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Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

Sophomore album from the singer who NPR are calling "the Next Queen Of Americana Folk." Boomerang Town marks a bold step forward for this country-folk-leaning singer-songwriter. It is an arresting, ambitious song-cycle that explores the generational arc of family, the stranglehold of addiction, and the fragile ties that bind us together as Americans. This is a record that understands that love and grief are two sides of the same coin. Jaimee Harris turned 30 during the pandemic. It’s a milestone that is a rite of passage even during normal times. But for this Texas-born singer-songwriter, it came in the midst of one of the strangest and most tumultuous periods in American history. When the world stopped during lockdown, Harris, like many others, found herself gazing back into the past, ruminating on the nature of her hometown and family origins, and reckoning with their imprint on her. The term ‘nostalgia’ derives from the Greek words nostos (return) and algos (pain), and if Harris’s Boomerang Town can be regarded as a nostalgic album, it is only nostalgic in the sense that the longing for home is a desire to return to the past and heal old wounds. For Harris, the album began gestating around 2016, a time of great loss for many in the Americana community, with the songwriter losing several musicians close to her. The shift in the nation’s political landscape had ushered in a new level of polarization that saw whole swaths of cultural life being demonized. For someone who grew up in a small town outside of Waco, Harris believed the values instilled in her by her parents were not entirely in line with how many on the left were viewing — and vilifying — Christians, citing them as responsible for the new change in leadership. As a person in recovery, Harris has had to re-evaluate her own connection to faith and find strength in a higher power (“Though he’s not necessarily a blue-eyed Jesus,” she laughs), though she certainly knows what it’s like to “be told how to vote” in a Southern church setting. It was from the intersection of these social, personal, and political currents the album was born. And while much of the material on Boomerang Town was inspired by personal experience, the songs on this collection are far from autobiographical xeroxed copies. More than anything, they come from a place of emotional truth. “My goal is to just write the best possible song I can write,” Harris says, “and I wanted to have ten songs that made sense together sonically.

"Hello It’s Me" sings Signe Marie Rustad in her crystal clear, inimitable voice. And with that, she’s back, three years after the release of her successful third album, When Words Flew Freely. The above lyric is taken from a song bearing the same name, the first single off Rustad’s fourth album, Particles of Faith. Known for her poetic lyrics and vivid songwriting, and backed by a tight knit band that’s been with her for years, Rustad’s new album offers a natural transition from the already classic When Words Flew Freely (WWFF). However, Particles of Faith also brings something completely new and fresh. WWFF presented a broader, organic and piano-driven Laurel Canyon-sound, and less of the americana sound present on Rustad’s first two releases. Particles of Faith is harder to place in any genre, other than in the broader singer-songwriter tradition, helmed by pioneers such as Joni Mitchell and Carole King. But Rustad also points to a host of other inspirations. Alternative pop/rock from the 80’s and 90’s have always been a big influence on Rustad, and on Particles of Faith, this is more evident than ever. R.E.M., Fiona Apple, Crowded House and Tori Amos were important components both in the artist’s record collection and on her TV screen via MTV. Seeing as this era was also the golden age of the saxophone, it was only natural to include a three-minute-long sax solo, courtesy of acclaimed Norwegian jazz musician Harald Lassen – a solo that “made me cry” says Rustad. The album is produced by Rustad along with indie pop hero Kenneth Ishak. “This is the music coursing through my veins,” says Rustad about the album. Rustad has been critically acclaimed ever since her 2012 debut, but with WWFF, things really took off. Rave reviews, inclusion on several year-end lists, live performance on Norway’s biggest talk show and a booking to Norway’s biggest festival followed the release. The album was awarded a Spellemann award (Norwegian Grammy) for lyricist of the year. After widespread touring since the fall of 2019, Rustad’s performance on Øyafestivalen’s main stage in August 2022, marked the wrap up of the WWFF project, while it simultaneously introduced the next chapter, announcing the new album with the performance of two new songs. The songs on the album are snapshots from a life, and “particles of faith” refers to keeping the faith in yourself, love, the people around you and the world in general throughout everything that you endure in life. It can be a kind of strength that you may think comes from the outside, but is actually found inside of us.

In the two years since their last full length outing, Let There Be Nothing, JUDICATOR have returned from collective and personal turmoil brought on by both the Covid-19 pandemic and foundational lineup changes. The US power metal group are now primed and proud to release their triumphant sixth studio album, The Majesty of Decay, via Prosthetic Records. Refreshed and revitalized, JUDICATOR are eager to let this beastly album out of the gate and into your stereos. Whilst the album’s story remains somewhat shrouded in mystery, JUDICATOR utilizes compelling plot devices as a means to encourage fans to piece together the album’s meta-contextual threads. What we do know, however, is that The Majesty of Decay explores the subjects of love, family, and the transformation of suffering into something meaningful. JUDICATOR invites you to step into this world and contemplate how the story might relate to you. The album is a carefully constructed puzzle of mirrors and metaphor that cries out for Judicator fans everywhere to solve it. What began as a humble homage to their favorite band quickly grew into something that hads fans begging for more, and JUDICATOR is happy to oblige. The band has produced a catalog of music that spans multiple sub-genres and breaks conceptual boundaries. With this latest offering, The Majesty of Decay, JUDICATOR have delivered yet another thought provoking album that fits nicely into their discography.

