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Over the course of a 19-year career, Marshall Watson has released all manner of musical treats for a similarly wide array of labels, yet it’s the effortless beauty of his downtempo works – and particularly his ambient and Balearic excursions – that have often left a lasting impression.

It certainly caught the attention of NuNorthern Soul founder Phil Cooper, who brought the West Coast producer to the label in the summer of 2021. That EP, Sunsets on Larkin Parts 1 & 2, was undeniably special. The same can be said about his belated return to the label, Foothills, an EP packed to the rafters with slow-burn melodies, sustained chords, becalmed textures and gently unwinding grooves.

Watson’s distinctive take on Balearic naturally comes to the fore on EP opener ‘High Desert’, a soft-focus delight where languid electric guitars, starry electric piano lines, echoing chords and gently pulsing electronics stretch out across a shuffling groove. While tailor-made for watching the sun set off his beloved Pacific Coast – and over the Mediterranean Sea – ‘High Desert’ offers a dose of hazy sonic sunshine that can brighten up even the greyest of days.

Fittingly, the accompanying remix comes from long-time friends of the label Seahawks, whose textured, layered and atmospheric productions similarly blur boundaries between Balearic, ambient, pitched-down dancefloor grooves and glassy-eyed psychedelia. Employing opaque, shape-shifting pads, effects-laden guitars, subtle spoken word snippets and yearning, almost melancholic chords – all atop a crunchy, head-nodding beat and toasty bassline – the duo deliver a remix that’s as emotive and sonically stunning as Watson’s original mix.

The EP’s three other tracks amply demonstrate the subtle variety within Watson’s downtempo output. Vocalist Julie Childe makes her mark on ‘Sweet Sounds’, a brilliant blend of warming deep house and laidback Balearic nu-disco that sports subtle hints to his work as one half of synthwave duo Causeway, while ‘Open Sky’ brilliantly wraps undulating TB-303 acid lines and echoing Spanish guitars around a hypnotic, locked-in dancefloor groove.

Then there’s ‘The Landscape’, a deliciously saucer-eyed slab of breakbeat-powered, TB-303-sporting genius that evokes the immersive, early morning waviness of the ambient house era, the beach party psychedelia of San Francisco’s free party movement, and the bleeping wonder of turn-of-the-90s UK dance music. Like the rest of the EP, it’s an enveloping, head-soothing and mind-expanding treat.





e B2 High Desert Seahawks High Sky Remix

Exceptionally talented keyboardist, DJ and producer Moon Boots (Peter Dougherty) has revealed his third studio album ‘Ride Away’. The ten-track LP will land on March 17th on Anjunadeep. The first single, ‘Hot Minute’ featuring Black Gatsby, is out today. Written and produced over a nearly two-year period beginning in early 2021, ‘Ride Away’ contains themes of love, companionship, and personal exploration. Hauling in a crate’s worth of musical influences, Moon Boots has imbued ‘Ride Away’ with his characteristic blend of soul, disco, and house music, whilst also introducing the sounds of synthpop, breakbeats, and psychedelica. Marrying these eclectic styles is part and parcel of Moon Boots idiosyncratic sensibility, honed through years of living and DJing in Chicago, the birthplace of house music, and in the musical melting pot of Brooklyn. ‘Hot Minute’ is the first single and features the vocals of longtime collaborator Black Gatsby. With a sassy chorus that echoes Anderson Paak and Sylvester with a gospel-inflected breakdown, ‘Hot Minute’ shows off the full range of Black Gatsby’s talents and his unique musical rapport with Moon Boots. This bop is a tantalising taste of what Dougherty has been up to in the studio. ‘Hot Minute’ follows the recent release of ‘Come Back Around’ which featured indie darling Cherry Glazerr. The summer anthem was supported by the likes of KCRW, Triple J, and SiriusXM. ‘Ride Away’ follows in the footsteps of Moon Boots’s debut ‘First Landing’ (2017) and sophomore album ‘Bimini Road’ (2019). With an impressive catalogue atypical of the dance world, Dougherty’s third album represents both his tenacity and evolution as a producer and songwriter.

Featuring a swathe of colourful vocalists including the likes of Cherry Glazerr, Dope Earth Alien, and Nic Hanson, ‘Ride Away’ celebrates Dougherty’s longstanding affinity for collaboration, fun effervescent songwriting, and dance-focused production. Other international artists on the album include French singer Praa and Norwegian band Ora The Molecule, whilst longtime collaborators Ross Clark (St. Lucia) and Steven Klavier feature as writers and instrumentalists on the record, rounding out a global ensemble of incredible talent. Having accrued well over 100 million streams on Spotify alone, and having been championed by the likes of Annie Mac, Diplo, Danny Howard, and The Blessed Madonna, Moon Boots has established himself as a trailblazer of R&B-infused dance music.

New York painter and musician exploratory industrialist Tor Lundvall initially envisioned his 14th album, Beautiful Illusions, as an entirely instrumental affair, "inspired by memories of sitting in a church or cathedral watching the shifting sunlight through stained glass." Although he ultimately chose to wreath the majority of the tracks with hushed, poetic vocals, his original muse still resonates. These are certainly songs of shadowplay and vaulted skies, the quiet grandeur of dusk deepening on the horizon. Lundvall characterizes the lyrical subject matter, too, in ways both specific and surreal, exploring "the doubts, the anxieties and even the bleak fantasies the mind spirals into during moments of isolation, separation and distance." Tricks of the eye, mind, and ear, magnified by silence and the looming long winter. Shivering pulses and muted bass lines tread the twilight while icicle synths and wiry guitar map the melody until the voice enters, narrating oblique moods of essence and absence, tenderness and truth. Glimpses of dark humor flicker in the wordplay but the greater sonic landscape is one of falling leaves and failing light, small gestures rendered as revelation, cloaked in reverb and spatial fog. Lundvall's mastery of nuance and negative space continues to heighten, whispered brushstrokes of the invisible and the unsaid, what lies beneath and what lies beyond: "Behind the shields and false fronts is usually a sadness. The heartbreaking reflections of what might have been."

