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For centuries, the drum and its practitioners have been stewards to the physical and ancestral planes.

Detroit afroteknologist Huey Mnemonic advances his sound into a tomorrow unheard with his latest Subsonic Ebonics record, Brainscraatch, a 4-tracker of his researched and highly developed Afriko Tekno.

A portal tears open with the speaker splitting ‘Ankhobi’, blurring the lines between ritual and rave. An opening ceremony of a drum circle in the year 3000, knocking on the door of a domain beyond our own.

Entering the gateway with ‘Brainscraatch’ , a peak time percussive calling where a high pitched whine of sacred electronics becomes the foundation for a slippery hypnotic rhythm. Warranting a double take for the heads in the back fully immersed into the moment.

The portal collapses onto the unknown with the dramatic closer ‘Slipping Into Madness’. Rushing you beyond the dance into a flow state where time and space behave a little differently.

Offering his own perspective, Sard shares a jacking ‘Rescratch’ of the title track, leaning into an acidic groove faithful to the timeless freak funk of the midwest.

With this release, Mnemonic forges ahead to the borderlands of techno, leaving us with an ancient-to-the-future message,

The debut album on RCA, from 'Everyone You Know', is a document of a big night out; from the anticipation that drags you through the working week up to the euphoria found under nightclub lights and straight through until the bittersweet comedown the morning after. It's a heart on sleeve collection of boundary-pushing songs that burst with emotion, establishing siblings Rhys and Harvey as songwriters with a unique ability to distil the chaos and adventure of a Saturday night into a body of work built to last the test of time. With references that range from Moby to Kendrick Lamar's classic Good Kid Maad City via the '90s cult movie 'Human Traffic', 'Ain't Smiled In Ages' is an uncompromising vision of inner-city hedonism and the beating hearts of those living for the weekend. Clear LP Vinyl & x11 trk standard CD. Marketing.

Screaming Crow Records has taken the first six Action Rock Jukebox 45s and combined
them into one great compilation along with two bonus tracks. This series features the best
up and coming Action Rock bands from all over the world. Each band submitted a cover
that would have been found on your local jukebox back in the 70s/80s and then backed it
up with their own kick ass original.
Featuring Scumbag Millionaire, Stacy Crowne The Cheats, and more!

Die Schachtel Records is proud to present Ifigenia/Oreste, a new vinyl LP by celebrated Italian composer Paolo Spaccamonti. This album marks the seventh installment in the label's renowned Decay Music series, which has become synonymous with deeply emotive, abstract, and electronic/ambient music, which has so fare featured works of such names as Stefano Pilia, Giovanni di Domenico, Sandro Mussida, Vértice, Damavand and Claudio Rocchetti. Aim of the series is composing a fascinating scenario of the most interesting names of experimental musicians – mainly of Italian origins - working at the intersection of sound and music, abstract and visual, storytelling and abstract composition.

Paolo Spaccamonti has long been a significant figure in the contemporary music scene, known for his ability to bridge the worlds of instrumental, electronic, and experimental music. His most recent release, Nel Torbido (2023), is a testament to his ever-evolving artistry. With Nel Torbido, Spaccamonti delivered a haunting and immersive sonic experience that oscillates between tension and release, bringing together moody soundscapes, unsettling textures, and his signature understated guitar work. His exploration of silence, noise, and melodic tension has earned him recognition as one of the most unique voices in modern composition.

Composed by Spaccamonti, Ifigenia/Oreste is the original score for the theatrical production IFIGENIA / ORESTE, directed by Valerio Binasco and produced by Teatro Stabile di Torino. The music, both haunting and subtle, mirrors the play's minimalist and intense staging, immersing listeners in an evocative soundscape that blends ambient textures with guitar-driven melodies. The music was recorded and processed by Filippo Conti, with additional production and mixing by Stefano Pilia. The vinyl’s design has been crafted by Bruno Stucchi of Dinamomilano, making this release a fusion of sound, visual, staging and cultural reference.

In reflecting on his collaboration with director Valerio Binasco, Spaccamonti said: "From the first meeting with Valerio, it was clear that we aimed to create a production stripped of any unnecessary stylistic embellishments. Ifigenia and Oreste had to be severe, devoid of visual distractions, simple yet extreme in its own way. I sought to follow the same path with the music. The foundation is always the guitar, but I wanted to avoid overloading it, either harmonically or sonically. Sometimes, I treated it like a fragmented background noise; other times, I ventured into more aggressive, melancholic, or even melodic terrains, but always in a very human way. The text demanded an atmosphere that lived in the alternation of silence and rarefaction, like in the films of Bresson and Lanthimos. Short scenes interrupted by moments of darkness. In a marked rhythm, a suspense constantly suggesting the advance toward death, announced from the very first scene. Hence, the emphasis I wanted to place on silence through the music, even within individual tracks. Long, granular tails, like the (few) lights on stage."

Joni Mitchell Gets Jazzy, Counterbalances Love and Trust with Freedom and Confusion on Court and Spark


Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP
Plays with Definitive Detail and Clarity: Pressed on MoFi SuperVinyl Strictly Limited to 5,000 Numbered Copies
Box Set Features New Liner Notes
1/4" / 15 IPS / Dolby A analogue master to DSD 256 to analogue console to lathe


Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.

Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.

The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians — including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott — crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears.

Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting — a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes — on the cover art.

Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.

Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre — no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions.

Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery,” complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill,” “”Down to You); fame and celebrity (“A Free Man in Paris,” “People’s Parties”); and sanity (the dark and stormy “Trouble Child,” a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves.

Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release.”

For Caleb Klauder & Reeb Willms, country music is soul music. Just as soul music resonates the mind, body, and spirit with powerful rhythms and expressive vocals, so too does the reflective storytelling and crooning country music on their latest record, Gold In Your Pocket. Blending classic country, bluegrass, old-time, and Cajun influences, Caleb & Reeb offer a refreshing departure from the often sorrowful themes found in traditional music. In fact, love–particularly remembering, giving, and receiving it–is the thematic glue connecting all 13 tracks. Celebrated for their charismatic performances and deeply-rooted musical style, the duo’s pared-down approach is supplemented by pedal steel and electric guitar, channeling classic country duos of old. Legendary Cajun musician and engineer Joel Savoy, along with Nashville session savant Chris Scruggs, added tasteful performances to Gold In Your Pocket at sessions in Louisiana and Nashville. As a vocally-led band, Caleb & Reeb focus on the art of harmony, capturing listeners with the joy of telling a universal story through song. Their creations also honor the communal side of country and honky-tonk music. These longtime leaders of the vibrant Pacific Northwest underground country scene prove that getting us to dance and sing together is more important than ever.

Development is a classic rocksteady record that barely came out in 1972, Jamaica. One of the rarest of the genre, Development is impossible to find…and even when found impossible to find a good playing copy—the pressing was just flawed. Sutro Park Records is proud to present a newly remastered version of the record, available on vinyl for the first time since it originally came out (probably available for the first time anywhere outside a few record shops in Jamaica). Painstakingly remastered by the great Gary Hobish, over a two-year period of time (there are no tapes, so everything had to be sourced from the best vinyl masters), the resultant vinyl release is a revelation: a must for rocksteady fans, a must for Derrick Morgan fans…an instant classic of the genre. Derrick Morgan was and is (he is still touring) one of the legends of rocksteady music. Bringing the sound from Jamaica internationally, Derrick Morgan had the style, the sound, the songs, the music. Legend has it that his look was the inspiration for The Two-Tone man, a brand made famous by The Specials and other later-period ska mavericks whose sound was inspired by Derrick Morgan.

12” paddling pool blue vinyl, is an edition of 500. CD Digifile. Following the runaway success of their critically acclaimed 2021 second album Contender, the question for fast-rising London four-piece Fightmilk was always going to be “what next?” With a tight indie-pop sound that defined their early recordings, the answer was obvious to a band who seem hellbent on the notion of evolve or die… The band originally formed in 2015 in a Brixton pub garden by Lily and Alex, who had both, separately, just been dumped and thought being in an angry punk band would cheer them up. Then they found Nick and Healey to hold the rhythm down and make them sound good. With three albums under their belt, they’ve perfected their chaotic, melodic brand of joy and rage-filled pop with full-throated yelling and sparkling guitar riffs as their trademark. They’ve graduated from angsty whippersnappers in their mid-twenties to overgrown teenage 30-somethings with mild ongoing back and shoulder pain. Their previous 2 albums Not With That Attitude (2018) & Contender (2021) marked them out as an ambitious and rising prospect, and now on their forthcoming new album No Souvenirs the band eschew their former Britpop ties and edge further into DIY punk and heavier rock influences to reveal a leaner, meaner, more abrasive side to their cathartic lo-fi anthems. Whilst collectively diving into their passion for Jimmy Eat World, frontwoman Lily Rae made a conscious decision to strengthen her “big loud yell” with influence from Alicia Bognanno (Bully), Nat Foster (Press Club), and Missy Dabice (Mannequin Pussy). “My voice is the biggest it’s ever been and I’m constantly thrilled when people are surprised at how loud I am, considering I’m so small in stature,” she grins. “Lyrically I always look to Bruce Springsteen for inspiration but I also really enjoyed the angsty candour of Sour by Olivia Rodrigo, and Kacey Musgraves’ impeccable one-liners.” There are a few genre experiments on the record—Yo La Tengo in ‘Paddling Pool’, ‘Canines’ is part The Strokes and part Neu!, and ‘Back From Tour’ was heavily influenced by long term friends Johnny Foreigner. “You could probably make a case for ‘Inferno’ having a bit of Counting Crows to it, but we were never writing to emulate,” explains guitarist Alex. “The references and touchstones just happened along the way. As far as we’re concerned, they just sound like Fightmilk - and that’s a really nice place to be nearly a decade in.” “That said, we’ve also been REALLY picky with the songs that made it onto the album - there’s probably an-other album’s worth of songs that didn’t feel right, even if we loved them. We got really good at finding the “magic thing” in each song that made it work.” Spilling over with candid lyrics about death, doomed love, and dog bites, framed by endless punk energy and the kind of full-throated riff-rock that sounds just at home in a giant stadium as it does in a sticky-floored toilet bar, No Souvenirs is a triumphant return from the band, who are equally enthused by the album. “I only realised after we put the songs together how personal to me this album was,” explains Lily. “Not just because I’m writing about extremely specific sitcom episodes in my life (getting fired from bridesmaid duty, being bitten on the arse by a dog, being relentlessly asked when I’m going to have kids), but because whilst we were making it, I turned 30. It’s a significant age for women, especially in music, because aside from being something called a ‘geriatric millennial’, there’s an unspoken rule that there’s a cut-off point for you to have ‘made it’ and after that you have to settle down and be normal.” For Lily, writing for the album also aligned with the 10th anniversary of the death of a close friend, with the resulting track ‘No Souvenirs’ lending its title to the album as a whole. “It had taken me that long to write about it in a way I felt ok with. But I realised that I couldn’t have written it before,” she explains. “I needed that distance, and that maturity, to be able to articulate those feelings. It feels to me now like the album is about scorched earth, moving on, taking nothing with you for the next ‘thing’ - and realising that getting older is a privilege.” Bringing a huge amount of energy and joy with them whenever and wherever they hit a stage, interacting with the audience is a vital part of the Fightmilk live experience. “Without people singing and dancing at us we wouldn’t have gigs at all, so we want everyone to get involved!” says Lily of the band’s future tour plans

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Entirely self-produced at Mood Hut Studios in Chinatown, Vancouver between 2022 and 2024, the album picks up where Opening the Door left off; the songwriting concise and refined, the voice front and centre on almost every song, the pensive mood irresistible and dense.

The apparently effortless melodic interplay of voice, guitar, synthesizers and bass that Jack is well known for is ever present but despite the clear-eyed harmonies and energetic rhythms there is a shadow that quietly haunts the album. The lyrical buoyancy of his early EPs and even some of the more explicitly sunburnt instrumental moments of his last record have continued to fade and peel like paint. Regret, remorse and melancholy are woven into almost every turn of phrase; the self-deprecating longing of Tracey Thorn and Sade Adu can be heard alongside the plaintive echos of Mark Hollis and Arthur Russell. The Mood Hut Records founder and NTS host digs deeper in all the directions that he only brushed upon on Opening the Door, creating a kaleidoscopic index of his omnivorous listening habits: from Underworld to Kate Bush, Disco Inferno to Bryan Ferry, Julian Cope to Arthur Verocai.