"Hello It’s Me" sings Signe Marie Rustad in her crystal clear, inimitable voice. And with that, she’s back, three years after the release of her successful third album, When Words Flew Freely. The above lyric is taken from a song bearing the same name, the first single off Rustad’s fourth album, Particles of Faith.

Known for her poetic lyrics and vivid songwriting, and backed by a tight knit band that’s been with her for years, Rustad’s new album offers a natural transition from the already classic When Words Flew Freely (WWFF). However, Particles of Faith also brings something completely new and fresh.

WWFF presented a broader, organic and piano-driven Laurel Canyon-sound, and less of the americana sound present on Rustad’s first two releases. Particles of Faith is harder to place in any genre, other than in the broader singer-songwriter tradition, helmed by pioneers such as Joni Mitchell and Carole King. But Rustad also points to a host of other inspirations.

Alternative pop/rock from the 80’s and 90’s have always been a big influence on Rustad, and on Particles of Faith, this is more evident than ever. R.E.M., Fiona Apple, Crowded House and Tori Amos were important components both in the artist’s record collection and on her TV screen via MTV. Seeing as this era was also the golden age of the saxophone, it was only natural to include a three-minute-long sax solo, courtesy of acclaimed Norwegian jazz musician Harald Lassen – a solo that “made me cry” says Rustad. The album is produced by Rustad along with indie pop hero Kenneth Ishak. “This is the music coursing through my veins,” says Rustad about the album.

Rustad has been critically acclaimed ever since her 2012 debut, but with WWFF, things really took off. Rave reviews, inclusion on several year-end lists, live performance on Norway’s biggest talk show and a booking to Norway’s biggest festival followed the release. The album was awarded a Spellemann award (Norwegian Grammy) for lyricist of the year. After widespread touring since the fall of 2019, Rustad’s performance on Øyafestivalen’s main stage in August 2022, marked the wrap up of the WWFF project, while it simultaneously introduced the next chapter, announcing the new album with the performance of two new songs.

The songs on the album are snapshots from a life, and “particles of faith” refers to keeping the faith in yourself, love, the people around you and the world in general throughout everything that you endure in life. It can be a kind of strength that you may think comes from the outside, but is actually found inside of us.

On February 17th 2023 Svart Records will bring out the highly-anticipated vinyl version of Unfyros' acclaimed debut album “Alpha Hunt”. The album delivers a unique mixture of old-school, mid-tempo black and heavy metal with a strong emphasis on dark, hypnotic and menacing atmospheres through captivating, eerie melodies and haunting passages. If genres or other classification is necessary be it “Black Heavy Metal”. The songs are culminating on mind altering dissonant guitar riffs, minimal yet heavy bass lines and powerful, bestial drumming. These all have been tied together by subtle synth tapestries and raspy vocals flowing out like an obscure black swarm of ghost daggers. Listen how the luminous darkness is calling and devouring One and All.

Death fucking Metal from Peru! A nuclear detonation of shredding and unbridled aggression! Spectral Souls was born in the beginning of 2019 in Lima, Peru, and from the beginning the idea was to work within the Old School Death Metal genre, going back and being inspired by the late 80’s and early 90’s bands and classic albums. During 2019 the band continued with the composition process and did it the first concert in mid 2019. At the beginning of 2020 and during the pandemic, the recording process of the first album “Towards Extinction” began at the Giovani Lama Studios. Because of the pandemic situation with government lockdowns and other obstacles, the recording took longer than expected, but luckily, after almost a year and a half of hard work, it was completed. The album contains 11 songs, in which different aspects within the old school Death Metal sound are explored, thus giving a sensation of interesting dynamics. The theme of the album is inspired by the humanity’s capacity for self-destruction, exploring the misery of man and his great enemies, such as religion, politics and social networks. When Hammerheart Records heard “Towards Extinction” they could not resist offering Spectral Souls a worldwide deal. “Towards Extinction” simply is a killer Death Metal album that brings to mind “Leprosy”, “From Beyond” and “Consuming Impulse”.

The lyrics of the tracks of "IV:LETVM" revolve around death, war, forces of nature and superstition as well as rituals. This consistently heavy lyrical content is matched by the instrumental brutality of the nine tracks. The quartet from Giessen in Hesse presents itself on its new album exclusively martial, destructive, and evil. Song titles like 'War Dreams Of Itself', 'Lessons Of Darkness', 'Certain Death', 'Suffering' or 'Sadness' point the way ¬– no coincidence that the band’s official logo consists of an axe and a mace. DEPRAVATION cultivate a resounding style mix of black and death metal with a crust side to it, which is served fiercely and lingers bitterly. Exactly this is what the group is after since their first release "I:PRAEDICTVM" in 2012 succeeded by "II:MALEDICTVM" one year later. Following 2020's "III:ODOR MORTIS", "IV:LETVM" marks the second album for LIFEFORCE RECORDS. After more than ten active years, in which split records with ANCST and SLOWLY WE ROT were released, DEPRAVATION enter the scene without the pretense of following current trends or living up to any particular genre. "IV:LETVM" is the expression of diverse musical influences and above all one thing: relentlessly extreme. "IV:LETVM" was recorded at Red Tape Company by Simeon Lauber in Gießen. Nikita Kamprad (Der Weg Einer Freiheit/Ghost City Recordings) is responsible for mixing and mastering.

