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UK label Dawn State continue their hot streak this summer with further eclectic moods for the dance floor and beyond. On the tools for the fifth outing on the label is KIDWHO, a blossoming talent who through the last years whilst enduring the pandemic found light by burying himself in his studio experiencing new creative flows. The “Warez House” EP varies in tastes, similar to the highs and lows of the times that just passed us by.

Diving into the deep end is the title track, “Warez House”, loopy and hypnotic, swaying between shades of low end leaned house and techno. Off kilter synths and pads maneuver their way around the driving force of the track. “It came together layer by layer, eventually turning into a dense (and at times, unruly!) groove. A final touch
of atmospherics from an old Roland ROMpler and the track was done - bar a generous helping hand in mixdown from Joel Kane (who also turned out a heads-down dub version which might make an appearance!).”

Leaning in a more hazy direction is the blissful cruiser, “Leploop Lagoon”, a deep and emotive vibe crafted especially for the early mornings. A sophisticated deep house energy from the talented producer. “‘Leploop Lagoon’ is the oldest track on the EP, a cleaned-up version of a rough jam I made around four years back. It takes its name from the Leploop, a quirky semi-modular analogue groovebox of sorts, hand-built in Italy. A very unique and unpredictable machine, it’s on bass duties here as well as providing some percussion sounds via the MPC sampler.”

On the flip side lies “Spectral Pattern”, and it packs a certain punch. The rolling arrangement converses in harmony with icy hi-hats that flash in and out teasing the energy, all of the elements having space to breathe and work their magic.“‘Spectral Pattern’ came together quickly one very productive weekend in the studio last year. It developed from the bass sequence, which comes from a Yamaha TG-33, an unassuming 80s digital synth known for its glassy mix of ROM samples and FM tones - very New Age sounding, or 90s computer game soundtracks. But when you strip it back to basics, it punches hard in the low-end.”

Slipping on to the B side is a five minute transcendental trip, offering yet another series of textures to this otherworldly EP. The final track “At Least We Hav Music” is an ethereal soundscape waiting to be explored, wandering amongst ambient realms throughout. “The label was keen to include an ambient track on the release, and I wanted to record something specially for them. At first I had in mind something droning and melancholic, but after a few experiments with cassette
loops and reverb pedals this was the one that stood out. It was recorded during one of the lockdowns, and I guess I needed to create something that sounded more hopeful than brooding. I messaged DS boss Tom Haus with a rough version, and we went on to have a grumble about the gloomy state of things, locked-down in our respective cities and missing friends, family, activities… At some point I wrote ‘at least we have music’ - and almost as soon as I had sent it I knew I had found the track’s title. I’m very lucky to have had my home studio as a refuge through the long months of lockdown, and I’m honoured to have the chance share some of my output from this period on this record.”
KIDWHO fitting the Dawn State ethos to a tee here as they set up shop for what looks to be another fantastic release. “Each of these tracks came about in quite different ways. Like many creative people, I had moments of struggle during the pandemic, where the lack of variety and day-to-day stimulation lead to periods of writer’s block, and so I used those times to focus on smaller, more manageable projects such as making synth patches, recording sounds and and throwing together short loops in my samplers for later use. A number of
these short loops eventually laid the foundations for title track ‘Warez House’. Big thanks to Dawn State, Joel Kane, El Choop and everyone else who has helped make this happen.” -

KIDWHO

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing black and white smoke effect vinyl. Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche. Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection. Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void. 'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion. Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms

Hailing from Ancaster, Ontario, Carl Didur has been an enigmatic fixture of Toronto’s underground music community for close to two decades. Originally traversing the Golden Horseshoe with The Battleship, Ethel, a band which sprung from his first outfit CEDRUMATIC, Didur soon moved to Toronto. Throughout the mid-2000’s he could be spotted playing his trademark ace-tone organ as a member of No Dynamics and Rozasia in the city’s crammed rogue venues, such as The Bagel and the infamous and transient Extermination Music Night. During these years The Battleship, Ethel continued to tour, often performing as backup band for Damo Suzuki, while at other shows inviting Dave Byers (Simply Saucer) and Bob Bryden (Spirit Of Christmas) to perform alongside the band. Perhaps the most enduring legacy of "The Battleship, Ethel", which dissolved in 2009, is that it laid the creative foundation for Carl and bandmate Michael McLean's next project, the prolific, studio focused, Zacht Automaat. As Zacht Automaat released music at a frantic pace, Carl continued to collaborate with members of a tight-knit group of Toronto’s downtown scene including touring with U.S. Girls and Slim Twig, performing and recording with Colin Fisher as Fake Humans, guesting on Absolutely Free’s Currency EP and producing New Fries’ most recent album The Idea of Us. Throughout the last decade Didur’s purely solo output has served to document his unimpeachably singular approach to music making. I Cannot See You Too Well (2011), Nothing is the Secret to Anything (2014) and Is It Yesterday? (2020) all released on cassette were followed by a digital album of gentle minimalism called Natural Feelings Vol I (2020). His solo shows consist of multiple tape machines running loops through various analog devices (a Certified Electronics Technician Didur now spends his non-piano playing hours of the day repairing all manner of tape echoes and synthesizers) or solo Wurlitzer electric piano improvisations, his performances gracing both stage and gallery. With his latest release Maybe Next Time, Didur further establishes himself as a singular artist with a unique methodology honed from years of music-making and listening. The album’s compositions swing from lush Axelrod-ish affairs filled with Mellotron strings to the album’s spiritual jazz influenced centerpiece The River Meets The Sea. “I was inspired by Eno's Here Come the Warm Jets, Crazy Horse but only when they are sad, Alice Coltrane, Jessica Pratt, McDonald and Giles, and so many others…” states Didur. Infused with a melancholic tone throughout, tracks such as Close My Eyes and Autumn’s Here invoke cinematic memories with tape echo and reverb applying a softened focus to the proceedings. Carl explains the context for the tone and the setting for the record’s gestation: “Maybe Next Time is a record I made after the world lost a sweet person that many in our community loved. Unlike most of my albums this one never seeks to shock or surprise you. It is about sadness, confusion, dissolution, transformation and ultimately a deeply forgiving sense of love. It is a concept record about being a human being!”

For genre-bending band Whiskey Myers, 2019’s self-titled and self-produced album offered a watershed moment. With Rolling Stone raving that the “irresistible” album was “the record the band was poised to make” while declaring them “the new torch bearers for Southern music” in a story titled “How Whiskey Myers Won Over Mick Jagger and Made the Album of Their Career;” Billboard and No Depression naming the album to best-of-the-year lists; 41,000 first week album sales; and the project debuting atop both the Country and Americana album charts (as well as at No. 2 on the Rock charts, behind only a re-release of The Beatles’ Abbey Road), the band celebrated mainstream success a decade in the making. Now, after spending 21 days isolated at the 2,300-acre Sonic Ranch studio deep in the heart of their native Texas, just miles from the U.S./Mexico border, the Gold-certified renegades have doubled down on what they do best: sharing honest truths with no-holds-barred instrumentation, letting the self-produced music speak for itself. Yet with Tornillo, named for the border town that is home to the pecan orchard-filled recording complex and set for release on July 29 via their own Wiggy Thump Records with distribution by Thirty Tigers, the six-piece band has taken their solid decade-plus foundation and pushed themself to further explore new sonic landscapes. “It’s going to have a little bit different sound,” lead singer Cody Cannon shared recently with Outsider. “It’s still Whiskey Myers at its core, but it’s kind of fresh… We did a lot of bass and horns on this one, which is something we’ve always wanted to do. Just being fans of all that old music and Motown stuff, and a lot of the stuff coming out of Muscle Shoals, old rock and roll. “We’re going to bend genre even more, I think, with this new record,” he continued. “It’s all over the place. But that’s fun, right? I hate the whole ‘Put it in a box. You gotta be this.’ … That’s not art to me. I love the idea of just doing, really, whatever you feel. It comes out a certain way because that’s just how it comes out. Whiskey Myers never really tried to be a certain way. It’s just how we are. So I think that’s really the whole thing about music, or the beauty about music; it’s just that freedom to create.” Tornillo as a whole does exactly that, drawing as much inspiration from Nirvana as from Waylon Jennings – even adding the legendary McCrary Sisters’ gospel influence to the project on background vocals. With Cannon leading the way on songwriting, the album also features writes from lead guitarist John Jeffers and fellow bandmembers Jamey Gleaves and Tony Kent, as well as rising singer/songwriter Aaron Raitiere (Anderson East, Oak Ridge Boys, A Star is Born).