With Cruisin', their second album for Telephone Explosion, Toronto's Bernice distils their playful sense of composition resulting in the most affecting collection of their young career. Across fifteen tracks, a special kind of contemporary, jazz-inflected pop unfolds, miraculous for being both fun and musically adventurous, all in the name of emotional resonance. Each groove in the bassbin is matched by a little scratch at the listener's heartstrings. The album was recorded at home with Phil Melanson (Sam Gendel, Andy Shauf) and Thom Gill (Beverly Glenn-Copeland, Joseph Shabason), led by songwriter and vocalist Robin Dann (Martha Wainwright) and producer Matthew Pencer, with additional contributions from longtime members Dan Fortin and Felicity Williams (Bahamas) being captured remotely.

Throughout their eleven years as a group, working at the intersections of several scenes and spotlights (many of which begin and end at Toronto's beloved Tranzac Club), Bernice have developed an idiosyncratic musical language that feels immediately inviting and wonderfully refreshing. The group's two previous releases, Eau De Bonjourno (2021) and Puff: In The Air Without A Shape (2018) received generous nods from both Stereogum and Pitchfork, who described the music as "unusually mesmerizing". With the songcraft a little more crystalline and the vulnerability notched up, Cruisin' feels like the right record to open Bernice up to a much wider audience.

Development of the album began in Spring, 2021 during a writing retreat at the family farm in Bond Head, Ontario. Members of the band luxuriated in slow time, tinkering with lyrics and melodies, sharing meals, knitting. From this communal gathering, the concept of 'dedication' emerged as a guiding theme. Specifically, developing songs in an almost epistolary form; as love letters or check-ins for friends, community members, pets and other more elusive acquaintances (a longtime working title for the project was 'Songs For People').

Lead single 'Underneath My Toe', one of the first pieces developed under this theme, finds the group at their most graceful and direct. Beginning with songwriter/vocalist Robin Dann singing simply 'Hi / I miss you all the time', the composition proceeds to shift subtly between soft jazz balladry and low-bit funk, revelling in the intimate beauty of a long-time-no-see letter to a dear old friend.

Though being a band that so deeply values the art of fartin' around, Bernice couldn't settle on such a straightforward approach. During the creative process, a clarifying question arose: 'Can you cruise to it?'. This somewhat ambiguous aesthetic criteria became a guiding light for the album. 'Sure, it's a beautiful song about building trust with a new nonagenarian friend... but can you cruise to it?'.

Case in point, both follow up singles, 'No Effort To Exist' and 'Second Judy', fall into a more nebulous, bewildering category of song. Undoubtedly affecting, emotionally charged, existentially searching, yet also undeniably juicy. Drum patterns skitter into place while synth tones shift on a dime to meet thematic twists. There's errant whistling and curious overdubs. Then in come elegant backing vocals, elevating the narrative while an unlikely, left-field groove is established. Miraculously, the listener is not just moved, but Cruisin'.

Therein lies the marvel of Bernice: they remind us that the rec room funk of Mario Kart 64 need not exist in mutual exclusivity to a rich tapestry of human emotions. Even as we live through this most cursed timeline, we can look into the heart of things, dwell on the challenges we're called to witness, and find a little levity to carry us through; grab a lil' mushroom and cruise the existential soup.

Mammal Hands announce spell-binding new album 'Gift from the Trees', their fifth studio album, pointing to subtle shifts and exciting new departures for the unique trio
"We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance..."
Mammal Hands fifth album 'Gift from the Trees' offers a fresh perspective on the unique trio's singular music. The first to be recorded in a residential studio, the band enjoyed the opportunity to go late into the night searching for a deeper, more organic experience, closer to both their writing process but also their trance-like live performances. While some of the music was pre-composed and had even been performed live, the band also enjoyed the opportunity to improvise ideas in the studio. Drummer Jesse Barrett explains:
We wanted to have a more immersive experience that felt closer to our writing process. One thing that was really important to us was feeling free to jam out ideas as they came to us. We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance and just follow that thread where it wants to go. Sometimes it's something as simple as a rhythmic, textural flow, like in Sleeping Bear.
There was also a conscious decision to move away from the sound and ambiance of the recording studio, with the band opting to engineer the record with their go-to live engineer Benjamin Capp before mixing the sessions with Greg Freeman in Berlin. The idea was to try and capture more of the energy of the band's captivating shows, saxophonist Jordan Smart explains:
Considering the group of tracks we had, it made sense to try and capture this process as organically and honestly as possible, and so a change in studio environment felt like the right move to us. Some of the tracks have a raw joy and energy that came with being able to play together again after a long period of time of having been apart, and capture that feeling of just being happy to be in a room with our instruments altogether again.
Whereas for pianist Nick Smart there was also the chance to really go deep into the band's music:
The new studio environment really opened us up to different ways of working and thinking because we could record at any hour of the day or night. I think this allowed us much more freedom to try unusual ideas and push elements of the music to extremes because we had the time to really focus in on the detail and work on things without time pressure. With some tracks, we were trying to find the boundaries of our playing ability and push beyond that point. With others, it was just getting into the right mindset and putting as much energy and emotion into the take as possible.'
The Welsh environment outside the studio doors seeped into the music presented on Gift from the Trees, with two recording sessions (one in winter and one in the spring) bringing different moods: one bleak and wintery, the other more hopeful and bright – an energy that permeates through tracks such as Kernel and Dimu.
Gift from the Trees opens with wonderfully elevating The Spinner which grew from one of Nick's piano parts and was developed and arranged into a complete tune without losing the feeling of constant flow and motion. It is almost like a dance, with the interaction of different melody parts and the doubling of certain parts melding together and fitting into the overall energetic flow, while Jesse's drums are both floating and deeply melodic. Riser aims to capture the band's raw energy and intriguingly is influenced by both breaks and modern drum production but also minimalist classical composition. Nightingale features the band at their most delicate and lyrical – a band favourite it draws heavily on modern folk with a beautifully realised melody that came unforced to pianist Nick Smart before being jammed out together. It was recorded early one morning, bringing an extra light and brightness to this beautiful performance.
Another album highlight is Dimu which utilises one of drummer Jesse Barret's favourite rhythmic devices from the Tabla repertoire and draws inspiration from Indian, Greek and Arabic music as well as modern folk arrangements. Dimu starts with saxophone over a bed of drones and percussion and moves through many different sections that frame and present the melodies in unique ways. The beguiling, intimate Deep within Mountains aims to place you in the room with the band as they play; it was recorded late at night to capture a dreamlike, liminal ambiance. The piano solo really reflects this mood and energy while the tenor is some of the softest and closest on the recording. Elsewhere, the remarkable Labyrinth started with what Nick describes as "some weird recording on my phone from a soundcheck, where Jordan was playing some crazy sounding bass clarinet part and I quickly recorded him", giving birth to a captivating, complex slice of propulsive 'almost' contemporary classical that like so much of the music on Gift from the Trees really couldn't be any other band than Mammal Hands.
Finally, the album draws to a close with the glorious Sleeping Bear, a tune that was wholly improvised in the studio. Nick and Jesse entered a simple but 'weird' locked groove and Jordan improvises melodies over the top. The track came about without any planning or thought; it was one of those special things that came by surprise and the band felt offered the perfect ending to their latest gift to us all: a deeply enthralling album that captures so much of what makes Mammal Hands a special band while mapping out new routes and paths for their beautiful, beguiling music.