The LP will be released on Jack’s own Mood Hut Records on November 1st and will be followed by a live tour in the UK and Europe in November and December, featuring a string of dates opening for revered Los Angeles artist Jessica Pratt.
- Mood Hut Records, Vancouver

Produced by Jack Jutson at Mood Hut Studios, Chinatown Vancouver
Mixed by Jack Jutson and CZ Wang
Saxophone by Linda Fox
Strings on Falling Down a Well by Aiden Ayers
Bass on Down the Line by Diego Herrera
Additional synth on Red Cloud by Liam Butler
Artwork by Mela Melania + Jack Jutson






e A5. Pink Shoes Part I





Part II

Night On Earth records
is an independent structure/label created 20 years ago which deals with
the invisible and the deviant,
the void and the love,
the parallax and the unknown …
we release vinyls and tapes
we organise events
we are you and us
we are nothing and everything
we are oblivion and memory
we are your egotrip’s nightmare
we are your deviancy catharsis
meet us through this double LP which is one cartography of the night on earth vortex across 3 continents and several generations of music freaks and braincrackers

Some Artists missing there (there are too much : RINUS VAN ALEBEEK, SS MYLITTA, SOLAR SKELETONS, THE RADAR THREAT, ÂME DE BOUE, and.. RIPIT !

Recital presents a newly unearthed recording of an interview between Sun Ra and composer Charlie Morrow recorded at his New York studio in 1989. This voice-only recording develops more like a kaleidoscopic sermon than any standard interview.

Charlie Morrow recalls:
My 1989 Summer Solstice Celebration featured Sun Ra and his Arkestra. On March 29, 1989, ahead of this historical performance, Sun Ra came to New York to plan the performance and do an interview with me in the Charles Morrow Associates studio. There were members of the Sun Ra Arkestra, some of my team, and a photographer present. Once in the sound studio, Sun Ra wanted to record the discussion. What he says is so much more than anyone expected. I pushed record on the tape recorder, which quietly took it all in.

What Sun Ra recorded is a breathtaking expression of his feelings and strong convictions, illustrated with personal memories and stories. My few questions to him about the upcoming Solstice and about the sun and his thoughts about a dawn event triggered his mind. He launched into a nonstop journey of ricocheting stories and concepts, climaxing when I started jamming with Sun Ra on conch horn. Our duo drives to a climactic peak with explosive conch breath sounds giving line-by-line affirmations to Sun Ra’s points.

The 1989 Summer Solstice event brought together Sun Ra and his constellation of musicians and fans with my large-scale gatherings and work with the New Wilderness Foundation. Here in 2023 and beyond, the events live again. Sean McCann of Recital was drawn to Sun Ra’s words, which inspired the production of this edition. Sun Ra’s words seem to have an even greater resonance in present time. Ra is calling out the turbulence of the bad actions of the righteous and the good actions that an evil man, as he dubs himself, can perform, all the time believing that music has the possibility to bring all humans to a better place.

Charlie Morrow, 2023 / Helsinki, Finland

One-time pressing of 425 copies, includes 12-page booklet with rare photos and full transcription of interview, 24”x18” poster of Sun Ra 1989 Solstice performance photograph

Out of print for 15 years, Soul Jazz Records’ “Do It Yourself” features a host of postpunk, punk, punk funk/dance and electronic experimentation from UK bands in
the late 70s and 80s that all arrived in the aftermath of punk. As well as loads of
great music, the album also charts the rise of the independent music industry in
Britain that similarly thrived during this time.
Featuring classic groups such as The Buzzcocks, A Certain Ratio, The Fire Engines,
Glaxo Babies and a host of lesser known, rare and obscure tracks and artists, this
new 2024 edition comes as a limited edition special coloured version double vinyl
pressing, complete with deluxe gatefold sleeve with two unique inner sleeves.
This fully remastered album comes with extensive sleevenotes and photography
as well as interviews with key behind-the-scene players – including studios,
cutting rooms, print works – that together bring a fantastic insight into the DIY
music and culture of this period and the explosion in the independent music
industry after punk.

For the fifth release of Forever Now, Dave Saved presents:

“Versions Vol. 1”, a 45-minute freeform-morphing drifters mixtape.

The mixtape is crafted from original materials and a mix of found, stolen, and accidental samples, creating a fantasy broadcast that shifts between themes and moods. It seeks to explore and expose a range of influences, acting as a sonic diary that spans years of archival inspiration. Past and present morphing in a kaleidoscopic now.

Dusty, rusty textures blend with silky moments and rhythmic interludes, interspersed with fragments from unknown old cassette mixtapes, field recordings, and obscure YouTube clips.

Multi Culti World Records venture deeper into the new new age with the release of 'Ocean of Beauty - Meditations for Synthesizer and Bansuri Flute,' a collaboration between California-based artist/DJ Earthtones and Indian classical musician Sheela Bringi. Earthtones, fresh off his genre-defying debut album on Wonderwheel, here dives into the deep end of the ocean of ambient. With music that traverses cultures,he’s known for bridging influences from Cumbia to hip hop and house music. Here he presents his most consciousness-expanding work yet, no doubt influenced by his involvement in Ojai new age culture,years living in ashrams, practicing Shaktism,+ spending as much time curating sounds suitable foraural healing and meditation as for dance-floors. He’s found a perfect muse in Boulder-based Sheela Bringi, whose virtuosity in Indian classical music sets the tone of the record with her bansuri (Indianbamboo flute) & harp, blending traditional instrumentation with more contemporary influences. Bringi was a direct disciple of bansuri master GSSachdev, and represents a devotional musical lineage. She has released two solo albums, 'Shakti Sutra' and 'Incantations,' and her work has been featured on over 50 world and ambient records, plus publicly on outlets from NPR to NBC News, & more. 'Ocean of Beauty' is the English translation of an ancient Sanskrit text devoted to the divine mother, the Sri Saundarya Lahari, The song titles are taken from verses in that text, and the album is in fact a dedication to the goddess Lalita Devi. It creates a serene, meditative space which seamlessly blends traditions; synth-driven ragas with a spirit of tranquility that nurtures Multi Culti’s philosophical bent towards ‘music without borders.’

Lennon & McCartney. Simon & Garfunkel. Ralf & Florian. Enema & GeJonte. The inventors of modern pop music as we know it. Joining forces in 1988, Orebro duo Kai Parviainen and Jonas Ohlsson put out four cassettes and a split album with Frak under the Enema & GeJonte guise, all teeming with clever and funny electronic pop songs. The sound? Imagine Duet Emmo jamming out with the Residents on a wheat field on Narkeslatten. Or picture early Severed Heads covering lost Philemon Arthur & The Dung tapes. Kai pushes his Sequential Circuits Pro-One synthesizer to its limits while Jonas makes discerning observations on everyday life in a Swedish small town. Mostly sung in Swedish, sometimes in English, but always with a touch of sweet naivety and innocence on par with lo-fi punk/pop geniuses Dan Treacy and Daniel Johnston. Typical song subjects: A friendly game of five-a-side football. The joy of rising at the crack of dawn to get on with the tasks of the day. A bus journey to Odensbacken to savour a semla at a local cafe and some small talk with the gas station manager. All delivered with a playfulness and ecstasy more commonly found on the records with Swedish Christian music Kai so devotedly collects than in contemporary industrial or electronic music. When Jonas moved to Amsterdam in 1996 the boys ceased making music together, leaving behind a treasure trove of unreleased material, some of which appeared on a couple of cassettes in the 00's. But the best stuff has remained buried until now. How dada pop gems like ''Joxa med trasan'' and ''Underground'' could dwell in obscurity for thirty-ish years beggars belief. Other standout tracks on this compilation: ''Plan 714 till NYC'', a wonderful waltz time instrumental performed in the vein of a drunken Bob Hund, and the En Halvkokt I Folie style cut up experiments of ''Gasten Harry''. So get ready for a glorious blast from the past, as the Swedish pioneers of the hypnotic groove cordially invite you to a sonic journey as adventurous and memorable as a trip on the lansbuss to Odensbacken. Get on board, grab a seat and enjoy the ride. Liverpool. New York City. Dusseldorf. Orebro. // Ulf Osterstrom

*Includes download code

In the performance of this work, "Plan for Sleep" (1986), created simultaneously with “Every Dog Has His Day” (1985), Yamanaka took on the role of sound operation. The performance begins with a minimal piece where the tones of the electronic organ and striking phrases from the piano and saxophone race forward in syncopation. Following this, various sound fragments drift over a deafening industrial beat reminiscent of machine noises. There are also pieces that transform the typing sounds of a typewriter into rhythm, showcasing a range of experiments inspired by the then-novel sampling technology, beautifully intertwining with the physicality of the performance.

Additionally, influenced significantly by film music, Yamanaka incorporates a rich tapestry of colors through melancholic melodies that evoke various scenes, from secular jazz to other influences. This work constructs a uniquely original and sophisticated worldview that stands out even when surveying the canon of avant-garde performance art from around the globe in the postmodern era.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

*Includes download code

The two works which comprise this retrospective release project - "Plan for Sleep” (1984) and "Every Dog Has His Day” (1985) - are collaborations between Yamanaka and Furuhashi which were foundational to the music development of Dumb Type's aural legacy and intermedia innovations at large. Their early stage music possessed a unique charm and innovation, serving as an essential element at the core of their art. Through this project, the legacy of these works is to be re-evaluated, and the essence of the music contributing to the evolution of Dumb Type's sound through this day will be introduced to a new generation.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

When the quartet of Luke Martin, Gabriel Salomon, Klaus Janek and Andy Graydon gathered to record an afternoon of sessions in Andy's studio, it was both the result of years of cultivation and an afterthought. Klaus and Andy had been long-time, and now long-distance, collaborators since their shared years in Berlin. That city was also where Andy was introduced to Gabriel at one of his solo performances by their mutual friend, the painter Paul McDevitt. Years passed, and cities. After meeting and working together in Boston, Luke and Andy both found themselves transplanted to Minneapolis. And by happenstance Gabriel arrived a few years later. A new conversation was just starting to emerge when Klaus announced his arrival, stopping by on a North American tour. Suddenly the four got a chance to listen and play together performing on a bill at a local gallery, in one configuration or another, for the first time. Packing up after that show, Klaus leaned over to ask, "isn't there a moment we could meet again, to play?"

Nothing was expected, and so anything was possible. The circumstances lent their gathering an impromptu but grounded feeling, a unique mix of chance encounter and reunion. As befits an opening encounter, the focus was as often on listening to the unfolding sonic conversation as it was on making a recording. Everyone seemed to intuit the direction despite not knowing where they were headed. The four faced each other in a loose circle surrounded by speakers and microphones pointed haphazardly, as likely to catch the dog padding around curiously as the bowing of strings or rattling of a cymbal. The permissive spirit of the day was declared early, just before rolling, when Gabriel asked if we should close the studio windows or leave them open. "You know what my answer is," replied Luke. If it's in the nature of a recording to become fixed, to be bottled up, let us at least leave open the windows to hear what might be coming next.

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Recorded at the Studio Acousti, Paris, September 23, 1965.

Original LP issue: International Polydor Production – 46.871.

This self-titled album is a testimony of the short lived-band led by New-York drummer Ron Jefferson during his stay in Paris in the mid-60s. After a first album under his name on Pacific Jazz in 1962, the founding member of The Jazz Modes and the Les McCann trio made the trip overseas.

Here, he made his living by playing with the popular pianists Errol Parker or Hazel Scott but his main drive was this trio that he formed with two other US expats, bassist Roland Haynes (the same musician who recorded an album on Black Jazz as a pianist, as confirmed by Kirk Lightsey) and guitarist Buz Saviano. After a highly successful show at ‘Palais de Chaillot’ in 1965, they were invited for a series of concerts in Dakar Sénégal. On their return, Polydor International proposed them this session. You can hear the deep impact their stay in the Motherland had on their music on the stand-out track ‘Africa the Beautiful’. On pair with the best of Yusef Lateef’s afro-eastern explorations from the time, it showcases Ron on flute and Senegalese percussion. The album release nonetheless was a commercial failure that prompted the band’s separation and Ron’s return to New-York where he performed until his passing in 2007.

Only a few copies of this record ever made it to the shops at the time and very few have had the chance to listen to it before this legit reissue remastered from the original MONO master tapes.