Marc Romboy presents his upcoming album "Voyage de la planète' his first solo full-length production in over eight years. Released on his newly launched Hyperharmonic label, Voyage de la Plantète signifies an exciting new chapter for Marc as he experiments with his sound - pushing the boundaries between classical and electronic music to create both an emotional and atmospheric experience.


The first impression of this new sound can be heard on album opener forerunner 10" "Monde futuriste" (February 17th 2017) which blends together beautiful strings and soft flittering synths. "Jules Verne" named after the French science fiction writer, combines echoing arpeggios and a subtle woodwind harmony to create a cosmic soundscape. Whilst "Atome de danse", "Symphonie oblique" and "La machine du temps" use elegant strings to further enhance an unearthly effect, title track "Voyage de la planète" mixes the two mediums together with fluttering synths and somber strings before "La lune et l'étolie" builds introduces the bustling sound of the piano to create an upbeat melody.


Whilst there is a strong classical influence, there are tracks on the album that reference Marc's electronic background. This can be heard in

"L'univers étrange", which has an ambient sound, whilst pitched-down chords take "L'universe parallèle" to a dark and moody space.
"Phénix" is a bass-driven track, layered with crashing synths, taking the journey to a high before the celestial experience draws to a close on an uplifting note with "Nocturne" a laid-back soothing track that exudes optimism and wonderment.
Inspired by a concert with the Dortmund Philharmonic Orchestra where he performed Claude Debussy works in a contemporary way, "Voyage de la planète' signifies the start of a new chapter for Marc Romboy. Combining the strange, fascinating sounds of electronic music with the sublime beauty of classical music to create an extraordinary sonic experience for the listener.

Some bands reveal themselves immediately, coming right out and winning the listener over the moment they hit play. And then there are bands that open up with time, rewarding repeat listens with new lyrical and musical thrills on every return. Glaswegian jangle pop extraordinaires U.S. Highball have the rare distinction of being both. The duo specialize in the kind of instantly charming songwriting that makes a great first impression, and an even better second, third, and beyond. Their songs are equal parts wit and heart, full of pop culture nods, inside jokes, and hooks upon hooks. Now U.S. Highball’s third full-length, A Parkhead Cross of The Mind, leans even further into their unique dichotomy, offering another goldmine of discovery set to their finest batch of pop gems to date.

Tartelet are proud to introduce the blissful, psychedelic electronic soul sound of ABUNAI on his sophomore album Chrysalis out May

20th. Across 11 songs the Oakland, CA-based multi- instrumentalist lays down a dreamlike style which should chimewith fans of Tame Impala, Khruangbin and James Blake alike. As well as the sun-soaked surrounding of his Californian home, ABUNAI’s family connection to Hawaii casts its influence over an album which has all the makings of a crossover success. Look no further than early support from the likes of Gilles Peterson, Don Letts, and Wayne Snow for further proof this album is set to blow up.

“My sound is definitely influenced by the live music I grew up with in the Bay Area,” says ABUNAI. “There's plenty of musical legacy here, including the '60s psychedelic and counterculture movements, the '90s rave scene, and the hyphy movement. "I'm always trying to connect the dots and blend all of my influences.

Chrysalis was, like so many recent albums, a project made largely in isolation during the pandemic, although ABUNAI did reach out to close collaborators Gravity and Raquel Marie to contribute some guest vocals, Kevin Farzad from Sure Sure for the acoustic drum parts and a few additional production touches from Tartelet regulars Glenn Astro and Max Graef. He bills the songs as an exercise in therapeutic self-care through lockdown as much as a balm for others. “It's music for healing,” ABUNAI explains, “for the listener to be able to marinate in the slow tempos, the dreamy textures, the swirling vocals, and the lush synthesizers. It’s very much about growth, re-emergence, and dreaming of a better future.”

As well as dealing in ear-catching pop melodies and sweet vocals, there’s an underlying theme of the ocean, which stems from his coastal surroundings and his family roots in the Pacific. “I think the album is aquatic,” he reflects, “and it feels like a voyage to me, or like a long shower, being reborn in the water. I played the album for my grandpa, who's a veteran sailor and pilot from Hawaii, and he said it was the perfect music to play when you're sailing on the open ocean at sunset.” Cast in nostalgic, soft-focus tones and endlessly soothing for the soul, Chrysalis is your new favourite record for tender moments, hazy days and starry-eyed reveries alike.

The co-curated Air Texture Compilation series returns with two Brooklyn based selectors.

As the cost of living in Manhattan proper moved artist minded migration patterns further afield, places like East Williamsburg, Bushwick, and Ridgewood became post-cultural centers in a way, with producer after producer gaining international recognition in the last 10+ years. New clubs such as Nowadays, Knockdown Center, and Elsewhere furthered the momentum, anchored by first mover Bossa Nova, and important festivals like Mutual Dreaming and Dweller came soon after.

Collectively, the stage was set for a beautiful moment in electronic music history, still unfolding, and maybe something that could only happen in the States in a place like Brooklyn.

Swedish progg is not to be confused with "prog" as in progressive rock music. When we are talking about progg, we are referring to the Swedish music movement influenced by the political climate of the late 60's, to some extent the hippie movement and in many cases also Swedish folk music. Music highly driven by a political agenda. Blod's Knutna Nävar, originally released in an edition of 150 copies on Förlag För Fri Musik in 2018 and later a small cassette run, is pretty much a lost progg classic from the 70's. This is not a case of copying a certain sound though, far from it, neither are ideas really rehashed nor does the album feel nostalgic in that sense. Rather it feels like if someone has read about the progg movement and all the records but never actually heard it, yet decided to do an album and somehow managed to succeed big time. Further developing the sound palette and ambience initiated with parts of the Leendet Från Helvetet recording, the music feels slightly louder and more in your face. It's like it's more of everything. The melodies are immediate and it's quite impossible to resist the brash catchiness of it all. Albeit mentioning progg music and its importance for this recording, the actual musical side of Knutna Nävar has in reality more in common with soundtrack/library music and Swedish composers like the late Björn Isfält when you attempt to break it down. The crude DIY approach and anything-goes mentality just adds an extra dimension to it all and ultimately places the music somewhere else. There's a rather blunt use of samples throughout the record (sources probably best to leave out, though you don't have to be a Einstein to figure these out), but then again this is made by the same guy that gave the world the ABBA album. Those samples has managed to become an integral part of the music through the few years that has passed and though well familiar with the records those snippets are now to me genuinely Blod and nothing else. It seems like everyone has their own favourite but Knutna Nävar is the Blod album I have returned to the most. It has that extra something that sets it apart and if I would have to pick up a few records that sums up why Gothenburg has been a pretty damn awesome place to be in the last 10 years or so, this would definitely be one of the top picks.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most
senior member of the legendary Preservation Hall Band. “I never did anything in
my life but play music. I’ve been blessed with that gift that God gave me, and I’ve
tried to nurse it the best way I knew how.”
 While he’s faced plenty of challenges nursing that gift for more than 78 years,
none likely rank with last winter’s passing of his brother and last living sibling,
Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn,
filling his days and weeks instead with dark reflection, a stubborn despondency
broken now and then by regular chess matches in the studio kitchen of Hall
leader Ben Jaffe, working overtime to bring his friend some light.
 One such afternoon also included Joshua Starkman, sitting off in a corner
playing his guitar and half-watching the chess from a distance. When Charlie
returned the next day, he brought his saxophone. “I was just inspired to try it, to
play again. It had been a long time, and a guitar makes me feel free. I do love the
sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”
That day was to be the first session for ‘Eighty Nine’, almost entirely the work of
Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt
Aguiluz.
 Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in
New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played
with Lionel Hampton, whose band then included a young Charles Mingus, later
spending nine years with a group led by Cab Calloway drummer J.C. Heard.
While he’s also fronted a bebop quintet, played and/or toured with Ella
Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his
name appears on the front of a record, as a bandleader.
 Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band,
featuring prominently on ‘That’s It, So It Is’, and ‘Tuba to Cuba’. ‘Eighty Nine’ was
different, and not simply due to a smaller ensemble. “We had no particular plan,
or any particular insight on what we were gonna do. But we were enjoying what
we were doing, jamming, having a musical conversation,” Charlie says, further
musing, “Musical conversations cancel out complications.”
 The album includes six standards and three newer pieces on which Gabriel is a
writer: ‘Yellow Moon’, ‘The Darker It Gets’ and ‘I Get Jealous’. The record also
marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The
clarinet is the mother of the saxophone,” he says. “I started playing clarinet early
in life, and this taught me the saxophone.”
 Finally, ‘Eighty Nine’ includes three tracks of Charlie singing. “I always sung, but
it wasn’t my forte to become a singer,” he says. “The truth is, people often
develop a real relationship with a song once they hear the words. Sometimes I
enjoy singing them.”
 First pressing on translucent gold Loser Edition coloured vinyl