Deluxe clear Vinyl + Bonus 7" mit 2 weiteren neuen Tracks: Earased by sunlight & Long walk

WRWTFWW Records is proud to present the first official worldwide reissue of the debut album from fabled Japanese folk singer-songwriter/actress/writer Hako Yamasaki, Tobimasu. The limited edition 180g vinyl LP comes in a heavy sleeve with the original artwork, and the digipack CD has one bonus track. Tobimasu is also available in digital formats.

Originally released in 1975 on legendary independent label Elec Records, Tobimasu is a masterpiece of melancholy carried by one of the most beautiful, moving, melodic, and haunting voices in the history of Japanese music. An extraordinary singer and guitar player, Hako Yamasaki wrote the album at only 18 years old, showing incredible emotional maturity and music making skills, and creating, out of nowhere, a downright classic of folk music, brilliantly arranged and sequenced.

Hako Yamasaki’s folk is bluesy, psychedelic, soft, and poetic, perfectly fitting the themes of nostalgia, love, and nature she covers with heartbreaking intensity. Her songs capture sorrow ravishingly, offering glimpses of empowering hope and uplifting wisdom. A unique voice, a unique approach, and nothing less than magnificent music.

Hako Yamasaki, a pioneer in both the creative boom and the rise of feminism in 1970s Japan, went on to release over thirty albums, building an impressive discography and a fascinating career filled with ups and downs. Her work, inimitable and timeless, deserves the utmost recognition and should be celebrated. Again and again and again.

Tobimasu is released in conjunction with Hako Yamasaki’s beautiful follow-up Tsunawatari, also available on WRWTFWW Records.

The popularity of Brazilian music from the 60s, 70s and 80s has experienced quite the renaissance; artists such as Gal Costa, Gilberto Gil, Arthur Verocai, Joyce et al, have become household names to an international audience passionate about global sounds. However, even for die-hard fans and collectors of Brazilian music of the past, discovering contemporary Brazilian artists is not always easy, nor accessible. But, if you know where to look, you will see that there is a resurgence well underway that can be epitomised by an exciting new wave of Brazilian artists beginning to break through and gather momentum overseas. It’s with thanks to Sound and Colours, a website devoted to promoting Latin American music and culture, that we can help shine a light on one particular collective, bursting with creativity and camaraderie.

‘Hidden Waters: Strange and Sublime Sounds of Rio de Janeiro’ is compiled by Joe Osborne (founder of specialist Brazilian music platform Brazilian Wax) and Russ Slater (editor at large of Sounds and Colours). Focusing solely on the 'Rio Scene', rather than taking on the mammoth task of tackling Brazil as a whole, this collection presents 20-plus ground-breaking artists selected from Rio’s resurgent music scene. By presenting a snapshot into the pulse of the city and the vibrant musicians that live in it, ‘Hidden Waters’ collates tracks from a wide spectrum of musical genres from the avant-garde edge to bossa nova, samba, Candomblé, lo-fi rock, jazz and funk.

‘Hidden Waters’ showcases musicians such as iconic Rio mainstays Negro Leo & Ava Rocha, Brazilian jazz upstart Antônio Neves, critically lauded Avant-pop trailblazer Thiago Nassif, breakthrough artists Ana Frango Elétrico and Letrux, lo-fi psych rocker Lê Almeida, plus the Latin Grammy-winning Bala Desejo who are set to explode onto the world stage. The music featured on ‘Hidden Waters’ is unequivocally Brazilian, swelling with samba, bossa nova, funk, and jazz. But it’s within the album's blend; from sunny psychedelia to dusky synth-pop via experimental electronics, that marks the compilation as the sound of modern, multicultural Rio.

This comprehensive compilation comes with album artwork designed by Rio music’s leading album artwork designer, Caio Paiva. It features essays by professor and music critic Bernardo Oliveira and music journalist Leonardo Lichote, plus extensive notes on each track by the artists themselves.

