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Ivy Falls, the alias of singer-songwriter Fien Deman, will release her first full album in the spring of 2024. 'Sense & Nonsense' sounds mature, with a clear vision and direction. Fien wrote the album after a breakup and leaving her home; she witnessed cracks appearing in her life and found herself in a whirlpool of insecurities. Writing turned out to be the way to reorient herself and discover what she could fill her empty 'house' with. Everything changed: a new life, a new place, new people, and a new view of herself as a musician and writer. Bram Vanparys, aka The Bony King of Nowhere, makes his debutas a producer on Ivy Falls' first release. This unreleased duo impresses with 'the best coda for the confusing time that your twenties can be.'

Sometimes hitting a wall is inevitable. This occurred, partly even literally, in 2020: a broken nose, a painful breakup, and a series of chaotic events shook Fien's foundations. Losing her job, ending her relationship, leaving her home, and returning to her parental home, she hit rock bottom and started her quest to rebuild everything from scratch. After the tumult, Fien decided to shed the oppressive norms and ideas learned as a child and wholeheartedly pursue her own choices and projects.

In the years that followed, each aspect of her life gradually fell into its right place. This extended to her musical identity, themes, and sound. Acquiring some guitars and an upright piano, she endeavored to master them as a self-taught artist. Devoting ample time to her self-made home studio, she returned to the essence, distancing herself from the polished pop sound of her initial work and reconnecting with her first musical love - the singer-songwriters who had colored her teenage years. This rediscovered inspiration marked the first time in her musical career that everything felt perfectly aligned.

The album's artistic approach aligns with a fresh, expansive outlook on life and the future. Fien aims to challenge rigid societal concepts, including the notion of 'golden years.' She questions what and when exactly should be considered the most significant, joyful, and vibrant moments of life. The album delves into topics like the perceived superiority of extroverts, narcotic materialism, and toxic positivity. It's not a lament but rather an ode to what truly matters-the essence, love, and beauty. Fien's perspective encourages finding your inner child and immersing yourself in timeless and profound feelings.

Musically, Fien discovered her perfect match in Bram Vanparys (The Bony King of Nowhere), her newfound love. She wrote the songs, and he took on the role of album producer and co-arranger. Together, they crafted a metaphorical space where every small musical idea has room to flourish, and each insight and effort carries significance. Influenced by indie folk luminaries such as Julia Jacklin, Amen Dunes, Feist, Sharon Van Etten, Sufjan Stevens, and Nick Drake, Ivy Falls has set a high standard for her sound.

The main constant? Fien's distinctive voice commands every song, now revealing greater depth and nuance than ever. In live performances, Ivy Falls is joined by a talented ensemble: Trui Amerlinck (Tsar B, Mayorga), Jasper Morel (Black Box Revelation), Simon Raman (Steiger), and Anton De Boes (Philemon).

In the past, Ivy Falls has launched two EPs, received airplay on Studio Brussels and Radio 1, and shared the stage as supportfor artists like Balthazar, Jessie Ware, Sigrid, and Mabel.

REISSUE

28 Jahre sind OXO 86 jetzt auch schon dabei, 2022 sogar das erste Mal in den Charts, und präsentieren immer noch ihren Skapunk allerbestgelaunt. Das lange vergriffene "Akustikalbum" gibt's jetzt endlich wieder auf limitiertem Vinyl. Ursprünglich 2016 zum 20-jähigen Bandjubiläum erschienen, erfüllte sich die Bernauer Ausnahmeband einen langgehegten Wunsch und nahm 13 ihrer beliebtesten Hits akustisch neu auf. OXO86 schafft es dabei mühelos, dass die Lieder im punkigen Folk-Offbeat-Gewand einen ganz besonderen Esprit und Charme versprühen. Der Rest ist Geschichte mit stets ausverkauften Club-Tourneen und Headliner-Positionen auf allen großen Festivals. So auch 2024 beim Ruhrpott Rodeo, Spirit from the Streets, Back to Future uvw. Farbiges Frühlings-Vinyl mit Mamor-Effekt, jede Platte anders.

Further is the brand new label from DJ Bone, who has started it in place of Subject Detroit which after 25 years he recently decided to put to sleep. This second EP lands on the same day as the first but is a new four-track solo outing from the now Amsterdam-based techno innovator himself. 'My Replicant Self' has synths slashing across the face of a sleek techno rhythm with sombre chords draped over the top. 'The Divine Call' ups the ante with spoken word menace and 'My Tribe' then layers up percussion and surging synth warmth. 'Remembering The Future' is a brilliantly quick and urgent track with slapping hits and bouncing drum funk.

"Bright Future" ist das zweite Solo-Album von Adrianne Lenker, bekannt als Sängerin und Songwriterin der amerikanischen Indie-Band BIG THIEF, auf 4AD. Ihr erstes eigenes Album seit "Songs & Instrumentals" aus dem Jahr 2020 wurde von Philip Weinrobe co-produziert und enstand unter der Mitwirkung von Nick Hakim, Mat Davidson und Josefin Runsteen. Adrianne wagte sie sich ins Unbekannte, fasste sich ein Herz und schrieb ihre bis dato berührendsten Solo-Songs, die sie im Herbst 2022 mit einigen ihrer Lieblingsmenschen aufnehmen konnte. Abseits der Zivilisation und urbanen Einflüssen wagten sich Hakim, Davidson, Runsteen und Lenker ins Ungewisse. Der Co-Produzent und Tontechniker von "Bright Future", Philip Weinrobe, bereitete das Studio vor. Er war schon bei früheren Soloalben Adriannes Partner, aber dieses Mal war es etwas Neues. Adrianne hatte nicht die Absicht, ein Album zu machen. Stattdessen wollten sie die Songs ohne Erwartungen erforschen. Die Geborgenheit und Leichtigkeit des Waldes um das Double Infinity Studio ist ein prägendes Element der Aufnahmen. Das Ergebnis ist, dass "Bright Future" die besten Eigenschaften von filigranen Sounds mit der Spontanität von Field-Recordings vereint. Es gibt Details, die man erst beim zweiten oder dritten Hören entdecken wird und das macht die neuen Songs zu einem ungefilterten Erlebnis und beweist einmal mehr, dass Adrianne Lenker zu den größten Songwriterinnen ihrer Generation gehört. Das Album enthält zudem auch die Originalaufnahme des inzwischen zum modernen Klassiker gereiften Big Thief-Songs "Vampire Empire", der zuletzt sogar in der Playliste von Barack Obama auftauchte - unbewusst gibt der Albumtitel "Bright Future" einen Fingerzeig, wohin sich Adriannes Lenker Karriere als Musikerin entwickeln wird.

"Bright Future" ist das zweite Solo-Album von Adrianne Lenker, bekannt als Sängerin und Songwriterin der amerikanischen Indie-Band BIG THIEF, auf 4AD. Ihr erstes eigenes Album seit "Songs & Instrumentals" aus dem Jahr 2020 wurde von Philip Weinrobe co-produziert und enstand unter der Mitwirkung von Nick Hakim, Mat Davidson und Josefin Runsteen. Adrianne wagte sie sich ins Unbekannte, fasste sich ein Herz und schrieb ihre bis dato berührendsten Solo-Songs, die sie im Herbst 2022 mit einigen ihrer Lieblingsmenschen aufnehmen konnte. Abseits der Zivilisation und urbanen Einflüssen wagten sich Hakim, Davidson, Runsteen und Lenker ins Ungewisse. Der Co-Produzent und Tontechniker von "Bright Future", Philip Weinrobe, bereitete das Studio vor. Er war schon bei früheren Soloalben Adriannes Partner, aber dieses Mal war es etwas Neues. Adrianne hatte nicht die Absicht, ein Album zu machen. Stattdessen wollten sie die Songs ohne Erwartungen erforschen. Die Geborgenheit und Leichtigkeit des Waldes um das Double Infinity Studio ist ein prägendes Element der Aufnahmen. Das Ergebnis ist, dass "Bright Future" die besten Eigenschaften von filigranen Sounds mit der Spontanität von Field-Recordings vereint. Es gibt Details, die man erst beim zweiten oder dritten Hören entdecken wird und das macht die neuen Songs zu einem ungefilterten Erlebnis und beweist einmal mehr, dass Adrianne Lenker zu den größten Songwriterinnen ihrer Generation gehört. Das Album enthält zudem auch die Originalaufnahme des inzwischen zum modernen Klassiker gereiften Big Thief-Songs "Vampire Empire", der zuletzt sogar in der Playliste von Barack Obama auftauchte - unbewusst gibt der Albumtitel "Bright Future" einen Fingerzeig, wohin sich Adriannes Lenker Karriere als Musikerin entwickeln wird.

My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."

We are proud to release first full length album on the series by FAKK, the boss of “under.time”, a label and event series running in Rosario, Argentina. The album is named “El cementerio de las maquinas parlantes” which translates to “The graveyard of speakers” and have a mystical, ghostly feel to it. This project was a while in the making with an idea to be full club ready release with 8 tracks ranging through a specific spectrum of electronic music through the worldview of the artist resulting in this 2x12”. This marks an official pathway for more albums on the label in the future but that’s another topic. It is a joy to see it turn out how it did with a super high chance sending some speakers to beyond repair state in the world that we are living in.

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Herdersmat.
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Aural architect Skygaze follows his 2022 ‘Astral Trip EP’ for Flumo Recordings, offering an advanced fusion of house, broken boogie, and future jazz, with five brand new reinterpretations from the extended Flumo family.

Skygaze’s diverse sound, breaking down barriers between house and techno, broken beat, jazz, ambient, hip hop, jungle, and even esoteric IDM, has been showcased across a growing catalogue of releases across Guayaba records, Riverette, Flumo and Thirty Three Circular, and remixes for Ed is Dead and Contours & Yadava; earning the producer support from the likes of Mr. Scruff, Simbad, k15, Bandcamp’s Andrew Jervis, and Gilles Peterson.

Feted singer, musician and producer Alysha Joy, rising producer Divorce From New York, ones-to-watch, Footnote and Karmasound, and Skygaze himself under his Jailed Jamie guise, joined by Lorenzo Soria, put a new spin on ‘Astral Trip’, whilst staying true to the originals’ spirit.