Raw, heavy, aggressive and at times genuinely creepy, Kent metallers Graphic Nature are one of the most energized and exciting new bands to emerge from the British metal scene in years. Taking their name from a track on Deftones’ Koi No Yokan album, in 2019 Graphic Nature announced themselves with the single Grit, and immediately began carving a name for themselves as a ferocious new force in British metal. With their first EP New Skin, mixing moments of snarling nu-metal aggro and the scalding fury of Slipknot’s debut album with instrumental passages that at times recall the genius of Nine Inch Nails’ Trent Reznor, they have found their sonic identity, and are ready to release their first LP, produced by George Lever. As the band continue to rise – having already shared the stage with the likes of Employed To Serve and Palm Reader - there’s even more confidence now in who they are and what they’re doing. Things are only going to get bigger. Graphic Nature are here to stay!

"Deining" is the first full album by bassist and composer Dries Laheye. We know Dries as a composer and bass player for bands such as STUFF., Hoera. and Lucid Lucia. He is widely referred to as one of the better Belgian bass players of his generation and now comes forward with a solo-repertoire on this debut-EP.

His intention was to create music that feels like it keeps moving. The result is a dreamy universe that flows through concrete elements and improvised passages. The compositions of this repertoire were written for solo bass guitar with effects as tools. The tracks are recorded live in the studio and some overdubs with voice, bansuri flute and synthesizer were added to create a more layered sound.

Recommended to people who love Taylor Deupree, Bibio, Bill Frisell, Skuli Sverrisson, etc.

New edition of this Soul Jazz Records out-of-print classic album available now as a new limited-edition one-off pressing triple yellow vinyl album (plus download code), and limited-edition one-off pressing special yellow CD edition. Soul Jazz Records" Space, Energy and Light is a collection of music by early electronic and synthesizer pioneers (from the 1960s through the 1970s), mid-1970s proto-new age gurus and 1980s guerrilla D-I-Y cassette-era electronic artists, spanning in total over a near 30-year time frame. All of these artists used electronic advancements in music technology as a means of exploring not only space and the idea of the future, but also of looking inwards to the soul and of creating music in harmony with the natural world.

Den Stillstand während der Covid-Pandemie haben Perkele genutzt, um ältere Songs im Proberaum neu aufzunehmen, die bisher gerne live gespielt wurden und stets ein positives Feedback bekamen. Die Proberaumvideos kamen auf YouTube so gut an, dass die Band mit Anfragen bombardiert wurde, diese neuen Aufnahmen auch auf Streamingplattformen zu teilen. Leider war die Aufnahmequalität zu schlecht dafür, dazu haben sich im Laufe der Jahre die alten Songs weiterentwickelt und es wurde Zeit sie auf den neuesten Stand zu bringen. Ein Studiotermin musste also her. Im Sommer 2022 war es dann so weit und hier ist nun das Ergebnis.
Zum 30jährigen Bandjubiläum gibt es also 5 Perkele-Klassiker, in neuem Gewand. Lasst Euch überraschen!

Pals FM: Floor Materials Vol.2 is the second dance music compilation from WALLS AND PALS. The aim is to share various ideas of dance floors instead of lingering on a certain genre or style, and while being DJ Friendly, it also serves as an exchange ground where production techniques of artists co-exist. All four tracks in Vol.2 correspond with the common purpose of bringing out ‘Floor Materials’, keeping distinct identity from each musician. In ‘Cofrica’, rapper and producer Simo of Y2K92 injects his long-time affection of Detroit flavor into a minimalistic form. Conversely, DOTT from the Thai label More Rice brings intricate and complex rhythms centered around the step sequencer in ‘Antibody Movement’, walking a fine line between House and Techno while the essence of Tech House is preserved . And in ‘Pump It Up’, ACIDWORK demonstrates what the outcome would be when Electro runs through digital instruments and samplers. Last but not least, Seo John, who put out his first EP DIVE last year from the label GODDEZZ, follows up with ‘miQro’, creating a different side of Trance that is more adequate for clubs or concrete spaces rather than outdoor raves or festivals. In the same manner with the preceding release Pals FM: Floor Materials Vol.1, Vol.2 is a compilation executed by fellow Asian musicians across the region. Beyond the reopened borders, and just like the excitement and stimulus at unusual events, this compilation serves to contribute to the dancefloor as an interesting ‘Material’ than simply as a ‘Tool’.

This latest release from Discos Resaca is a 14 song tribute to East Side San Jose.
East Side San Jose is the newest by Flores, a San Jose accordionist and producer, with collaborations from many of the musicians on the record label he runs, Discos Resaca. Partially funded through a grant from downtown arts org/museum MACLA, the album reaches beyond genre to incorporate cumbia, freestyle, Chicano soul, hip hop, funk and lowrider classics.
But more than just a throwback to a bygone era, East Side San Jose is the spiritual successor to an earlier album, another kaleidoscopic record titled East Side San Jose, the 1970 album by the multitalented Clifford Coulter. Once considered the greatest musician in San Jose, Coulter was a lightning rod in the South Bay scene for decades.