Diese einzigartige Zusammenstellung vereint die Soundtracks der drei 'Batman' Filme unter der Regie von Christopher Nolan, geschrieben von zwei der größten zeitgenössischen Filmkomponisten: Hans Zimmer (Der König Der Löwen, Gladiator, Fluch Der Karibik, Inception, Der Da Vinci-Code) und James Newton Howard (Pretty Woman, Herr Der Gezeiten, The Sixth Sense). Eingespielt von den weltberühmten Prager Philharmonikern.

In its main mix, Surprise is a classic early nineties house track that heavily nods towards the Big Apple, house music’s disco roots and the power of swinging drum programming, albeit with meticulous production work and engineering. In short, it sounded and sounds as un-German as Germans can. The Holy Bassline Mix on the other hand is already in the shape of things to come. Carried by a Roland TB-303, sprinkled with trance bits and elegiac pads, its in perfect balance.
Others thought so as well. Heavily supported by David Holmes and Andrew Weatherall, it was the manager of the latter who licensed it to Eye-Q Records UK with the addition of the Fake Jazz Mix and ordered remixes by freshmen Isoleé and Losoul who became pillars of Playhouse. The first known for his idiosyncratic and sculptural ways of creating dance music meets the irresistible funk of his peer and both add spice to the already great menu. Here you have the chance to listen and digest Surprise in all its glory and entirety for the first time. Carefully remastered and processed by Lopazz and packaged by Running Back. Remember the good times and get some more.

10th Anniversary des 'Back to the Roots'-Klassikers der Emo-Core Götter Architects als Picture-Vinyl. Zurück zu sich selbst zu finden, kann so simpel sein und gleichzeitig so komplex klingen. “Daybreaker” ist ein schlaues, kunstvoll zerkratztes Album, dessen subtile Schönheit entschlüsselt werden möchte. Exemplarisch wirkt “Alpha Omega” wie ein brillantes Kaleidoskop, das je nach Blickwinkel neue Facetten offenbart, bei dem Störgeräusche als Stilmittel funktionieren und die Gitarren heftig am stählernen Käfig rütteln wie eine Furie, die ihren Zwinger sprengen möchte.

Blue Room: The 1979 VARA Studio Sessions in Holland features two recordings of trumpet/vocal icon Chet Baker captured in glorious stereo at the legendary VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O’Clock Jazz. The April 10, 1979 session features pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, and drummer Charles Rice; and the November 9th session features pianist Frans Elsen, bassist Victor Kaihatu, and drummer Eric Ineke. Both sessions were originally produced by Edwin Rutten, and are produced for release officially for the first time by “jazz detective” Zev Feldman and Frank Jochemsen. The limited-edition 2-LP set (and deluxe 2-CD edition) includes an elaborate booklet with photos by Veryl Oakland, Jean-Pierre Leloir, Christian Rose and others; liner notes by Dutch journalist Jeroen de Valk, plus essays by Feldman, Jochemsen, and Rutten; and interviews with Baker bandmates Phil Markowtiz, Jean-Louis Rassinfosse and Eric Ineke, as well as trumpeters Randy Brecker and Enrico Rava, and pianist Enrico Pieranunzi. Transferred from the original KRO radio tape reels and mastered for vinyl by legendary mastering engineer Bernie Grundman

For polymath artist Wesley Joseph, writing a song is like shooting a film - he sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc. Music and filmmaking are Joseph’s two great loves. Film came first—he started making DIY videos at age 12 to entertain himself and his friends growing up in a small town in the UK. “There wasn’t really much happening,” he remembers, “and from a young age it created this mindset that doing everything myself was the only way to do it.”

But when he moved to London to study as a filmmaker, he discovered something in the freedom and independence of city life that demanded to be captured in song, and found a crew of collaborators—including A.K. Paul, Dave Okumu, Joy Orbison, Leon Vynehall, Lexxx, Loyle Carner and his childhood friend Jorja Smith—to help him do it. The result was his breakthrough single ‘Ghostin’’ and the 2021 debut ULTRAMARINE - released on his own imprint EEVILTWINN - a deeply textured collection of avant-R&B and soulful future-pop that stretched from psychedelic ballads to hard hip-hop bars (often in the span of a single track) and crystallized the mood of a young cohort trying to find love and live their dreams while the world is falling apart. Whilst his collaboration with Loyle Carner on single ‘Blood On My Nikes’ lead to him featuring on the artist’s critically acclaimed - and #3 charting album - earlier this year.

Now the nascent auteur returns with his Secretly Canadian debut GLOW, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production—not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty—it’s a stunningly beautiful work that makes it clear Joseph’s on the path to becoming a world-changing talent.

GLOW opens with the title track’s warm analog synths and cascading vocals that channel the harmonious Northern soul Joseph’s dad raised him on, a shimmering bed of clouds for the project’s opening credits. But like any good director, he quickly deepens the mood, drawing together disparate influences and emotions to build a unique sonic world spilling over with synchronicities and juxtapositions. “MONSOON” conjures nocturnal hedonism at the same time as it contemplates grief.

As on previous projects, Joseph is providing his own visual accompaniments for GLOW, creative directing its artwork and adding to his growing filmography as a director—he’s repped by the renowned production company Stink—with its first video. “COLD SUMMER” finds Joseph singing from a supervillain’s perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino film shot in Kazakhstan.

“I've never really seen them separately,” Joseph says of music and film. “They kind of just constantly drift into each other. And when they come together, it's like it was meant to be in my head the whole time.
It’s usually hyperbole to call an artist as young and new as Joseph “visionary,” but it’s undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. GLOW is one of the deepest and most satisfyingly cinematic listening experiences of the year—and Wesley Joseph is just getting started.