The multi-talented Allysha Joy, of 30/70 Collective & LCSM fame, remixes ‘’Night Heat’’, enhancing the groove with broken beats and her undeniable first-rate vocals.

Jailed Jamie & Lorenzo Soria, reshape ‘’Gimme Five’’ with rough synths and jacking bassline driven “Think” beats.

Divorce From New York boosts the tempo and infuses ‘’Wagwan’’ with Latin rhythms, perfectly balanced by high-energy synth lines.

Italian producers, Footnote and SofaTalk, delve deeper into ‘’Minor Mood’’, adding softer, retro-infused sound structures in a broken boogie mould.

Barcelona’s Karmasound explores the ruminating nature of ‘’City Cathedratics’’ and its counterbalance between broken beat and house.

The diverse but complementary set of remixes is sure to move bodies on sophisticated dance-floors this year and shed further light not only Skygaze’s production but also his talent for melody and song-writing. A feather in his and Flumo’s bow.

DJ Support:

Ashley Beedle (Back To The World Records)

Bolam (Lobster Theremin)

Crazy P (Hot Toddy / 2020 Vision)

Dan Curtin (Mobilee)

Fouk (Heist / Toy Tonics)

Joshua James (XOYO, Glorias, Rinse)

Laurent Garnier (F Communications)

Severino / Horse Meat Disco (Strut / !K7 Records)

Speaking Minds (Circoloco, Italy)

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

2024 Repress

From an avid record collector in his home of Brazil to an artist now championing an undisputable position in the upper echelon of D&B's global hierarchy, DJ Marky's 'The Time Is Right' LP sees one of underground music's biggest success stories serve up an incredibly significant album that represents his unwavering passion for both drum and bass culture and his own growth as an artist.

19 years on from the release of his debut album ‘In Rotation’ with XRS, the internationally revered DJ, producer, and label head has found a home for this greatly-awaited album on Shogun Audio, traversing an extensive and beguiling selection of sonic soundscapes across fifteen of the most refined tracks that you'll hear this year.

Capturing both his signature sound and pristine personality in an energetic, bubbly, and vibrant amalgamation of soon-to-be drum and bass anthems, 'The Time Is Right' is an immaculate 175BPM fuelled offering that celebrates one of the scene's most passionate, charismatic, and loved mainstays of the past two decades.

Teaming up with a selection of hugely talented collaborators, including the likes of Pola & Bryson, MC GQ, Makoto, Charli Brix, SOLAH, and many more, 'The Time Is Right' sees DJ Marky serve up a heartfelt, vigorous, and personal sonic journey that undoubtedly presents his most meaningful and complete body of work to date.

As a love letter to his peers, fans, collaborators, and the D&B scene as a whole, this latest album from one of D&B's biggest icons captures the brilliance of his innate ability to intertwine different cultures and music in a mesmerisingly effortless manner.

Through the deeply-personal and emotive feels of 'Colours Of My Mind ft. Pola & Bryson', future anthems such as 'Natural Feeling ft. Charli Brix & Alibi' and 'Back & Forth ft. Melinki, D'Cypher, Harry Shotta & GQ', certified club hits like 'Wrong Hands ft. L-Side, and many other gems embedded throughout the album, DJ Marky further cements his reputation as one of the most unique, talented, and iconic artists to ever grace the drum and bass scene.

Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

ORANGE VINYL

Daniel Boeckner understands the grit and gravel that accumulates in the heart and that it takes an unwavering courage to crack through that clutter and burrow to the other side. And in Boeckner's hands, that quest comes via post-apocalyptic synth and guitar heroism, a rallying cry for those always coming home through the scorched clouds. Throughout his work with Wolf Parade, Handsome Furs, Divine Fits, Operators, Atlas Strategic, and more, the iconic Canadian indie rocker recognizes that few feelings are more gratifying-more memorable, more generative, more abundant-than hope. But it takes getting the hell out of your own way. A culmination of that deep library of musical reference, Boeckner is set to release his first album under his own name: Boeckner! No matter where his genre exploration has taken him, there's something about growing up in punk and DIY spaces that puts collaboration in Boeckner's blood. Composed of a collection of intimately familiar elements, Boeckner! elicits the same thrill of young passion and discovery. It's a jet-powered chase through a tech-noir cityscape-fueled by a dream and that special someone in the passenger seat. That urgency and passion have always been a trademark of Boeckner's, and writing on his own pushes those feelings further into the center of the scope. But while Boeckner may be the clear driving force behind the album, he's not without collaborators for his solo debut. After meeting producer Randall Dunn while contributing to the soundtrack to the Nicolas Cage-starring psychedelic horror film Mandy, Boeckner knew he'd found the perfect counterpart for his solo debut. "I'd been a fan of his forever, especially the Sunn0))) records he produced," Boeckner says. "Working with Randall really unlocked some suppressed musical urges, things that I enjoy in my private life but don't normally weave into what I'm releasing-like occult synth, pseudo-metal, krautrock, and heavy psych influences." That base allows Boeckner to thoughtfully weave between emotional imagism and more grounded storytelling. Throughout the record, his imagery delves into science fiction, but it's charged first and foremost by experience. The trio of Boeckner, Dunn, and drummer Matt Chamberlain (Pearl Jam, David Bowie, Fiona Apple) formed a sort of dark engine for the album, and Chamberlain's ingenious approach of triggering a vintage Arp synthesizer simultaneously with each drum track helped Boeckner shape the record's atmosphere. That tense futurism was influenced by Boeckner's time staying in Dunn's Circular Ruin studio, a dusky, electronic aura burned into every track. By the end of the album, Boeckner! eases from sci-fi epic into something more akin to a torched VHS copy of a John Cassevetes film, the chemtrails and nuclear fallout fading long in the distance. Like all good sci-fi, the emotion and pain hits home for the author and listener alike, and the genre flourishes bolster the human experience. In revealing more than ever before, Boeckner! ratchets up the musical intensity to unforeseen levels and hopes to find some peace at the end of the journey.

High Roller Records, 180g black vinyl, ltd 500, insert, poster, original mix with all interludes between the Songs! Original 1986 sound !!! Specially mastered for vinyl by Patrick W. Engel at Temple of Disharmony!

WAO (Waltaa And Onra) is an ephemeral project, a musical experiment between two friends that happened during a rainy afternoon in the Parisian suburban area in 2014.

After years of knowing each other, Waltaa and Onra finally decided to make music together in the same room for once, and this double-sided 10” single is the product of this collaboration between the two underground French producers.

With “Sexy Robot”, a (then) retro-futuristic ballad for a talkbox duet, and “All Night Long”, a New Jack Swing floor-filler instrumental cut, the release emcompasses many different influences that the two producers share, but the use of the talkbox on both tracks suggest a direct inspiration from legendary 90’s R&B producers, Devante Swing and Teddy Riley respectively.

Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard,” his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio — and just as infrequently accepted by the mainstream.

Sourced from the original analog master tapes, pressed on MoFi SuperVinyl, and housed in a Stoughton jacket, Mobile Fidelity's 180g LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl’s nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything — from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio — in reference fashion.

Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences long-time fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires.

Utilizing wah-wah and distortion, the go-to instrumentalist of the performances— guitarist John McLaughlin — attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson< cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record’s creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.

The least-well-known masterpiece of Davis' career, the 1971 record — seamlessly assembled and spliced together by producer Teo Macero — was a victim of limited record-label promotion. Audiences also didn’t immediately know what to make of its original cover art — faithfully replicated here. In addition, the powers that be at Columbia Records were directing the public’s attention to Miles at Fillmore, a completely different kind of album guided by two keyboardists. A Tribute to Jack Johnson practically lives in a different universe, one from the future. To many listeners who did manage to hear it — among them critic/musician Robert Quine, Stooges leader Iggy Pop, and renowned critic Robert Christgau — it surpassed everything that came before.

Indeed, Davis treated it as a personal manifesto: An opportunity to salute the Black championship boxer admired for his threatening image to the establishment and impeccable taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson — a stance mirrored by the defiant music, which hits with a prize fighter's force and reflects the graceful elegance with which a pugilist navigates the ring — and closes the album with a Johnson quote read by Brock Peters.

Inspired not only by Johnson but by Jimi Hendrix and Sly Stone, Davis changed his approach and his band. He surrounds himself with a cadre of musicians in their 20s and, in the case of bassist Michael Henderson, a 19-year-old fresh from touring with Stevie Wonder. Henderson gives Davis what he requested: boogie-based grooves that don’t lose shape or direction. Soprano saxophonist Steve Grossman, drummer Billy Cobham, and organist Herbie Hancock adhere to a similar aesthetic that prizes brazenness, innovation, and energy.

In that vein, during a portion of “Yesternow,” Davis segues into a separate performance (which became known in its entirety as “Willie Nelson”) played by guitarists McLaughlin and Sonny Sharrock, bass clarinetist Bernie Maupin, keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Dig it!

Talking with jazz scholar Bill Milkowski — who himself noted how McLaughlin’s unrestrained style, decibel-forward volumes, and rapid-fire power chords engendered himself to the rock crowd at the same time that his harmonics and syncopation still definitely made him a jazz player — guitarist Henry Kaiser summed up part of the appeal of A Tribute to Jack Johnson as well as anyone, saying: “It’s a jazz record that way way more open than other jazz records at the time, but still not free jazz. McLaughlin’s rhythm guitar playing on ‘Right Off’ — the use of different chords in a rock shuffle than what anybody had used before — was revolutionary.”

And to think that’s just one aspect of a record that contains multitudes. “Never let them forget it.” Indeed.