– Antoine Rajon –

Ron Jefferson (Drums & Flute)
Buz Saviano (Guitar)
Roland Haynes (Bass)
Jackie Robinson (Vocal on The Speaker)

In the heart of Offenbach, where the city's pulse synchronizes with the beat of the night, stands the illustrious Robert Johnson Club. For a quarter of a century, it has stood as a bastion of sonic exploration, a sanctuary for those who seek solace in the rhythm, and a beacon of inspiration for the global electronic music community. As it proudly raises its glass to toast 25 years of unrivaled musical excellence, the echoes of countless memories reverberate through its storied halls. To honor this landmark anniversary, „Live at Robert Johnson“ presents a kinda like masters blueprint of sound: "Tell Me Something Good - 25 Years of Famous When Dead!" This compilation, aptly named after the club's mantra, serves not only as a celebration of its rich history but also as a testament to the enduring legacy of the artists who have graced its stage. Crafted with meticulous attention to detail, each track on the compilation is a sonic journey unto itself—a symphony of beats and melodies that weave together to tell the story of Robert Johnson's evolution over the past quarter-century. From the pulsating rhythms of underground techno to the ethereal melodies of deep house, the compilation encapsulates the club's eclectic spirit and unwavering commitment to pushing the boundaries of electronic music. But beyond the music lies something deeper—an intangible energy that permeates every aspect of Robert Johnson's existence. It's the sense of camaraderie that binds together the club's patrons and artists alike, the shared experience of losing oneself in the music, and the profound sense of belonging that transcends language and culture. As the compilation reverberates through the speakers, it serves as a rallying cry—a call to arms for all who have ever felt the transformative power of music. It's a reminder that, even in the darkest of times, there is beauty to be found in the simple act of coming together and losing oneself in the rhythm of the night. So let us raise our voices in celebration of Robert Johnson Club and the indelible mark it has left on the world of electronic music. Here's to 25 years of passion, of creativity, and of "something good" that will echo through the ages for generations to come.

In the eternal city of Rome, where the whispers of cryptic ecclesiastical hierarchies still linger, FELDSPAR emerges as a musical enigma, delving into the shadows to unravel, with a certain dose of irony and creativity, the clandestine threads of power. Named after a mineral purportedly worn by a covert Roman clergy, this entity consists of six eclectic souls working tirelessly to expose the elusive puppeteers who have shaped the lives of millions of people since the beginning of time. Formed in late 2023 and based just a stone's throw from the Vatican, the Godless folk two blocks from the Pope, FELDSPAR's journey begins with the legendary Andrew Mecoli, founder of the iconic Growing Concern, Mecoli's guitar riffs echo the peculiar spirit of Italian hardcore. Joining him is Stefano Casanica, a prolific songwriter and producer, whose musical odyssey spans decades with undertakings in Undertakers, Craiving, Crude, and collaborations that transcend genres. Casanica's production magic is immortalized in Noyz Narcos cult classic 'Non dormire', a cornerstone of Italian hardcore rap with millions of streamings so far. Old City, New Ruins," the debut album of Feldspar, takes its title from Rome, the city where the band is based. It depicts the contemporary ruins of the capital, yet it's merely a pretext to expose the complexities of everyday life common to Western societies and their major cities, foremost among them.

Belgian independent label De:tuned, founded by Ruben Boons and Bert Hermans, celebrates its 50th release with the long-awaited 10-track studio album 'Analog Days' by Swedish electronic music pioneer Robert Leiner. During the first years of De:tuned, Robert Leiner (aka The Source Experience) played a vital part in kick-starting the label. He also graced the De:tuned parties with his outstanding dj sets and captivating live acts.

Continuing the label's 15th anniversary celebrations, De:tuned and Robert Leiner mark the occasion with an extraordinary collection of mostly hardware productions recorded between 2005 and 2015. These diverse jams have now been mixed and completed for this momentous milestone. On offer a unique interplay of rhythmic movement and soothing sounds, each presenting Robert's distinct characteristics. Enjoy the trip. It has always been there, you just have to discover it!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Belgian independent label De:tuned, founded by Ruben Boons and Bert Hermans, celebrates its 50th release with the long-awaited 10-track studio album 'Analog Days' by Swedish electronic music pioneer Robert Leiner. During the first years of De:tuned, Robert Leiner (aka The Source Experience) played a vital part in kick-starting the label. He also graced the De:tuned parties with his outstanding dj sets and captivating live acts.

Continuing the label's 15th anniversary celebrations, De:tuned and Robert Leiner mark the occasion with an extraordinary collection of mostly hardware productions recorded between 2005 and 2015. These diverse jams have now been mixed and completed for this momentous milestone. On offer a unique interplay of rhythmic movement and soothing sounds, each presenting Robert's distinct characteristics. Enjoy the trip. It has always been there, you just have to discover it!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

TCF Music Group founder and Rochester's own 38 Spesh is back with his brand new offering, 'Gunsmoke', featuring 9 bangers with guest appearances by the late great Fred The Godson (RIP), Ransom, Flee Lord, Che Noir and Klass Murda, as well as productions by Harry Fraud, Rain 910, Tricky Trippz and 38 Spesh himself, all topped up with outstanding artwork by Laz.

The Boysnoize Records catalogue contains more than a decade of milestones in the life of Angeleno DJ and producer PILO. His signatures—a focus on sound design, and a digital crunch evocative of hardware rather than software—are present from the very beginning, but the evolution of Pilo’s skill and sophistication is clear as he stretches from electro to experimental to techno and back again in a slowly oscillating gradient. Yet despite his dozen or so releases in just as many years, G.L.A.M. (dropping November 8th, 2024 from BNR) is Pilo’s first proper album. That the record embraces the cyclical nature of time is apropos; the artist’s journey towards self-actualized mastery always ends with a new beginning.



Over the eight tracks of G.L.A.M., Pilo reaches deep into the dream that first ignited the passion that has driven him since. For a chosen few internet-connected American teens in the aughts, the sounds of European electro (and electroclash) trickled down their ethernet cables and instilled a fantasy of exotic, sartorial, sexually-fluid hedonism that felt a world away from the hard-edged masculinity of the hip-hop and skate cultures dominant at home. Pilo opens G.L.A.M. expressing this idealized fantasy with the track “Superstar DJ,” channeling the tongue-in-cheek self-celebritizing of Miss Kitten and The Hacker’s seminal work. “I’m a superstar, come meet me at the bar,” hiss Pilo’s heavily effected vocals, over a bassline of chopped mentasm synths driven by a swift, club-ready rhythm. The fingerprint of 2000’s electro a la International Deejay Gigolo Records is recognizably present, yet Pilo is too adept, too confident in his studio abilities to let his tracks rely on the retro. A great joy of this album is the future-facing richness of its production, always nodding to its spiritual guide of the past, while constantly breaking new sonic ground.



G.L.A.M. continues with “Girls Rule The World,” its vicious, droning bassline and sticky, titular hook making it the perfect electroclash soundtrack for a revenge plot on an ex-boyfriend. “What you Want” offers an instrumental exercise in “synthesizers are the new guitars,” and Pilo’s FX chops really shine as he warps and distorts his sounds into an undiscovered dimension existing somewhere between both. “Loverboy” enters the more melodic, Legowelt-inspired realm of electro, pushing above and beyond the foundation of analogue minimalism with flourishes of impressive sound design to construct something both climactic and cathartic. Scopa lends her perfect coldwave sprechgesang to titular track “G.L.A.M.,” with Pilo’s vocal processing offering surprises throughout and his FX chains wielded as instruments unto themselves.



On the track “A Slow Thinning Halo,” Pilo might be conjuring the haunting vocal chops and chiptune simplicity of early Crystal Castles, but the whiplash snap of his drums and sizzling production are all his own. “Spend the Night” is G.L.A.M.’s least nostalgic—and most unashamedly pop—offering, with the mic being passed between Sana and DEEVIOUS (previously featured on Pilo and Boys Noize’s 2023 track “Pvssy.”) DEEVIOUS’ sultry singing rides atop the bassline as it hypnotically struts across the floor, while Pilo’s skillful arrangement, deft rhythm programming, and atmospheric control elevate the songcraft into full-spectrum worldbuilding.



As the penultimate track, the contemporaneity of “Spend the Night” serves as transition away from the album’s previous, past-leaning exercises, allowing Pilo to step fully into the future with “One Last Embrace.” The closing track still references aughts sounds, but it borrows so widely and prolifically that Pilo’s reassemblage can only be described as singular. Here, Pilo pushes his engineering into psychoacoustic territory, as the eerie, beautiful melancholy of “One Last Embrace” explodes into a thrashing bassline that warbles like a drowning memory, struggling against the sinking weight of time. Pilo allows it to survive for 16 electrifying, gut-wrenching bars before letting go. In G.L.A.M., as in Pilo’s career, as in life, every ending can only be a new beginning.

‘Trust The Stars’ is the brilliant new album by Chicago-based The O’My’s that comes via HiyaSelf Recordings – the label founded by legendary DJ & producer Nightmares On Wax.

Comprising of Chicago natives Nick Hennessey and Maceo Vidal-Haymes – the duo channel their experiences into gritty, genre-bending music that grabs listeners with its sound & forms a rich palette of sonic influences through soul, hip-hop, lo-fi, alt-R&B, jazz & washed-out psychedelia.

Having worked with some of the biggest names in the industry, including Chance the Rapper, Noname, Saba, and Mick Jenkins, the new album is no different - featuring a host of esteemed collaborations including tracks with Children of Zeus’ Konny Kon; the incredible poet & singer Jamila Woods, fast becoming a leading light in the alt-R&B & neo-soul scenes; and the Pitchfork championed Southern rapper Pink Siifu.

Born out of a period of experimentation and endless creation, the forthcoming album explores themes of love, loss, and personal rediscovery, with a maturity and depth that reflects the duo's years of experience.

Where would a painter paint if it were not on a white canvas? Where would a composer compose if it were not on the stave and the spaces in between the lines? How would a musician play his instrument if there were no melodies composed, written down, painted for him to follow?

The magic of art needs a frame, a somewhat solid container to hold the freedom that can only be found once we integrate some form of structure. And that also holds in every other area of life. We all need a frame, a structure, a rhythm, or else, we fall apart. This human form needs the body, and yet it transcends the limitations of the body - through art.

Consistency being one of them seems oftentimes less tangible, for it resides more in the act of doing, and showing up for the practice, for devoting energy and presence. Strangely, if we consistently show up for our practice, regardless of its form, the solid frame of the hour we devote to playing the instrument, learning a language, doing the sport, sitting silently for that meditation: It feels different every single time. It feels new every single time.

The repetitive consistency in being present again and again allows for nothing short of magic to happen. Magic feeds consistency. Consistency feeds magic. Consistency sets a foundation that strengthens over time. It allows us to slowly but surely develop any kind of skill, to find and hence to embody expertise. On the fertile grounds of such a solid foundation, creativity fosters, and innovation blossoms.

Establishing consistent rituals and routines can bring a sense of comfort and safety into every-day-life. For routine beholds repetition and its frame enables our experience within to change. In the familiar, we dare to explore, maybe even experiment, merely because a part of us remembers we depart from, and always return to, a safe space. We do not get lost. We do not fall apart. As we practice, again and again, we build resilience in overcoming obstacles or literally persevering through challenging situations and stretches of time.

While consistency gifts steadiness and stability, its overdose risks to result in what may appear as uniformity. It feels like constantly - consistently - dancing on the fine line of freedom within a structure. Life is filled with unexpected twists and turns, adjustments need to be made to accommodate change and avoid rigidity. By striking a balance between consistency and flexibility, we can create harmony in our lives, just like a beautiful melody that flows smoothly from one note to the next.

Within the magical waves of music, skills are needed, too. Consistency is key to show up and do the work. It frames the freedom of magic that resides beyond and only beyond effort. Learning to play an instrument, learning to sing, does never happen within the blink of the eye. It takes time. Time to show up for the practice, to do precisely that: practice. Again and again, every single time, again and again. Precision feeds perfection that falls apart inside the structure of a song, a line, a rhythm, dissolving into magic.

Consistency in practicing, in composing and sharing music with the world regardless of the form allows any musician to refine his style, to carve out his uniqueness. For any artistic expression is, after all: Unique. And this uniqueness is born inside the vessel of any structure, over and over again. Sharing music in the form of new releases and public performances nourishes the bond between artist and audience. And for that to unfold, both parties need to show up - while the underlying beat of this never-ending practice is presence fuelled by consistency.

"Pet Sematary" is UNDERTAKERS' first release since the compilation "Dictatorial Democracy", issued in 2020 via Time To Kill Records. "Dictatorial Democracy" features a few brand new songs, old classics from the band's back catalogue and a couple of acclaimed cover songs: "Fascist Pig", originally by Suicidal Tendencies, and "Ripetutamente" by Neapolitan band 99 Posse. The most controversial and underdog italian band combo since 1993 The New Wave Of Black Heavy Metal Oi! has its undisputed progenitor, the legendary Paul Di'Anno. Plakkaggio pay a tribute to the Founding Father by regenerating the furthest thing from their musical proposition: Pull Me Under by Dream Theater, to definitively break down genre fences, celebrating the return of Mike Portn'Oi!

arottenbit is an electronic music project born in 2008 by Alessandro 'Otto' Galli (FOH Sound Engineer for Messa, Deafheaven, Pallbearer, Truckfighters, Bongzilla, Fuoco Fatuo). Playing solo with a 1989 NINTENDO GAME BOY or accompanied by hardcore punk drummer Guido Montanarini (PARADISE LOST, IMPLORE, THE SECRET), he soon found himself opening for some of his favorite bands like MELVINS, ATARI TEENAGE RIOT, THE BODY, MELT BANANA, AUTHOR & PUNISHER, FULL OF HELL and performing at major international festivals like ROADBURN 2022, HELLFEST 2022. "You Don't Know What Chiptune Is" is a bold exploration of the chiptune genre, pushing the boundaries of 8-bit music with an experimental and innovative approach. Each track on the album is a unique specimen, meticulously crafted to showcase the versatility and depth of chiptune sounds. The album is characterized by its inventive use of 8-bit sound chips, evoking the essence of vintage gaming consoles like Game Boy. arottenbit skillfully manipulates these sounds to create a wide range of textures and atmospheres. The lo-fi, raw quality of the 8-bit era is preserved, while contemporary production techniques enhance the overall listening experience.