During the 60s and 70s, three distinguished old gentlemen who had built their careers playing "made in France" exotic jazz - Roger Roger, Nino Nardini and Eddie Warner - met every evening in the Ganaro recording studio, playing like kids with their new toys: souped-up keyboards that looked more like prototypes of spaceships to explore the Milky Way. Flying high on whimsical and joyful inspiration, the improbable trio used their strange instruments to sketch out the beginnings of something that, at that time, resembled the future of music. Let's take a trip with them toward a pop, light-hearted and electronic future.

Dubquake Records presents “Hold Strong”, a new collaboration between O.B.F Sound System and Jamaican singer Mikey General! Following the release of the emblematic title "My Sound A Danger" published in 2014 at the end of the album "Wild", the collaborations Mikey General / O.B.F had remained until this day of the order of the dubplate despite a few studio sessions very productive. With the release of this new single, recorded Yard Style in 2018 at the "Dog Ah Bark Studio" at Nazamba, O.B.F is catching up with time.
Rub-a-dub atmosphere on riddim O.B.F, brassy roots influences and text of struggle: "Hold Strong" follows the good recipes that made the success of the JA / Geneva collab. The tune available on 7 inch with its dub version comes in an original cover that highlights the work of the Ivorian up-cycler artist recognized under the name of Saliou Gnambode. Hold Strong!

Funkadelic have created an enduring legacy, and the power of their impact is visceral in Detroit. Their records not only played with genre, but possessed a diabolical sense of humour that led to music domination by the late 70s with Parliament, Funkadelic, Parlet, Bootsy's Rubber Band and the Brides Of Funkenstein all releasing albums the same year for two years in a row.

The music itself is beyond stereotype, but equally huge is that they were a black band not allowing themselves to be limited by anyone else's notions of who they could be, having a massive impact on the next generation of Detroit music, Detroit Techno.

But more than just Techno, it is a freedom of thinking that extends beyond boxes, so we included all sorts of today's generation of Detroit musicians and producers to show the wide range of music that was Funkadelic and how these ideas are still contemporary, they endure and inspire.

The debut studio album of American hip hop group Grandmaster Flash and the Furious Five, originally released in October 1982 on Sugar Hill Records and featuring arguably the most influential hip-hop single of all time in “The Message”, together with “Scorpio” - one of the greatest electro recordings ever produced.

A gritty, plain-spoken and vividly cinematic portrait of black street life in New York circa ‘82 and a fascinating time capsule of rap's early attempts with the album format - this album earned respect on its own terms.

Out of print for many years, we are very pleased to make this iconic and revered hip-hop album available again for fans old and new to enjoy.

Exclusive and limited 7” with two new recordings by The Phenomenal Handclap Band and Buscabulla, recorded for the new RELATIN project (the reimagining of Latin musical roots from another time for our generations).

The Phenomenal Handclap Band is a dance music trio from NYC, a heady mix of raw soul, vocal harmonies, African percussion, fuzzy guitars and analog synthesizers. They take the first single from the colombian sisters, from 1971… imagine the mix: Sweet sixties soft pop meets funk & club culture.

Buscabulla is the music project of Puerto Rican duo and Brooklyn resident.

Their diverse influences make up a hybrid that combines a mellow Caribbean sensibility. Their particular taste for tropical and unique
chilled sounds now added to Elia y Elizabeth. This version is exclusive to this 7”.

A new label out of Mexico, Short Attention Records launches its second release with a five track offering of proper melodic house & techno from Hector Ram with the word 'quality' stamped large upon them. 'Midnight Sounds' starts things off with the grand rhythmically-building 'Midnight Sounds', almost New Order-esque at times. 'For Our Small Parties' follows, old skool again in flavour, blending subtly employed breaks and a sturdy house framework, then 'Dear Dancefloor', probably the gentlest and most fragile effort here, opens side two. 'On The Road' boasts a more electro feel and Orbital-esque synths, and is deemed worthy of a second airing via a nicely throbbing remix from Detroit's Generation Next closing proceedings.

Exclusive and limited 7” with two new recordings by Don Letts and Greg Foat & James Thorpe, recorded for the new RELATIN project (the reimagining of Latin musical roots from another time for our generations).

Don Letts, together with the producer Gaudi, applies his vast knowledge of dub and spatial sound he is known for to a song recorded by the Venezuelans Un Dos Tres... Y Fuera in the 70s. At the time an avant-garde folk sound from South America gets dubbed out in the hands of an innovator of British rock. The track included here is a edit version from the one heard on streaming platforms. Greg Foat brings an unprecedented jazzy sensibility to a song from the Colombians Cumbia Moderna de Soledad (from the late 70s), a band set out to modernize the folk music of their people.

Dublin-based producer Moving Still further blends both his Saudi Arabian and Irish heritage on 'Kalam Hub', a triumphant new EP that marks the fifth release on CWPT/Cooking With Palms Trax. Following a series of 12” edits and original productions that have put his sounds in the record bags of DJs including Hunee, Nabihah Iqbal and Esa Williams, 'Kalam Hub' presents an ambitious expansion of the Moving Still sound, delving into his identity and background to open up imaginative, universal new corners for club culture.

This potent musicality is immediately evident from the first notes of 'Kunafa King'. Taking its title from a traditional Arabic dessert, analogue midi sounds deliver a skewed take on the traditional Saudi rhythms of the artist's youth, before expanding into a wistful diversion for any self-respecting dance floor. It's a trick Moving Still pulls off again on the pulsing 'Hayati 89', which transforms from a traditional aesthetic into a blistering, neon-tinted Italo banger, the kind of track designed to compliment an accelerated spin in the car gracing the eye-catching cover of ‘Kalam Hub’, a collaboration with the artist alongside Manchester-based graphic design studio, Dr. Me.