An avant-garde masterpiece, a vocal-instrumental suite, a work of collective improvisation, directly addressing the racial and political issues of it’s day, We Insist! Max Roach’s Freedom Now Suite is one of the most important artistic statements of Civil Rights Movement and one of the most groundbreaking jazz albums of all time. Max Roach was already almost a decade into his career as one of the most influential jazz drummers and composers when he teamed up with lyricist Oscar Brown Jr. to collaborate on a piece they planned to perform at the centennial of the Emancipation Proclamation in 1963. Recorded just months after the February 1960 Greensboro sit-ins, the album stands as an early musical testament to the burgeoning rage, anger and passion that would take the Civil Rights Movement from its early victory in Montgomery in 1955 into a future that would dramatically alter race relations in the United States. The second release from the newly launched New York City based jazz label Candid Records, and produced by label co-founder, famed music critic and social activist, Nat Hentoff, the album is a bold statement, focused on civil injustices in black history ranging from slavery to contemporary racial prejudices, and featuring some of the finest jazz musicians ever, including Abbey Lincoln, Coleman Hawkins, Eric Dolphy, Booker Little, and Michael Babatunde Olatunji. The five movements of the work are organized as a historical progression through African-American history, a shape similar to the one in Duke Ellington’s Black, Brown and Beige. The Freedom Now Suite moves from slavery to Emancipation Day to the contemporary civil-rights struggle and African independence. The LP includes extraordinary liner notes written by Hentoff himself, giving a context and insight that adds to the experience of hearing these magnificent performances.

In a mesmerizing fusion of two beatsmiths, the renowned Instrumental hip hop virtuosos Thelonious Coltrane and Miller Gold have joined forces to create an unparalleled vinyl release, set to captivate music a¦cionados worldwide. This groundbreaking collaboration seamlessly blends the innovative drumbreaks mastery of Thelonious Coltrane with the synth compositions of Miller Gold. With a collective legacy spanning decades, these two luminaries have rede¦ned the boundaries of instrumental hip hop, in§uencing generations with their distinctive styles. The forthcoming vinyl release promises an immersive journey through the rich tapestry of future sound of instrumental hip hop, offering listeners a transcendent experience that harkens back to the golden age of the genre while pushing the boundaries of contemporary musical expression. From exhilarating improvisations to hauntingly beautiful melodies, each track on the album showcases the unparalleled artistry of Thelonious Coltrane and Miller Gold. Speaking about the collaboration, Thelonious Coltrane expressed his enthusiasm, stating, "Working with Miller has been a true privilege. Our shared passion for music and our deep respect for each other's craft have fueled this collaboration, resulting in something truly special." Speaking about the collaboration, Thelonious Coltrane expressed his enthusiasm, stating, "Working with Miller has been a true joy. Our shared passion for music and our deep respect for each other's craft have fueled this collaboration, resulting in something trulyspecial." The vinyl release is poised to reignite interest in the timeless allure of instrumental hip hop, drawing both seasoned enthusiasts and newcomers alike into its spellbinding embrace. With its evocative melodies and virtuosic performances, this collaboration between Thelonious Coltrane and Miller Gold promises to leave an indelible mark on the landscape of contemporary instrumental hip hop. Stay tuned for anticipated vinyl album

One of the most successful and enjoyable debuts in history, The Cars' self-titled album doubles as a greatest-hits collection. That's because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became America's most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: "You're All I've Got Tonight." "Good Times Roll." "Just What I Needed." "Moving in Stereo." "My Best Friend's Girl." "Don't Cha Stop." If you're a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.

And now, The Cars sounds better than it has in any previous incarnation. Mastered from the original analogue tapes, Mobile Fidelity's numbered-edition LP allows the music's oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners' senses and hold them at bay. Mobile Fidelity's pressing epitomizes the sensation of "moving in stereo."

Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orr's low, understated singing and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accents — country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.

The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. It's impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Baker's stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Baker's trademark touches with harmony vocals abound.

"The MoFi disc is much better than the original in every way. It's more dynamic, much more natural on top, and all three dimensions have a lot bigger space. This disc is great from start to finish, but "Moving in Stereo" will blow you away on a great system in a big room."
—Jeff Dorgay, TONEAudio

HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.

The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.

It is no coincidence that the music on »Hirok« would draw on rhythmic patterns that were passed on from one generation to the next for hundreds of years. »The project is rooted in the figures of the Sufi dervishes and thus a culture that precedes today's political, social, cultural, and religious systems,« explains Mohtahedy. »The Sufi sound travelled around the entire world. I like to think of it as a dialogue between peoples-one based on the rhythms of the drums and the sound of their voices.« Toma adds that by electronically transforming the recordings and enriching them with field recordings from both rural and urban spaces, they were able to use the stories told by the drums and the setar to create an entirely new narrative.

The story told by these eight pieces is hence a deeply personal, but also inherently political one. Moitahedy herself left Iran in 2004 and relocated to Berlin in 2010. Having continued to use her art as a platform to tirelessly advocate for the rights of the Kurdish people and women under oppressive regimes, she has not been allowed to return to her country of origin ever since. »Hani is singing for equality and there are people who are afraid of that-her femininity, her strength.« Toma says. Much like earlier Hirok sound installations addressed human-made climate change and other systemic ills, also »Hjirok« can hardly be disconnected from far-reaching struggles for liberation and equality.

This is also true on a thematic and even linguistic level. »The lyrics are about a promise,« Mojahedy says, citing Kurdish writer Ebdulla Pesêw as an inspiration. »At their core, these are about that day on which violence and fear become a thing of the past; what they tell you is ot not give up, to keep hoping,« she adds. The promise embedded in them is an emancipatory one. These contents are mirrored on a linguistic level: The lyrics were written in both Kurdish and Farsi, blurring the lines between the two languages and thus, Kurdish and Persian cultures.

Mojahedy, or rather HJirok, conveys these philosophical themes with elegance. Herversatile vocal performance is only loosely basedo n established styles. »Of course everything started with traditional rhythms, but we kept pushing things further and further, so Idid the same with my voice,« Mojahedy explains. »There were no boundaries.« The same can be said of the field recordings that she and Toma used. Whether it's conversations between members of the Pesmerge, the Kurdish armed forces, having a chat in meadow full of bunnies or the humming and buzzing of metropolises like Tehran: »Hirok« paints a sonic picture that is quite literally autopian one; that of a non-place in which different soundscapes, cultures and ways of life coexist peacefully.

What the album conjures up from Mojahedy's memory is not only a very specific place during a unique time in history as experienced by a single person. It is also ametaphorical home open to anyone who wishes to enter - promise of a better, more egalitarian future for everyone. Hence, HJirok will bring it on tour, presenting the material as an audio-visual live show that makes use of the photo and video material that Mojahedy and Toma have collected during their travels through Kurdistan.ja

The folks at Castle Face dig a good trance. Hypnosis, mesmerization, and brain trickery are some of their favorite results of deep listening and it is a suggestive, ritualistic and dreamlike vibe that Bronze ooze like pheromones all over their excellent new record. Absolute Compliance is a truly hypnogogic group of tunes from Bronze on their best and weirdest behavior and it hits all Castle Face’s favorite things about them immediately and repeatedly: insistently strange synth voicings emanating from Miles Friction’s mad scientist’s lab worth of equipment, controlled by a homemade-looking oversized knob; Brian Hock’s throbbing, woolly, hall-of-mirror grooves; and above it all Rob Spector’s thousand yard croon, the vaguely familiar touchstone amongst these Lynchian, mutated surroundings—these are songs of dreams and nightmares, hidden rituals observed, futuristic coliseum entertainments displaced in time, sci-fi jams of an uncertain future. Bronze are one-of-a kind great and if unfamiliar, go find their other records (including their great live record for Castle Face) and get caught up. They are real-deal weirdo kings of San Francisco and their spell is not easily dissipated once cast.

Twin giant towers of amps grinding out minimal beat bloop, the transient sound molecules smell of burning gear and the floor of the pit—this is organic, electronic music at its finest. Dance? Why not. Freak out? For sure. Brothers from a different mother (Bjorn Copeland and Aaron Warren) à la two-thirds of Black Dice have come together with this fantastic debut Flaccid Mojo for us. These are mean beat vipers, spitting and tumescent on the abattoir floor.

I would call it drug music, but I’m not sure what drugs these humans consume. Stem cell and adrenal gland cocktails I’m guessing. Futuristic and primal it is, beats from the Thunder-Dome, fight music for fuckers. I’ve seen them on two separate occasions blow the power for an entire building. Baller move, boys. Produced perfectly by Chris Coady (look him up to be impressed). This record is a burning car in a field and I love it.

For fans of Black Dice, Container, Whitehouse, Negativland, Ralph Records, minimal beats à la Profan, vintage Japanese noise, Severed Heads, windburn and chapped lips. (John Dwyer)

During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch’s shouted lyrics matched by her non-conventional use of electric guitar. The group’s self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it’s an awesome disc that rebuffs punk’s easy cliches and refuses to be categorized. This reissue also includes the ‘Pre’ EP and the tracks from the legendary No New York compilation.

After their highly praised debut record "I" - called "a sparkling electro-jazz and cinematographic hybridization game" and "refreshingly futuristic big band music" - the french quintet returns with the new full length called "II". Notilus is back, more raw and free than ever, taking a journey through both evening shadows and luminous mornings, through long expanses of suspended time as well as hypnotic swathes of dancing vibes. It crosses vast tundras, ascends snowy mountain ranges, reaches swampy troubled waters bathed in eerie light, at the crossroad between Jazz, Techno, Ambient music and self-reflexion.

The Notilus Orchestration:
Philippe Rieger : machines
Mathieu Goust : drums & percussions
Guillaume Nuss : trombone & effets
Christophe Rieger : saxophone & effets
Paul Barbieri : cornet, synthétiseurs

Dancefloor fire bombs from Kolt, a DJ and producer thus far mostly operating under the crew name Blacksea Não Maya (with Perigoso and Noronha). This is his first Retirement record. No quotation marks here, Kolt is actually stepping down from a fruitful decade-long career as DJ and producer.

Fat, techno-ish, idiosyncratic big room afro mind melt sounding like no other hyped or non-hyped dance cuts out there. Futuristic and decidedly non-European in structure, this set of 4 tracks carries a more synthetic DNA than previous material, if we exclude his quasi-gothic slow burners in BNM's "Máquina de Vénus" LP. But in "Verdadeiro" Kolt is all virtual open arms and bare chest, appearing to satirize this idea of the megastar DJ. But what comes across is distinctive and alive (consequently deadly on the club sound system), wiping out the floor of any zombie-preset-DJ vibes.

