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Session Victim return to Jimpster's ' Delusions Of Grandeur' imprint with a third studio album. 'Listen To Your Heart' is the result of a year of cross-continental scripting, started in their Hamburg studio and wrapped up stateside in San Francisco's Room G Studios where the duo had worked on their 2014 LP 'See you When You Get There'.
Sampling still remains an ever present backbone throughout the album. Session Victim have dug deep for sounds, resulting in a richly detailed and organic sound collage that goes hand-in-hand with their live instrumentation, this time enhanced through several guest musician appearances, most notably Carsten "Erobique" Meyer (ex-International Pony). Smooth guitar samples are built up on 'Over and Over' while on 'Moons & Flowers' the live instrumentals that Session Victim do so well come to the fore.

The treasure trove of San Francisco's record shops proved to be a hard bait to resist and the pair spent a large part of their Californian time hunting for records to sample. Three new tracks emerged from these digging sessions, with the sweeping disco string arrangements on 'Shadows' standing out as a prime ode to days spent combing through bargain bins.

Listen To Your Heart is equally a product of the road. While heavy touring is often cited as a hindrance to the creativity of artists, Session Victim see their live shows as a catalyst to their creativity. Two US tours in 2016 gave the Hamburg duo the opportunity to take track sketches and fragments on the road to incorporate into their live shows and then digest them back in the studio. The playful funk soaked groove of 'Matching Half' captures the sense of movement present throughout Listen To Your Heart and the LP mix of 'Up To Rise', which caused heavy ripples when it dropped as part of 2016's Matching Half EP is an extension of the upbeat and euphoric groove that permeates the album.

There has been a huge outpouring of loving tributes to Bernie Marsden since he passed away peacefully, surrounded by his family on 24th August 2023 at the age of 72 Although Bernie had always worked hard and kept busy, most recently releasing 3 chart busting solo albums since 2021 in KINGS, CHESS and TRIOS as part of his Inspirations series, only a few knew that he had just completed a brand new album. Earlier in August, Bernie had approved the artwork, sequence and audio masters for WORKING MAN. An album of Bernie Marsden original songs. The album contains 12 brand new Bernie Marsden penned tracks. Produced by Bernie Marsden and Mixed by Dave Eringa (Manic Street Preachers, The Who). The limited first pressing of the LP & CD will come with a bonus disc of 10 more new recordings

DJ Manny's new album 'Hypnotized' is full of fresh ideas which push the footwork format of 160bpm hyper-rhythmic music in really enjoyable new directions. He builds on the romantic themes of his last album 'Signals In My Head' and evolves them with shades of blue, taking very natural sounding experimentation into new moods and musical colour while never making the album inaccessible. Arguably this is a fine successor to the ground broken by DJ Rashad's 'Double Cup' album, which of course Manny also worked on. 'Hypnotized' solidifies Manny's style, from relaxed r'n'b rollers to moments of romantic distress - like 'WTF Goin On' and the reflective 'You N You (ft. DJ Phil)', to more intense moments like the dubstep inflected 'Ooh Baby' from the vaults, co-produced by DJ Rashad himself. Other tracks like 'Want U Bad' retool Robert Hood style minimal techno whereas dark, nervous belters like 'Turn Me Up' sound like Paul Johnson at his most wild but welded to footwork rhythms and a pumping jump up drum & bass-line. There are also moments of enjoyably hype daftness like the acid and diva head-fuck of 'Opera' or the old school Bukem style jungle homage 'Lost In Da Jungle'. 'Hypnotized' is an album that expands footwork's template with natural ease and outstanding skill.

Trym Søvdsnes is a relative newcomer to the scene, but he’s been putting in work in and around Bergen for years, scoring a residency at the infamous Café Opera, where he snagged the attention of local house legend Bjørn Torske. Soon, the duo were DJing, producing and performing together, eventually running the monthly radio show Pigs in Space where they would go head-to-head for six hours at a time, plumbing the depths of their immense record collections.

It’s this lust for bottom-of-the-crate oddities that guides Søvdsnes’ self-titled debut album, a concoction of dub techno, hard-swung house and percussive club music that positions itself a few paces away from any conventional modes. Basically, a perfect fit for Le Jazz Non.