Concluding the record's A-side, the rhythms take a trippier turn for the duration of 'La Titasil Feeya'. Translating to “don't call me!” and making sonic reference to teenage years immersed in rock, metal and general angst, it unfolds as something akin to Middle East-tinted techno with a formidable kick drum, before exploding in colourful, organic breakbeats. Immediately on the flip, the sense of wonder returns in a sonic mirage for 'My Bosa Is For You', weightless rhythms blending with an electric organ and charming, lightly psychedelic breakdowns.

Further sonic tricks fall from Moving Still's delicately-tailored sleeves on 'Haram Odyssey', where an almost impossibly tight bass line provides the function for contrasting synthesis and unpredictable percussion, drawing parallels between the sometimes confusing aspects of the artist's dual-cultural life as a child, through to the music he makes as an adult. Fittingly, the record concludes with ‘Kalam Hub', a triumph of minimalist percussion and traditional instrumentation that pays tender tribute to the Moving Still's grandmother, translating simply to “Love Talk”.

At the very coalface of the UK rave/breakbeat/techno/call it what you like scene since the 1990s, Jerome Hill is something of a hidden treasure amongst the plethora of DJs and producers to have dropped both bangers and bloopers over the ensuing three decades. With minimum of fuss and fanfare, Hill has steered record labels like Super Rhythm Trax, Don’t, Fat Hop and Hornsey Hardcore to revered acclaim, as well as firing out a consistent stream of releases for imprints such as Matthew Herbert’s Accidental Jr, Exalt Records, and I Love Acid, to name but a few.

Surprisingly, ‘Flow Mechanics’ is Hill’s debut album after a production career that kicked off in 1998 as one half of Groove Asylum. And its collection of unabashed acid and rave bangers is a perfect fit for the Hypercolour label, whose personnel over the last few years has included Luke Vibert, DMX Krew, Shelley Parker and Gary Gritness. Tracks produced directly for club play; the album features 8 cuts destined to fit in cross-genre sets.

With pumping electro cuts such as ‘Deafening Lull’ and ‘Knob Jitter’, four to the floor acid stompers like ‘Walk The Plank’, the mutant garage of ‘Brought Up Badly’ and the house groover ‘Stax Had The Funk’, ‘Flow Mechanics’ is a joyous romp through rave’s sound palette, replete with playful samples and skits (featured on the vinyl LP version), and a mischievous demeanour that affords the listener an lively album that doesn’t take itself too seriously.

New edition of this Soul Jazz Records out-of-print classic album available now as a new limited-edition one-off pressing triple yellow vinyl album (plus download code), and limited-edition one-off pressing special yellow CD edition.
Soul Jazz Records’ Space, Energy and Light is a collection of music by early electronic and synthesizer pioneers (from the 1960s through the 1970s), mid-1970s proto-new age gurus and 1980s guerrilla D-I-Y cassette-era electronic artists, spanning in total over a near 30-year time frame. All of these artists used electronic advancements in music technology as a means of exploring not only space and the idea of the future, but also of looking inwards to the soul and of creating music in harmony with the natural world.
From computer software and hardware experimentalists and sound pioneers such as Laurie Spiegel and Kevin Braheny, as well as Mother Mallard’s Portable Masterpiece Company – the first synthesizer ensemble created in collaboration with Robert Moog – through to musique concrète experimentation, the album shows how technological advancements and creative artistic expression often went hand in hand. 
In the mid-1970s artists Steven Halpern and Iaxos were instrumental in creating proto-new age music, experimenting in both the healing properties of sound and its relationship with the natural world. These artists also pioneered a new self-contained and underground D-I-Y approach to music, creating their own record labels, forming new distribution networks (with albums sold in meditation centres, health food stores and ashrams) far away from the commercialism of the mainstream music industry. In the early 1980s after the revolution of punk, these D-I-Y attitudes and ideas appeared once more in the growth of the distinctly anti-commercial and underground cassette-only careers of artists such as Germany’s Stratis and Carl Matthews in Britain.
Artwork includes some of the earliest photography of the Plieades star cluster dating from the 1880s.

"Listening to Space, Energy & Light in one sitting is a bit like experiencing constellations exploding within constellations inside your brain." Record Collector
"Incredible collection of spacey electronics and meditative soundscapes dating from the early 60s to the late 80s here, lovingly assembled by the Soul Jazz team. This compilation has it all if you like your music deep. Big names such as Iasos and Laurie Spiegel feature, but even if you think yourself a bit of a nerd in this field, there are some lesser known pearls to be found." Bleep
"Quite simply an amazing mix of some quite bizarre and interesting pieces of music, no way to describe it other than to buy it, put on some headphones and drift off to inner space.” Amazon
"New compilation charting almost three decades of experimental
electronic and synthesizer music from the most influential and often
unsung composers of their generation. Beginning and 1961 and
following the story until 1988, Space, Energy and Light connects
proto-new age gurus and DIY tape vigilantes who were equally
inspired by the advancements of new technology and its potential to
unlock utopian futures in both the music and the soul." Vinyl Factory

