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J Hus is back with his highly anticipated third album ‘Beautiful And Brutal Yard’, preceded by the raucous street track ‘It’s Crazy’ which charted Top 15 and ‘Who Told You’ (featuring Drake) which debuted at #2 with the 3rd highest UK week 1 singles sales of the year and Hus’ highest single chart to date.

‘B.A.B.Y.’ is the follow-up to his chart-topping album ‘Big Conspiracy’ which earned him the Best Male Award at the Brits and his Top 10 platinum debut ‘Common Sense’ which won an NME award and was nominated for the Mercury Music Prize and Best Album at the Brits.

Fans have come to expect a range of influences and musical styles from Hus’ albums and they will not be disappointed. Across ‘B.A.B.Y’ Hus incorporates elements of afrobeats, drill, R&B and bashment, all delivered in his inimitable lyrical style. The album includes features from Drake, Burna Boy, Jorja Smith, Popcaan and Naira Marley as well as from UK up and comers CB, Villz and Boss Belly.

Having not played his own live shows since 2017 J Hus is announcing a UK Arena tour on Thursday 29th June.

Water Machine is an office romance between Hando Morice (they/them), Flore de Hoog (she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). An unassuming supergroup formed out of Glasgow institutions including Goth GF, Passion Pusher, Brenda and Soursob, their sound careens between punk, country and alt-rock underpinned by the unique quality they call “Raw Liquid Power”.
Following last year’s self-titled demo tape on Gold Mold Records, and fresh off of shows with the likes of Holiday Ghosts, The Cool Greenhouse and The Orielles, as well as a rollicking Viagra Boys afterparty, the four-piece will release their highly-anticipated first studio effort ‘Raw Liquid Power’ on Upset The Rhythm on August 4th.
The EP opens with a menacing, modulating synth melody. Gage’s guitar enters with a mighty bend before breaking into the chugging rhythm of ‘Water Machine Pt. 2’. This timely reminder to refill your water bottle - “don’t be late, hydrate!” less a wellness mantra than a threat - builds to a spacey outro with flashes of the art-punk weirdness of Suburban Lawns. ‘Stilettos’ marches on indignantly with a spiky riff punctuated by Ilgauskaitė’s cowbells. Staccato talk-singing tells a playful tale of stray cats following you home, but belies a darker subtext as the breakdown gives way to paranoid duelling guitars evoking The Fire Engines.


The anti-anthem ‘At the Drive In’ skewers joyless DIY crowds, reminiscent of much-missed Glasgow punks Breakfast Muff. Water Machine’s irrepressible sincerity can’t help but shine through in the final moments though, as jibes about “late night trade potential” give way to plaintive vocal harmonies. Morice tears public transport a new one on closer ‘Bussy’, a First Bus diss track bemoaning precarious employment amidst crumbling infrastructure. “That’s why I’m not on time!” they roar over de Hoog’s frantic, pounding bass, bringing the record to a skidding, screeching halt.

300 (hand-stamped, hand-numbered) The fourth episode of the Test Pressing series compilations includes tracks from such artists as Memotone, Giuseppe Ielasi, Andrew Pekler, Rome o Poirier, Nikolaienko, Felix Kubin, Jake Muir, Felicity Mangan, Star Searchers, and Tarotplane.

Multi Culti return with an expansive 8-track mini-LP showcase timed for summer solstice celebrations.

The a-side kicks off with the musically-gifted Mytron’s genre-defining title ‘Shisha House’, Italian Ayala teams up with Abrao on ‘Magia,’ Jamie Paton slices up the low-slung, serpentine ‘Sub Ritual,’ and Xanga & Zebulon deliver a literal love letter to the ‘Coca Leaf’.

B-side action begins with Ecuadorian newcomer Kunturi, whose ‘Eclosión’ portends a new wave of Nicola Cruz inspired, folkloric techno, Italian duo Future Island (Oltrefuturo teamed up with treasure island) rock an impressive slow-mo trance dub on ‘Wide Music II,’ Aiku debut out of Germany’s Harz mountains with ‘Fried Acid,’ while Argentine wizard Balam finishes the journey off with the incense and sitar laden ‘Caravana.’

While they may dabble in orientalist tropes, these are not mere Tulum-chasers out for shamanic DJ duty. This is avant-garde folk-Tronica that tows the limbo line and once again asserts cult supremacy in the great Psychonautical odyssey.