Captured Tracks brings listeners the demos of Mac DeMarco's latest mini LP, Another One, as a limited Record Store Day Release,! Over the past few years we have watched Mac develop from a cult artist, to a standout figure amongst the realm of the indie mainstream. From bedroom sessions to a string of critical accolades, high sales, and sold out tours all over the world, Mac stands as a true role-model for the young musician tinkering with their 4-track tape recorder in a suburban bedroom - a sincere example of humble beginnings, and honest hard-earned acclaim. These recordings give an intimate view into the world of Mac DeMarco like never before, taking listeners back to the roots of Mac's writing and recording straight from his own bedroom izz-Jazz' studios. Filled with lofi fuzz built upon foundations of infectious pop melodies, this collection of songs showcases Mac DeMarco in his truest form. This 16-song LP, as opposed to the 8 songs available on Another One, is sure to have both dedicated and casual Mac collectors alike lining up outside of their local record stores to pick up this truly special release.

We are proud to present “Shores Of Acheron”, an opus of the technical death and melodic black metal band Kharon, and a product from experienced musicians with roots in the Norwegian early 90’s extreme metal scene including artists from bands as Mork, Dauden, Infernal, Skjoge and Ragnarok. Kharon hails from the town Sarpsborg, Norway, and was basically founded already in 1989 by guitarist Rigor and bass-player Kull, but was originally formed under the name of Padox, and later re-named as Immortal Enemy and Potency. In 1992 the official and current band-name Kharon was established, when Thyme aka General Hymer joined the band. In 2001 they recorded their first 3 song-demo “The Fullmoon Curse” at Haunted House Studio, followed up two years later with their first official release: the EP “Raised By Hellish Demons”, which also marked the end of the first era of Kharon. Until the plague struck and 20 years later Kharon resurfaced under the banner of Hellstain Productions, recording brand-new material with vocalist Malignant. The band's debut album “Shores Of Acheron” is finally unveiled, and constitutes Kharon's journey through more than 30 years of Norwegian extreme metal music history. It contains remixed and remastered tracks of “The Fullmoon Curse” and “Raised By Hellish Demons”, finalized with the new material. Vinyl: gold & red edition.

Beyond the Valley of the Murderdolls is the debut studio album by American horror punk supergroup Murderdolls. It was released in 2002. The album reached number 40 on the UK Albums Chart, and sold over 100,000 copies in the U.S.

Murderdolls are a side project for Slipknot drummer Joey Jordison and Static-X guitarist Tripp Eisen.

The music on the album is fast and macabre, stuck in a time warp that hurtles them backwards to the decayed sounds of the '80s. Call it gutter-punk, glam rock, or hair metal, every style is displayed here in its despondent glory, bearing close comparisons to shock-punkers the Misfits. The Murderdolls draw inspiration from movies such as Friday the 13th, Night of the Living Dead, and Phantasm. The 15 tracks found here are full of tongue-in-cheek horror clichés.

Beyond the Valley of the Murderdolls is now available on black vinyl and contains a 6 panel insert.

Born Xavier Amin Dphrepaulezz, by now much has been made of Fantastic Negrito's own unique story--his early years growing up in an orthodox Muslim household, the doomed major label deal that turned him off of the music industry altogether, the near-fatal car crash that permanently damaged his guitar playing hand--as well as the remarkable redemption arc that began in 2015, when he won the first ever NPR Tiny Desk Contest. In the years that followed, Negrito would go on to take home three consecutive GRAMMY Awards for Best Contemporary Blues Album, tour with everyone from Sturgill Simpson to Chris Cornell to Bruce Springsteen, collaborate in the studio with the likes of Sting and E-40, launch his own Storefront Records label, perform at Lollapalooza, WOMAD, Glastonbury, Newport Folk, Byron Bay Blues, and nearly every other major festival on the map, and found the Revolution Plantation, an urban farm aimed at youth education and empowerment. Son of a Broken Man sees Fantastic Negrito encapsulating the inimitable elements of his celebrated body of work to date, from hard-hitting distorted guitar riffs to melodic and expressive ballads, all fueled by the unexpected twists that have become his trademark. The album stands as perhaps Fantastic Negrito's most personal thus far, exploring family, deception, and the human desire to hide the true self as he dives deep into one of the oldest conflicts in human history, the struggle between father and son. Beginning at a young age, Negrito was served untruths by his father. A made-up last name, a fabricated ancestry, and a fake Somali accent. Why lie? Why create this false narrative? Those are the questions Negrito had to ask himself and the questions that lie at the heart of Son of a Broken Man.

One Way Trip to Gaia, Alberta Balsam's debut album, propels listeners into uncharted territory, delivering a futuristic fairytale--a utopian world that serves as a sonic refuge from reality. Building on the electro-IDM foundations of her earlier releases , this record evolves into an odyssey of bass-driven beats, breakbeat rhythms, and dub-infused atmospheres. As her most vocal project to date, the album showcases her ability to merge pop sensibility with otherworldly sound design, all while maintaining that club-ready energy. Limited edition: pressed on a black and silver marbled vinyl. Sleeve design by Timaeus

Warehouse find

We've been doing some housekeeping and found this first release on the Soco Audio label hidden deep in our warehouse.

It is the work of Hakan Lidbo and was first related in 2001. It opens with the 'Sinful Sadie' title track which is drenched in loved-up synth warmth and has a steamy female vocal coo floating above the shimmering deep house beats. 'Kung Pa Klubben' has more twisted synths and a vocoder vocal that brings a futuristic vibe and 'Scrubber' then closes out with some tight and percussive tech funk that still sounds as good now as ever.

Mysterious, multifaceted collective i Häxa have unveiled their epic self-titled, full length debut; a ground-breaking conceptual double album shaped by a collision of ancient gods and bleeding-edge technology_ Released as four distinct Parts over the course of the year, `i Häxa' now comes together as a singular vision that weaves together genre-defiant soundscapes, abstract cinema and ancient meteorological mythologies from singer-songwriter and visual artist Rebecca Need-Menear (also of electronic alt-rock duo Anavae) and forward-thinking producer Peter Miles (Architects, Dodie, Fizz). i Häxa is a ritualistic dissection of the world as we know it, a forceful separation of the monotony of modernity from the rites and rituals that for centuries formed the foundations for who we are, how we came to be and where we claim to belong. Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. Whilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn't an easy feat and, as is now clear from the project's sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. With aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making that draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all. Check out if you like Radiohead, Julie Christmas, Agnes Obel, Bjork, Fever Ray, Massive Attack, Dead Can Dance, Emma Ruth Rundle, Jenny Hval, Cult of Luna, Eivor, Zola Jesus, Marissa Nadler, Soft Moon

After winning three leading Belgian music awards with Humo's Rock Rally, De Nieuwe Lichting and Sound Track, girl band BLUAI is expanding its horizons. On their debut album Save It For Later, the trio leaves for a road trip through the sonorous areas populated by the likes of Big Thief, Pinegrove, Haim, and Alabama Shakes.
Save It For Later is a record not unlike a Polaroid picture. Belgian songwriter Catherine Smet captures the memories of her youth in lyrics with a perfume of Americana, country pop, and indie folk. The stories areset in her native Flanders, but close your eyes, and galloping horses on a ranch in Mississippi form the backdrop of BLUAI's debut album.

Catherine Smet (vocals, guitar), Mo Govaerts (drums), and Caitlin Talbut (bass) joined forces with producer Willem Ardui (blackwave.) for this record. BLUAI's instrumentation was expanded with banjo, twelve-string guitar, and lap steel. Engineer Tobie Speleman received 'Nashville tuning' as a briefing. BLUAI thus shifts the focus from indie rock to Americana and breaks open the band's frame of reference, with influences ranging from Maggie Rogers to Alabama Shakes to The Japanese House.

Save It For Later is the creation of a group that came together two years after the formation of BLUAI, found a common drive, and is now cruising at full speed. BLUAI is here to stay.

Comic relief serves as a refreshing element that lightens up a tense or tragic situation. It creates a moment of contrast and distraction from the seriousness of the scene. This pattern can also be found in literature and film, in humorous characters like Chandler from the sitcom Friends. Especially in difficult times like these, we all occasionally long for comic relief. With his new EP, David Bay tries to create exactly such a moment of escape.

The songs on the EP unite an organic yet modern approach to indie, disco, and house music. David combines the two worlds he is rooted in: growing up in an indie band and, at the same time, running a disco-house label. After two edit EPs and a collection of singles with classic instrumentation and songwriting, this release brings everything together – music that sounds distinctly indie, but with a pulsating house beat.

Next to the four originals on the A-side, each track was remixed and is to be heard on the B-side of this vinyl: 80ies-influenced and well-known producer Lauer contributed his version of disco-gem „1999“, up and coming Dj- and producer Marie Lung flipped the indie-disco track „strangers“ into a deep and housy groover - Electro-legends Digitalism turned the dance-floor-ballad „<3 beat“ into a French-House belter and Dylan C. Greene hailing all the way from San Francisco remixed „dancing on the edge“. Out now on vinyl, only on Zissou Records.

Endeavoring to raise the bar for underground heavy bands, Spike Shavor, founding member of grindcore
legends Catheter, birthed Dust Lord in the mountains of Colorado Springs, sworn to make the loudest
and heaviest music possible.

Matter-of-factly, Lycox exclaims "Yaaahh" right at the beginning. That's an affirmation but in times of distress it can also mean resignation, something like "Yeah, whatever". Lycox says he was only freestyling though. Then the bassline appears. Elastic, expressive, full-bodied. And it's not even present the whole time. He was "trying to develop a new formula for the Kuduro beat."

Songs for the club? Most certainly. Different sensibilities, one same focused mind. Lycox evolves within tradition, he has mastered the groove, the ambience, the right tones. Simply called "Energia", the last track circles above wistfully, menacing but maybe just promising some sort of action. With a few drops one could almost switch over to a parallel universe of old school Trance, a reference that feels as alien here as maybe this track feels to someone for whom the standard Afro House sound represents modern African music.

These songs pile up in a threshold balanced between styles, sensations, maybe in the middle of life itself. Such a concentration of energy is bound to need release and that comes figuratively through details in the music reaching out to receptive ears. "To Bem Loko" explicitly tries to "literally drive everyone crazy on the dancefloor." Once again Lycox provides vocals, as in "Edson no Uige", about a friend who embarked on a trip to the Angolan province of Uige and came back speaking only the local dialect known as lingala. A nod to tradition, very emotional, without compromising complex arrangements. Consequently, we the listeners are kept believing there is still enough space for a bright future. To ears accustomed to Lycox productions the title "Contemporaneo" (opening of side B) reads like a redundancy, then.

Maybe this music can never be quite as massive as other Afro styles. Without sounding pretentious, it avoids simplistic patterns, it demands a bit more mental processing while it certainly aims to loosen the limbs. Universal in vocation, underground at the core, Lycox definitely calls it Batida but for some it is still Ghetto Music. Like DJ Veiga said when describing a previous release for Príncipe, Ghetto is home, though. Lycox adds it is a foundation of personality. "Few in our community will recognize your work when you come from the same environment, but once you establish your reputation outside of the neighbourhood and even outside of the country, people will look at you differently, as if you were a star."

"L'œil De La Tigresse" by Delphine Dora & Anaïs Tuerlinckx presents six different sonic explorations of hidden aspects of perception and past experiences. Song titles that conjures images of freedom and exploration in untamed spaces. A raw experience that explores jazz and free improvisation, the contrast between tranquility and underlying longing.

Released under the Possible Motive label the album features six pieces that explore sound and identity.

Anaïs Tuerlinckx, a pianist and sound artist from Brussels, is involved in the Berlin improvised music scene. Her performances blend intensity with open spaces, achieved through her play on the piano and found objects, including a string box that adds depth to her sound.