Vinyl Only

Making their return with further innovative output this Spring is Bucharest based outfit, VARME, a label curated and cared for by, Paul Popa. Crafting the seventh release on the label is the incredibly talented beat maker, Maximo. The Uruguayan’s “XKP” EP meanders through low end leaning electro, and intelligently arranged spaced out techno, rough and ready for the club.

Title track “XKP” moves in mechanical motions, chugging by as trippy beeps and bleeps make themselves known. Futuristic elements breathing life into the chunky drums. The A2 “Trip To the Moon” teeters on the fine line of techno, and trance, sitting comfortably between the two, blasting you with dusty nostalgia from records of the past but maintaining the modern twist Maximo consistently captures.

On the flipside delving deeper into the mind of Maximo is “1945” is a sleek and crisp trip, a punchy kick and ice cold hi-hats drive the groove. The vocal sample used fits perfectly, transcending the listener as it continues to flash in and out. Closing 007 is “Sinrazón” a curious journey through shimmering pads and synths, teasing you down a path of mystery with the dark bassline that simmers throughout.

Solid impressions from a label that continue to propel their distinguished energy, showing no signs of slowing down, continuing to become somewhat of a diggers paradise with their catalogue. VARME are not afraid to push music they believe in, never taking the restraints of genre on their shoulders. Whilst not making music Maximo is helping steer the ship at Deeper, a collective who share their musical vision in their native country of Uruguay.

Leeds art-rock group Mush (Dan Hyndman vocals / guitar, Phil Porter drums,
Nick Grant bass, Myles Kirk guitar) are set to return with album ‘Down Tools’
via Memphis Industries. The new record marks the prolific band’s third album
in as many years, following hype-building early singles ‘Alternative Facts’
and ‘Gig Economy’, 2020’s debut album ‘3D Routine’ and 2021’s acclaimed
‘Lines Redacted’, which pushed their sound further and, as Uncut wrote, saw
them become “kindred spirits to Wand and King Gizzard & The Lizard
Wizard, two other bands prolifically honing their sound and approach,
steadily developing their voice.”
 On ‘Down Tools’, this voice grows again into a more brilliantly singular
sound. It sees Mush getting loose, moving away from the defined moods and
textures of ‘Lines Redacted’ with a musical openness, straddling genres
while avoiding pastiche. Hyndman says of the lyrics on ‘Down Tools’ that
“there was a conscious decision to retreat further from an observational
approach” with vocals being ad-libbed lending the record a more abstract
feel. Hyndman continues: “this album is less dark than the previous one. The
Armageddon obsession has eased, or at least the symptoms have become
milder due to saturation. Musically there’s a lot more chill on the record -
there’s a few more mellow tracks out there and the most astute listener may
even be able to decipher some of the words, fingers crossed.”
 While grief and work balance form themes on the record, Hyndman’s
approach is largely made up of abstract, disconnected streams of
consciousness and lines liberally taken from books, paintings, films and
beyond. On ‘Human Resources’, Hyndman dramatically retells a battle he
had with an HR department at a job in a David and Goliath style. The song
‘Group Of Death’, a phrase chillingly familiar to any football fan, is
emblematic of the turn towards softer, more considered sounds. Hyndman
says: “In my warped imagination it just sounds like a Paul McCartney song,
but it won’t to others. I initially had the idea of doing a World Cup song called
‘Group of Death’, but by the time it was written nothing beyond the title had
any relevance to football. Anyway, the next World Cup is in Qatar so fuck
that shit.”
 ‘Northern Safari’, meanwhile, is a song about the way the North of England
has been portrayed in the media and used as a mirror to reflect some of the
nastier elements of what’s going on in society, in particular vox pops around
Doncaster, portraying a particular narrative of the collapse of the red wall and
the disgruntled ex-miners.
 ‘Down Tools’ sees Mush idiosyncratically ping-pong from finger picked
looseners to noise-rock bangers to brilliantly entertaining effect, avoiding
post punk saturation with an easy style and wit.

'Mellow Moon' is the debut album from Alfie Templeman - an album that
"feels like something of a miracle, landing somewhere between an
otherworldly trip and a joy-filled ode to life back on earth"
Like all journeys, the change in mood is palpable throughout Mellow Moon, with
songs like the nostalgic '3D Feelings' or 'Broken', which is about "all the little
wobbles of being a teen and figuring yourself out," that bristle with the energy of a
life being lived again.
There's nuance in there, too. Candyfloss suggests that life can sometimes appear
too good to be true, something Alfie has felt since was a kid. "There's always a
downside to the cool shit," he says. "Candyfloss is what it all appears to be until
you get deeper into it."
The result is an easily accessible comfort place. Across 14 tracks Alfie closes his
eyes and imagines another world, one where he's at ease and not distracted by
life's many challenges.
Inspired by modern influences like Steve Lacy, Khruangbin and Leon Bridges, as
well as Alfie's constant cosmic guide Todd Rundgren, Mellow Moon flows with an
ease that belies its difficult creation. "It's a moment in my life that I want to
remember forever. I've put so much effort into this and it's a real experience to
listen to."
Acting as both an intimate diary entry and a communal call to arms, Mellow
Moon is Alfie's most complete work to date and a platform from which he will
surely use to propel himself further into the stratosphere. If ever proof were
needed that music is a salvation or a transportative force, this is it.
Live sessions with Radio 1, Radio 2 and Virgin have now aired.
TV performances confirmed with Sunday Brunch (22 May) and Blue Peter (20
May), the week prior to album release (EMBARGOED!!!!!).
135M total global career streams