Bristol's legendary art-pop guitar collective Blue Aeroplanes release 12th
studio album Culture Gun, the angrier and more politically engaged follow
up to 2017's Welcome Stranger
Last Night From Glasgow is thrilled to release Culture Gun, the 12th studio album
from Bristol art-pop guitar collective Blue Aeroplanes, following their 2017 album
Welcome Stranger. The label also recently reissued the band's 1990 LP Swagger.
The band will launch Culture Gun with gigs in Glasgow on the 21st April and in
London on the 28th April

The first reissue of seminal early 1980's electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE's Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981).

Following two groundbreaking albums ('Reproduction' and 'Travelogue'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.

B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled 'Music for Stowaways', with 'Stowaways' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. 'Music for Stowaways' was intended to be listened to on such a device. The cassette was followed by a seven song LP, 'Music For Listening To', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.

This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as 'Groove Thang' - an instrumental version of the debut single by Heaven 17 - and 'The Old At Rest', which derived from a version of 'Wichita Lineman' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s 'Music of Quality and Distinction, Volume One' covers album in 1982.

Supporting musicians on 'Music For Stowaways' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track 'Uptown Apocalyse', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang.

The innovative sounds heard on 'Music For Stowaways' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the '50 Greatest Lost Albums of All Time'.

Sergeant's debut lp is a 9 track trial & error effort. A collection of failed protest songs, dreamy and naive. Playfull & self relativating pop music trying to blow up itself.

Full Tracklisting:

A1 Seduced by Each and Every Shiny Object I
Became an Infant in a Sea of Glance

A2 To What Human Product Precisely Are You
Devoting So Much Ingenuity?

A3 This Song Emanates From the Common Man
Claiming His Right to Poetry

A4 Not Sensing the World, I Should Forget it’s
Existence and Be Forgotten by Those Who Live in it

_____________________________________________________________________________

B1 This Life Can Not Be All They Swear, For
How Unpleasant of it Were

B2 Soon The Tears in My Eyes Will Be Blinding
and Blessing at the Same Time

B3 Bodies Pressed Against Small Platforms in
Institutionally Resolved Postures

B4 I Will Allow Myself This World Whose Wear
and Tear Is Without Cure

B5 The Annoying Got Interesting Because the
Interesting Got Annoying

For Anyone That Knows You, an album of mostly piano solos by Josiah Steinbrick, was recorded riot for smoothness or posterity but to emphasize the piano as object, the person playing it, and the moment it sounds. On three of the pieces, the saxophone of Sam Gendel hovers ok or the piano like a faint change in the light, adding resonance and gentle reinforcement rather than counterpoint. Three others are delicate renditions: "Green Glass" interprets an untitled recording by Quechuan folk musicians Leandro Apaza Roams and Benjamin Clara Quispe; *Tyne Road" abbreviates one of Malian kora master Toumani Diabatels most tender compositions: and "Lullaby" is an arrangement of a traditional Creole song, originally recorded in 1954 by the Haitian-American guitarist Frantz Casseus.

ANGUS McSIX kehrt zurück aus dem Reich des Todes – stärker als jemals zuvor!
Nach Prinz Angus’ heldenhaftem Tod in der größten Schlacht, die je ein Mensch oder Goblin gesehen hatte, schien alle Hoffnung für Schottland und die Galaxis dahin. Im Reich der Märtyrer sind die Geschehnisse für Angus wie ein verschwommener Traum aus ferner Vergangenheit verblasst. Doch als er plötzlich daran erinnert wird, dass seine Heimat bedroht wird, macht sich der Prinz auf, in die Welt der Lebenden zurückzukehren.

Der einzige Weg führt dabei durch ein Portal in den Tiefen der Hölle, das durch das allmächtige Schwert Sixcalibur versiegelt ist. Als Angus die Klinge zieht, erfährt er ein fundamentales Upgrade und verwandelt sich in den goldenen Helden ANGUS McSIX, der den Fängen der Unterwelt entkommt! Gewillt, seinen alten Widersacher erneut zu bezwingen, ahnt Angus nicht, dass er soeben einer viel dunkleren Macht das Tor zurück zur Welt der Lebenden geöffnet hat: Erzdämon Seebulon – Ursprung alles Bösen (Sebastian ”Seeb” Levermann, Orden Ogan).

Das erste Kapitel der glorreichen Rückkehr des schottischen Helden ist auf dem Debütalbum ANGUS McSIX and the Sword of Power zu hören, das am Karfreitag, dem 7. April 2023, exklusiv über Napalm Records erscheint.
ANGUS McSIX and the Sword of Power ist die eindrückliche Rückkehr von Thomas Winkler in die Welt der glorreichen Power-Metal-Hymnen und eingängigen Partytracks.

Black Moon Circle is a psychedelic space rock band from Trondheim,
Norway
Since the beginning in early 2014 we have released 9 albums and are soon ready
with our tenth effortnamed "Leave the Ghost behind".When the world entered
lockdown a few years ago, so did we in Nautilus Studio with our new team mate,
drummer Tomas Järmyr (Motorpsycho, Årabrot) and entered a creative phase
with song writing and jamming, colored by fuzz, delays and crazy drum breaks.
The resulting album was once again produced and recorded by the band which in
addition to Tomas alsoinclude the brothers Vemund Engan (baritone guitar) and
Øyvin Engan (bass guitar, vocals) together with Scott Heller aka Dr.Space from
Öøresund Space Collective (synthesizer). Thevinyl edition is once again released
by the renowned Trondheim label Crispin Glover Records.The music on the
upcoming album resembles a tug of war between the unpredictable and chaotic
forces of free spaced out improvisation and the more grounded side of structure
provided by the means of songwriting.
180g blue smoke and pink smoke coloured double vinyl, limited to 500 copies for
the world. Lasercut sleeve, and includes a CD insert.