Delphine Dora is a French musician and composer known for her work with keyboard instruments and field recordings. Her performances, often improvised, showcase her voice alongside various instruments, creating a rich blend of sounds. Over 15 years, she has developed a unique musical universe that crosses genres and languages, exploring themes of identity and the sacred. A prolific artist, she has participated in over thirty recordings and founded the Wild Silence label.

TexiCali, the new album from Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore, continues to bridge the distance between the two troubadours’ respective home bases of California (Alvin) and Texas (Gilmore). The geographic theme reflects Alvin’s repeated journeys to record in Central Texas with Gilmore and the Austin-based backing band that has toured with the duo for the past few years. As Alvin puts it in the liner notes, those road trips informed the music they made on TexiCali. The 11 songs on this double LP also connect their shared fondness for a broad range of American music forms. Gilmore is primarily known for left-of-center country music, while Alvin’s compass points largely toward old-school blues. But there’s a lot of ground to cover beyond those foundations, and both artists also are well-known for transcending genre limitations. So it’s not surprising that they’ve spiked TexiCali with cosmic folk narratives, deep R&B grooves and even swinging reggae rhythms.

Porno For Pyros exploded out of the ashes of Lollapalooza founders Jane's Addiction's ashes. Featuring two of the founding members of Jane's, Porno went on to create bombastic alternative rock that defined the sound of the 90s. This is the first ever greatest hits collection from the band, who just reunited for a brief tour in 2024 for the first time in ages. Pressed on multi-coloured vinyl and featuring brand new art, it also includes a brand new remix of "Pets" by Daniel Avery, and three brand new recordings - "Fingernail," "Little Me" and "Agua."

"No Input" is the debut eponymous EP by the electronic duo composed by the Palestinian modular synthesis artist Karim Atari, and the Italian electronic music producer and co-founder of Abu Recordings, boyjayne.

The 20-minute EP features an eclectic mix of acid, electro and downtempo dub techno inspired by the likes of Drexciya, Filmmaker, and E.R.P. With this EP, No Input sought out to make distinctive high-energy tracks for the dance floor. Their approach combines modular synthesis and sample manipulation techniques, creating a sound that is at once reminiscent of classic techno and electro and unpredictable in its novel reinterpretation.

Water ripples all around, and echoing sounds stretch out into a shady sub aquatic habitat. Its dark corners slowly burst into view as cresting noises reveal fresh caverns teeming with liquid life. This is Sueños acuáticos, the latest sonic exploration from Lamina, a musical project by French artist, Clarice Calvo-Pinsolle. Built from years of carefully gathered field recordings, the album constructs immersive, detailed soundscapes where watery environments, caves, and forests intertwine with digital manipulations.

Rooted in the myth of the ‘Lamina’, a creature from Basque folklore, the project blends this oral tradition with technology to build a geological myth. The Lamina’s world—a nocturnal ecosystem of water and stone—serves as the foundation for the album’s sound design. Lamina reshapes these natural recordings into something new: stretching, pitching, and layering them to build intricate sound environments that feel simultaneously organic and synthetic. “I transform these sounds much like I would sculpt in ceramics,” explains Calvo-Pinsolle, “by adding, removing material, and imagining landscapes.

Drawing from hydrofeminist and posthuman ideas, particularly those in Astrida Neimanis’ Bodies of Water, the album treats sound like water—shifting, flowing, connecting, and buoying life. Tracks flow into one another without clear boundaries, much like the natural currents they represent. The result is a continuous listening experience, inviting deep focus on texture above melody.

Lamina is exploring the potential of the field recording as a compositional tool. Natural sounds, like trickling water or wind through trees, are processed out of recognition—or cliché. A sense of weightless immersion takes hold as Lamins’a music unfolds, and listeners float freely and choose their own adventure in the Lamina’s home. Less a set of songs than its own evolving environment, Sueños acuáticos (‘Aquatic Dreams’ in English) is a meticulously constructed work in which we can freely float.

Sasha continues his current hot streak with a new single on Last Night On Earth alongside Jody Barr, with a killer Einmuisk Remix on the flip.

Pioneering electronic force Sasha has found plenty of success in recent creative partnerships. The Last Night On Earth founder has worked with the likes of Super Flu and Sentre and dropped a steady stream of fresh solo sounds such as 'Florian Drift' and 'How to Wear Raybans Well'. All this means he continues to lead the melodic house and techno scene from the front with expertly crafted sounds. Here, he works with Jody Barr who has long been close to this label having also established himself with music on Krankbrother, Configurations Of Self and Nofitstate. He heads up Portable Minds and is renowned for his rugged, hardware-centric sound.

'Phaxon' is a beautifully elegant affair with shimmering chords rising and falling over a serene electronic groove. It's packed with smart sound design and subtle touches that make it glow from start to finish as the emotions build and sweep you up into a delightful dance floor reverie.

Hamburg's Einmusik has a cultured techno sound that has lit up his own self-titled label as well as the likes of Diynamic and Sincopat. His version is more rugged with a darker feel thanks to the rasping bassline that rumbles below. There is still plenty of great chord work but the whole track is a little more direct for poignant club deployment.

Freestyle Records drop another UK boogie 12" rarity from Eddie Capone's Treatment, this time the previously white label-only "Only You Know What I Like" from 1985. Limited to 300 copies worldwide.

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A mainstay of the UK's reggae, soul, funk & rock circuits since the early 1970s, Eddie Capone has played with a diverse and revered collection of acts; Chairmen of the Board, The Foundations, Black Velvet, The Elgins, Arthur Brown's Kingdom Come, Arthur Lee's Love, Billy Preston and Edwin Starr to name but a few. Eddie was also part of short-lived group Casablanca, with David Costa & Barry Clarke of early 70's folk-rockers Trees, signed to Elton John's Rocket Record Company.

Eddie founded the Treatment band in the early 1980s bringing in a revolving cast of singers and players, and created the Treatment Records imprint out of his own Black Rock studio in South East London in 1982. Releasing a string of singles - with efforts from Eddie Capone's Treatment, a side-project with singer Beryl Marsden as Salt & Pepper, and a single from Norwegian group Wave - Treatment Records then followed this up in 1985 with the 12" release of "I Won't Give You Up" with Diane Jones brought in on vocal duties. This received solid support amongst DJs and radio at the time, and was quickly followed with this solid slice of white label-only UK boogie-funk that has since become a favoured deep cut on the selectors circuit.

Treatment Records continued through the 1980s through to early 1990s releasing Eddie's music, both as a solo artist and as part of collaborative side-projects, and Eddie has continued to write, perform and produce music from his home studio right through to the present day. As a committed community figure & activist in South East London, Eddie has since 2014 re-started Treatment Records under the name of 3G Treatment - bringing together three generations of people from the local area to ensure young artists & musicians have access to the expertise and experience of their elders for support and encourage successful careers in the industry.

It's been a while, but after some significant restructuring behind the scenes, Soul Flip is back in the groove, with a fresh new look, and more sweet, soulful sounds.

Chapter 16 of the Soul Flip story sees Del Gazeebo breathe fresh life into a couple of absolute classics, steering them directly at the dancefloor.

First up for the Soul Flip treatment is Sam & Dave's "Soul Man", Del somehow making an already big tune even bigger, and very much more DJ-friendly.

On the flip, Del takes the O'Jays original version of "Now That We Found Love" & injects it with fresh energy. It also retains the glorious strings from the album version that was edited out from the original 7" (UK only) release.

Tristan Arp returns to Wisdom Teeth with his sophomore LP: ‘a pool, a portal’ - a vast, multi-dimensional record of pin-drop rhythms, hushed vocals and swirling ambience that maps out a vivid limbic space between the natural and the digital worlds. The LP began life while Tristan was still living in Mexico City, and was subsequently finished in New York. Carrying on from where his acclaimed debut ‘Sculpturegardening’ left off, the record marries hallucinatory modular synths with cello, found sound and spoken word, creating a rich sonic world in which machines mimic nature and acoustic instruments merge with their digital counterparts. Across the record’s narrative arc, listeners are invited to imagine a future world in which nature and machines collaborate to rewild and search for new modes of being. Far from apocalyptic, the artist’s vision is yearning and hopeful - a reflection on how we might evolve to overcome our very human limitations. “Hopefully we can all open a little portal into another world and integrate what we learn into our own”, Tristan offers. True to his word, Tristan shared much of the creative process with his machines, using modular generative processes to create randomised, improvisatory moments that he could collaborate on as artist and observer. Most of the tracks were captured in single takes as live performances and improvisations that were subsequently edited and cut down. Speaking of ‘Life After Humans’ - the record’s beguiling 10-minute centrepiece - Tristan recalls: “I neglected to record multi-track outs, but it was actually super empowering to be left with just a stereo track: I couldn’t mix individual elements even if I wanted to after the recording, but I’m happy I inadvertently limited myself in that way.” Alongside his own voice, the record features a stunning appearance from fast-rising Guatemalan cellist and vocalist, Mabe Fratti. The pair met in Mexico City in 2020, where she helped Tristan to learn cello - an encounter that ultimately went on to inform the recordings that made up ‘Sculpturegardening’. Her appearance on ‘a pool, a portal’ marks a full-circle moment in their creative relationship. The album’s artwork features photography by Zhang An - a photographer based in Nanjing, China. Despite their appearances, these are unmanipulated photos of real-world ice formations. As is the case throughout ‘a pool, a portal’, the lines between the natural and the artificial are playfully indistinct.

Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro's parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England's Southern coast. "We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the 60s and 70s music I could find from there."

In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020-23, Wax Machine birthed three cult-favourite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau's Brazilian sound was already beginning to blossom across Wax Machine's releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana.

Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro's delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife.

Like the musical equivalent of semantic drift, Lau Ro's displacement led to the creation of another Brazil. A mythic place in Lau's soul, as they put it, "where the sunshine and joy of my childhood remained untapped." Lau continues: "It's music that might sound as if it came out of a parallel universe Brazil, rather than its modern day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself."

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Foundations by Serj Tankian, released 1 November 2024, includes the following tracks: "APPROPRIATIONS ", "LIFE’S REVENGEFUL SON ", "JUSTICE WILL SHINE ON ", "CARTOON BUYER" and more.

This version of Foundations comes as a 1x12". This release comes with (a) Insert(s).

The vinyl is pressed as a opaque, marble, yellow & black & red disc.

Just under a year after their acclaimed self-titled debut, dreampop duo deary release a brand new six-track EP – Aurelia – via Sonic Cathedral on November 1. It includes the singles ‘The Moth’, ‘Selene’ and ‘The Drift’ and features Slowdive drummer Simon Scott playing on three songs. It will be available on three different vinyl variants, a CD with three bonus tracks and digitally. It’s a stunning record, which displays a new-found maturity in terms of production as well as musically and lyrically. The band – singer Rebecca ‘Dottie’ Cockram and guitarist/producer Ben Easton – have had to grow up in public since the release of their debut single at the start of 2023, supporting legends such as Slowdive and Cranes and TikTok sensations like Wisp along the way. An aurelian is a rare old term for a lepidopterist – someone who studies and collects moths – derived from the Latin aurelia, meaning chrysalis. The perfect title for an EP which is based around the theme of metamorphosis and change. “It leans on the natural world, the human body, the earth and sky as well as human emotion,” says Ben of how the EP represents physical and metaphysical growth. “Change can be daunting but equally exciting, which is something we’ve come to learn.” “While writing the EP, I found a letter I had written to myself when I was 22,” adds Dottie. “I was fresh out of university and had moved back in with my parents as Covid was in full force. I was uninspired and lost and reaching out to my future self for some hope. It was a physical representation of what can happen in a few years; how much can change and how you never know what’s coming next. “I found it interesting that – at the age of 26 – here I was looking back to my younger self for hope or just some comfort in the fact that things will and do move on. It was important to me to bring both of these versions of myself into the new songs.” “Personally, I had noticed a change in myself; a new level of social anxiety, a strange disassociation to things that once brought me joy as well as negative repetitions in my daily life,” reveals Ben. “I began the year sober which allowed me to finish the writing process as a letter of care to my own mental health. There are motifs throughout the EP – for example the riffs in ‘The Moth’ and ‘The Drift’ being reminiscent of each other – which are like musical reflections of these repeated cycles.” It’s musically where the change deary have undergone is most obvious. ‘The Moth’ mixes howling guitars atop a strident breakbeat making it more Curve than Cocteaus; ‘Selene’ is a slow-building wall of noise; ‘The Drift’ combines a perfect pop melody with an incredible sense of urgency. These three singles are balanced by the brief but beautiful ‘Where You Are’ which leads into the Portishead-style trip-hop of ‘Dream Of Me’. The title track has been a staple of their live sets for about a year as ‘Can’t Sleep Tonight’, but its mix of The Cure circa Disintegration and Mezzanine Massive Attack has grown and evolved so much that they renamed it ‘Aurelia’ as the embodiment of the change they have been through. “We’ve allowed deary to naturally grow over the past year, we didn’t want to force it to take a certain shape or sound,” explains Dottie of the duo’s slow and steady approach. “A lot of the last EP was written by sending ideas back and forth over WhatsApp, but this time we were able to sit in the same room and I think that really shows. We know each other a lot better now as we have experienced this journey together and that benefits the writing process as we are more open with each other and can be vulnerable.” “Aurelia definitely feels a lot more collaborative, more personal and more fully realised than the first EP,” concludes Ben. “It feels like a real document of what has been a very important time in both of our lives. Ironically, the band has changed and matured even more since the recording, so we’re both excited to document the next stage

Founded in the late 1960s by record store owner Seidou
Adissa, Albarika Store is one of the most important
independent record labels on the African continent. That
it was founded in the relatively small ex-French colony
of Benin (then still called Dahomey), is a testament to its
founder’s musical taste and vision for what the local
musical scene had to offer.
This September, Acid Jazz releases the first ever vinyl
and CD overview of the label and its music, compiled by
David Hill of The Soul Revivers and West African
musical expert Florent Mazzoleni, who also wrote the indepth notes.
The compilation provides a look into what was a
developing and then thriving post-colonial music scene.
It focuses on the label’s biggest and most prolific act
Orchestre Poly-Rhythmo and its founder Melome
Clement – who released under a variety of names often
spotlighting on the musicians’ key to their sound. It also
looks at the other established artists on the label such
as the incendiary Les Sympathics De Porto Novo and
Les Volcans. All of these artists create a unique mix of
Westernised Funk, Soul and Latin sounds crosspollinated with the traditional music of the region.