Take "Bateste" as an example: an evil bassline, wtf beeps, a vocal snippet prodding the dancers and a final blissful 30 seconds to ease you out. "Shaman" is the final track, its title just maybe nailing the atmosphere felt by people on the dancefloor. Shamelessly epic and in your face, a simulation of a throwback to a more clichéd clubland but just so left of centre that one can't find a complete correlation to fit the picture. Yes, we all go OMG.

Sound Synthesis is back with another fine 4 tracker of dark, acidic and futuristic electro. Limited hand stamped copies..

First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-Super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness. Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)"). Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future." The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice. The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives Copal CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From postindustrial to post-everything, theirs is an art untethered, in the wilds of its own design.

X CLUB. is the production duo of Ben Clarke and Jesse Morath. Founded in Brisbane/Meanjin Australia’s warehouse scene and exported to London and beyond, their music is inspired by early 90s techno all the way through to future-facing drum’n’bass, with X CLUB. carving out a space entirely of their own thanks to their authentic and eclectic take on dance music with serious consideration for underlying groove.

With releases on labels such as Steel City Dance Discs, SPANDAU20/CROWDS, 99CTS Records and Stay On Sight, X CLUB. have seen their records reach global audiences with frequent touring across the UK, Europe, North America, Asia and Australia.

Wrestling With New Technique by X CLUB. is the second release on their own label HIDE THE JUNK, a powerful four track offering that follows on from it's HTJ001 predecessor which set out to explore the groovier, percussive and fun side of techno. These tracks have met dance floors the world over, summer into winter, making for big stage moments and more intimate club connections. It's the follow up EP that fans and DJ's alike have come to know and expect in X CLUB. and the start of what will be an exciting 2024.

Repress

A third and final volume of Jamaican doo wop & R&B records taken from the late 50s and early 60s.

These records represent a period in which sound-systems were beginning to dominate the island, with Duke Reid and Sir Coxsone Dodd stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Alton Ellis, Derrick Morgan, Derrick Harriott and more, and provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably prolific and unparalleled for an island of it's size.

DOODSESKADER (Dutch for “Death Squad”) is a merging of the minds of Tim De Gieter (Amenra, Much Luv Studio) and Sigfried Burroughs (Kapitan Korsakov, Paard).

Throughout their three years of existence, DOODSESKADER has been relentlessly pushing the envelope of what it means to be a “heavy” band. From the grunge-infused sludge on their EP “MMXX : Year Zero” to the punishing blend of hiphop and hardcore of their debut album “Year One” and the sonic onslaught of relentless rapping on standalone singles such as “FLF” and “Still Haven’t Killed Myself”, they’re breaking free of any form of categorization.



The duo has been compared to genre-defying trailblazers such as Ghostemane, Show Me The Body, and Ho99o9, however, they clearly bring their own sonic palette to the table.

The red thread in all of this has been their brutally honest and introspective lyrics. Far from your run-of-the mill type of band, DOODSESKADER uses their instrumentation as a sonic backdrop for the emotion and message they try to convey; their music serves as a mirror for life itself. Sometimes brutal, sometimes fragile, sometimes energizing, but always unexpected.



Now, on March 8th, with the arrival of their sophomore album “Year Two”, DOODSESKADER takes things up another couple of notches. From silky-soft “Pastel Prison” to the absolute carnage of “The Sheer Horror Of The Human Condition”, this record is a testament to both their creativity and their will to leave their mark on this world. It’s a trip in every sense of the word, tapping into even more genres such as R&B, techno, hardcore punk, and moody ballads reminiscent of the 90s, all blended seamlessly in their musical vocabulary and making for a sonic journey unlike anything you’ve heard before.

Where their last record “Year One” saw the duo struggling with their inner demons both past and present, “Year Two” is an undeniable display of progress; not only introspectively, but also musically. De Gieter and Burroughs sound outright bloodthirsty, ready to take on anyone in their way. Tracks like “Bone Pipe” or “I Ask With My Mouth, I’ll Take With My Fist” paint a vivid picture of the band’s will to plot their own their path through this world, while at the same time slowly coming to terms with their pasts on tracks like “Peine” or “People Have Poisoned My Mind To A Point Where I Can No Longer Function”. “Year Two” undeniably sees DOODSESKADER’s promise fulfilled: it’s both a complete teardown of genres and boundaries, a sonic wrecking ball wielded by two people trying to get better.

Live, DOODSESKADER proves to be an absolute must see, translating into their sold out AB-release and a sleuth shows over Europe playing with acts such as Brutus and Amenra and on the stages of festivals such as Hellfest (FR), Mystic Fest (PL), Lokerse Feesten (BE), Fluff Fest (CZ) and much more.

Ell Murphy & Medlar team up for their new alias Nitework, featuring the luscious vocals of Ell Murphy and the classic productions of Meldar, forming a stunning piece of future UKG history.

"Secret Treaties is the third studio album by American rock band Blue Öyster Cult, released in 197It features the same band members and production team as their previous album Tyranny & Mutation, but also the only BÖC album that does not feature a track with lead vocals sung by guitarist Donald ""Buck Dharma"" Roeser. Lyrics to the lead-off track ""Career of Evil"" were written by future punk poet Patti Smith, a longtime contributor to the band (and, at the time, girlfriend of BÖC keyboardist and rhythm guitarist Allen Lanier). The album spent 14 weeks in the US album charts, peaking at No. 5It was certified Gold by the RIAA. In 1975, a poll of readers of the British magazine Melody Maker voted Secret Treaties the ""Top Rock Album of All Time"". In 2010, Rhapsody called it one of the all-time best ""proto-metal"" albums. Secret Treaties is available on black vinyl and includes an insert."

Secret Treaties by Blue Oyster Cult, released 8 March 2024, includes the following tracks: "Dominance and Submission", "Cagey Cretins", "Flaming Telepaths" and more.

This version of Secret Treaties comes as a 1xLP. This release comes with (a) Insert(s).

"Two Steps from the Move is the fifth studio album by the Finnish rock band Hanoi Rocks, released in 198This is their last album to feature the late drummer Razzle. Before this album, all of Hanoi Rocks' albums were released on Lick Records and Johanna Kustannus, but this was the band's first album on a major label. Originally the album was supposed to be called Silver Missiles and Nightingales, but the name was changed at the last minute. The album's producer, Bob Ezrin had previously worked with big-name artists like Pink Floyd, Kiss and Alice Cooper, which was one of the main reasons Hanoi Rocks wanted him to produce the album. Ezrin wanted the album to have a heavier atmosphere and darker guitar playing than the band's previous efforts, while still keeping it melodic and punky, and he also worked on the writing of almost every song on the album. Two Steps from the Move was Hanoi Rocks' biggest hit when it was released, reaching #28 on the UK Album Charts, along with the singles ""Up Around the Bend"" and ""Don't You Ever Leave Me"". The album also gave Hanoi Rocks their first gold record in Finland, but not until 1986 after the group had already disbanded. Two Steps from the Move is often considered as a glam rock/hard rock classic. The album is available on black vinyl and includes an insert."

Two Steps From The Move by Hanoi Rocks, released 8 March 2024, includes the following tracks: "Underwater World", "Million Miles Away", "Boiler (Me Boiler 'N' Me)", "Cutting Corners" and more.

This version of Two Steps From The Move comes as a 1xLP. This release comes with (a) Insert(s).

An intimate, vast, and mineral landscape, that's MaMaMa’s first album.

« Hier Sera Meilleur » (« Yesterday Will Be Better ») is the most personal project the musician has ever undertaken. It's an album of confessions and echoes. The echoes of the world within him, those of the past that haunt and drive the present, and also the echoes of the future that are already speaking to us.

Entirely composed, written, arranged, and mixed by Elliot, the tracks that make up this album blend organic recordings with synthetic productions. Euphonium, saxophone, clarinet, or a string quintet recorded in the studio coexist and intersect with various synthesizers and electronic plug-ins.

Ancient textures meet modern sounds. Black and white turns into color.

Everything changes and nothing is ever just what we perceive it to be, MaMaMa seems to tell us, however for the duration of a song, we are there. Yesterday will be better.

Delivered via the manic pedalboard wizardry and sophisticated finger work of guitarist Tommy Meehan (Cancer Christ, Deaf Club, Cartoon Network) and the utterly brutal and savage drumming of Seth Carolina (Starcrawler), SQUID PISSER's tightly controlled, futuristic hardcore-onslaught of amped-up rainbow vomit is a thing of throbbing, mucous-laden beauty. Conceptualized and formed in 2022, SQUID PISSER decided to fully utilize planet Earth's viral slumber in order to gestate, write, and record - resulting in the opening salvo 'My Tadpole Legion' (Three One G / Sweatband) and a spattering of live shows, already the stuff of legend.

SQUID PISSER continue their live assault and make their SKiN GRAFT Records premiere with "Vaporize A Neighbor", a four-song EP packaged in a full-color 24-page comic book sleeve with comics from Johnny Ryan (Angry Youth Comix), Mike Diana (Boiled Angel), Kali Fontecchio (Maude Macher) and many more. The first 500 copies are pressed on translucent "Purple Bruise" vinyl, include a wraparound obi-strip and come packaged in a crystal clear resealable sleeve. Released alongside "Vaporize Your Neighbor" is the fifteen song CD companion "Vaporize A Tadpole", compiling the new EP, Squid Pisser's debut album "My Tadpole Legion" and additional unreleased bonus tracks. Both releases feature exclusive cover artwork from afro-surrealist A4RO.

Newskool pumpin tribe keeps on digging the future ! Enjoy !

“Imagine a man at the end of his rope. Perhaps he's made a fool of himself one too many times, or perhaps despite a lot of hard work has failed miserably at all the things he's endeavored, and the once smug upstart has over time let go of all his ambitions. At the very end of a descent into disillusionment and cynicism, when all hope and even the last sliver of willpower has left him, he unexpectedly finds a form of calm. Complete exhaustion has freed him from the torments of past and future, and in that moment of peace, reality seems to reveal itself with a freshness that he hasn't experienced in a very long time, perhaps since childhood. Let's call this a rebirth of innocence.

DJ Pooch returns to Amen Brother with his third EP for the label. A popular artist on the label who sells out every time that we release his music.

