispiellosem Zugang taucht dieser Film in das härteste Autorennen der Welt ein. Begleitet wird dies von einem wunderbaren Score den Gonzalez perfekt auf den Film zugeschnitten hat. Ambient trifft auf sphärische Klangcollagen und ist damit der perfekte Ausgleich zu den im Film dokumentierten Strapazen um die berühmte Rallye. Nach dem fantastischen 'Fantasy'-Album von 2023 oder dem 2011er Klassiker 'Hurry Up, We're Dreaming' ein weiterer Geniestreich des französischen Sound-Magiers und seinem M83-Projekt!

‘Mormaço Queima’ is where it all began for Ana Frango Eléctrico. Raw, quirky and lo-fi, it’s a debut album brimming with attitude and youthful energy, characteristics that would go on to define their sound. Previously released digitally in Brazil in 2018, with a private press CD version in 2020 and later a Brazilian vinyl version in 2022, here at Mr Bongo we felt it deserved a much-needed worldwide edition for all of us to savour.

A charming, idiosyncratic blend of MPB, Tropicália, and indie from a talented singer-songwriter, multi-instrumentalist and producer who would later become one of Brazil’s brightest international stars. ‘Mormaço Queima’ has a cool, laidback, swagger channelling ‘90s bands such as Pavement. The arrangements feel loose and easy, the opener, 'Farelos' (Crumbs), seems to ebb and flow on a razor's edge before the percussion and Antonio Neves' trombone draws the song into a structure. Another highlight is 'No Bico Do Mamilo', which has a free-flowing vibe, Ana pushing, pulling, and playing with the song's energy, keeping listeners constantly on their toes. Tracks such as 'Roxo' lean more into a punk attitude, with the pendulum swinging from easy-going to frenetic. The longest song on the album 'Picles', continues to sway the pendulum this time moving from DIY punk-funk into a psychedelic workout

Co-produced by friends and fellow future collaborators Guilherme Lirio, Gustavo Benjão, Marcelo Callado, and Thiago Nassif, ‘Mormaço Queima’ is a playful showcase of Ana Frango Eléctrico’s distinctive style. Plotting Ana's musical career, it's clear they are not one to be pigeon-holed, nor to be confined to a single genre. Instead, they are ever evolving and this captivating debut album was the building block for a career that has already seen them gain multiple Latin-Grammy awards and tour the world with their music.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.
Tomorrow Comes Crashing, Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.
Catharsis bursts through the seams throughout Tomorrow Comes Crashing. “Syd Sweeney, ”inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.
To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. Tomorrow Comes Crashing is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

Danilo and Liza Farba founded the band Farba Kingdom in Odessa, Ukraine. Like many other old port cities, it has always been a multicultural place – but also one of constant change. It is these rapid changes in living conditions that the duo processes musically – with a penchant for nostalgia as a protective shield for themselves and their audience. What does that sound like? Dark, electronic, and wavy.

In 2020, the band established this musical direction with their debut album "Німб": the desperation of post-punk, along with unsettling, crushing industrial vibes and well-thought-out hypnotic synth sequences. Listening to their music, one immediately conjures up the architecture of their hometown, where the mystical neo-Gothic style alternates with Soviet Constructivism. A visual experience that screams the hopeless sadness of this era to the world.

Danilo and Liza Farba are currently in exile in Romania.

The Australian master of the dark synth arts is back and – boy – he is out for blood.
We’ve been missing Marc Dwyer solo project Buzz Kull since his latest single Last In The Club from late 2019 and since back then we knew he was up to something. At first glimpse, the minimal wave days of We Were Lovers seem far away now that Marc has gone full Club Body Music with his upcoming new album, but there is a thread that binds Buzz Kull hits from the past such as Into The Void, Avoiding The Light and New Kind Of Cross with these ten new cuts: a thread of darkness proper to the most handsome man in the game and that’s here to stay.

Echoes of 90’s era Front 242 and Front Line Assembly will resonate from tracks like Fascination and Dead Inside; elements of early body music flirting with the dark side of British synthpop will rave from the grooves of Dancing with Machines and Man on the Beat, while late 80’s Belgian new beat cellar-like vibes rise from Do You See and Burn it to the Ground.

But Buzz Kull’s third full-length is not just about music subgenres we all know and love, it’s about a feeling that comes alive only with the dark and drives you through the small hours just to leave you drained and filled at once. The creature of the night is on the loose, the sticky dancefloor its natural habitat, its lust for the upside-down world of the club can’t be cured.

The tenth volume of Numero's elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground. This 12-song mix tape weaves icy hot coldwave, Sausalito seafood jazz, Glaswegian goth, makeshift Madonna, Sade spoofs, and Brat Pack balearic into a high-waisted, party-ready pair of danceable denim.