Erstpressung auf pinkem Vinyl. "Breaking The Balls Of History" ist das insgesamt zehnte Album von QUASI, das am zehnten Februar, zehn Jahre nach ihrer letzten Platte, erscheint. Drei Zehner, was sich mit den dreißig Jahren deckt, die sie zusammenspielen. Sam Coomes und Janet Weiss sind zu Ikonen des pazifischen Nordwestens geworden, und QUASI hat sich immer so beständig angefühlt - ihre dauerhafte Freundschaft so generativ, ihre Energie unendlich, jedes Album rauer und eingängiger und wilder und lustiger als das letzte. Aber wir haben uns geirrt, QUASI jemals für selbstverständlich zu halten. Eine Zeit lang dachten sie, dass das komplizierte "Mole City" von 2013 ihr letztes Album sein könnte. Sie würden mit einem großartigen Album abtreten und weiterziehen. Dann, im August 2019, krachte ein Auto in Janets Haus und brach ihr beide Beine und das Schlüsselbein. Dann kam ein tödlicher Virus über uns, und niemand wusste, wann oder ob Live-Musik, wie wir sie kannten, jemals wieder würde stattfinden können. "There's no investing in the future anymore", erkannte Janet. "The future is now. Do it now if you want to do it. Don't put it off. All those things you only realize when it's almost too late. It could be gone in a second." Während des Lockdowns standen die Straßen von Portland still, Flugzeuge verschwanden, wilde Tiere tauchten auf. Und mit der ausgelöschten Normalität kam ein unerwartetes Geschenk: ununterbrochene Zeit, Stunden am Tag, um Kunst zu machen. QUASI konnten nicht auf Tournee gehen, also hatten sie eine Idee: Sie taten so, als wären sie auf Tournee und spielten jeden Tag zusammen. Jeden Nachmittag verschanzten sich Sam und Janet in ihrem winzigen Übungsraum und kanalisierten die Verwirrung und Absurdität dieser fremden neuen Welt in Songs. Sie beschlossen, dass sie die Songs live und gemeinsam aufnehmen würden, um einen Moment einzufangen. Das unglaubliche Ergebnis dieser Sessions ist "Breaking The Balls Of History", aufgenommen in fünf Tagen und produziert von John Goodmanson. Hier sind zwei Künstler*innen in ihrer Blütezeit, jede*r ein menschlicher Fundus an musikalischem Wissen und Erfahrung, völlig unverwechselbar in ihrem Songwriting und Sound. In der QUASI-Form wird die Band alchemistisch noch größer als die Summe ihrer Teile. Mitten in einem katastrophalen sozialen und politischen Moment haben sie exquisite, melodische Songs geschaffen, die vor Wut, wildem Humor und Intelligenz nur so sprühen, angetrieben von einem großen, zerschundenen, pochenden Herzen. "A last long laugh at the edge of death", singt Sam zu Beginn des Albums, und dieser fröhliche Trotz - der genauso gut der Logbuch-Eintrag unserer Gegenwart sein könnte - gibt den Ton für die kommenden Songs an. Es klingt düster, und das ist es auch, weil es sich dem Moment stellt. Aber es ist auch eine Platte, die vor Energie, Vergnügen und Freude nur so strotzt.

2023 Repress

In between the re-releases of the two legendary Drexciya albums released on Tresor in '99 and '01, the Berlin techno institute is proud to re-present Transllusion's 'Mind Over Positive and Negative Dimensional Matter' the 12' single which originally accompanied the album 'The Opening Of The Cerebral Gate'.

Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub-label Tresor dedicated to a more abstract and experimental electro sound, both releases were conceived as the second part of the so-called Drexciyan Storms - a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album 'Harnessed The Storm' being the rst).

This phase marks a groundbreaking time for the duo, their cosmos breaking wide open, right at the dawn of a new technological era in electronic music production. All this is deeply reected in Transllusion's rst album and single.

Thematically, 'The Opening Of The Cerebral Gate' and 'Mind Over Positive and Negative Dimensional Matter' saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game.

Known for their dynamic sound and complex song structures, De Beren Gieren deliver an extravagant blend of polyrhythmic soundscapes and elitist twists, showing an ability to change mood in a way that constantly holds the listener’s attention. They effortlessly shift from more rigidly styled compositions to improvised sections and thus reveal the pulsating and ominous futuristic sound of a new world.

Produced by Dijf Sanders and Frederik Segers, ‘Less Is Endless’ is an ode to a universe teeming with life. Seen as an extension to the critically acclaimed 2017 album ‘Dug Out Skyscrapers’, it searches for vents through which life can emerge and evolve. The secret of communicating creativity can be found in the cultivation of the unfinished; the missing piece of the puzzle tickles the imagination more than the perfect end result.

From the psychotropic opener ‘A Funny Discovery’ and off-kilter piano rhythms of ‘Animalcules’ to the impressionist melodies and harmonic soundscapes of ‘Tuin’, De Beren Gieren give the music the space to breath and grow with every unexpected twist and turn. Elsewhere, ‘Guggenheim House’ is a lesson in the avant-garde, while ‘Gentse Leugentjes’ is a far cry from the traditional piano-bass-drum set-up, before the affecting ‘Moments Never a Moment’ and 18-minute ‘A Random Walk’ is an adventure in improvisation and electronics that defies any logical convention.