A legend of the scene going back to the early 90’s, who played at all the big raves back in the day and released plenty of quality music during this era, including the Skrufneck series (Part One released on Vinyl Fanatiks in 2022 on green vinyl).

Here he returns to his roots and produces 4 massive future rave anthems, including a remix of one of his previous Amen Brother tracks. And to keep things authentic to the sound of the 90’s, Pooch produces all his music using outboard hardware including the legendary Akai sampler, to get that crunch on those beats and samples.

Enjoy the journey from one of the scene's original kingpins.

Pressed on Black & Blue 180g marbled vinyl.

It all started with a crashed computer and it certainly didn’t end there. »Cinnte le Dia« is the third collaborative album by Hanno Leichtmann and Valerio Tricoli, their first entry into Ni Vu Ni Connu’s duo series that focuses on Berlin’s Echtzeitmusik scene and beyond. Having already released two joint records on the now-defunct Entr'acte label, the two musicians wanted to document a 2018 concert in Berlin, but technology failed them. Undeterred, the sound artist and percussionist and the electroacoustic composer went to the former’s Static Music Studio to record six of the eight tracks on this record straight to tape, with two additional ones being recorded during a performance at Eupen’s Meakusma festival in 2019.

After 2016’s »The Future of Discipline« saw the duo enter the studio for a one-take session with added synth-bass overdubs and 2018’s »La Casa delle Chimere« documented a live gig in Kyiv, »Cinnte le Dia« presents a synthesis of the two approaches. Mixing the album together and adding overdubs—Leichtmann with his synth-bass again, Tricoli with his trusted Revox B77—the duo combined the special energy of their performance in front of a live audience with the intimate atmosphere of a studio session between two exceptional improvisers and composers. The pieces are accordingly marked by their sonic density, but also a rhythmic intricacy that makes the album as a whole negotiate its place in music history between bass-heavy, dubbed-out club music and electroacoustic as well as musique concrète techniques.

Leichtmann worked with a mix of acoustic percussion routed through a modified looper and a granular live sampler as well as electronic drums consisting of three modular sampleplayers, a Syncussion drum synth and a bass drum module. Depending on the current set-up, the two fed this input through Tricoli’s B77 either individually or collectively to further manipulate single elements or the entire sound. What might look complicated on a tech rider sounds intuitive on record: these are two versatile musicians engaging in a play of difference and repetition, acting and reacting to each other in real-time, but also creating additional layers by inserting new elements after the fact. In a very literal way, »Cinnte le Dia« is the duo’s most refined album, yet at the same time a testament to the uncanny energy they unleash during their improvisations. It’s solemn and moody, spontaneous and driving at once. Of course a computer couldn’t handle that.

The Fifth record from the friends for the bag.

A slip into the sound of Future Motion for a new paradigm.

Following a successful release that started the UFO Series, Future Motion goes into sounds for different arenas and pushes tools to technique.

Four sounds to share Where We Come From...

In a world threatened by environmental decay, a passionate young man embarked on a daring quest to save the planet. Will his vision of a sustainable future become a reality, proving that the passion of one young man could ignite a revolution and ultimately save the planet for generations to come? Find out by following the Chronicles Of Bru, the new series of EP composed by Jesse Bru and produced by Happiness Therapy!

In a world threatened by environmental decay, a passionate young man embarked on a daring quest to save the planet.

Will his vision of a sustainable future become a reality, proving that the passion of one young man could ignite a revolution and ultimately save the planet for generations to come?

Find out by following the Chronicles Of Bru, the new series of EP composed by Jesse Bru and produced by Happiness Therapy!

Zed Bias has been a bass, dub and garage king since forever, but his star shows no signs of diminishing any time soon. For this one he has worked with Shumba Youth on a new single that finds him dipping into a world of dancehall and ragga. 'London Town' is heavy, with real bass weight, churning drums and fizzing digital synths under the superb bars from Shumba who muses on the state of London right now. Next to that are slithering leads and sci-fi pads to make for a fine future vibe. The acappella is served up on the flip for DJs who want to play.

By the turn of the 80s, the impact of David Bowie’s ground- breaking Berlin recordings – the synths, the alienation, the drily futuristic production – was being felt on music across Europe. What’s more, the records being made were reflecting back and influencing Bowie’s own work – 1979’s Lodger and 1980’s Scary Monsters owed a debt to strands of German kosmische (Holger Czukay), new electronica (Patrick Cowley, Harald Grosskopf), and the latest works from old friends and rivals like Robert Fripp, Peter Gabriel and Scott Walker, all of whom had been re-energised by the fizz of 1977.

Compiled by Saint Etienne’s Bob Stanley and the BFI’s Jason Wood, Fantastic Voyage is the companion album to their hugely successful Café Exil collection, which imagined the soundtrack to David Bowie and Iggy Pop’s trans-European train journeys in the mid-to-late seventies. “Fantastic Voyage” is what happened next.

Bowie’s influences and Bowie’s own influence were rebounding off each other as the 70s ended and the 80s began, notably in the emergent synthpop and new romantic scenes as well as through the music of enigmatic acts like the Associates and post-punk pioneers such as Cabaret Voltaire.

Like Low and Heroes, some of the tracks on Fantastic Voyage are spiked with tension (Grauzone’s ‘Eisbär’) while some share those albums’ sense of travel (Simple Minds’ ‘Theme for Great Cities’, Ryuichi Sakamoto’s ‘Riot in Lagos’) and others find common ground with “Lodger’s” dark, subtle humour (Thomas Leer’s ‘Tight as a Drum’, Fripp’s ‘Exposure’).

This is the thrilling, adventurous sound of European music before the watershed moment when Bowie would abandon art- pop for America and the emerging world of MTV with “Let’s Dance” in 1983. Fantastic Voyage soundtracks the few brief years when the echo chamber of Bowie, his inspirations, and his followers created an exciting, borderless music that was ready to challenge Anglo American influences.

F8 . Liam Melly - Energy
F9 . Armin Van Buuren - Space Case
F10 . The Obsessed - Free Yourself
F11 . Ie Shuuk & B Stylezz - Konje
F12 . Armin Van Buuren - Lose This Feeling (Maddix remix)
F13 . Armin Van Buuren - Lose This Feeling (Dimension remix)
F14 . Armin Van Buuren - AI Vs Humanity (A State Of Trance Year mix 2023 outro)

Wir haben so großartiges Feedback zur Future Sounds Of Kraut Vol. 1 bekommen, also kommt hier Volume 2: 17 moderne Kraut-Elektronik-Tracks (9 davon exklusiv und vorher unveröffentlicht) inspiriert von Kraftwerk, Can, Neu!, Cluster, Harmonia, Klaus Schulze und vielen anderen. Kuratiert und zusammengestellt von Compost-Künstler Fred und Luna. Die Collage auf dem Cover wurde - wie schon auf Vol. 1 - exklusiv von der fantastischen Künstlerin Norika Nienstedt aus der Kraut-Metropole Düsseldorf gestaltet.

Gar nicht einfach oder im Grunde unmöglich, den Begriff "Kraut" stilistisch zu beschreiben. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er- und 1980er-Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken.
Nach dem großen Erfolg von Volume 1 wurde umgehend ein Nachfolger gestartet, der stilistisch an seinen Vorgänger anknüpft und darüber hinaus - da dies eine der Grundideen der Reihe ist - das musikalische Spektrum Schritt für Schritt um neue krautige Elemente erweitert. Auf Volume 2 finden sich deshalb nun auch ein paar cluborientierte und experimentelle Tracks.
Compost und Fred und Luna wünschen viel Pläsier beim Krautifizieren!

Format: - Schwarze 2LP mit Content-Sticker inkl. 9 exklusiven/unveröffentlichten Tracks

DJ Quotes:

- "A great compilation with a unique approach!" - Hans Nieswandt
- "Amazing contributions from all the artist involved ! Love this album ! Thank you Fred & Luna !" - Peter Kruder
- "Very interesting compilation ... Great music" - Laurent Garnier
- "Superb in every way" - Nick Warren

Nu Groove spotlights the artists that made the legendary NYC label a firm favourite of crate diggers then and now with this 12” release of their vital tracks revisited by leading selectors of today.

The label, born in 1988 by Frank and Karen Mendez as an outlet for the experimental works of the Burrell Brothers, quickly became a home for up-and-coming genre pioneers. In this fashion, ‘Nu Groove Edits, Vol. 4’ opens with ‘Tonight’s The Night’ by NYC favourites How & Little, AKA The Sound Vandals, re-edited by Italian duo NiCe7.

More monikers of Rheji Burrell appear in the collection too, with N.Y. House’n Authority’s seminal classic ‘APT. 2A’ reworked by UK deep tech aficionado Hugo Massien, and The Utopia Project’s ‘File #3’ remixed by Leeds underground duo Mak & Pasteman. Closing out this collection of future classics, GRAMMY award winning production duo Honey Dijon & Luke Solomon return to edit ‘Luv 2 Luv U’ by A.B.T.

Synthesizerklänge im modernen Dance-Gewand - das war das Rezept der seinerzeit ungeheuer beliebten Band „Koto“, die mit ihrem unvergessenen Hit „Jabdah“ Musikgeschichte schrieben. Die flächigen, spacigen Koto-Sounds sind auch auf dem hervorragenden Album „Koto - Plays Science Fiction Movie Themes“ zu hören. Nicht nur für Fans von Koto, sonde für alle Science-Fiction-Freunde! Jetzt endlich wieder als farbige Vinyl erhältlich

More Than Ten Years Since He First Emerged On Skull Disco, Appleblim Presents His Debut Album. The Label He Co-founded With Shackleton Was The First The World Heard Of His Productions, But Laurie Osborne's Innate Relationship With Electronic Music Culture Reaches Back Much Further Than Those Groundbreaking Early Days Of Dubstep. Early Days Spent Soaking Up Hardcore, Jungle, Techno And Plenty More Besides Were Fundamental Foundations From Which To Spring Into The Then-unknown Realms Of Sub-low Half-step Club Music. At That Time Fwd>> And Dmz Were The Church For This Ritualistic Sound, And Appleblim Was A Regular Fixture At Both.