High Roller Records, regular edition, black vinyl, ltd 600, insert, poster, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

Abstract Sounds, in partnership with Bianchi, present the second instalment of their special collaborative series. This latest immersive minimal house/deep tech project has sought out the creative intellect of artists ChrisOdt, Máté Si, and Nerve Maze, alongside the label head himself, Staniz. Each producer has an instantly recognisable taste in sound, yet they still manage to harmoniously glide together, moulding into a grouping of tracks set to fly.

Staniz is the primary figure behind two of Italy’s most exciting musical projects to emerge over the past few years, Bianchi and Abstract Sounds. The brands support rising Italian talent, whilst stressing the importance of upholding the intrinsic value of art and music, through a preference for physical merchandising, resulting in the flourishing of musician and fan communities alike.

ASBV002 takes us on a comprehensive and fluid journey through aerial chords, scintillating keys, raw, tech-permeated beats, and enthralling, rough textures. This star line-up shows total control and confidence over each composition, letting all the individual sonic elements chosen to shine in their own right with their discerning individuality and signature tonalities. In combination, the works harness an aesthetic full of instrumental flavour, unlikely to be forgotten with time.

Loosely inspired by the book "The Road" by Cormac McCarthy, ILUITEQ's fourth album, "Reflections From The Road," expands the novel's theme, where human beings are overwhelmed by an ordeal that completely changes the course of their lives.

Events that suddenly interrupt the "ordinary movements" of life in a new, unpredictable, and often dangerous way. A strong sense of motion permeates Reflections From The Road's ten tracks in a new and unexpected way compared to previous works by the Italian ambient duo.

With "Reflections From The Road," ILUITEQ explores new music territories, strongly contrasting pristine textures and glitchy sounds.

Gold Vinyl

Lael Neale still has a flip phone and there were no screens involved in the creation of her new record Star Eaters Delight. The album is her second for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, Star Eaters Delight is a vehicle for returning, not just to civilization, but to celebration. She says, "Acquainted with Night (recorded in 2019, and released in 2021), was focused inward, amidst the loud and bright Los Angeles surrounding me. It was an attempt to create spaciousness and quiet reverie within. When I moved back to the farm, I found that the unbroken silences compelled me to break them with sound. This album is more external. It is me reaching back out to the world, wanting to feel connected, to wake up, to come together again." Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from the Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson and the Bible (which she hasn't read) swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical. While this is a record about polarities- country vs. city, humanity vs. technology, solitude vs. relationship - the deeper intention is to heal; to come to terms with our differences and put the broken pieces back together again. Lael's affinity with the Transcendentalists has to do with her quest to hold onto sovereignty over her own mind. In a time when our devices are constantly flooding us with information, opinions and propaganda, Lael is intentional about what she takes in - hence the flip phone and the cassette recorder. Neale identifies as a minimalist "not because I don't like things, but because I value freedom more."

Tape

Lael Neale still has a flip phone and there were no screens involved in the creation of her new record Star Eaters Delight. The album is her second for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, Star Eaters Delight is a vehicle for returning, not just to civilization, but to celebration. She says, "Acquainted with Night (recorded in 2019, and released in 2021), was focused inward, amidst the loud and bright Los Angeles surrounding me. It was an attempt to create spaciousness and quiet reverie within. When I moved back to the farm, I found that the unbroken silences compelled me to break them with sound. This album is more external. It is me reaching back out to the world, wanting to feel connected, to wake up, to come together again." Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from the Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson and the Bible (which she hasn't read) swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical. While this is a record about polarities- country vs. city, humanity vs. technology, solitude vs. relationship - the deeper intention is to heal; to come to terms with our differences and put the broken pieces back together again. Lael's affinity with the Transcendentalists has to do with her quest to hold onto sovereignty over her own mind. In a time when our devices are constantly flooding us with information, opinions and propaganda, Lael is intentional about what she takes in - hence the flip phone and the cassette recorder. Neale identifies as a minimalist "not because I don't like things, but because I value freedom more."

An onslaught of determined rhythms interlace in a glorious cacophony for the dance floor on Kim Dürbeck's latest. The Norwegian/Vietnamese artist unleashes a formidable din of percussion across six new pieces for Lek records.

A club record that takes furtive glances at the experimental, Lek003 is hardly an exercise in restraint as it carves its way through jungle and drum n bass to find its place on today's impetuous DJ booth where a new youthful energy has seen tempos reach heady heights.

As ever Dürbeck's Vietnamese heritage is strong as he weaves esoteric textures through the tapestry of monstrous kick drums and snares. The record eschews the conformity of a four to the floor, for something more assertive. From the familiar Amen constructions of a track like "Phu Yen Flow" to the more extreme outer edges of IDM with a track like "Wipeout", each track utilises the break beat in different adaptations throughout.

At the other end of the spectrum, Patås tames of "Nuoc Mam is my holy water" for a more tempered version and lets our head up for air, before Dürbeck brings the ruckus with his army of irreverent drum machines. There is no quarter given with perfunctory designs on the dance floor and the club context.

Spatial & Co is a synth-drizzled, spaced-out bass-heavy discoid-funk masterpiece from French disco lord and Arpadys maestro Sauveur Mallia. Recorded for French library label Tele Music, in 1979, it's by turns cosmic funk and creeping crime funk, bursting with low slung, k-i-l-l-e-r basslines, loping drum breaks and sparkling percussion. It's so funky it hurts.

Confidently swaggering out the gate is "Future Vision", with its loping yet dextrous bassline across strutting beats setting the scene. "Cosmic News", with its live crowd noises over killer bass work is reminiscent of Bernard & Nile's "Chic Cheer". The bass vs synth workout "Baby Bass" increases the propulsion whilst the dark and mysterious vibes of "Star Odyssey" serve as cosmic respite from being overpowered by funk. The temperature and tempo are raised with the bouncing sophisticated funk of "Meteor One", a slinky interstellar instrumental of the highest order before the sultry, melodic "Bass For Love" offers some attractive slow-mo sleaze to close out the first side.