Forming in 2009, Fulco Ottervanger (piano, fx, synths), Lieven Van Pée (double bass, electric bass) and Simon Segers (drums, fx) quickly built a reputation across the Benelux region with their ‘must-see’ live shows and have since taken their transcendental live energy across Europe, Morocco and Japan and have performed at North Sea Jazz, Jazz Middelheim, Trondheim Jazzfestival, Ljubljana Jazz Festival, Moers Festival, Gent Jazz, Kanazawa Jazz Street and Eurosonic.

The trio’s breakthrough came with second album ‘A Raveling’ (2013) which received rave reviews, and the following year, a live recording with Portuguese trumpet player Susana Santos Silva was released as ‘The Detour Fish’ (2014) on the Clean Feed label, gaining De Beren Gieren further widespread recognition. Their 2015 release ‘One Mirrors Many’ was lauded by Dutch magazine Jazzism and signalled the beginning of their electronic quest, finding its maturity in ‘Dug Out Skyscrapers’ (2017). In 2019, they celebrated their 10th anniversary, releasing the limited edition ‘Broensgebuzze EP’.

De Beren Gieren have collaborated with renowned jazz artists including Louis Sclavis, Ernst Reijseger, Joachim Badenhorst, Marc Ribot, Jan Klare and Jean-Yves Evrard.

Nosaj Thing meldet sich mit seinem fünften Album 'Continua' samt hochkarätigem Ensemble zurück. Nach privaten Schicksalsschlägen in den letzten 5 Jahren schaut Jason W. Chung mit gleichgesinnten Künstlern aus Hip-Hop, Jazz, Soul und Avantgarde (u.a. HYUKOH, Toro y Moi, Kazu Makino (Blonde Redhead), serpentwithfeet, Malone und Panda Bear) nach vorne und legt eine Platte vor, die ermutigt, weiterzugehen. Nosaj Things Expertise in der Erzeugung einzigartiger, stimmungsgvoller Klanglandschaften führte ihn quer durch seine Heimatstadt L.A.: von Noise/Punk-Shows im DIY-Treffpunkt The Smell über DJ-Sets im Low End Theory bis zu Gigs mit Toro y Moi, The xx und The Weeknd. Seine 16-jährige Diskografie macht ihn zu einem Kultkünstler, der mit dem neuen Album nun alle Erwartungen an ihn als Komponist, Produzent und Arrangeur übertrifft.

Endearing Montreal-based trio Afternoon Bike Ride announce their forthcoming second album "Glossover", set to be released via Friends of Friends. Consisting of Lia Kurihara (vocals, guitar, programming), David Tanton (vocals, guitar, drums, programming), and Éloi Le Blanc-Ringuette (vocals, keys, drums, programming), Afternoon Bike Ride is a lo-fi folk trio providing a comfort zone in audio form. It"s in the name. When all three artists are together, their chemistry culminates into one organic and lush sound. Sonics that feel natural and freeing, as if fireside with a handful of microphones and instruments and toys. The band has released a series of cohesive projects where field recordings blend with ambient, acoustic, folk, and pop. A cauldron of genres they stir during each song. With precision, Afternoon Bike Ride presents a soothing sound all their own, one that continues to expand and deliver with each new release.

The sequel came to light. The cohesion between past and present tools forms a pure and emotional intertwining that unites generations.

Tracks A1, A2, B2 and B3 were composed in 1998, 2010, 2001 and 2000 respectively.

300 copies available only 12" vinyl format.

Der Score von Felix White (ex-Maccabees) zum 'McEnroe' Sportbiopic (2022) von Regisseur Barney Douglas, ein intimes, von John McEnroe selbst erzähltes Porträt einer der explosivsten und fesselndsten Sportikonen aller Zeiten. Der Film enthält unveröffentlichtes Filmmaterial, Beiträge der Familie, Billie Jean King, Björn Borg und Keith Richards über das goldene Zeitalter des Tennis und den Exzess der 80er Jahre in Johns Heimatstadt: New York City.

Blue Vinyl

Der Score von Felix White (ex-Maccabees) zum 'McEnroe' Sportbiopic (2022) von Regisseur Barney Douglas, ein intimes, von John McEnroe selbst erzähltes Porträt einer der explosivsten und fesselndsten Sportikonen aller Zeiten. Der Film enthält unveröffentlichtes Filmmaterial, Beiträge der Familie, Billie Jean King, Björn Borg und Keith Richards über das goldene Zeitalter des Tennis und den Exzess der 80er Jahre in Johns Heimatstadt: New York City.

Pianist John Escreet, hailed by Time Out London as a "transatlantic jazz genius," continues his artistic ascent with the bold, exploratory album Seismic Shift. It is Escreet"s ninth album as a leader but his first at the helm of a trio, and also one of the first to see release since his move to the West Coast in early 2020. The UK native, former Brooklynite and now Los Angeles transplant teams up with fellow Angelenos Eric Revis (bass) and Damion Reid (drums) for a set brimming with fire and invention.

Blue Vinyl
After Psychiatre's previous electro-focused Lost Palms release proved his artistic malleability, his latest sees him return to his signature sound. NMAV EP radiates warmth; music that sits back into itself, and invites its listener to do just the same.

It begins with three deep house soothers, the first taking disco as its springboard, and the rest stripping it right back to a minimal, soul-caressing effect.