Available on vinyl for the first time since it's original CD-only release in 2007. Tenor saxophonist Fred Anderson and drummer Hamid Drake had the closest of relationships, as close as a father and son might have. Their communication was at a higher level musically and emotionally. The music on this album reflects not only their masterful musical skills, but a conversation in music that is exceptionally powerful and unique. For From the River to the Ocean, they assembled a band consisting of fellow Chicagoans to record the most relaxed, perfectly balanced album they made together. It may seem hyperbolic to call From the River to the Ocean Fred Anderson's greatest album, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a powerful contender. From the River to the Ocean is an especially varied outing, ranging from Anderson's classic set-closing blues "Strut Time" to the meditative, spiritual, modal track "For Brother Thompson," dedicated to the late trumpeter Malachi Thompson and featuring bassist Harrison Bankhead on brooding piano and Drake chanting in Arabic. The record's title track and the closer, "Sakti/Shiva," find bassist Josh Abrams laying down an astounding bed on guimbri, the threestringed Moroccan acoustic bass familiar to fans of Gnawa music. Another of the album's delights is guitarist Jeff Parker, well known Jazz guitarist as well as member of Tortoise. Here, Parker displays an immense sensitivity and melodic genius, sharing solo spotlight with Bankhead's cello on "From the River to the Ocean" and sculpting a stunning array of shapes on the group's swinging take on Anderson's "Planet E." Underneath it all is Hamid Drake, an intensely creative soul continuing to challenge himself. Drake's growth is not measured in how many different instruments he plays - indeed, he's scaled back his arsenal over the years - but in the depth and musicality of his feeling. On this record he is remarkably light and airy, playing with tremendous delicacy and clarity. Propulsion can be introduced without a pneumatic drill, and Drake instigates an avalanche of rolling forward momentum on the opening moments, inspiring the two basses and guitarist to move, to make something moving, and in turn to further inspire Fred Anderson to some of his most forceful and imaginative playing ever documented. If the individual is a small receptacle of expressivity, a mountain spring if you will, then it is in ideal settings like this one that the springs join forces, turning into streams, then bigger and bigger tributaries, finally swelling into rivers that open into the oceanic creative waterways. Thank goodness Anderson and Drake tapped into that wellspring, drawing directly from the source

Available on vinyl for the first time since it's original CD-only release in 2007. Tenor saxophonist Fred Anderson and drummer Hamid Drake had the closest of relationships, as close as a father and son might have. Their communication was at a higher level musically and emotionally. The music on this album reflects not only their masterful musical skills, but a conversation in music that is exceptionally powerful and unique. For From the River to the Ocean, they assembled a band consisting of fellow Chicagoans to record the most relaxed, perfectly balanced album they made together. It may seem hyperbolic to call From the River to the Ocean Fred Anderson's greatest album, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a powerful contender. From the River to the Ocean is an especially varied outing, ranging from Anderson's classic set-closing blues "Strut Time" to the meditative, spiritual, modal track "For Brother Thompson," dedicated to the late trumpeter Malachi Thompson and featuring bassist Harrison Bankhead on brooding piano and Drake chanting in Arabic. The record's title track and the closer, "Sakti/Shiva," find bassist Josh Abrams laying down an astounding bed on guimbri, the threestringed Moroccan acoustic bass familiar to fans of Gnawa music. Another of the album's delights is guitarist Jeff Parker, well known Jazz guitarist as well as member of Tortoise. Here, Parker displays an immense sensitivity and melodic genius, sharing solo spotlight with Bankhead's cello on "From the River to the Ocean" and sculpting a stunning array of shapes on the group's swinging take on Anderson's "Planet E." Underneath it all is Hamid Drake, an intensely creative soul continuing to challenge himself. Drake's growth is not measured in how many different instruments he plays - indeed, he's scaled back his arsenal over the years - but in the depth and musicality of his feeling. On this record he is remarkably light and airy, playing with tremendous delicacy and clarity. Propulsion can be introduced without a pneumatic drill, and Drake instigates an avalanche of rolling forward momentum on the opening moments, inspiring the two basses and guitarist to move, to make something moving, and in turn to further inspire Fred Anderson to some of his most forceful and imaginative playing ever documented. If the individual is a small receptacle of expressivity, a mountain spring if you will, then it is in ideal settings like this one that the springs join forces, turning into streams, then bigger and bigger tributaries, finally swelling into rivers that open into the oceanic creative waterways. Thank goodness Anderson and Drake tapped into that wellspring, drawing directly from the source

The Entertains were a vocal group from Cleveland Ohio whose line up at different times varied between four to five members. Initially signed to Belkin Productions in Cleveland the group were persuaded by Nick Holiday to move to his Pittsburgh Steel Town Records Label. The group had already been working on two songs penned by C-Way Productions Richard Calloway who had strong links with Cleveland through his work with Jesse Fisher and Lester Johnson at Way Out Records. The two songs in question being “Love Will Turn It Around” and Why Couldn’t I Believe Them”, demo cuts of both songs where touted around to several major labels with 20th Century showing some serious interest, but the owner reputedly turned down 20th Century’s advances and instead chose to release the songs on his own Steel Town Label. Recorded at Jerree’s Studio in New Brighton P.A with the musical arrangements being provided by Don Groton, The Entertains 45 received limited local airplay reputedly due in part to Holiday’s refusal to provide a set of Dining Room furniture for an influential local radio promotion man. Greater radio play was eventually received with “Love Will Turn It Around” gaining air time on WANN, Annapolis Maryland’s largest Black radio station, courtesy of Disc-jockey Charles “Hoppy” Adams. For a time, a popular tune throughout Baltimore, Washington and Delaware without breaking out nationally. Wider appreciation of the Entertains 45 would come from foreign shores as copies of the 45 found their way in the UK. The effervescent dance side of the 45 “Love Will Turn It Around” was heavily championed by Legendary DJ Colin Curtis and became a firm favourite with the dancers within the Highland Room of the Blackpool Mecca and subsequent Northern Soul venues of the time. The Entertains line up on the Steel Town sessions where Donald Rice, Howard Rice (the cousin of Donald) Alfred Wilson and Andrew Wright the lead vocalist on all The Entertains songs. During 1978 Richard Calloway held a second recording session on The Entertains again at Jeree’s Studio’s which yielded a further two songs “I’ll Answer You With Love” and “Your Love I Give It Up” which due to lack of finance at the time of their conception remained in the can. These two songs have now been brought to life through Soul Junction’s licensing deal with C-Way Production’s in the format they originally intended for. The A-side of the release is the emotional charge stepper “I’ll Answer You With Love” with the opening monologue parts been performed by Howard Rice. While the B-side “Your Love I Give It Up” is a punchier up-tempo version of Richie Merrett’s earlier C-Way Records recording “I Gave It Up”, the flipside to “You’ll Always Have Yesterday Standing By” (C-way 103).

In later life Donald Rice would perform with Lonnie Turner Jr a former member of the Detroit groups The Mighty Lovers (Boo-Ga-Loo and Soulhawk) and Innervision (Private Stock and Ariola America) and his daughter Africa Turner in a vocal combo known as The Ambassadors Of Soul, sadly Donald has now passed. It is believed that the other members of The Entertains are still out there performing solo or as members of other different groups.