Evelyn spreads her wings and prepares to fly. This is her first offering for the ESP Institute. On side A, 'Tremors' slams together a plethora of seemingly disparate rhythms, organic percussion, field samples, hypnotic chants and a relentless low end punch, that when in full-swing, works some seriously deep sorcery. Contrasting her pounding kick and rolling sub combo are a softer grouping of melodies, soft mallets and muted tones that lay subtly beneath the aggression, skillfully playing with a sense of spatial depth and room size. Its the kind of track that draws you in with meditative bars, concentric cycles that sit ever so slightly off-axis, inducing the mind and body to obsess and regulating its timing, and then drops you into a very intentionally arranged soundstage giving expansive space to explore. On the flip, 'Pregunta' continues this approach of natural versus industrial instrumentation. The consistent machine kick has a powerful but playful tone, the negative space between each stroke evoking a mighty gesture as its note bends in the decay. Set in 3/4, a community of live percussion successively adds and subtracts, each player’s imperfect attack accumulating into a mechanically smeared and addictive loop that toys with peaks a handful of times yet restrains any unnecessary climax for the betterment of a driving groove. Near the end, as the kick and various players mute and the base of the track is given a moment to breathe, its apparent just how layered the production was in the moments prior, as we’re suddenly at home, smitten with the wobbly and lopsided innocence of the foundational percussion. These two songs will push you headfirst into the light.

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque."

Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass.

The new LP, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "S/T" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "S/T" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

The debut work by Hekura, the duo formed by Ernest Pipó and Edu Pons, both from Barcelona's impro music scene.

The songs in this LP serve as a voyage that evokes daydreams inspired by the everyday. Daydreams that change in surprising ways, as if they were old slides reflecting long-forgotten objects that once carried significance.

Everything begins with "the single petal of a rose" by D. Ellington in a choral rendition that emulates a dialogue between wind instruments, from which fantasy and memories flourish, starting with the ethereal "vane" and the dampness of "frogs". The first stage comes to an intense climax with a gripping gathering in the desert in "runes".

"Mound" takes us on a beautiful descent into the darkest depths of "calf", from which we emerge with life, but tinged with nostalgia in "wine". The book's cover is sealed with a guitar epilogue, where once again, "the single petal of a rose" brings the journey full circle.
This work was recorded by Uriel Ireland at Can Donzella (Sils, Girona) and mixed and mastered by Ferrán Conangle.

Originally released on Island Records in September 1998, the soundtrack to the box-office smash film, written and directed by Guy Ritchie, quickly became a must-own album, and is frequently cited as one of the best movie soundtracks of all time.

Lock, Stock and Two Smoking Barrels redefined the British gangster film and established Guy Ritchie as one of the greatest directing and writing talents of his generation. Using a frenetic mixture of filmic styles, humour, violence, breakdown of the fourth wall, narration, and vast amounts of swearing, it is hard to imagine a time when this film and its influence was not around. It made a star of the-then unknown Jason Statham, and, amazingly, hard man footballer Vinnie Jones, who as Big Chris, had several scene-stealing moments. Taking his cue from Quentin Tarantino, who had been meticulously curating his film soundtracks since the early 90s, Ritchie made the music to his film tell its own story, complete with memorable snatches of dialogue between many of the tracks.

It offers a beautifully eclectic selection of songs from the preceding three decades, plus then-current artists providing some of their best material, such as Hundred Mile High City by Ocean Colour Scene or E-Z Rollers' drum'n'bass masterpiece Walk This Land. Of the heritage tracks, Dusty Springfield sings her sultry take on Spooky; James Brown appears twice with The Boss and The Payback; The Stooges with I Wanna Be Your Dog, and two versions of Pete Wingfield's masterful one-hit-wonder 18 With A Bullet; in its 1975 original and a contemporary cover by Lewis Taylor and Carleen Anderson. And this is only half of it.

Intergenerational trio Dry Speed is one of the best-kept secrets of the Belgian free jazz and improvisation scene. Formed in the early 2000’s, trumpet player Joachim Devillé and saxophonist Thomas Olbrechts were in their twenties at that time, while drummer – their teacher at the art school in Brussels - Dirk Wauters was already in his fifties. Logically, twenty years later the first one are in their forties and the third one in his seventies. They only released a couple of CDs before “Indium” but never stopped to play, for themselves and for audiences, in concerts.

'Too often we describe music using classifications; genres like “jazz,” “experimental,” “avant- garde” are an easy shorthand to relay the rough parameters of the music to another person who may not have heard it. But these words are useful because they’re so vague, and they are most often used when the impression the music makes is equally vague. But when a group makes sounds that move the listener, these terms don’t hold up.