Colombian artist Kabinett brings a soul and harmonic proposal in the many forms of alternative disco and house through embellished productions and DJ sets finding himself every time as medium for all possibilities.

Involved in music from an early age through classical music, while being exposed and inspired by his older brothers in the many forms of what electronic music was developing, Nicolás, his given name, knew that his future and purpose was only going to be around what matters him the most, music. After learning different instruments in the early years and through a mix of self-education and formal education in contemporary music and music production, as well his first steps as a DJ, at age 20 he was ready to get involved in Colombia's capital electronic music scene as curator, DJ, label owner and music producer.

Founder of vinyl house label Nómada Records next to established artist such as Felipe Gordon & Joint4nine, his mentors, Kabinett have been fed enough to developed a full curation career working for Kaputt Club, El Coq & W Hotels, and more recently Casa Cruxada where he has helped to develop an identity for each which as of today has only enriched the local scene.

More recently as head of Kaputt.wav, his new label, which is now house of artist such as Curses, Iñigo Vontier, Theus Mago, Dombrance, Damon Jee, among many more, promises to keep growing and develope music overseas.
As of his personal artist career, have count on releases in labels such as Glitterbox, Midnight Riot Records, Partyfine, Platino Records, Duro, Playground, Sonido Moderna and more recently in Prins Thomas own label, Intersnajonal which will release his third solo EP in summer 2024.
With a deep understanding and experience on the music scene and a strong influence on dance genres, Kabinett and his music transcends the listeners souls and dive deep into a conscious dance.

In the age of streaming platforms and social media, stimulation is easy to come by. Real pleasure, however_the kind that feeds our soul rather than draining it_is in shockingly short supply. The second LP by THUS LOVE is full of that kind of nourishing euphoria. It swoons, shakes, and swaggers with a combination of grit and sensuality that's been hard to locate in music lately. It's called, fittingly, All Pleasure. The album came out of a period of dizzying growth and transformation for the group. When they began work on it, vocalist/guitarist Echo Mars and drummer Lu Racine were still reeling from the runaway success of their 2022 debut Memorial_a set of lush, elegant post-punk that brought praise from The FADER, the NME, and the Guardian_along with processing the departure of the founding bassist. With All Pleasure, the band re-formed with new bassist Ally Juleen and guitarist/keyboardist Shane Blank. The group convened in a barn in the woods that Mars had transformed into a recording studio, and kept one rule at the forefront: "If it's not joyful, don't do it." What emerged from that mission is a stunningly gorgeous album, full of big, arcing melodies and a range of kinky stylistic twists that will surprise listeners who know the group just for Memorial's chorus-drenched 80s-style psychedelia. "Birthday Song" gives grungy glam rock with a transcendent hook that underlines Echo's lyrical tribute to communal joy. "Get Stable" transmutes existential panic into sharp-angled punk pop. The anthemic title track is something like the album's mission statement, paying tribute to the power of joyful creation. Mixed by Matthew Hall and Rich Costey and mastered by Bob Weston, All Pleasure was recorded as live as possible, capturing the sheer infectious ecstasy that comes from sharing space together and making a divine racket. Put on All Pleasure, tap into the energy that THUS LOVE is putting out, and you just might find an escape.

The 2015 edition of Winnipeg’s send + receive festival, focussed on rhythm, turned out to be a generative meeting of minds. There, Mark Fell encountered the music of Will Guthrie, a meeting that was eventually to result in the frenetic acoustic drumkit and digital synthesis pairing heard on Infoldings and Diffractions (2020). At the same festival, Limpe Fuchs first heard and appreciated the music of Mark Fell, planting the seed of a collaboration that came to fruition when Fell (along with his son Rian Treanor) visited Fuchs at her home in Peterskirchen, Germany in September 2022. Black Truffle is pleased to announce the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides. The collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters? For all their seeming disparity in technology, approach and background, the music on Dessogia/Queetch/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch’s phrase, ‘establish silence’. Recording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don’t often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Alongside metallic, wooden and skin percussion of all kinds, sounded and struck in every conceivable way, we also hear bamboo flute, viola, and Fuchs’ distinctive free-form vocalisations. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. On opener ‘Dessogia I’, the shimmering almost-gilssandi tones of Fuchs’ enormous set of microtonally tuned metal tubes ripples across Fell’s rubbery pulse, which moves up the frequency spectrum as Fuchs becomes more animated and switches to horn. At some points, as on the metallic chiming tones that open ‘Fauch I’, only the unexpected dynamic behaviour of Fell’s sounds distinguish them from Fuchs’ acoustic instruments. At others, like on ‘Queetch III’, the waves of sliding tones and noise textures are bracingly synthetic, joined by piercing squeaks and scrapes from Fuchs’ metal objects. Epic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia/Queetch/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.

Label founder Mark Gavrikow presents Body2Body, his debut release, delivering a powerful tribute to the energy of the dancefloor.

The A-side is a driving mix of UK influences and the hard,
percussive sounds of the classic CLR Schranz era. Drum-heavy and full of energy, it's perfect for peak-time sets.
The B-side reveals a different side: more housey, dubby, and infused with warm chords, deep grooves, and hypnotic acid, offering the perfect balance between functionality and depth.

This beautiful splatter vinyl, color-matched to the inner sleeve, comes in a tie-dye cover with a large HFM logo. This special edition is strictly limited to 200 copies.

"Deep inside my mouth is where dark treasures can be found / Would you like to find out?" Die Wiener Gruppe GARDENS präsentiert sich mit ihrem Debüt-Album in einer Vogelperspektive und besticht mit unheimlicher Klarheit, Wärme und Selbstbewusstsein, zusammen mit einigen dunkleren Tönen. Das Quartett, bestehend aus Luca Celine Müller, Peter Benedikt Mathis, Patrick Stieger und Laura Keiblinger, erlangte Bekanntheit durch ihre ersten beiden Singles ,Talk" und ,Waves" - wurde von Radio FM4 gleich mal in die Jahrescharts gehievt - und etablierte ihre üppige Mischung aus Indie-Pop, 60er Jahre Psych-Folk und Dream-Pop. Unter den elementaren, aber täuschend komplizierten Arrangements erzählt das Album mit viel Songwriting-Gespür von Herausforderungen im Bereich der psychischen Gesundheit, von Übergangsriten der Jugend und den schwindelerregenden Nebeln des Herzschmerzes. Der Name des Debütalbums ,FLAWS" - das am 1. November 2024 bei Siluh Records erscheint - ist ein offenes Eingeständnis frischer Narben, die sich noch im Heilungsprozess befinden, direkt unter einer diamantenen Oberfläche. Die ersten beiden Singles von GARDENS, ,Talk" und ,Waves" - letztere wurde von Österreichs populärem Radiosender FM4 in deren Jahrescharts gehievt - etablierten ihre üppige Mischung aus Indie-Pop, Psych-Folk der 60er Jahre und Dream-Pop. Auf ,Flaws" gelingt es GARDENS auf einzigartige Weise, das Erhabene aus der Unordnung herauszufiltern.

"Deep inside my mouth is where dark treasures can be found / Would you like to find out?" Die Wiener Gruppe GARDENS präsentiert sich mit ihrem Debüt-Album in einer Vogelperspektive und besticht mit unheimlicher Klarheit, Wärme und Selbstbewusstsein, zusammen mit einigen dunkleren Tönen. Das Quartett, bestehend aus Luca Celine Müller, Peter Benedikt Mathis, Patrick Stieger und Laura Keiblinger, erlangte Bekanntheit durch ihre ersten beiden Singles ,Talk" und ,Waves" - wurde von Radio FM4 gleich mal in die Jahrescharts gehievt - und etablierte ihre üppige Mischung aus Indie-Pop, 60er Jahre Psych-Folk und Dream-Pop. Unter den elementaren, aber täuschend komplizierten Arrangements erzählt das Album mit viel Songwriting-Gespür von Herausforderungen im Bereich der psychischen Gesundheit, von Übergangsriten der Jugend und den schwindelerregenden Nebeln des Herzschmerzes. Der Name des Debütalbums ,FLAWS" - das am 1. November 2024 bei Siluh Records erscheint - ist ein offenes Eingeständnis frischer Narben, die sich noch im Heilungsprozess befinden, direkt unter einer diamantenen Oberfläche. Die ersten beiden Singles von GARDENS, ,Talk" und ,Waves" - letztere wurde von Österreichs populärem Radiosender FM4 in deren Jahrescharts gehievt - etablierten ihre üppige Mischung aus Indie-Pop, Psych-Folk der 60er Jahre und Dream-Pop. Auf ,Flaws" gelingt es GARDENS auf einzigartige Weise, das Erhabene aus der Unordnung herauszufiltern.

On How It Ends (?), slinky melodies snake through nocturnal atmospherics, drawing you into a world built on poetic, painterly lyricism. Night Crickets, a long-distance groove affair that materialized during the drawn-out days of lockdown, has emerged once again to soundtrack our waking dreams.

David J (Bauhaus, Love & Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners spearhead a loose collective of like-minded creative souls whom, through sheer tenacity and a burning desire to collaborate and create, transcend the restrictions of space and time. Audio files shared from Los Angeles to Milwaukee, from London to the San Francisco Bay, and the ghosts of Candlestick Park shimmer through the fog, coalescing in a glorious ‘gesamtkunstwerk’ that draws from the past, the present and the imagined future.

Declaring Bauhaus, Love And Rockets, and Violent Femmes iconic, foundational bands in the history of alternative music would receive little pushback from those in the know. San Francisco born artist Darwin Meiners is a fan of all three. A chance meeting with David J grew into a friendship, and Darwin not only became a bandmate, but his manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after their set at Coachella. Soon, after the three collaborated on Darwin’s 2014 release Souvenir.

As the pandemic took hold, Darwin was looking for a new project to occupy the lock down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society.

Following that release, inspired by how well – and quickly – they all worked together, the trio kept up their collaboration. “We are each free to discover musical connections that could only exist in an ideal creative setting” explains Victor. “We are very lucky to have three musicians who write, sing and play various instruments in one trio… our egos seem to melt into one when we face musical decisions, so our expeditions are always filled with pure discovery, humor and drive!”

How It Ends (?) was crafted with the same collaborative spirit as A Free Society. Each member contributed contributed unique elements to spur their collective creativity—whether a drum pattern, a lyrical concept, or a musical idea—and together, they expanded these initial sparks into the finished work. True to their approach, much of what you hear was captured in the first take, reflecting a genuine, unfiltered moment.

The music on the How It Ends (?) is a true evolution of the debut album. It is deeper and darker. Having said that, the dark tone is alleviated by a healthy measure of the buoyant, bouncy and melodic. “Much of the new material is very psychedelic and the contrast between this heavy, dark psychedelia and the more uplifting pop elements puts me in mind of The Beatles’ ‘Revolver’ album to some degree,” tells David J. “The recording process for the new album was exactly the same as the first in that we all recorded remotely, taking turns to share files and reacting spontaneously to the previous track, overdubbing then passing on once again until we all felt that the track was done.”