THEME reshapes Arp Frique & Mariseya with their third release
THEME drives us further into their experimental/electronic mission with their third release, a remix of Arp Frique & Mariseya’s "Nyame Ye". Pulling its soulful vocal into a looping playground of crafted grubby synths that fill all the right spaces, it dials down the tempo effortlessly whilst leaving just enough feeling from the original in its wake, THEME slowly sucks you deep into this downtempo gem

40-plus years since its original release, the pop-punk-new wave inventions of Anthony
Moore’s ‘Flying Doesn’t Help’ are freshly remastered, blasting the sparkling, angular
sounds into today with perfect vitality.
 After spending the early years of the 1970s making experimental music first as a solo
artist, then with Slapp Happy and Henry Cow, 1976’s ‘OUT’ sessions had reinvigorated
Anthony’s youthful love of the naive pop melodies of pop radio, the undeniable excitement
of songs. While ‘OUT’ ultimately went unreleased at the time, the iconoclasm clouding the
late ’70s air was addictive and transformative for Anthony. England seemed to be roiled
as violently as it had been in counter-cultural days a decade earlier; the UK pop charts
breathlessly reflected the changing spectrum with equal parts aging hippie and prog
delicacies alongside new ascendant sounds: rough-hewn pub and punk rock, plus dub
reggae and disco and ska and Stiff and Krautrock. This proved to be an ideal environment
for Anthony to make records by exploring, as he puts it, the “deep connection between
minimalism, repetition, working with tape and celluloid and forming the modules of a
three-minute pop song.”
 Caught up in a no-holds-barred era, Anthony was more than happy to play the out-of-hishead madman, raving through outrageous exchanges with the press, while ‘Judy Get
Down’ received Single Of The Week honours from the NME (with review penned by Brian
Eno). Represented by Blackhill Enterprises, Anthony did production work throughout
1978-1979, on Kevin Ayers’ ‘Rainbow Takeaway’, Manfred Mann’s Earth Band’s ‘Angel
Station’ and the first This Heat album, meanwhile cutting his own songs on a dead time
deal at Workhouse Studio with engineer / producer Laurie Latham. Through the wee
hours of countless nights, the two pieced together ‘Flying Doesn’t Help’, with a little help
from friends (an inspired bunch, including Bob Shilling, Charles Hayward, Chris Slade,
Robert Vogel, Festus, Matt Irving, Sam Harley, Bernie Clark, Edwin Cross and Martine
Moore on the telephone).
 Building upon the axis of pop and experimental impulses that distinguished ‘OUT’, and
informed further by the raw sensibilities exploding everywhere, ‘Flying Doesn’t Help’
blasts out of the speakers with its own unique blend of sophistication and aggression,
Anthony’s keyboard flashes between arpeggiations and outright stabs among the noise of
slicing guitars, funk basslines and the reverbed blare of the drumkit. Opening with
Anthony’s greatest hit, ‘Judy Get Down’, and containing a noise-laden remake of the
Slapp Happy/Henry Cow number, ‘War’, among other delightful sweet-and-salty
confections, ‘Flying Doesn’t Help’ never stops moving, fuelled with raw outrage and dark
satirical intent, churning with the energy of next-gen types like Tubeway Army and DEVO,
while shimmering with the elegance of the still-challenging old guard types, like Cale and
Bowie.
 Clearly, ‘Flying Doesn’t Help’ was steeped in the time, and the original release reflected a
deep mistrust of the corporation mindset. Information was a dubious concept, and
connections to any recognizable organization were seen as untrustworthy, so facts like
musician credits were left out of the package, and even Anthony’s name was altered (he
was credited as A. More on the album and Tony More on a single release). The label
name QUANGO was conceptual as well, standing for ‘Quasi Autonomous NonGovernmental Organization’; each record was sealed with red tape that the listener was
required to cut through in order to get to the music. Rather than recreate the conditions of
the original release of ‘Flying Doesn’t Help’, this reissue instead embraces the changed
environment of the current time and place: instead of no credits, now they are complete,
with Anthony’s full name restored and even the artwork subtly ‘relocated’ to reflect a new
set of relationships. All of which brings the forward-looking sounds of ‘Flying Doesn’t Help’
into the more independent-minded 21st Century syntax where it belongs.

Mondo, in partnership with Back Lot Music Wright, are proud to present the premiere physical release of Steven Price's electrifying score to LAST NIGHT IN SOHO, the latest film by Edgar Wright.

Edgar Wright wanted a score to soundtrack the two eras of Last Night in Soho and tie together the stories of these two very different young women. To achieve this, Wright turned once again to his now-regular composer, Academy Award® winner Steven Price, who successfully scored both Baby Driver and The World’s End.

While Price’s influences for the score included contemporary film music by the likes of Ennio Morricone and John Barry, a “’60s session band” sound with echoing fragments of dialogue add a different and sometimes subliminally sinister edge to the score. The sounds of ‘60s Soho blend into the present-day London scenes as Eloise is sucked further into the past. “The idea is that Sandie’s voice becomes part of the film, so you hear her siren song from the ‘60s coming through, and Anya became an intrinsic part of it… I was pleased that the lead actress is also the lead singer in the film score; the whole thing knitted together.”

The album also features songs performed by Anya Taylor-Joy, including the lead single from the film "Downtown (Downtempo Version)"

Repress coming in June of this sold out LP from last year. LP, 45 RPM, Limited Edition. Style: Post Rock, Downtempo, Shoegaze. The last widely available Hood album was 2005’s critically acclaimed Outside Closer on Domino Records but the Leeds post-rockers actually released a later collection of songs entitled “The Hood Tapes”. This was presented at the time as a tour-only CD available at their final burst of shows and later part of their highly sought after Recollected box set. Until now the standalone album has been impossible to find even on CD and has never been issued on vinyl. In the sleeve notes to the Recollected set, the band describe the album as ‘something made in a hurry in order to have something to sell on the road’ but “The Hood Tapes” is a lot more than that. It contains all new music that seems to straddle their career from scratchy experimental New Zealand weirdo lo-fi to the stuttery and staccato r&b influenced pop they sprinkled over that last Outside Closer missive. “The Hood Tapes” could also be seen as a series of sketches of potential future musical avenues open to the band who eventually instead chose to remain silent and although key band members still operate under such names as Bracken, The Declining Winter and A New Line (Related), there has never been any further work issued under the Hood umbrella. “The Hood Tapes” therefore is an overlooked key component to their storied history and this essential release brings it in line with their more well-known work.

Tribal electronics, dubby downbeat, sedated house and disoriented breaks coming from Molto Brutto's Andreas Kunzmann. Following on from his essential reissue of II aka Molto Brutto's feverish and freaky second LP, Basso fires up the Growing Bin lathe for a further foray into AK's eccentric catalogue. Recorded between 1998-2005 and unreleased until now, these genre-fluid tracks retain the unorthodox charm central to the Austrian's art. Sometimes dancing is just falling to music, and Andreas lives the life unbalanced.

 Once again, accordionist Vincent Peirani
reshuffles the cards. As a good jazz musician, he
likes to venture into unexplored territories. As a
good music fan and a very good musician in
general, he is curious, enthusiastic, and eager to
make new discoveries and find new things to listen
to or play. ‘Jokers’, his first album in trio, goes
even further, and elsewhere.
 Vincent chose to turn to the jazz trio for the first
time, a formula with such a long history that it is
almost sacred, and certainly intimidating. But
typically, he used that framework only to escape
from it. His two accomplices, Federico Casagrande
on guitar and Ziv Ravitz on drums and keyboards,
both have a wealth of experience and skills, an
interest in rock and electronic music, and a taste
for musical hybridity.
 Now available on vinyl with digital download code.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

Single includes download. “Virginia Wing are not from the sedate school of dream-pop escapism…a hazy subversion of the traditional monochrome evocations of post-punk, a photo negative of an established form.” - The Quietus // “South London three-piece ally buzz and drone with sweetness and light” Guardian – New Band Of The Week // "A piece of noir-pop majesty that consistently pushes its own boundaries and frequently shatters the listeners’ sense of expectation" Loud and Quiet // "They possess a rare ability to dive deep beneath the skin.. a ghostly mix that flirts hard and fast with the avant garde while retaining a sly pop lustre" Mojo 4* // Following the 2015 release of their acclaimed debut album ‘Measures Of Joy’ on Fire Records, Camberwell based outfit Virginia Wing return with a striking new single. ‘Rhonda’, released for Record Store Day on 12” vinyl with a disco cut sleeve featuring artwork from longtime collaborator Florian Brooks. Recorded at Hackney-based Holy Mountain Studios with Misha Hering, ‘Rhonda’ sees the band expand the deep and varied sonic palette displayed on their debut ‘Measures Of Joy’. Featuring guest musician Koichi Yamanoha of Grimm Grimm, the single unfolds slowly as meditative incantations give way to a sprawling piece of experimental pop for the dance floor. The ambitious A-side flirts with disco beats and draws influence from a variety of schools of contemporary dance music whilst still remaining, at heart, a pop song. This is pop music with texture, depth and nuance; a daring and progressive piece. The B-side includes two new tracks: ‘Sisterly Love’ and ‘Daughter Of The Mind’ which further hint at the deviations we can expect on their second LP. Field recordings, ambient mediations and rhythmic experimentation abound; the new material sees Virginia Wing refining and reworking the sound conjured on their debut, a masterful workout.