Dry Speed has released a record that is, at turns, futuristic and organic. It feels alien and new, like plastic or titanium, but at the same time as if it is shrouded in the natural, growing like moss or amplifying the sound of a great tree’s roots. ‘Indium’ gives the listener multiple entry points into the trio’s music: from a broad soundscape to a densely knitted series of minute and exacting musical gestures.'
- Nate Wooley

The album follows her two previous collections released by French-Canadian shadow ambient imprint Cyclic Law. Betti's output has been strongly shaped by the juxtapositional nature of the island she calls home. A beautiful Mediterranean island that is also home to a petroleum refinery's and its significantly haunting presence. There is conflict in that ideal, and Betti's music has always displayed a sense of beauty, yet with ominous undertones.
With Before the Last Light is Blown, Betti focused on the transience of life as a means of inspira- tion. It is human nature to move forward, consume, and always reach the next goal and to never give much thought to the briefness of our time here. The impermanence of life may seem like a dark topic, but to the contrary, pausing to think of such brevity could allow us to see the beauty we are missing in our endless need to fulfill and consume.
Betti takes us to a dark place only to show us the beauty within, a vital constant in her output as shedir.

Dj Protein is back and he gives the club what it needs to keep everybody fit.

Kinn turns the Post-Rock continuum inside out with his sophomore album, Dogtooth.

Shifting focus between his present self and his misled teenage years, 'Dogtooth' sees London born and raised sound art graduate Fred Lomas contemplate the vulnerability of youth, addiction and suicide as Kinn. Unabashed in their creative ambition, Kinn's tongue-in-cheek 'dread-voyeurism' is underpinned by a palpably sincere vulnerability that seeps through their dynamic and rewardingly dense records.

An insight into Fred's formative years can be unraveled from his nickname "Dread", originally given to him by his parents. Growing up in North London as a 'constantly out of the house' youth, Fred only had eyes on any counterculture he could find to defy the city's notorious empty capitalist centric mainstream culture, skateboarding, graffiti, and terrible punk bands which would only last 1-3 rehearsals (max). As a teenager he experienced the notorious 2011 Tottenham riots, which is often referenced in the artist's output and greatly informed their sensibilities. Barely an adult, he was confronted first hand with concepts of constant hostility and corruption which were seemingly welded to his surroundings, corruption formed by high rises and international political scandals taking place only a short journey away.

Even today, Dogtooth reflects on this contrast of community and anger and surmises it to be part and parcel of modern metropolitan life, looking to peel away the bad looking for meaning, comfort and ways of goofing off amidst oppressive forces, sirens and snake oil salesmen everywhere.

Mahalia is set to release her brand-new, sophomore album titled ‘IRL’ on July 14th with the pre-order set to go live on May 11th.The album will feature the singles ‘Terms and Conditions’, ‘Cheat’ and ‘In My Bag’ with album features including Stormzy, JoJo, Joyce Wrice and Kojey Radical.

Aptly titled IRL, Mahalia is particularly incessant on doubling down on vulnerability, internal reflection, and a desire to feel, in the realms of love specifically as demonstrated on her last project. “I feel like there’s even more personality on IRL. I want people to see me how I see myself.” Emboldened by her inflections, insights and young adulthood, Mahalia is not only breaking the mould on IRL, but determined to live life cognizantly. “This is a real reflection of the journeys I've had, what actually happened and a celebration of everyone who got me there. There are names and family members I mention because it all helped in shaping who I am,” Mahalia rationalises. With an innocent, yet assured gleam appearing on her face, “I’m so proud of this project, and so proud of how much I challenged myself to just let those stories out.”

Christened in many Grammy, BRIT, Soul Train and MTV Push nominations over the years, as well as two MOBO-wins for Best Female Act, and Best R&B/Soul Act, Mahalia still proves that beyond the accolades, an overarching dedication to persistence is what’s driven her to look inward, grow and ultimately challenge herself with each and every release to date. Standing as one of British R&B’s most successful contemporary faces, Mahalia continues to grow and establish herself in both her tact as an artist, but in building more robust ruminations sonically. As she evolves, her success becomes even more bonafide, both on home turf, but abroad too (she’s cracked the US Adult R&B Charts three times to date).

With her legion of 3.3M monthly Spotify listeners, the penultimate Saturday slot on the West Holts stage at this year’s Glastonbury festival and an opener performance for Adele at Hyde Park last summer, as well as a stellar prime-time Commonwealth Games closing ceremony set, there’s more territory to break. “I’m almost glad Love and Compromise didn’t go completely sky high, it’s given me room to keep developing, keep growing and go higher than I’ve ever been before. I’m so ready to bridge the gap now, I feel like I’m absolutely playing the long-game.”

Eine jahrelange Freundschaft bildet das Fundament: Auf ihrem ersten gemeinsamen Album, »--------«, führen Peter Kruder und Roberto Di Gioia ein scheinbar intimes Gespräch, in das wir als Zuhörende indes soghaft hineingezogen werden. Eine wundervoll zauberhafte Musik, in der man sich verlieren, vor allem aber: finden und neu zusammendenken kann.

5th release coming next, the 8th district is now the subject.

We're super excited to welcome estonian duo Abdul Raeva for the first time on the label and to have close friends like Ginko, Max Cohle, MLM and Takadoum

First nug is the Abdul's bomb, Concorde, which is a track with a lot of energy and starts the release with high notes. Synths, drums and the rumbling techy loops give an original energy to this track.