“While we didn’t start with a specific theme, the album emerged as a contemplative exploration of endings” says Darwin. “It touches on the loss of individuals, the shifting of ideas, and the fragility of systems. Beneath this sense of darkness and finality, however, there are threads of beauty and glimpses of hope. We invite you to immerse yourself in the album and experience the journey we’ve embarked upon.”

Brain Thrust Mastery, the second album by Californian art rockers We Are Scientists was originally released on Virgin Records in March 2008, its heady brew of retro futurism, indie and sparkling shiny power pop make it sound thoroughly contemporary - Working in conjunction with the band, this 2LP version of the album adds B-sides and tracks recorded live at London's Union Chapel and is pressed onto high-quality 180g vinyl. Named after founder members Keith Murray and Chris Cain's dress sense led a truck rental supervisor to surmise that they had to be academics, We Are Scientists were formed in Berkeley, California around the turn of the century. Their first 'proper' album, 2005's With Love And Squalor, became an underground hit as the band toured Britain, where they gained a substantial fanbase before the album was released in America the following year. Material for Brain Thrust Mastery was debuted on an early 2007 UK tour, before the band returned to the studio with producer Ariel Rechtshaid (who would go on to win Grammys with Vampire Weekend). We Are Scientists maintain a strong sense of theatre and comedy in their live performance - at this time, the group acted as their own support, offering seminars in self improvement called 'Brain Thrust Mastery'. The album is full of well-written pop songs, rich in hooks and melody. Lead single After Hours reached No 15 in March 2008, and after the release of the album the same month, it was followed by further hit singles Chick Lit and Impatience. A summer of touring, including performances at Glastonbury, T In The Park and Reading and Leeds underlined the group's popularity.

Brain Thrust Mastery, the second album by Californian art rockers We Are Scientists was originally released on Virgin Records in March 2008, its heady brew of retro futurism, indie and sparkling shiny power pop make it sound thoroughly contemporary - Working in conjunction with the band, this 2LP version of the album adds B-sides and tracks recorded live at London's Union Chapel and is pressed onto high-quality 180g vinyl. Named after founder members Keith Murray and Chris Cain's dress sense led a truck rental supervisor to surmise that they had to be academics, We Are Scientists were formed in Berkeley, California around the turn of the century. Their first 'proper' album, 2005's With Love And Squalor, became an underground hit as the band toured Britain, where they gained a substantial fanbase before the album was released in America the following year. Material for Brain Thrust Mastery was debuted on an early 2007 UK tour, before the band returned to the studio with producer Ariel Rechtshaid (who would go on to win Grammys with Vampire Weekend). We Are Scientists maintain a strong sense of theatre and comedy in their live performance - at this time, the group acted as their own support, offering seminars in self improvement called 'Brain Thrust Mastery'. The album is full of well-written pop songs, rich in hooks and melody. Lead single After Hours reached No 15 in March 2008, and after the release of the album the same month, it was followed by further hit singles Chick Lit and Impatience. A summer of touring, including performances at Glastonbury, T In The Park and Reading and Leeds underlined the group's popularity.

Rolf Gehlhaar (1943-2019) was an instrumental and electronic music composer, and a pioneer in computer controlled interactive music. He grew up in the US where he studied philosophy and composition at Yale University. In 1967 he moved back to Germany to become Stockhausen’s personal assistant and member of his performing ensemble. In 1969 Gehlhaar co-founded, along with Johannes Fritsch (Metaphon 012) and David Johnson, the Feedback Studios in Cologne, a new-music performance center and publishing house. He later moved to England, where he became in 1979 a founding member of the Electro-Acoustic Music Association and later on senior lecturer in design and digital media. Gehlhaar's compositions include symphonies, instrumental works, experimental and electronic music, interactive computer controlled music and everything in between. The three previously unreleased tracks on this LP only show a glimpse of the versatility of his adventurous and innovative musical ideas.

Building on the foundation of his two EPs for Samurai Music, we proudly present Urmah, the first LP exploring the 170 tempo from acclaimed Techno/Electronic producer Juan Rico aka Reeko, aka Architectural.

Reeko has now become an integral part of the overall Samurai Music sound. His work resonates deeply within the label's ethos, and Urmah exemplifies this synergy, highlighting his ability to enrich and expand Samurai Music's vision and push the boundaries of his own artistic expression.

For Urmah, Reeko delves even further into sound and psyche with a richer, more enveloping exploration into his distinct interpretation of the tempo. Reeko's production prowess shines brightly on Urmah with the warmth and weight of each track leaving an indelible impression.

Urmah focuses on heady fathomless grooves that tease shards of breakbeats like delicious icing, binding themselves to a gentle psychedelia with celestial textures. This is dexterous, meditative journey music from a producer who has an intimate relationship with groove creation.

As one of the most respected Techno producers in the genres long history, Reeko's influence and mastery are undeniable. With Urmah, he further showcases his expertise, expanding his palette to display a refined command of the 170 BPM tempo. The LP is a testament to his ability to innovate and redefine, solidifying his reputation as a pioneering force in electronic music.

A Day in the Life' was released in 1967 and reached #1 on the Billboard Jazz Albums chart.

From the early 1960s to the late '80s, A&M was one of the most eclectic and powerful independent record labels in the world. The roster of artists who recorded there includes The Carpenters, Captain Beefheart, The Police, Joe Cocker, Suzanne Vega, Procol Harum and Janet Jackson, among others. Founded as an independent company by Herb Alpert and Jerry Moss in 1962, soon the label garnered interest and success, and was acquired by PolyGram in 1989. Throughout its operations, A&M housed well-known acts such as Sting, Sergio Mendes, Supertramp, Bryan Adams, Burt Bacharach, Liza Minnelli, Paul Williams, Quincy Jones, Cat Stevens, Peter Frampton, Carole King, Extreme, Joan Baez, the Human League, Soundgarden, Duffy, and Sheryl Crow, among others. Reissue of the debut album on A&M Records by jazz guitarist Wes Montgomery, released in 1967. It reached #1 on the Billboard Jazz album chart and #2 on the R&B chart. Considered by far the best of his three albums on A&M (in partnership with Creed Taylor’s CTI Records), A Day in the Life features a plethora of star sidemen, such as Herbie Hancock, Ron Carter, Ray Barretto and Grady Tate, among others, as well as superb arrangements by Don Sebesky.

Alternative Jazz. This is a 5 track EP of brand new, previously unreleased material from The Near Jazz Experience (Terry Edwards, Mark Bedford and Simon Charterton). Whilst recording the new album Terry asked pianist Mike Garson (best known for his work with David Bowie, Nine Inch Nails, Smashing Pumpkins) - whom Terry has toured with if he'd like to play on a track. Mike said yes, recorded a stupendous solo for Character Actor at his home studio and sent it over. All in the space of 24 hours! On hearing the piano part NJE bassist Mark Bedford came up with the idea of having the piano mixed with the original track (as intended) but also using it as the basis for a completely new recording with the piano leading rather than complementing the band. Side 1 of the EP has these two very different versions from the same seed. Unidentical twins indeed. Side 2 of the EP contains 4 outliers from the album sessions. These aren't out-takes or unfinished pieces. They simply couldn't find a place for themselves within the album - along the lines of the tunes Tom Waits put together for his Orphans compilation of 2006. They are standalone tunes which have found a home together on this EP because in some way they all have filmic qualities. Side 1 contains 2 takes on Character Actor (the title being a nod to Cracked Actor, a tune on Aladdin Sane, the album that introduced Bowie fans to Mike Garson), and Side 2 has The Loping Four; Projector; MacGuffin and Lockstep, all titles which contain strong cinematic elements, MacGuffin in particular. It was Alfred Hitchcock's favourite word for a red herring in the plot. The musical cast on this release has a remarkable pedigree. The NJE consists of Terry Edwards (solo artist and session player with PJ Harvey, Franz Ferdinand, Siouxsie, Jimi Tenor, Piroshka, Tindersticks etc); Mark Bedford (Madness, Robert Wyatt, Robyn Hitchcock, Nightingales etc); Simon Charterton (The Higsons, Alex Harvey, Zook, Serious Drinking etc). Alongside featured guest Mike Garson there is an appearance by Oliver Cherer (Aircooled, Miki Berenyi Band) on keys and synth. This is an RSD exclusive, 500 copies on black vinyl in full colour sleeve which reflects the filmic quality of the recorded material. No download. The title track will appear on the next Near Jazz Experience studio album. The 4 additional tracks, however, will remain exclusive to Record Store Day.

Expected late October/early November

Scott Gilmore’s Volume 01, an Analog Synth Gem, Makes Its Vinyl Debut - Pressed at 45RPM for maximum fidelity.

Recorded on a vintage Tascam 388, the LP version of Gilmore’s alluring, easy-going instrumental electronic record arrives in the physical world via In Sheep’s Clothing Hi-Fi Records.

Los Angeles, CA — When the Los Angeles electronic musician and multi-instrumentalist Scott Gilmore recalls the creation of the songs on Volume 01, he describes specific moments of spontaneous inspiration. “I remember sitting at the tape deck, watching the leaves outside the window as they flittered in the sunlight—a moment of stillness that became intertwined with the melody I was recording,” Gilmore recalls, speaking of the track “Song For Cate.”

This sense of simplicity and presence is at the heart of Volume 01, which was recorded entirely on a Tascam 388 using a carefully curated selection of instruments.

Volume 01, an intimate, instinctual album that mixes lo-fi digital rhythms, strummed guitar, and melodic synth layers, is a collection of songs that captures Gilmore’s magnetic fluidity and the spontaneity of his process. Initially released digitally and as a limited edition cassette, Volume 01 is set to be issued on vinyl for the first time by In Sheep’s Clothing Hi-Fi.

The Tascam 388 is a classic mid-1980s analog machine that combines an 8-track reel-to-reel tape recorder with a built-in mixing console. Volume 01 exudes the kind of hazy, nostalgic warmth that only such recorders can provide. For the nine-song album, Gilmore harnessed analog synths including the Arp Odyssey, Yamaha CS-01, Korg DW-8000, Hohner Pianet T, Roland TR 606, and Roland SH 101, as well as bamboo alto saxophone, clarinet, electric guitar, and electric bass.

The album is awash in brief, propellant pieces. At just over four minutes, the relatively epic “Horizon Line” is driven by a three-note snare pattern, a two-note cymbal tap, with a humble bass-line serving as the rudder; Gilmore’s improvised keyboard runs move with an intuitive, conversational glee. The pensive "Shade" sounds like it could be a Penguin Cafe Orchestra demo. Closing track “D. Hareem” runs on a wobbly time signature but with an insistent, determined rhythm that belies genre descriptives. “I prefer to not know what I’m making as I compose,” Gilmore says. “It’s when I can’t clearly define what the music is that it’s then something that I want to put out into the world.”

In hindsight, Volume 01 was a portent. After its 2016 cassette release, Gilmore connected with International Feel, the Balearic imprint run by Marc Barrot, to release the sublime Subtle Vertigo. In 2019, Gilmore’s music caught the attention of Marc Hollander, the experimental composer and founding member of Aksak Maboul, which led to a signing with the Belgian label Crammed Discs. That deal enabled the creation of Gilmore’s solo album Two Roomed Motel and Doctor Fluorescent, a retro-futuristic, Vocoder-heavy 2020 collaboration with Eddie Ruscha V, a.k.a. Secret Circuit). Across these projects, Gilmore’s work has been mentioned in the same sentences as Stereolab, Arthur Russell, Woo, Air, R. Stevie Moore, and others, all of whom have combined synths and non-synths to memorable effect.

With the upcoming vinyl release, Volume 01 will set into wax an enduring set of works, offering listeners the chance to experience analog artistry in its most authentic, tangible form. In Sheep’s Clothing Records is honored to bring Gilmore’s work to vinyl.

PIFF Records welcome 4 in - demand artists to the label on their latest release, also available as a limited 500 press vinyl release. Home to forward-thinking house, trance, and techno, PIFF Records boasts a diverse yet united musical output. Cosmic, dub - driven techno, atmospheric house beats, and everything in between coalesces under the imprint’s distinctive output of thoughtful, club - ready sounds. All aspects of PIFF Records come together on this release as the featured artists balance the cerebral and visceral in their productions.

Cybernet kicks off the release with Resonant Shifter. Pumping kicks lay the foundation for captivating synth arpeggios and warped call and response basses in this ‘90s - inspired cut of contemporary progressive trance. The perfect soundtrack for any location from sunset on the Ibiza seafront to sunrise as the shutters open at a warehouse rave.