The Magic Movement marks its twenty-fifth release this May with Coss & Luca Musto's 'Remind Me Tomorrow' EP, comprised of three originals from the Berlin-based pair and a remix from label boss Noema.

Coss has been a mainstay at Berlin's Kater Blau club for some time now and just recently delivered an EP on the club's in-house imprint Kiosk ID as well as an EP for his own metanoia.
Italian rooted but Germany-based Luca Musto returns to the Magic Movement here following his 2018 'Parabel' EP and has since gone on to release further material with Cologne's Feines Tier and Laut & Luise in recent years.

Here joining forces with the 'Remind Me Tomorrow' EP the two artists deliver more of their distinctive tripped-out, dropped tempo club sound.
'Broken Promises' leads the way via dreamy dubbed out textures, gnarly bass tones, twinkling chimes and airy arpeggios atop a bumpy drum groove.
Title cut 'Remind Me Tomorrow' follows and brings modulating resonant synth lines into the forefront alongside elongated subs, cinematic pads, and circling sequences while Luca also stirs in his own rap/spoken word hip house style vocals.

The third original 'Concept Zero' follows next and lays down psychedelic guitars, choppy stabs, murky bass swells and dynamic delays before Noema rounds out the release with his take on 'Remind Me Tomorrow', flipping the switch to raw, crunchy drums and spoken word vocal chants amongst the original's chuggy arps and dreamy melodic elements.

Very limited vinyl pressing, 500 copies in a gatefold sleeve, a printed inner housing white and marbling effect vinyl with full download included. CD in a 4 panel digipack with a 4 page booklet. New Heavy Sounds is very proud to bring you Moongazer, the 2nd album by the 4 piece stoner rock powerhouse from Italy, TENEBRA. The band had already made waves on the scene with their debut album ‘Gen Nero’ before delivering ‘What We Do is Sacred’ their debut EP for New Heavy Sounds last year, 3 killer tracks that were but a taster of things to come. Moongazer takes the story a stage further with 9 slabs of crushing fuzzed up grooves, fuelled by 70’s proto metal, hard rock, punk, psych-blues and noise, loaded with great riffs and melody and topped off by gutsy soulful vocals. Musically, you could say that TENEBRA occupy similar musical terrain to bands such as Graveyard, Witchcraft, Kadaver and other bands of that ilk, but TENEBRA are very much their own beast. They have all the chops of course, but are musically less slavish, often adding a twist that keeps the songs fresh and now. There’s also very little reliance on Sabbath-isms (apart from one cheeky nod) and though occult rock is also part of the vibe, the music steers well clear of the cliches. In fact the band bring a clutch of left field influences into their melting pot as well, from June of 44 and Love Battery to the Misfits and the psych grunge of Screaming Trees. Of the 4 members, Claudio (bass), Emilio (guitar) and Mesca (drums) came from the hardcore and post-hardcore squat scene that gathered around Bologna, whereas their formidable vocalist Silvia (the youngest of the crew) is immersed in the underground rock of the '60s and' 70s. When you hear her sing you’ll know where she’s coming from as she has one helluva rock voice, laced with whiskey, smoke, grit, late nights and a whole lotta soul. Think Maggie Bell meets Betty Davis with a smattering of Gillan, and you'll be in the right ballpark. So what you get with ‘Moongazer’ is a band revelling in the spirit of 70’s rock rather than recreating it. ‘Heavy Crusher’ lulls you with its dreamy intro, but it’s not long before the riffs hit with Silvia in full effect. This pretty much sets the tone for the record, coiling proto metal riffs, executed with gusto and joie de vivre. And as with every track on this album, Silvia belts it out like she absolutely means it man. ‘Cracked Path’ continues the journey and ups the heavy fuzz a notch or 2. First heard on ‘What We Do Is Sacred’ (full length album version). ‘Black Lace’ is a brooding beast, epic and melodic, almost a ballad, with a heap of soul lurking within, courtesy of Silvia’s mighty voice. ‘Carry My Load’ keeps the brooding vibe going till the loping off kilter killer riffs kick in. This is definitely Silvia at her most Gillan-esque. ‘Winds Of Change’ does just that, dial things down to bluesy, almost psych feel, with dreamy solos and a hooky guitar break. ‘Stranded’ is a full on stoner rocker as is ‘Space Child’ with its short homage to the dark lords, there’s even a a sax solo. Never one’s to just play it straight these guys. ‘Dark And Distant Sky’ is pure proto metal, a la Bloodrock or Grand Funk, it truly rips, and once again, it’s construction veers it away from anything approaching what you’d expect. ‘Moon Maiden’ is the album’s closer, featuring Gary Lee Conner (no less) of the aforementioned grunge legends Screaming Trees, guesting on guitar. It’s a fitting and epic closer, by turns hard ‘n’ heavy, psychedelic and chock full of great ideas. MOONGAZER is without doubt an accomplished sophomore release that deserves to be heard and appreciated, purely because, though it may appear to reside in the world of stoner, it is so much more.

Having embraced the wide wired world of modular synthesis, Prince of Queens aka Felipe Quiroz has already proved fit and formidable in dialing in the necessary sonic component of his current stargazing outfit Combo Chimbita. His first two solo records on NYCT have only added to an already wide-ranging electronic fluency, yet have also brought a flare and understanding of dance music foundation that in combination is rarely matched.

For his next release, Prince of Queens teams up with the voice of El Julius, his Colombian countryman and New York neighbor. As a seasoned member of Names You Can Trust alumni, Bulla En El Barrio, El Julius helps to bridge the classic with the contemporary. "Rompe Cadenas" is a traditional arrangement with poignant lyrics, but it's still funneled through the unpredictability of POQ's machinery. It's a modern day reinterpretation of sound system cumbia at its heart, and just a further example of the breadth of POQ's production possibilities. Much of that potential is realized on the second track of this double-sided release, "Acidosa." Like his earlier releases, POQ's quintessential future leanings are on display here with all of his remarkable synthesis. It's worth the trip alone. Just imagine a wild and hypnotic meeting of cumbia and pitched-down acid and off we go.

"Every 4,044 years comet Calanhi enters the inner solar system, returning from its long and silent voyage through the Oort cloud. As it approaches perihelion, billions on Earth gaze into the night sky, transfixed by the celestial spectacle of their lifetime. While solar winds tear at the comet's surface, deep inside the glowing ball of ice, ancient machinery springs to life..." Over the past five years Daniel Lodig and Martin Sovinz aka /DL/MS/ have been continually commuting through the electro singularity, constructing their unique brand of fragile bass music from extradimensional sound salvage, and spreading their frequency patterns via the subspace channels of Frustrated Funk, Pomelo, and TRUST. 'Calanhi' is the Viennese duo's debut album - 12 tracks that combine the eternally fresh aesthetics of Detroit-style electro with a relentless curiosity for rhythmic and harmonic experimentation. Seismic club thumpers like 'Invisible Bits', 'Mountains', and 'Trusted Funk' alternate with moody ambient interludes, boldly constructed beat inventions, and blissfully melodic acid breaks. Two collaborations further switch up the flow: Nigerian artist G.Rizo (Hezekina Pollutina, Deejay Gigolo) drops her cryptic rhymes on 'Divide & Conquer', and Spanish singer Xx Isis xX provides vocals for 'Accelerated Frequency'. Mastered by Keith Tenniswood aka Radiocative Man. Sleeves designed by dextro_org. Vinyl version ships with postcard and Bandcamp download code.