Second one is the Ginko's track Jungle Palazzo which is a very nice and powerful house track.

To close this side, we welcome our friend Takadoum with a very melancholy track, almost like a lo-fi track but very fast.

On the other hand, murdering tracks with MLM & Max Cohle and their acid groovy track, and the Ginko's one which is a breaky dancefloor killer.
We hope you'll enjoy it :)

Vinyl Only

Undefined 014 is crafted by dutchies only! 2 not so young youngsters under the monniker 'Young Adults' are making name in the scene. They provided 4 deep techno driven peaktime cuts. The perfect blend of minimal and techno - deep kicks, thriving subs and bleeps. As a counteract weve came up with a remix by fellow dutchie Mathijs Smit - rolling tech-house, warm vibe and crisp sounds. Enjoy this dutch delightfullness.

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and our first to celebrate the ‘90s, NOW – Yearbook 1992; 79 tracks from a brilliant year in Pop! Available as a Special Edition CD housed in ‘hard-back-book’ packaging, including a 28-page booklet featuring a summary of the year, a track-by-track guide, a quiz, and original singles artwork, a standard 4CD package, and a Limited edition 3-LP set pressed on green vinyl.

Paired up with his good friend LV for the 9th edition of the saga. House and disco grooves defined by smart samples and strident grooves as usual!

FrescoEdits as usual give us huge re-edits from Italian and international scene. Digging in the depths, there’s a flavour for every occasion here that span the world over.

"Tonight" is a captivating, extraordinarily song written and arranged by Paolo Gianolio (one of Mauro Malavasi's most valid collaborators), who strongly wanted Ivana Spagna as a vocalist. In those very early 80s Spagna used to lend her refined voice.to successful productions using various pseudonyms: Mirage, Carol Kane and Yvonne Kay and precisely Barbara York The piece released in 1982 with Delirium Records was then released in 1983 on Smash One Music by Pino Toma who jealously preserved it making it one of the many rare gems of Italo-Disco. Now after 40 years here it is revived by Best Record in all four original versions, perfectly remastered by Dom Scuteri.

Repress!

Showcasing his renowned nu-disco stylings and the evolution of his musical outputs from club delights to international hits, today Purple Disco Machine, the moniker of German disco house producer Tino Piontek, shares his stellar new single ‘Hypnotized’, marking the next era for the critically acclaimed project.

With an artist name that pays homage to 80’s funk hero Prince and the uplifting dance beat of Gloria Estefan’s ‘Miami Sound Machine’, Purple Disco Machine was destined to bring together the elements of synth pop, funk, Italo Disco. With over 250 million streams across his works to date, and a recent run of A list remixes for Dua Lipa, Mark Ronson, Robert Surace, Foals and Sir Elton John, Purple Disco Machine impresses once again, creating a modern and sophisticated take on the decade that has inspired him so greatly. Further announcing his sophomore LP for release in the next year, 2020 will see Purple Disco Machine deliver his most outstanding work to date.

Enlisting the help of indie British newcomers Sophie and the Giants on the single, Purple Disco Machine, adds their alluring vocals to the instantly engaging melody, and funk fuelled bassline, that has become synonymous with so many of his dance-fuelled hits.

Here we are - the new release from the italian project Club Soda is finally here!

The trio, made up of Nicola on bass, Simone on drums and samplers, and Filippo on keys, is bringing some real, raw, authentic sounds to the table. Their first LP, "Vibin' Places" dropped in 2020 and it's a versatile homemade electronic album that hits different, whether you're a listener, DJ, or clubber.

This new EP is fire too. A1 track "Basso e Batteria" with Sara Loreni on lyrics and vocals, has clear echoes of a '00s vocal-house joints, but sounds like it was recorded in a Chicago basement. The dirty grooves, thumping bass, and enveloping pads create a free-form vibe that's perfect for you summer madness.

But then they go and take it to the next level with the remixes on B side. Cristalli Liquidi's remix is on some current dance floor-ish, with bouncing rhythms, a wild bassline, and a catchy vocal cut. And Hill's dub mix is straight up trippy - like you're lost in a warehouse at 6am, with dreamy pads, a solid bassline, and rhythms that are distant but still pull you in.

And let's not forget "Gin Tonic" (A2) - it's a dope sunset jam session that's pure “Club Soda style”, with congas, DX7 keys, funky bass, and an MPC chop. This EP is the real deal, from start to finish! Shout out to Giulia Dall’ Ara for the sick artwork on the cover and label too - she killed it!

Audio Reflex, aka Anderson, is back, with his final four tracker on Telomere Plastic!

This beautiful EP is another blend of mid tempo and deep electronics. Funky baselines and beats throughout will give you the chance to get moody and groovy deep in the middle of your sets!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!