On the B-side the sun doesn't stop shining, except this time Psychiatre injects a healthy dose of acid and the groove of a breakbeat. But far from the rave connotations of each style, Psychiatre teases out the most gentle facets of each, bringing the EP to a suitably laid-back close.

The third compilation (of four instalments) in the Various Artists catalogue of Pi Electronics is hitting physical and digital stores around the globe on the 10th of February 2023.

The concept of releasing artists, who performed at Pi parties (2014-2019) along with musicians who stood close to the label before and during its activity, gathers 18 tracks to the Limitation Compilation.

Music by New York City industrial legend Adam X, Swedish master mind producer Peder Mannerfelt and Irish Techno figure, Eomac (also one half of Lakker) finally takes its place on the label catalogue, along with tracks by the electro side of Italian born producer, Alessandro Adriani and the sound-aesthetic of UK hailing musicians, Slave to Society (formerly AnD ) and Sam KDC.

Berlin artists Alekzandra and Interviews appear with a synth leaning piece, and a hypnotic, broken techno contribution respectively.

You can also meet the sound of Tel Aviv's finest electro duo TV.OUT on this release, which also includes a rare collaboration track by Ireen Amnes and Gramrcy.

Finally, 'Limitation' presents music by Greece affiliated acts of different backgrounds: from the dreamy guitars of Monochromatic Visions and the ambient/drone of Devika, to the broken beats of Zevla and the rolling techno of Thanos Hana; Not to mention the textures of noise band Phallucipher, the industrial slo mo techno of Thessaloniki's, Archaic Intellect, and the noise-techno of label founder, 3.14.

A crossroad of different genres and production styles is offered in the formats of Double Vinyl Sampler, Double CD and digital for this compilation, titled "Limitation".

Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

RED APPLE MARBLE VINYL REPRESS.

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

The members of short lived Palm Desert, CA stoner/desert rock trailblazers Kyuss went their separate ways in 1995 after only four genre defining albums with Josh Homme and Nick Oliveri forming Queens of the Stone Age, John Garcia founding groups Unida, Slo Burn, and Hermana, and Brant Bjork joining Fu Manchu. 2000 posthumous compilation Muchas Gracias: The Best of Kyuss gathered a selection of 15 rare tracks, B-sides and live cuts. Available for the first time on vinyl in the U.S., Run Out Groove offers up a colored 2LP pressing of the hard to find album with deluxe packaging.

It could only have happened in Detroit. It was in the ashes of this Detroit, that Tribe Records was born - a community-led platform where artists took control of marketing, promoting, and releasing their own music. Two original founding members, saxophonist Wendell Harrison and trombonist Phil Ranelin, are still active in the Detroit jazz community, and act as global ambassadors for the Tribe legacy. In the years that have followed, the path Tribe blazed has become the blueprint for generations of independent artists. With the upcoming release of Ranelin and Harrison"s joint entry in the Jazz Is Dead series, they continue the mission of Tribe to provide "a new dimension in cultural awareness".

Ever dream you're in a spaceship on a never-ending journey to an unknowable destination? That's how Nyles Lannon often thought of life in the early part of the pandemic, when time seemed to stand still, before the vaccines or even knowing when there might be any. But whether that spaceship is a desolate prison or a vessel for escaping to a better world depends on how you use it. With literally nowhere to go, the Film School guitarist and his then-12-year-old son Skye, on drums and modular synths, would jam most evenings in Nyles's home studio, just to have something to focus their minds on and counter the tedium of "remote learning." What started out as a way to keep his talented kid busy became a means to process the anxiety and disorientation of that strange, scary stretch of time. The result is Vanishing, a ten-song album of moody melodies, new wave beats, droney rock, and even an electrogroove instrumental interlude, by the father-son project they named Nyte Skye.

The emotional toll of lockdown, our collective grief, the literal darkness that engulfed the sky thanks to devastating wildfires brought on by climate crisis—these are heavy subjects, but the songs also convey how we managed to keep each other sane, and inspired, through it all. Film School devotees will find plenty to love; so will fans of the Police (Stewart Copeland being one of Skye's major

influences), the Cure, Spiritualized, and Elliott Smith. The album's opener, "Dream State (I'm Vanishing)," is a wistful synth-driven indie gem about disappearing into an alternate universe where worries don't exist. "Doing Time," with its massive washes of 12-string guitar and sophisticated syncopated beat, is a shoegazey meditation on holding onto a child's sanguine outlook in the face of adversity. If dream pop track "Take Me Up Again" is the album's bounciest, its counterpoint is "Faded," whose bittersweet melody and gentle rhythm bely themes of physical and emotional frailty.

Ultimately, not only did working on Vanishing help the duo cope with a uniquely challenging situation, but just being stuck at home helped stoke their creativity. "Music was the only thing I did during the pandemic, besides online school," Skye says. "It gave us all this time we didn't have before to make the album." For Nyles—knowing they might never have that kind of time again—to be able to put out a record with his son is, simply, "a dream come true."

Vanishing was written, recorded, and produced by Nyles Lannon and Skye Lannon and mixed by Dan Long, with additional contributions from Zach Rogue (Rogue Wave), Nichole Kreglow (backup vocals), lyricist Neil Rodenmeyer (Lupa Rosa), and Ian McDonald (FUTRVST).