Architect by day and musician by night, Jaime Tellado picks up as Skygaze, and returns to the fold of Flumo Recordings with his brand new 12”, the ‘Astral Trip’ EP; combining his knowledge of architecture with a love for sound to construct and merge acid house, broken beat and atmospheric melodicism.

The 'Astral Trip' EP follows releases on Guayaba records, Riverette and Thirty Three Circular. And remixes for Ed is Dead and Contours & Yadava, earning support/plaudits from the likes of Mr. Scruff, Simbad, k15, Andrew Jervis, Gilles Peterson, amongst others.

The common denominator throughout the release is the balance and combination of various elements, exploring a multifaceted contemporary dance sound whilst paying homage to the foundations of the sounds that we listen to today.

‘Minor Mood’ pays tribute to Chicago and Detroit with its high paced house rhythm, acid synths, and piano lines, whilst ‘City Cathedratics’ slows the tempo down to lay the groundwork for a dreamy synth-laden soundscape.

Whilst the majority of the project is a solo exploration in dance music and its multi-layered context and history, the contributions of vocalist Ruben Ondina lift the high-paced, synth house grooves of ‘Gimme Five’ to another level. Meanwhile, the broken beat influence of London is keenly felt on ‘Nigh Heat’ and ‘Wagwan’, their rhythms emphasised further by harmonic and melodic exploration via atmospheric synths, melodic improvisation and irresistible synth bass lines.

Skygaze reconstructs the rhythms and synths into his own fresh and unique package to paint a picture of spiritual wonder, richness and excitement.


DJ Support:

Severino / Horse Meat Disco
Ashley Beedle
Fouk
Just Her
John Digweed
Oliver Dollar


DJ Feedback:

Ashley Beedle - Fantastic EP and difficult to pick one track! 'Wagwan' will be ft. on my April 'Heavy Disco Spectacular' radio show on Worldwide FM.

Michel De Hey - Very nice release

Diynamic / Connaisseur - Very nice cosmic vibes!

Xinobi - serious knowledge of groove on this release.

Lex Ludlow - Super nice!!!

Joshua James - Groove on this...

Just Her - Gimme five is really nice

Fouk - Loving this!

Tom Simpson - some good stuff ....summer is coming.

Junior Simba - peng !

Willie Rosado - nice soulful sound

After a series of self-released vinyl singles, PM Warson emerged in 2021 with the album "True Story", combing elements of vintage R'n'B and Soul with an authenticity and energy that appealed fans and critics alike. Breakout single "(Don't) Hold Me Down" had surfaced initially among soul collectors, before finding a wider audience, first on a Fred Perry editorial, and then on mainstream European radio. Having tipped the album on his Funk & Soul Show, the BBC's Craig Charles also included the single on his popular "Trunk of Funk" compilation series. Not one to wait around, despite the various challenges of the pandemic, Warson returns, just over a year on, with his second offering: "Dig Deep Repeat".

While his debut record waited in line at the pressing plant, he began trying out ideas at a makeshift studio in an industrial storage space in Stoke Newington. As lockdown was lifted enough to bring in his rhythm section, a new set of tunes started to emerge. Despite a growing thirst following his first release, there was little opportunity to play live, with social and travel restrictions remaining in place on-and-off throughout the year. It became clear that his best way through was to make another LP. He expanded the operation, bringing in players, working to an 8-track recorder to forge a new record. Subsequent sessions at Gizzard Recording also produced a direct-to-tape session for Blues Kitchen.

On "Dig Deep Repeat" he further explores his vocabulary, with elements of 60s rock and soul, shades of New Wave, and some cosmic colors beneath the moody blues. It's a direct and focused LP, presenting an artist on the move, two albums deep, with time to make up for.

The Source - nearly 30 years in the tradition of the infinite peculiar. The Source is a quartet with a long history. Actually started in 1993, with the founding members Ingebrigt Håker Flaten (bass), Per Oddvar Johansen, Trygve Seim og Oyvind Brække, who all by then studied at the Jazz Course at the Trondheim Music Conservatory. The new quartet album; " ... but swinging doesn`t bend them down" will be published in October on the legendary record label Odin. The title is an excerpt from the poem "Birches" by the American poet Robert Frost, a title that encompass a child's dream of climbing the treetops and swinging birch branches. It could be read as a reflection over the conflict between the free play in nature and the boundaries of adult life awaiting on the ground_ But maybe the ground can wait? Just join the sheer joy of climbing the trees and the careful balance that is needed not to fall and be at one with the flexibility of nature. After several season-related albums, like "The Source: of Christmas" and "The Source: of Summer", it is now a pure quartet display out in the tube, only based on original music. The pieces are all signed by the quartet members and covers a vast register; raga, shuffle, swing, lyrical spots, improv and even a rough trombone/drum outing, and more.The Source: Oyvind Brække, trombone Trygve Seim, saksofon Per Oddvar Johansen, trommer Mats Eilertsen, bass.

Let’s Eat Grandma, the duo composed of songwriters,
multi-instrumentalists and vocalists Rosa Walton and
Jenny Hollingworth, release their third full-length
album, ‘Two Ribbons’.

 Co-produced by David Wrench and Let’s Eat
Grandma, the album includes previously released
singles ‘Happy New Year’, a celebratory song about
friendship, plus the stunning, melancholic title track
‘Two Ribbons’, glistening pop song ‘Hall Of Mirrors’
and ‘Levitation’, a glimmering and expansive track
driven by soaring synths.

 The band have also announced details of a UK tour,
their first in over three years, including a homecoming
headline appearance at the Sunrise Arena at Latitude
Festival, with further international shows to come.

 Deluxe 140g vinyl LP in 300gsm gatefold sleeve with
matt UV varnish and embossed foiling area, with
150gsm matt UV varnished inner sleeve and digital
download card, also with matt UV varnish.

 Deluxe LP includes exclusive 7” in spined sleeve disco
bag and 180gsm matt machine varnish inner sleeve.

 Tourdates - April 30 & May 1 Stag and Dagger Festival
Glasgow, July 24 Latitude Festival Southwold, October 6
Clwb Ifor Bach Cardiff, 7 Yes (Pink Room) Manchester, 8
Belgrave Music Hall Leeds, 13 Cluny Newcastle, 14
Metronome Nottingham, 15 Space 54 Birmingham, 16
Mash Cambridge, 18 Thekla Bristol, 19 Koko London, 21
Patterns Brighton, 22 Epic Norwich.

Prolific and singular Japanese producer Hoshina Anniversary presents Hyakunin Isshu, a two tracker of extended jaunts deeper into the mystery than he’s yet dared to venture. With a growing reputation for sizzling productions combining propulsive house rhythms with gyrating arpeggios and textured sound design punctured by jazz-inflected keys, Hyakunin Isshu further expands the limits.

On Hyakunin Isshu, Hoshina Anniversary paces it out over the course of two complimentary side-long runs. The A side Karakurenaini rides on a steady 4/4 as cycling percussion loops, squelchy acid basslines and angular piano chords float in and out of the mix. Deployed and rinsed to peak effect, it's relentless repetition evolves just enough to get completely lost in.

On side B Kirigirisu slows the pace down to a crawl, a lurching rhythm and haunting riff ascending almost to the point of vertigo toppling and giving way to a sci-fi drum break, a stirring prolonged break and triumphant culmination, it’s slow-mo future strut equally indebted to melodies of the past.

Hyakunin Isshu is named for Ogura Hyakunin Isshu, an anthology of delicate, reflective Japanese poetry comprised of works from the 12th and 13th centuries. Both tracks share their titles with different entries in the series.