As Dubstep Matured, Magnified, Mutated And Meandered, So Appleblim Moved Beyond Skull Disco To Explore Different Avenues Of Expression In The New Many- Layered Club Music Landscape. His Own Apple Pips Imprint Was A Natural Vessel On Which To Explore The Emergent Fusions Of Hardcore-derived Sounds And The Us-born House, Techno And Electro, While Labels Such As Aus Music Equally Provided A Home For His Work (often Alongside Komonazmuk). Meanwhile Long-standing Collaborations With Alec Storey (al Tourettes / Second Storey) Finally Manifested In The Hyper-modern Mind-twist Of Also, Captured As An Album On Legendary Rave Label R&s.

More Recently It's Been Possible To Hear Appleblim Delve Into Electro-acoustic And Ambient Production Alongside Bassweight Sounds On Tempa, One Of The Original Bastions Of Dubstep Culture. As The Existing Boundaries Between Genres, Cultures, Eras And Scenes Continue To Dissolve, On His Debut Album Appleblim Offers Up A Fresh Approach That Brings Some Of The Foundational Sound Ethics Of Rave Culture Into A Modern Framework.

Hardcore Breaks Are Still A Regular Sound Source In Contemporary Club Tracks, But On Life In A Laser It's Instantly Apparent That Appleblim Has Moved Beyond Choosing Popular Drum Samples To Truly Tap Into The Elusive Feeling Engendered By The Music Of The Era. It's A Tricky Feat To Manage, But In The Pie-eyed Chords Of ignite', The Subby 808 Tom Basslines On nci' Or The Mr. Fingers Synth Flex On manta Key' The Sonic Finish Sports The Same Understated Grit And Grime That Made Those Early Records So Timeless. There's Still Space For Modernism, Not Least On Snaking 2-step Killer i Think We'll Let The Gas Sort This One Out', But It's Offset By A Layer Of Dust, Not To Mention An Inherent Moodiness That Can't Be Faked.

This Fine Balance Of Rave Romanticism And Future-minded Approaches Binds Together In A Cohesive Conceptual Statement. First And Foremost It's Appleblim's Personal Reflection On The Music That Has Moved Him On Countless Dancefloors Since His First Flirtations With Soundsystem Culture. At The Same Time The Canny Influx Of Modern Ideas Into The Soundworld Of The 90s Genuinely Results In A New Proposition, Making For A Perfect Fit On The Modern-day 'ardcore Fetishists Label Of Choice, Sneaker Social Club. Many May Claim To Draw On Old-skool Influences In Their Modern Trax, But Take One Listen To flows From Within' And You'll Feel The Same Time-slipping Surge Of Future-shock As The Ravers At Lost, Dreamscape, The Dungeons, Clink Street, Blue Note And All Those Other Iconic Spots.

The third album by RICO FRIEBE is a clearance, an outcry, an universe within itself, a hope and a message at once – sending out ANTHEMS FOR A LOST GENERATION!

After his preceding albums of intimacy WORD VALUE and FACES MEET, based on personal tragedies and the accompanying struggles, RICO FRIEBE has something to tell to a whole generation and delivers ten radiant and distinct top-notch productions that find a most modern and futuristic sound within different styles of pop music while his soft and emotive voice is hovering above all.

Originally, ANTHEMS FOR A LOST GENERATION has been recorded as an acoustic double-album, but RICO FRIEBE threw it all out, wrote new songs and found a truly more fitting sound after he realised that there could only be one musical outcome to tell these stories: Songs like BAD SEED, I LIKE MEMES, REDO, GAMES or LAZY, BORED AND SAD are milestones of capturing a complete zeitgeist and beyond. Each line within the lyrics is taken from close and personal experiences and interactions that made him undergo a whole spectrum of emotions, creating deep worries and sadness, but also a far hope.

Feel lost? Be found! With ANTHEMS OF A LOST GENERATION...

We are pleased to introduce our new single coming out on 16th of February featuring ever productive Guiding Star Orchestra eleven-man roots reggae ensemble from Copenhagen, Denmark and young, upcoming, Jamaican roots Artist Azizzi Romeo (son of legendary Max Romeo) on “In Jah Sight” riddim. Coming out on both vinyl and as a high quality digital release.

The song contains conscious lyrics on top of a meditating steppas riddim with beautiful arrangements from GSO horn section and includes an amazing dub version made by the great Roberto Sanchez from A-Lone Ark Music Studio. Two wicked collaborations on both sides of a heavy slab of 7” record!

The song is an uplifting statement about putting trust in your faith. “When thirst cover your mouth, Jah will send the Rain!” A strong message from a young Artist who’s ready to take over the world of conscious roots reggae music. This is the first time Orchestra has done a collaboration with a vocalist and we have many more collaborations planned for the future as well as some brand new solo material coming this year. Stay tuned!

Full of collaborations with fellow artists, incl. Thor Harris, Meredith Yayanos, Matt Lebofsky, Dominique Leroni Persi, & members of Kitka Eastern European Women’s Choir. RIYL: Primus, King Crimson, Frank Zappa, Mastodon, Bauhaus. After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings. Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, in turns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings. "As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepytime's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now, with a new full-length record that integrates the past and the future?" "SGM creates a cohesive statement of virtuoso metal musicianship with the avant garde focus of an art-rock collective." Pitchfork // “I love this style of music –it has great power, great musicianship and great bass playing by Dan Rathbun, sometimes on instruments he built himself. One thing you gotta love about music: this band may have been influenced a bit by King Crimson, but then I, a member of King Crimson, was very much influenced by them” Tony Levin (bassist, King Crimson

Full of collaborations with fellow artists, incl. Thor Harris, Meredith Yayanos, Matt Lebofsky, Dominique Leroni Persi, & members of Kitka Eastern European Women’s Choir. RIYL: Primus, King Crimson, Frank Zappa, Mastodon, Bauhaus. After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings. Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, in turns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings. "As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepytime's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now, with a new full-length record that integrates the past and the future?" "SGM creates a cohesive statement of virtuoso metal musicianship with the avant garde focus of an art-rock collective." Pitchfork // “I love this style of music –it has great power, great musicianship and great bass playing by Dan Rathbun, sometimes on instruments he built himself. One thing you gotta love about music: this band may have been influenced a bit by King Crimson, but then I, a member of King Crimson, was very much influenced by them” Tony Levin (bassist, King Crimson

STUDIO4℃×Osamu Tezuka

A story of the love and adventure of a woman who lived for 1300 years.

``Phoenix'' Nostalgia Arc has been made into two animated works with different endings!

Theatrical release of the movie “Firebird Eden no Hana” / Disney Plus “Firebird Eden no Sora” world exclusive distribution

Master Osamu Tezuka is hailed as the "God of Manga" and is still revered all over the world. Of the 12 stories in the timeless masterpiece "The Phoenix," which became his masterpiece and life's work, the "Nostalgia Chapter," which depicts the future of the earth and the universe in which we live, will finally be made into an animated film for the first time. STUDIO4°C, which continues to create artistic video works, was the one who completed the spectacular spectacle, which took seven years to create. The voice actors include Rie Miyazawa, who plays the main characters Romi, Yosuke Kubozuka, Issey Ogata, Honoka Yoshida, Shintaro Asanuma, and Ryohei Kimura. A gorgeous voice actor team gathers to make a timeless masterpiece into a movie. The person in charge of the music is Takatsugu Muramatsu, who is active in a wide range of areas including film music and providing music for numerous artists. The music, which has both a grand scale and a poetic feel, gently envelops the story.

The Pheromoans are tenants of an unruly domain. Over the last 18 years the group have evolved from garage rock primitivists to auteurs of their own curious sound; a frothy brew of loose electronics, refractory rock and humdrum musing. Their songs are mutable, capricious, unreliable narrations, often withholding as much as they reveal. Russell Walker’s understated vocal has always been the band’s unifying focus, it is wry, unsparing and wilfully honest. Walker’s lyrics are an observational tour de force, sometimes droll, yet often tipping over into unlikely pathos. With previous releases on Upset The Rhythm, Convulsive and Alter, 2024 will witness The Pheromoans return with lucky album number 13, entitled ‘Wyrd Psearch’ (out March 1st on Upset The Rhythm).
‘Wyrd Psearch’ was recorded in Lewes throughout 2023. This was undertaken by founding member James Tranmer, his keen instinct for how the band should sound shaping many of the creative decisions. Joined by new guitarist Henry Holmes, the five piece doubled down on a decidedly breezy, melodic approach. Scott Reeve’s drumming is ever brisk, whilst Daniel Bolger explores AOR peripheries on keyboard and bass. “Wyrd Psearch finds us on relatively zestful form” affirms Walker “whether it be merrily recalling the Jason Williamson / Tim Lovejoy Covid summit, or mentally bathing in the pleasures of lunch hours spent strapped to a listening post in Borders.” With The Pheromoans there is always a familiarity at play, only broken and reassembled, like a bygone sitcom gone rogue in your memory. This contributes to the group’s peculiarly British outsider perspective, one that shouts from the sidelines, but never goes unnoticed.
Subjects covered lyrically on ‘Wyrd Psearch’ include “mid-life crises, male pattern baldness, and thwarted artistic and personal ambitions” according to Walker himself. “Nothing is off limits for scrutiny, even rural arts communities” he concludes. Lead single ‘Downtown’ swings with chiming guitars and finds Walker mid-breakdown trying to persuade a loved one to accompany him into the town centre to collect controlled medication and wind back the clock to happier times. “I want to keep you in cotton wool until pay day” he confides. ‘Cropped to Death’ and ‘Father Austin’ are ruminative and more relaxed in nature, whilst ‘Twibbon Wife’ is a more energetic effort, all jabbed synth chords, circuitous basslines and rampant drum fills. ‘Faith in the Future’ similarly bounds along with reverie.
Walker claims that the album’s title is an expression of his frustration at the ubiquity of people claiming things are eerie or weird / wyrd in the present cultural milieu. The artwork for the record is designed as an actual word search too, a knowing nod to how we all grapple for meaning amongst the absurdity of each day. Leaning into ‘weird’ as a coping mechanism is not on The Pheromoans’ agenda however. This album holds little sway with the supernatural, it’s not enough. The overriding impression given by ‘Wyrd Psearch’ is of a band renewed with ideas. There’s no trouble finding the right words, they’re hitting their mark, keeping up with the commentary. ‘Wyrd Psearch’ is a document of The Pheromoans mastering their unquiet moment.