Opening up Side B, the menacing, beatless "Space Alert" sounds like all those sci-fi theme tunes from your childhood, synthesised into one glorious (black) whole. "Galaxy Wars" is next, another majestic cosmic gem, sans drums. The ultra-percussive flex of "All The Bass" sees the return of the frenetic funky bass and neck-snapping drums. The stretched out funk of "O.V.N.I. Telex" is irresistible and cavernous in scope whilst the swirling, dramatic "Galactics" is an ominous yet melodic wonder. The throwaway funk-lite "Animals Bass" is a bit of a daft way to close out this otherwise flawless set but, hey, flirting with perfection is probably always more fun than actually achieving it.

Sauveur Mallia is a crucial figure in the history of electronic and dance music and a hugely underrated French library bass player and composer from the Arpadys / Voyage crew. This is just the beginning of Be With's Mallia - Tele Music reissue campaign!

The audio for Spatial & Co Vol. 1 has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Spatial & Co Vol. 2 may well be the best album in the Spatial & Co series. It's absolutely flawless. Again created by French disco lord and Arpadys maestro Sauveur Mallia for French library label Tele Music in 1979, it leans far more into the space disco sound than the clean cosmic funk of its predecessor. And it's all the more thrilling for it.

Wide-eyed opener "Discomax" is starts as pure piano-disco brilliance with a bassline to die for before heading off into wigged out territory, all acidic squelches and jaw-dropping percussive breakdowns. Perfection. "Space People" follows, an eerie, half-beatless sci-fi synth workout played out against a hauntingly metronomic pulse for the first half - proper slow-mo space disco business - before the beat kicks in, the electric guitar solo wails beautifully and the bassline that emerges at its conclusion rides in on some other shit.

Closing out the A-Side, the six minute long "Bass Power" is, unsurprisingly, a deep, low-end roller with head-nod drums, whizzing synths, blissed out ambient vibes and Mallia's otherworldly bass playing super high in the mix. It's white hot funk, make no mistake, and it sounds like a re-geared library version of Roxy Music. Yes, *that* good.

Side B is laced firstly by "Holidays Morning", an emotional disco-pop groover, all electric guitars, skipping drums and synthy bleeps with more than a few moments of pure driving funk.
One for the deep heads, longtime favourite "Electric Maneges" follows, a bleepy, haunted dancehall gem, uncut tropical balearic-funk from another dimension. The sophisticated digi-soul of "Loving Discovery" comes on like a weird, interplanetary Sade instrumental, all swelling synths, warm keys and syrupy guitar rhythms. Hearing is believing.

Arguably saving the best til last, the fierce, proto-techno of "Exotic Guide" closes out this extraordinary set. The intro genuinely sounds like Detroit would a good few years later - just wild - before it glides into a driving percussive funk break complete with both stabbing, insistent synths and those of a more winding, laconic variety. The one complaint? It's over far too soon. Remarkable.

Sauveur Mallia is a crucial figure in the history of electronic and dance music and a hugely underrated French library bass player and composer from the Arpadys / Voyage crew. This is just the beginning of Be With's Mallia - Tele Music reissue campaign!

The audio for Spatial & Co Vol. 2 has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Das fünfte Studioalbum der kanadischen Experimental-Pop-Band Braids ist ein freieres und völlig neues Werk, auf dem das Trio seine Strategie aufgibt, sie niederbrennt und die Liebe in die Tat umsetzt. Liebe in ihrer Gesamtheit: ungebundene Glückseligkeit, aufkeimende Impulse und chaotische Unvollkommenheiten, eine Supernova, die von kühnen, melodischen, symphonischen Popsongs aufgewirbelt wird, die sich der Gegenwart hingeben. Die Single 'Evolution' ist ein klarsichtiger und ruhiger Banger, der der Platte inmitten des ausufernden Tempos eine geerdete Vorstellung verleiht.

PREDATORY VOID entstand, als Lennart Bossu (Amenra, Oathbreaker) feststellte, dass er Material schrieb, das nicht wirklich für Amenra geeignet war. Da Oathbreaker eine längere Pause einlegten, brauchte er ein neues musikalisches Ventil. Er versammelte eine Gruppe Gleichgesinnter, die in der Nähe von Gent leben, darunter die vielseitige Sängerin und Tattoo-Künstlerin Lina R. Die Band spielte ihre erste Show auf dem renommierten Soulcrusher Festival (NL) neben Bands wie Ihsahn, Envy, Cave In und Heriot, was in der Szene bereits für Aufsehen sorgte. Weitere Shows sind bereits bestätigt, darunter Supports für Amenra und das Alcatratz Festival (BE). Bleibt dran und werdet Zeuge, wie sich PREDATORY VOID entwickelt...

Das neue Album von Texas Hippie Coalition ist eine weitere knallharte Sammlung großartiger Songs von Anfang bis Ende. Gleich die erste Single "Hell Hounds" beweist, dass THC ein echter Hund ist, der auf die Jagd geht. Andere Songs wie "I Come From Dirt" und "Keep My Name Out Of Your Mouth" sind direkte Schläge ins Gesicht. Mit 'I Teach Angels How To Fly' und dem Titeltrack 'The Name Lives On' zeigt die Band, dass die "Keep It Rockin"-Theorie der Gruppe vielschichtig ist. Sie fügten auch unvergängliche Songs wie 'Built For The Road' und 'Believe' hinzu, die einen sofort wissen lassen, dass der Name von THC weiterleben wird. Texas Hippie Coalition wird oft mit den vielen großen Southern Rock- und Texas-Bands
verglichen, die vor ihnen kamen. Aber sie beweisen der Welt, dass THC nicht nur in deren Fußstapfen tritt, sondern riesige Fußabdrücke hinterlässt.