Hoshina Anniversary is the alias of Yoshinobu Hoshina, a reverent reinterpreter of jazz, dance music and traditional Japanese instrumentation. The last couple of years have seen the producer from the Tokyo suburbs release a torrent of inimitable missives on esteemed maisons disques like ESP Institute, Osare Editions, Alien Jams and Youth. Also forthcoming in the summer of 2022 is an LP on Impatience.

Note vinyl rel date is later. 10 Year Anniversary Reissue. 2LP / 2CD featuring the album proper & demos of each song + rarities. Colored clear vinyl, includes digital download. Recommended If You Like: The original ‘151a’ release, of Montreal, Regina Spektor, Andrew Bird. They say that you spend your entire life writing your first album, piecing every formative moment, scribbled turn of phrase, and thematic epiphany into a fantastical collage. Multi-instrumentalist K. Ishibashi (aka Kishi Bashi) disproves that old adage. The title of Kishi Bashi’s 2011 debut album,‑151a, is a riff on the Japanese phrase‑“ichi-go ichi-e,” roughly translating to “one time, one place.” That’s exactly what this debut is: A singular time, an inimitable place, a launchpad for bigger and better things to come. “It’s a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can,” Ishibashi‑told NPR at the time of the album’s release. “The saying reminds me to embrace my mistakes and move forward.” From the deconstructed Beach Boys-esque doo-wop of “Wonder Woman” to the menacing marriage of Eastern Hues and Western operatics of “Beat the Bright out of Me,”‑151a‑is a mediation between opposing drives, offering possible reconciliation but never promising it. The album’s emotional wellspring, “I Am The Antichrist To You” was reimagined in 2021 when it was featured on the animated sci-fi sitcom‑Rick and Morty, introducing Kishi Bashi to a new generation of awestruck fans. Kishi Bashi uses‑151a‑as a vehicle to explore his cultural background. Using Japanese refrains as a compositional and textural device (the polyrhythmic grandeur of “Bright Whites”; the gleeful surrealism of “It All Began With a Burst”), Kishi Bashi celebrates his heritage with earnestness. Japanese phrases and couplets are sung as the response to Kishi Bashi’s resplendent calls, offering listeners a conversation that dovetails with the album’s themes of love, sentimentality, and self-discovery. Today, the “one time” and “one place” that­151a‑inhabited seems further than ever, almost broaching celestial realms of time and space. But, rest assured, with each listen, the world that Kishi Bashi built springs back to life. The world of‑151a‑never left—it was just waiting to be rediscovered.

Morcheeba has sold over 10 million albums and toured the world the last two decades. They mix trip hop, rock, folk rock and downtempo, and have produced nine studio albums since 1995. Two of which reached the UK top ten.

Morcheeba’s The Antidote is a special one. It is the album which features Daisy Martey on vocals, who replaced Skye Edwards. Martey´s psychedelic influences were added to Morcheeba´s standard mix of soul, hip hop, country and electronics. In addition, The Antidote was recorded live altogether and features furthermore “Wonders Never Cease” and “Everybody Loves A Loser”.

The Antidote is available on black vinyl.

The next release on Cultivated Electronics Ltd shines a light on some of the fresh talent emerging from within the Electro scene across this double-vinyl 12" which will be pressed on balck and colour vinyl editions. IMOGEN has enjoyed a whirlwind rise, and her reputation as one of the most talented newcomers is well recognised. Her discography includes releases on Earwiggle, Shared Meanings and fabric where she is also a resident DJ, and presents a monthly radio show on NTS. She opens the compilation with the tough beats and twisted melodies of 'Anatta'. ARMEC (Robbie Mecrow) is an Electro and Acid producer from Manchester who has already impressed with releases on Nebulae, Echocentric, Further Electronix and most notably 20/20 Vision. His beat-led track 'Acute' delivers a serious punch with plenty of sub-bass. Russia's SERGEY TIMOSHOV is the promoter and resident DJ at Warehouse, held weekly at the Propaganda club in Moscow. Here he utilises that experience in fine style for his club-ready 'Electro Beats 1'. UK artists OBSERV and CYPHON collaborated on their debut EP for Gunfinger Food last year, but here they deliver 1 track apiece. Obzerv brings pure destruction on his tumultuous track 'Octro'. While Cyphon, known for his live hardware sets, supporting artists like Assembler Code, Radioactive Man and Afrodeutsche, plus releases on International Chrome and Blind Allies brings dark phunk to 'Nightmare'. KHALILIAN is probably best known as one half of US duo Joonam (with Elon Admony) who have been self-releasing on their Balagan label for the last few years. 'Valda' pitches things down with Detroit-esque chords and a deep, subterranean atmosphere. TOM FAZAK is a 21 year old DJ/Producer from Cardiff now based in Bristol. Better known as a DJ, he's spent the past 9 year collecting records and garnering inspiration from all aspects of dance music. For the last 3 years he's focused on production and draws on cosmic influences for his contribution, 'Weightless'. LINDSAY GREEN is one half of Co-Accused, long-standing residents of Glasgow's prolific underground club scene via their club nights in Paisley's Club 69 and the launch of their Co-Accused Records label in 2021. Going solo for the closing track, 'Creepin' bridges to gaps between Electro, Techno and Acid.

Joe Tatton, keyboard player with UK/US funk/soul jazz kings The New Mastersounds, releases this new 7 inch single in March 2022 and this time there is a lovely double A-side 7" physical vinyl option. Two tracks that showcase Joe's skills as a pianist and vocalist and confirm his talent for writing quality original compositions.

"Timeline" is Joe's spotlight on today's social media obsessed society delivered in the style of his musical hero Mose Allison. The latter was the legendary Mississippi born/New York based jazz/blues musician and singer whose wry and intelligent lyrics married to amazing original music shone a light on society and the world from the mid-1950s until his death in 2015. Mose was a huge influence on musicians like Georgie Fame, Van Morrison and Ben Sidran and was and still is one of Joe Tatton's favourite musicians of all time. This song is the title track for Joe's debut solo album due for release later this year on Rodina Music.

"Stomp" is a slow bluesy instrumental funk burner that has a New Orleans swagger about it and features Joe's grand piano solo followed by JTQ band member Gareth Lockrane cutting loose on the flute. If you like music by Allen Toussaint, Ramsay Lewis and Herbie Mann, you'll be feeling this one.

Joe Tatton has been a member of The New Mastersounds now for 16 years now and has recorded over a dozen albums and many singles with them playing organ, piano and keyboard. Annually, he tours 8-9 months a year with the band, mainly in the USA but also across Europe and Japan too. Prior to joining The New Mastersounds, Joe held down the keyboard role with UK jazz-funk kings The Haggis Horns appearing on their first two albums "Hot Damn!" and "Keep On Movin". He's also featured on piano/keyboards on the worldwide hit single "Put Your Records On" by Corinne Bailey Rae.

Over the years he has played live sets with Maceo Parker and Fred Wesley as well as Art Neville, George Porter Jr and Zigaboo Modeliste of The Meters. He's always maintained his own trio under his own name as a side project, releasing singles and EPs via ATA Records (UK) and Color Red Music (USA).
A few years ago, he needed to find the time and place to record them. So in 2020, between New Mastersounds gigs, he managed to book a few days at a studio near Nashville USA, "The Rockhouse", run by Grammy winning engineer Kevin Mckendree. He hooked up with a couple of Nashville session musicians, Steve Mackie (double bass - longtime Dolly Parton bassist) and Kenneth Blevins (drums), and put down all his original songs and also a cover of Mose Allison's "Ever since the world ended", the first single released last year

Now comes the second double A-side single and a further taste of what's in store from Joe and the band later this year when the "Timeline" album drops later in the year. However this time, there's a lovely little black vinyl offering for all the record lovers out there. Just a small first pressing which will no doubt sell out very quickly so people need to jump on it super fast. Once they're gone, they're gone.
"Time line / Stomp" double A-Side single by the Joe Tatton Trio. Released worldwide on Rodina Music - March 31st March 31st 2022.