« Tas Malonumas »
Lithuanian word
Def: meaning That Pleasure
Example: conversation between a young, inexperienced person and an elderly person who’s near death’s door. The old one is telling the young one how life is an unceasing search for pleasure.
Track: takes the form of a mental stroll that takes you far, far away.

« Room of Men Eaters »
Human expression of cannibalism
Def: absurd situation in which men and women eat each other in a room
Track: the contrast between the absurdity of the situation and the apparent normality of speech told by the vocoded voice of Shkema is just astonishing.

« Sarka Syrkaza »
From the future
Def: meaning “super sarcasm”
Example: one day you wake up in the morning and you feel that something within you has changed. All seems to be nonsense and you start to look at everything through the grey glasses of sarcasm. One might look enjoying oneself, but in reality this is an extremely draining state of mind.
Track: musical expression of that state of mind

« Je n’aime pas les fêtes »
World expression
Def: parties are boring
Track: Shkema remix of his friend Afrodelic is a wacky version that contrasts French lyrics talking about how disastrous parties feel with a beat that just makes you want to dance.

What the listener might encounter on this album goes all the way down to the sound of a neuron transmitting pain, beatitude or any one of the countless senses and impressions we feel on any one day of life. N E U R O is the debut album by CURA MACHINES, a new project by Daniel Lea whose tracks are at once scientific in their capturing of the morphing of body cells as well as the larger expanses of a poetic filmscape of the contemporary metropolis.

The name CURA MACHINES comes from a sign Lea saw on a trip to Ancona, Italy at an abandoned hospital: Prima E Dopo La Cura (Before and after the cure). The sound in between, of what was lost or found, transmuted in the heavily manipulated and pulsating synthesisers, is the restoration here. With a physically visceral mix by Ben Frost and soaring re-amped bass textures from Yair Elazar Glotman, the album is lush with trans-morphing apeggia that shudder, quack and soar into ashen sparks.

Back in the turn of the 20th century the poet Rilke posited that the suture patterns of fused skull plates could potentially be played by the then-new technology of the gramophone, with each of us having our own personal tonal source code or anthem etched onto our skulls. And with a track like 'Suture' we have such an embodied sound: the close-up exhumation of the neural brain casing, stitched and sewn together in fleeting pulses of whisper and alarm.
The individual is exposed and isolated, but not without the promise of succour.

Or one also has the soundtrack to the loneliness of a morose private eye – a pulp novel set in a future time of neurosis or washed out euphoric beauty. It is here in tracks such as 'Terminal Zone' or 'Inversion Layers', music that is blinking in celluloid frames. The plot could easily be a sci-fi, paranoid tale of brain emulation, transhumanist crimes against humanity itself. After all this is Lea's soundtrack to Los Angeles, the city of angels that has been captured in countless movies: the racing tracking shot of the 2nd Street Tunnel at night, the freeways spreading out in a glorious sprawl of lit up veins and arteries. The last track 'Zosa' marks out the boundary line that delineates between day and night, when the lunar strains wane, the tides subside and the city comes to life.

Wo ein Krater liegt, muss es einen Vorfall gegeben haben. Etwas ist eingeschlagen oder ausgebrochen, wo jetzt Ruhe ist. 2012 spien Messer das fiebrige Debüt "Im Schwindel" in die brodelnde Begeisterung für Punk aus Deutschland und wuchsen zu einer prägenden Stimme im Post-Punk-Revival der Zehnerjahre. Was auf den letzten beiden Platten "Jalousie" (2016) und "No Future Days" (2020) noch wild wucherte, ist nun auf "Kratermusik" stärker begriffen und gibt zugleich Sicherheit für weiterführende Expeditionen. Die einzelne Idee ist jetzt schärfer konturiert als zuletzt, Kratermusik ein Album im Wortsinn: Jede Seite ein anderes Bild, eine andere Szene mit anderen Figuren, zusammengehalten von einem Einband, einer Motivwelt, einem Sound, der dieses Mal dicht, aber umso detaillierter ausfällt. An anderer Stelle lösen sich Stimmen auf: Pola Lia Levy, die lange schon eng mit der Band befreundet ist und gerade mit ihrer neuen Band Dews in den Startlöchern steht, spendet Harmonien, die im erst sachten, dann zunehmend mitreißenden "Im falschen Traum" mit dem Rest der Band verschwimmen. Im Space-Dub-Finale "Am Ende einer groszen Verwirrung" stimmt sie mit Joachim Franz Büchner in einen beherzten Singsang ein. Was hier tröstlich klingt, wirkt im vielstimmigen Spiegel zerrissen, wenn auch nicht zwingend unheimlich - sondern ähnlich faszinierend-ambivalent wie Mille Petrozza von der legendären Thrash Metal-Band Kreator, der mit einigen englischsprachigen Zeilen durch den wispernden Refrain am Ende des Wave-Epitaphs Grabeland schneiden darf. Messer bleiben also ambivalent, fragend und suchend, gerade wenn es um Krieg und Frieden oder die Zukunft des Planeten geht. Die Bewegung steckt schon im Titel: Das "Messer verwandte Wort" Krater, so Otremba, "ist vieldeutig, ein Wort, bei dem klar ist: Zu dem muss man sich verhalten. Das ist ein scharfkantiges, schroffes Wort." Im Krater steckt immer auch das Potenzial zur Explosion, im Frieden lauert der nächste Krieg. Im Vorrang des Ästhetischen ist die neue Platte aber ein typisches Messer-Album, auch in seiner gewohnten Überschreitung dessen, was Post-Punk sein kann. Vielfältiger klang diese Band nie, ihr Referenzsystem bleibt undurchschaubar. Parallel spülen die Pop-Gezeiten wieder eine (Neue) Neue Deutsche Welle an, doch Messer bleiben ihren eigenen Zyklen verpflichtet, befinden sich in ständigem Übergang: Metaphern nie ganz auflösen, Motive immer neu ausleuchten, Sounds nochmal anders aufeinander beziehen.

REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

LIMITED RED COLOURED VINYL!
REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

Termination is an album inspired by the halting problem in computer theory, i.e. whether the program will finish running or continue to run forever. The halting problem is undecidable, meaning that no general algorithm exists that solves it. This is true also for human life, as it goes up and down and one can’t program it, because simply you cannot predict the future, and even if we could there are so many variables that can easily f*ck up any sort of forecast. Modern Stars is an Italian neo psych rock band which showcases a unique musical style characterized as instinctive, flickering, fuzzy, aerial, groovy, bizarre, distorted, harmonious, and dissonant. Influenced by bands like Spacemen 3, Primal Scream, Suicide, and lesser known musicians. Termination is Modern Stars' fourth studio album, following Silver Needles (2020), PsychIndustrial (2021) and Space Trips for the Masses (2022).

Ben Metek open this dancefloor session with a powerfull tribe very inbetween style : Pumpin & Hardfloor.... Efficient since the start the non-stop progression is defenitly in the OQP style ! Then comes Zayonne and a futuristic Pumpin teaser that delivers his kick after 1 minute...The style reminds Arobass and Fky. Sweet tenderness ! B side belongs to X-Tech and his Techno Tribe 160 electro vibe ! He finishes the job with hardfloor kick, hypnotized by the 7 minutes long set mental OQP smile !

DJ and producer Gratts returns to his own imprint with the third instalment of the "Balearic but bumpin'" trilogy. Here, the Belgian puts forward a captivating piece of organic, Body & Soul NY inspired deep house, assisted by Cata Mansikka-aho on vocals. As always, an instrumental is provided for maximum nightclub daydreaming. On the flipside, British duo Faze Action up the energy levels with an equally musical disco version that hits in all the right spots. Artwork once again by Mads Cooke.

Glenn Underground:
"Bad Ass'd Project, The whole thing"

Laurent Garnier:
"Really cool tracks :) Looking forward to hearing more stuff in the future."

Colleen Cosmo Murphy:
"Great release! I like the original best! I will be supporting on the show once I’m back in February."

Groove Armada:
"Sounds great and Faze remix is great too!"

Severino (Horse Meat Disco):
"Great stuff and amazing remix!"

Kevin Reynolds (Transmat):
"I remember this voice! Both tracks are incredible, has this classic Dinosaur L vibe that is super dope!"

Gareth Sommerville (Athens Of The North):
"Love Gratts’ productions - this is no exception. Spiritual for optimists."

Shane Johnson (Fish Go Deep):
"Really enjoying the original mixes here... such a relaxed, musical groove that perfectly suits that lovely, drifting vocal. Looking forward to playing."

Warehouse Find!

Azymuth drummer Ivan 'Mamao' Conti's forthcoming self-titled solo project, remixed by West London broken beat pioneer IG Culture for a scorching club monster, alongside three future-funk remixes from 22a records family Tenderlonious, Reginald Omas Mamode IV and Jeen Bassa.

Ivan 'Mamao' Conti is one of the greatest drummers on earth. A true rhythmic innovator, he is Brazil's answer to Tony Allen, Steve Gadd, and Bernard Purdie (no small claim considering the country's famed samba connection). Known by most as one third of Azymuth, his career spans far beyond with over half a century's worth for recordings with the likes of Milton Nascimento, Eumir Deodato, Marcos Valle, Hyldon, Gal Costa and Jorge Ben. More recently Mamao recorded an album with hip-hop royalty Madlib under the shared moniker 'Jackson Conti'.

Now aged seventy, Mamao's work ethic is as strong as ever. In anticipation of a new Ivan Conti solo album set for release in 2017, Far Out Recordings have commissioned a series of remixes to be spread across two separate 12's. The first is a strictly London affair, with a fiery broken-boogie club monster from West London pioneer IG Culture, joined by the signature future-funk of 22a Records family Tenderlonious, Reginald Omas Mamode IV and Jeen Bassa. The second 12' will host remixes from Max Graef, Glenn Astro and Contours.

Warehouse find!