Goa elements are out in full force on Hoe Down, courtesy of Glen S. Squelchy 303s, low textures, and metallic arpeggios resonate above a pulsating bassline and weighty kicks, relentlessly pushing forward and ascending to a new sonic dimension - taking you along for the ride.
Body Clinic substitutes the progressive trance for progressive house on Love X, bringing down the tempo but keeping intensity intact. An infectious, syncopated plucked bassline dances around groove - rich drums, psychedelic effects and leads indebted to early ‘90s releases. A masterful blend of the past, present, and future together on one track.

Closing the EP with Empty Clip, Tom Jarmey disrupts the 4x4 rhythms of the preceding tracks w ith a genre - bending cut of electro - infused breaks. Two-step drums are matched with clinical sound design, deep basses, and mystical arpeggios. Sure to add depth to any set and turn heads in the process.

You Are The Morning was formed amid personal upheaval in 2021. "I came out as trans to my nearest and dearest," she says, "Some did not accept me, but some did." Jasmine got divorced, and a difficult home life meant she was writing while experiencing homelessness and precarious housing, sleeping on friend's couches and relying on community support. Despite the pain of some of its background, the record is an uplifting look at t4t love. Jasmine describes her first trans romance as the first time she experienced joy in a deep sense, because of her experience of living as a woman. First single `Skin on Skin' explores the new joy of physical touch. Usually a quick writer, it's a rare song that grew over time, during which a close connection with a friend began to form. "Sticking to the physical boundaries we wanted to have with each other became increasingly difficult. We were spending lots of time together, then falling in love. This song became a celebration of healing and physical catharsis found through unrepressed queer love." The first UK signee on Saddest Factory Records, the album was produced by Julien Baker, Phoebe Bridgers and Lucy Dacus. Jasmine and her band travelled to L.A. to record at Sound City Studios. It was made across 12 days in a highly collaborative and emotional process, and because Jasmine sees her songs as fluid and ever-changing, the recordings carry that free and spontaneous spirit. jasmine.4.t is supported by an all-trans band, Phoenix Rousiamanis contributes piano and strings, with Eden O'Brien on drums and Emily Abbott on bass. With Jasmine's voice and songwriting at the centre, the record incorporates a wider cast of voices. `Best Friend's House' features a chorus including her bandmates, Julien Baker, Phoebe Bridgers and Lucy Dacus ("the girls and the boys"), Saddest Factory Records label-mate Claud, Becca Mancari and E.R. Fightmaster. The song carries the communal spirit of the record's creation. On the closing track, `Woman', she is backed by the Trans Chorus of Los Angeles, a cross-generational group of trans singers who, like Jasmine, use their voice as a source of communal power. The song blossoms from solo performance to wider group catharsis. All the while, Jasmine sings unwaveringly about the power of knowing yourself at a core level: "I am, in my soul, a woman". The writing of You Are The Morning pulled from dark moments to tell its story. Surrounded by friends, the recording process was full of light. Through her performances, activism and artistry, jasmine.4.t is ushering in a new dawn.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

Limited metallic silver/white "disco ball" splatter vinyl available while supplies last.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

2024 Reissue

"Ellipses dans l"harmonie - Lights in the dark" is the last work released by Teho Teardo on his imprint Specula Records. This work is entirely inspired by the music contained in the pages of one of the iconic texts of the 18th century, the Encyclopédie by Diderot and D"Alembert, the original copy of which is kept in the archives of the Giangiacomo Feltrinelli Foundation, which produced and commissioned the album. This is the first time the Foundation has produced a musical work. In "Ellipses dans l"harmonie", there is not only a homage to the Encyclopédie, but also a political connection to the spirit of the Enlightenment that guided the genesis of the work and the current need for light in the face of the new obscurantism. At the origins of the Encyclopaedia"s cultural enterprise are three roots: memory, reason and imagination. They are three dimensions that draw attention to three needs that still interrogate us today: to know the past in order to understand the origins of the problems we face today; to exercise rational criticism in order to orient ourselves in reality without taking refuge in bewilderment in the face of the complex challenges it poses to us; to continue to think about different balances in order to want to design a different world.

Polishing Peanuts DELUXE's first EP (November 2011) opened the door & created a buzz about the band's future projects. The 3 first tracks that came out in spring, started to tease the audience's interest, especially Daniel the EP's title track (out on May 13th) & the crazy video who came along with it. The long awaited LP drops on September 16th 2013, and goes by the sweet name of The DELUXE Family show.

This first album reflects the maturity acquired by the band during the years, full of tracks as diverse & breathtaking as the fellows mustaches. The jazzy touch, trademark of the band's first discographic adventures can be found on tracks Extra Mile & Bleed On, Indisposed (feat. Cyph4) & Pretty Flaws are melancholic & dreamy ballads, whereas Family Show & Baby (feat ASM) are hip hop bangers. The LP travels through different styles, it also features several mc's (Tumi on Too Me, Taiwan Mc on Blocked) and surprises the ears by easily skipping from dub step fuelled rock & roll vibes, to sweet & sour ballads, and even funky disco sounds. With eclecticism, assumed diversity and an urge to tell a story, DELUXE invites his listeners to immerse in this first album's universe, grooving, moving, bouncing, a real musical melting pot with various horizons.

RIYL: Don Cherry, Alice Coltrane, Remi Álvarez, Juma Sultan's Aboriginal Music Society, Horace Tapscott. Atrás del Cosmos were a central force in Mexico City's creative arts community, and often considered the first free jazz group in the country. Founded by a trio composed of pianist Ana Ruiz, percussionist Evry Mann, and saxophonist Henry West, the ensemble was prolific in mentoring a generation of improvisers, cultivating an expanded additive roster, and organizing workshops in downtown Mexico City including inviting Don Cherry to play and instruct on his "organic music" approach in 1977. Between 1977 and 1983, the group lived and rehearsed in a residential space behind the Cosmos theater, hence their celestial-tinged name. But despite their central importance to the local scene, Atrás was rarely recorded and had a scant international presence, leaving behind just a single cassette before their disbandment. Now issued on LP for the first time, the aforementioned tape Cold Drinks, Hot Dreams is a red-hot recording documenting the core group plus double-bassist Claudio Enriquez performing live in 1980, a delirious improvisation with high peaks and low valleys, sucking in an amalgam of influences including New York loft style, Mexican folk music, and the surrealism of Alejandro Jodorowsky into its heady gravitational pull. Ruiz's playing style is virtuosic and expressive, pulling off monumental chords and using the piano's whole register, recalling Cecil Taylor's percussive approach, Matthew Shipp's emotive voicing, and Duke Ellington's mystifying arabesques. Evry Mann dabbles in polyrhythms in tracks like the solo marimba meditation "Clapping Music II," and Henry West wails heavy in the show-stopping cut "M.D." Now finally available after forty years, the music of Atrás del Cosmos will be sure to stun spiritual jazz veterans and newcomers alike3

Bonus 7”
A. Rincón de Luna (2.55)*
B. Voices (2.34)*

Singer/Songwriter Juliet Lawson’s album, ‘Boo’, was released on the Sovereign label in the UK in 1972. The album was the confident debut of a young British artist and featured twelve of Lawson’s own compositions.

In the same wave of early 1970s English singer-songwriters such as Nick Drake, Vashti Bunyan, Christine McVie and despite being described at the time as ‘Britain’s answer to Joni Mitchell’ ‘Boo’ was to prove her only major label release with limited commercial success.
Over the next 50 years the album’s reputation has slowly grown and is today an expensive and collectible item. ‘Boo’ is presented here in its entirety.

The first pressing of the vinyl edition of the album also come with a bonus 7-inch single featuring two early demo tracks produced by ex-Yardbirds founder Paul Samwell-Smith, who also produced Carly Simon and Cat Stevens. Special Limited-Edition Album with bonus 7” Single + Download Code.

Includes interview with Juliet Lawson and exclusive photography.

Elias Rønnenfelt is a musician and poet best known as the lead singer and lyricist of Iceage. Heavy Glory is his debut solo album. Out October 25th via Escho. Heavy Glory was recorded in Copenhagen in chapters and moments over the course of a year. Collaborators include Iceage's Dan Kjær Nielsen, Danish punk godfather Peter Peter, and singers Joanne Robertson (Elias and Joanne have collaborated before, on a number of recent Dean Blunt releases) and Fauzia. "I've done this so many times," Rønnenfelt explains, speaking of the process of crafting a long player, "but capturing and crystallising an album remains a singular ritual, just with different circumstances. We are capturing something that is hard to hold down." Heavy Glory is a record that examines all the things that lovers do, from the most desperate to the most pure. The lover haunts the record, reappearing and provoking Rønnenfelt, pulling him in and pushing him away. Songs like "Close" describe the line between jealousy and protectiveness. "Unarmed" is a song of surrender. "River of Madeleine" harnesses toughness in the name of preservation, staying up all night to protect his lover's dreams. "Stalker" is an epic third-person story song in the tradition of the murder ballad. The record closes with two covers. The first, Spacemen 3's "Sound of Confusion," is a mission statement of the life Rønnenfelt has found and inherited in music. "Here it comes," the song famously promises, and flares out into noise. It is a joyful noise, because this life, in all its grit, is the life he chose. The second, Townes Van Zandt's "No Place to Fall," is a sweet plea, Rønnenfelt's final invitation to join him on his journey. This journey - this story, this record - will repeat and continue. It never stops. Rønnenfelt's life as an artist results in a sound that wobbles and rocks but never loses its centre, both fragile and tough, and always moving forward. It is dreamy yet bombastic, held together by the passion of certainty. Co-produced by Rønnenfelt and Nis Bysted.

Moon White Vinyl. All her life, Emma Hardyman has wrestled with contradictions. After all, she was practically rendered a living, breathing contradiction the moment she was born into her half-Peruvian, half-white working-class Mormon family. In young adulthood, Hardyman became increasingly disillusioned with Mormonism's righteous black-and-white thinking, as well as its exclusionary elitism, and decided to leave the church. But she also acknowledged that the institution's all-or-nothing philosophy had become a part of her, resulting in a considerable test of grace and unlearning. As the singer-songwriter behind Little Moon, the Tiny Desk Contest-winning, Utah-based avant-folk project, Hardyman uses music as an outlet to illuminate contradictions of all kinds. Following the release of her 2020 debut LP Unphased, Hardyman set out to write a romantic album about her newlywed husband Nathan (who also sings and plays guitar in Little Moon), but the universe had other plans. After Nathan's mother tragically passed away, Hardyman recalibrated her vision and started work on a love-as-grief, grief-as-love album titled Dear Divine. The record serves as a mirror for the darkest parts of ourselves, allowing us to examine our ego_not to dismantle it, but to better understand how we love, process adversity and move through the world. Centering the classical music, folk, video game soundtracks and Tabernacle Choir hymns she grew up with, as well as ephemeral snapshots of personal significance, Dear Divine is an abundant tapestry of Hardyman's life. As enlivening melodies radiate from a string trio, you can envision the classical music that thrums from her parents' radio 24/7, as Hardyman sings in an otherworldly coo, you can imagine her younger self swooning over the tranquil records of Vashti Bunyan and Joan Baez, and as arpeggiated synths twinkle, you can visualize the enchanting kingdom of Hyrule from The Legend of Zelda: Ocarina of Time that she still adores. Songs like "now" and "messy love" embrace the gloriously jumbled stew of life, with the former chronicling Hardyman's arduous quest for love and trust and the latter patiently navigating the ways romantic partners can mirror each other's shortcomings. As Dear Divine attests, Emma Hardyman may not have it all figured out, but that's kind of the point. Through grief, faith crises and all-encompassing love, she's found the most wisdom in life's maddeningly consistent inconsistencies, as well as the subtle ways one can cultivate a feeling of home. Dear Divine doesn't take a red pen to life, it brings an open heart, an open mind and achingly beautiful, opulently weird folk songs.

In 2021, Will Marsh ditched his music career, packed his bags and headed to New Orleans to pursue an MFA. Pandemic brain had firmly set in, so while Marsh dove into his work with Habitat for Humanity, he also found himself dazed and confused amidst such a turbulent time. Music wasn't at the forefront of his mind_ but it chased him. Let's rewind a bit. Will Marsh started Gold Connections at the College of William and Mary, where longtime friend Will Toledo (Car Seat Headrest) produced and recorded Marsh's debut self-titled EP, released via Fat Possum in 2017. Two EPs followed on EggHunt, 2018's Popular Fiction and 2019's Like A Shadow. This leads us to Fortune, the band's brand new LP, out worldwide on October 25 via New Orleans indie Well Kept Secret. It's a record that sounds like "a conversation between old Virginia and the buzzy psychedelic world of post-COVID New Orleans," according to Marsh. The eleven tracks on Fortune deftly navigate a geographical and spiritual journey: remorse, intoxication, anger, mystery, destruction, and regeneration, delivered with the same approach that NPR hailed as "undeniably catchy" and Sterogum claimed was "an animal of it's own."