Die Band ist nicht nur dabei, sich einen Platz in der genreübergreifenden Musikszene zu erspielen, sondern hat mit "Red Dirt Metal" ihr eigenes Genre geschaffen. Man muss es hören, um es zu verstehen. Worte reichen nicht aus, um zu vermitteln, wie kraftvoll und groß ihr Sound ist.

LDS returns to Monnom Black and hits a career high with his new ep, an astonishing take on modern dub techno featuring 6 tracks of futuristic grooves. LDS is an artist that stands at the cutting edge of technology, influenced by artificial intelligence and digital innovation. The ep showcases his unique production aesthetic, complex sound design and nuanced details that place him a cut above the rest. AI was used to create the artwork for the release, merging together the digital and physical realms, moving ever closer to the singularity.

FÜR FANS VON: P!nk, Coldplay, aktuelle Muse, Imagine Dragons, Queen POWERIZED ist eine niederländische Rock Band aus Breda und besteht aus Nick Holleman, Thom Schotel und Ralph Adriaansen. Das Trio glänzt auf seine ganz eigene Art und liefert sowohl musikalisch als auch visuell eine abwechslungsreiche und dynamische Show ab. Ein wilder Ritt von unbeschwerten, tanzbaren Symphonien hin zu intimen Intermezzos. Die stimmgewaltige und ausdrucksstarke Darbietung von Frontmann Nick, die
verspielten Collagen aus perkussiven Elementen und dynamischen Rhythmen von Ralph und Thoms Fähigkeit Rhythmus und Melodie spielerisch zu verbinden, zieht die Zuhörer sofort in ihren Bann.

Musikalisch lässt sich POWERIZED am besten als Mittelweg zwischen P!nk, Coldplay, aktuellen Muse, Imagine Dragon mit einem Hauch von Queen beschreiben.

Das selbst produzierte Album BETTER THAN YOU zeigt alle Talente der Band. Die 10 Songs überzeugen mit einzigartigem, überwältigendem Sound mit lyrischer Tiefe und zeigen eindrucksvoll ihre Fähigkeit Dinge miteinander zu verbinden und zu einer Einheit zu verschmelzen. Beginnend mit einer Stimmung oder einer Emotion tauchen sie tief ein, saugen sie auf und machen sie zu POWERIZED. Das Ergebnis ist energiegeladener Pop-Rock der seinesgleichen sucht! Ein distinguierter Sound mit eigener Identität. Wir empfehlen einzusteigen und die wilde Fahrt einfach zu genießen!

Wenn ungeschliffener Garage Rock auf Psychedelic Riffs trifft und dann noch eine Prise Indie darüber gestreut wird, dann kann das nur eins ergeben: The DogHunters. Gemeinsam sperrten sich die 5 Freunde für lange Zeit in einen Keller ein, hier mischen sich die Rolling Stones, The Clash, Bob Marley und auch jede Menge Kreativität. "Oumuamua" ist das dritte Album der Band. Fühlte sich die letzte LP der Gruppe wie ein Tag am Strand an, kommt das aktuelle Album "Oumuamua" einer Nacht im Wald gleich. Die Stimmung wird düsterer, die Psychedelik kann nach wohliger Wärme in diffuse Paranoia umschlagen ("Ayahuasca", "Cyber Skies") und auf einmal wird Bekanntes mysteriös.. doch wohnt der nächtlichen Stimmung der Platte auch die Chance inne in schamanischen Schattentänzen die Gestalt zu ändern; das nutzen die Musiker in Flamenco Anleihen die an spanische Skizzen erinnern ("The Sun") oder Wüstengrooves("Giza"). Die Nacht kann aber auch schön sein wenn die Sterne durch das Blätterdach aufblitzen wie in "Callisto Moon". Die Musik katapultiert die Zuhörer in verschiedene Welten, wobei auch die Texte diese verdeutlichen. Hierbei werden nicht nur Fernöstliche Weisheiten als Inspration genutzt, sondern auch Gedankenspiele die eine postapokalyptische Welt erahnen lassen sowie Träume die an den Rand der Unendlichkeit erinnern. Wir hören eine gereifte Band die im Songwriting sucht, ausprobiert und verschiedene Einflüsse auf einem Fundament des Grooves und straighten Rocks balanciert. Die Aufnahmen fanden grundsätzlich nach 22 Uhr statt.

American cellist prodigy Yo-Yo Ma recorded Sing Me Home with the Silk Road Ensemble, a musical collective with performers and composers from all over the world. The album features guest appearances by Grammy Award winning artists Toumani Diabaté, Gregory Porter, Lisa Fischer, Bill Frisell and many more.

Released in 2016, Sing Me Home was meant to open hearts, ears and minds during a time of tragedy and political turmoil. “All around the world, people constantly meet the unfamiliar through change,” Yo-Yo Ma said of the album. “Rapid or dramatic change can feel threatening, tempting us to build walls to defend against the unknown. At Silk Road we build bridges. In the face of change and difference, we find ways to integrate and synthesize, to forge relationships, and to create joy and meaning.”

Bringing together the cultural backgrounds of the musicians, Sing Me Home is a culturally conscious album, reflecting on modern globalisation and collaboration. From Macedonian folk to traditional music from Mali, and from Irish fiddle to Indian sitar: it all comes together wonderfully. Critics agreed, and the album went on to win the Grammy Award for Best World Music Album in 2017.

High Roller Records, regular edition, bone white vinyl, ltd 400, insert, poster, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

Fiesta Soundsystem arrives on the burgeoning YUKU imprint with a fiercely experimental and timeless album - "Sinking" - which simultaneously draws on the nostalgic complexity of IDM and breakcore while leaning heavily into the future on the artist's own unique terms.