Three major players from the now multi-generational broken beat scene: Henry Wu, Dego (2000black) and IG Culture have assembled for an irresistible late summer bruk-samba trip.Brazilian rhythms have always been foundational influences on the broken-beat and future jazz movements, and this EP continues to explore these connections, a running theme throughout Far Out's 23 year history with Seiji, Mark Pritchard, Afronaught, Domu, Da Lata and Jazzanova being just a few of the names to have contributed to this particular avenue of the label's pantheon of dance music.The joyful samba-soul in the title track of Sabrina Malheiros' latest album features the bass and keys of Brazilian Jazz-funk legends Azymuth, and is inspired by the quest for clarity in the face of difficult times, Clareia in Sabrina's own words means to clear, light, brighten or illuminate'. But this remix EP beautifully ruptures the 'clarity' in style, each crafting the breezy Brazilian beats into their own distinct brand of future-thinking club-funk... these beats were made to be broken!

- Betty's classic third album, originally released by Island Records in 1975 - New vinly pressing on Metallic Gold colored wax - Featuring Betty's band Funk House - Booklet includes liner notes by John Ballon interviewing Betty plus full lyrics - Newly remastered from the original analog tapes by Kevin Gray at Cohearent Audio // In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said 'funk you' to the music industry and social norms. In 1975, Betty Davis's star was on the rise. With the backing of Island Records and a new band, Funk House, Betty's third album, Nasty Gal, leans into the hyper-sexualized persona with which her critics were so obsessed. She raps, purrs, shrieks, and moans on top of Funk House's manic funk-rock and lays claim to the "bad girl" anthems that now saturate the music industry. Mastered from the original tapes, Nasty Gal showcases Betty's groundbreaking work as a performer, writer, and producer.

Hi-NRG synth pioneer Patrick Cowley moved away from his usual robotic steeliness on 1982’s “Primitive World,” drawing instead on the groove rock of early 1970s gay discos. It’s a percussion track influenced by Baba- tunde Olatunji’s 1959 hit “Jin-Go-Lo-Ba,” made more famous by Santana’s 1969 cover. Cowley updated the sound for the 1980s with electronics and drum machines but kept the playful attitude of the original. Two choirs of voices chant back and forth to each other, giving Cowley a chance to include many of his friends from the San Francisco dance music community.

This has been DJ Hifi Sean’s year, with a best-selling album with David McAlmont , count- less live gigs and high-profile remixes to his name. His interpretation of Cowley’s “Primitive World” can be counted among his best, bringing an intense TB-303 acid house vibe that perfectly complements Cowley’s weird electronic blips and bleeps. The effect is a disorienting mix of psychedelic 70’s groove, 80s synth pop, and 90s tacky house vibes. “Primitive World,” is one of the brilliant standouts on Cowley’s final record, Mind Warp, the so-called “death album” written as his health was rapidly sinking. Hifi Sean’s new remixes pay tribute to Cowley’s genius while fusing the track even more strongly to dance music’s electronic future.

Autumn 1904 is a post-punk indie-rock band formed in 1982 in Edinburgh, Scotland by Allan Dumbreck (keyboards) and Ross Thom (guitar). The band originally became a five-piece (Billy Bowie – bass, Keith Falconer – drums, Billy Leslie – vocals) but grew to a seven piece in early 1983 (taking on two female backing vocalists, Indira Sharma and Lisa Cameron). Autumn 1904 were part of the DIY indie-rock movement in Edinburgh in the early to mid 1980’s kicked off by The Shop Assistants, they worked alongside The Wild Indians, Finitribe (originally Gallery Macabre) and Goodbye Mr MacKenzie, often performing together or attending each other’s shows.

In February 1984 the band performed at the John Peel Roadshow at Edinburgh University and afterwards were invited to record a BBC Radio 1 session which was broadcast three times on the Peel show. They were immediately courted by 11 major record and publishing companies. In March 1984 their song “I heard Catherine Sing” featured on the Deadbeat magazine compilation album “Deadbeat 1”. Internal tensions and health issues over the summer of 1984 held up development and caused Sharma and Cameron to leave the band.

The band first split in January 1985 with Thom, Bowie and Falconer going on to form The Crows with former members of First Priority, including future Glasgow Cathouse / Garage promoter Donald McLeod MBE. Dumbreck and Leslie reformed the band and performed throughout 1985 sometimes including Shirley Manson, then working with Goodbye Mr MacKenzie and later with Garbage. This line-up lasted until November 1985 when the band split again. Dumbreck went on to work with Scottish groups The Big Dish, Horse and Thrum. Later working extensively in music education setting up the music department at UWS where Jim Prime (Deacon Blue) and Paul McGeechan (Love and Money) became lecturing staff.

The line-up at the time of the Peel session was Dumbreck, Thom, Bowie, Falconer, Leslie and backing vocalists Indira Sharma and Lisa Cameron.

In May 2021, the original five members agreed to re-master / re-record the original material from their studio recordings for release. Work began with producer Liam McCluskey (Gun, King King, Twin Atlantic). Approaching Ian Smith in 2022 at independent record label Last Night from Glasgow for advice, he offered to release the album on the label. The final masters include Tippi from label-mates The Hedrons on vocals and a number of fresh recordings of material written in 1982-83 but never previously recorded.

London band Those Unfortunates release their second album, Welcome to Woodberry Down, on October 27th through Gare Du Nord Records, on LP accompanied by a limited edition photobook.
Welcome to Woodberry Down is a collection of songs about the eponymous housing estate in the London Borough of Hackney. Singer/lyricist Ben Brill’s family were among Woodberry Down’s first residents in 1950. Dubbed the estate of the future, and built on land that had previously been the preserve of the wealthy, Woodberry Down’s social homes were emblematic of a new post war optimism.
Brill’s family called Woodberry Down home for over 50 years, eventually seeing the estate fall into managed decline. Not long after his grandmother’s death in 2006, the bulldozers moved in, and the foundations were laid for a new, privately owned housing development.
Brill started work on this project in 2016. At the time a Hackney resident, he spent countless early mornings walking round the condemned – but still not quite empty - estate, and watching a new version of the future rise in its place. He took photographs, and started writing songs, inspired equally by the liminal spaces he explored, and the utopian ideals of the London County Council planners.

The band will be celebrating the album’s launch with friend Paolo Ruiu at Margate’s Tom Thumb Theatre on October 27th, and London’s Betsey Trotwood on October 28th.

Bogotá's La Pambelé steps into the ring for their debut release on Names You Can Trust, and with it, they've joined a storied history in Colombia's prized salsa tradition. This new generation of talented musicians have come out for the 1st round with fire, grit and determination. Brass, keys, percussion and lyrics blast at you from all angles, evocative of the way the orchestra's namesake, the legendary Palenque boxer, used his flashing fists within the squared circle.

Featuring a full album of original compositions that have been faithfully recorded and mixed under the guidance of Mario Galeano Toro (Frente Cumbiero) and Daniel Michel (La Boa) at Mambo Negro Records, the approach is a return to the roots of salsa dura that continues to thrive in Colombia's deep musical training grounds. The promising future of the genre shines in the capable hands of La Pambelé and its players, and this introduction is sure to help vault the group from up-and-comer to title contender status.

UK duo Wrecked Lightship debut on Peak Oil with a six-track slate of cyber aquatic alien bass music as placeless as it is precise: Antiposition. Comprised of Laurie Osborne (Appleblim) and Adam Winchester (Dot Product), the pair share a fascination with destabilized rhythm and retro-futurist dreaming, smudging dub, drum n bass, synthetic tribalism, and kinetic sound design into fresh electronic frontiers.

Antiposition both refines and refracts the project’s vision. From wobbly interstellar ascension (“Hex”) and cavernous industrial dub (“Bizarre Servants”) to junglist murk (“Sunken Skies”) and fractal shuffle (“Diminished Ark”), Wrecked Lightship move between haze and hyperspace, mythos and mystery. It’s less deconstructed than reconstructed, fashioned from galactic debris and congealed by the gravity of outer spheres.

New 4 tracker by the groovemaster.

- The Black Angels' classic sophomore album - Special color edition pressed on Metallic Silver Wax. - Triple LP housed in a Stoughton tri-fold gatefold jacket // "The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in `Never/Ever.' `They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide Directions On How To See A Ghost. If you're familiar with Passover, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it `hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia. While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words "psychic information from the past and future." See, The Black Angels really are in contact with ghosts. "Civil War battlefields are prime spots for seeing ghosts," says Bland. "One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like `retreat,' and I did. I later learned that the spot where I was on the battlefield was known as `the dead angle', the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek." The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home. The band released Passover in 2006 to critical acclaim for both the album and the song "The First Vietnamese War". Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album. "Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes," says Christian. "Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life." _"War is Peace. Freedom is Slavery. Ignorance is Strength. Keep Music Evil."_

DUST BOLT melden sich mit ihrem neuen Modern-Metal-Album SOUND & FURY mit einer geballten Ladung Thrash Metal-Vibes, schweren Gitarren, rollenden Drums und True-Metal-Vocals zurück!

Die Band ist bekannt für ihre klaren Aussagen und ihr großes Engagement, z.B. unterstützen sie Fridays for Future. Dust Bolt ist dieses Jahr für große Festivals wie Wacken 2023 gebucht. Für Fans von Lost Society, Architects oder Crisix. Ihr neues Album wird am 23. Februar 2024 veröffentlicht!

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

"I Am a Dancer," a track from Marc Romboy and C.A.R., initially featured on Kompakt's renowned "Total 21" album, is now reimagined with three fresh mixes. Voiced by C.A.R., also known as Chloé Raunet, renowned for her work with Kill The DJ and Ransom Note, the track carries a straightforward message: she is a dancer. This declaration serves as a testament to one's love for electronic music.
This collection introduces three novel interpretations. The A-side showcases the first-ever collaboration between Marc Romboy and London's Sinisa Tamamovic (known for Sci + Tec, Yoshitoshi), offering a dynamic remix that flawlessly blends their distinctive sounds. On the B-side, Innervisions' standout artist of the year, Skatman, presents his remix, offering a fresh take on house music that navigates the realms of hip house, techy house,
and minimal grooves. Accompanying this is another remix by Dense & Pika, setting a new standard for futuristic techno tracks with their exceptional production.
This powerful vinyl release is a must-have for enthusiasts of cutting-edge electronic music.