‘Gølles Dans’ opens with a filtered acid bassline and bone dry kick that’s like some psychedelic, slower variant of Basic Channel’s ‘Enforcement’, slicing into the groove with gristly acoustic percussion that drags it up from the basement. The producer leans into asymmetry on ‘Døgnrytmen’, wrangling 303 squelches with booming Berghain kicks and tight snares, enhancing the psychedelic potential by layering ticking percussion into loopy spirals. If you’ve ever caught an extended Dozzy set, this is the kind of ruff-edged gear he would likely play an hour before sunrise. ‘Ordnings Mix’ is weirder still, slopping chirpy bleep/rave stabs into a jazzy hybrid that sounds like a bossa meltdown.

Søvdsnes saves his most cosmic mettle for last, on ‘Cowboy Acid (Solstikk Dub)’ he strips the kickdrum to a faint knock, before building up into a sort of screwed Metro Area mirrorball that sounds brilliantly out of time.

Whisky soaked, nocturnal, brooding. Aging’s album »Troubles? I Got A Bartender« was a noteworthy, film-noir infused suite that quietly slipped out on cassette in 2015 by a then budding Manchester avant-jazz ensemble, led by David McLean.

In 2020, amidst the pandemic’s tempest and winter's gloom, the idea manifested of showcasing McLean’s slow burning, wistful soirée in a new light via a curated effort by Berlin’s Vaagner label, which invited a series of hand-picked artist to rework selected compositions from the album, rendering its mournful, smoke-tinged resonances into new shapes.

Its result is »Reworks (Rewoven)«, and it presents 6 new interpretations by 5 artists. These range from ruminating, tape smudged ambient works interlaced with sublime acoustic strums by fellow Manchester musicians The Humble Bee and Tape Loop Orchestra, to poignant steel guitar renditions by Nashville based Kelby Clark. Furthermore, Barcelona based Dania and London based Laila Sakini, each present pieces that draw the listener into opaque realms harbored by swooning reverie and eerie, glistening prophecy.

Carefully assembled across two sides of vinyl, McLean’s penchant for hard-boiled detective novels, vintage Japanese crime flicks and film noir iconography have a continued lurking presence in the reworks, yet the new pieces each add a modern facet to the original’s cinematic narrative, its morose and sulky mood now opening into new avenues of interpretation. And whilst some artists have chosen to dive further into the themes of contentious ambivalence and pensive solitude, others have sought to slightly lift the haze, stirring up melodies tinged with a sense of hope, hinting at times, towards instants of poise and vivacity.

In the end this leaves us with a new body of work that manages to feel poignant in its complexity whilst remaining dissonant and elusive in its renditions, hinting at a modern day existence even more opaque, intricate and convoluted than the film noir classics of old might have pictured the world.

Written in the style of a well known old skool series this 2 track mash up release is a classic throwback to hardcore's heady days of the early 90's. Cut n paste hardcore at it's finest!

KI/KI's slash label takes a deep dive into the history of hard trance and proudly presents a first re-issue of a true classic and personal favorite 'Emerald' by Swiss production group Artemis. Originally released back in 1995 on the Swiss label Atoom Records, it's one of the most sought after gems from this era. At its fast pace of 180 bpm it's impressive how subtle and dreamy the 9 minute journey is, a truly unique piece of hard trance history. Remixes come from Sansibar, Alpha Tracks and label owner herself KI/KI.

Endlich ein neues Studioalbum zum 10-jährigen Jubiläum der norwegischen Hardrock-Helden. Seitdem die Band mit der Aufnahme von Twin Guitars für 'Spidergawd IV' begonnen hat, ist das Ziel primär die Suche nach immer besseren Songs. Spidergawd sind zuversichtlicher denn je, endlich das richtige Rezept gefunden zu haben. Eine Formation aus fünf gleichberechtigten Mitgliedern, alle Vollzeitmusiker, und welche die vor allem in diversen Genres unterwegs sind. Aber auch die Essenz dessen, was die Band sein sollte, ist jetzt auf den letzten vier Alben (einschließlich Nr. 'VII') zu finden. Auch wenn die neuen Songs vielleicht eingängiger/poppiger sind als je zuvor, orientiert sich der Sound des neuen Albums wieder an 'Spidergawd IV' und 'V'. Album Nr. 'VI' war eine inspirierende und interessante Reise darüber, wie direkt und aufgeräumt ihr Sound sein kann. Musikalisch zuletzt von Bands wie Thin Lizzy und 80er-Jahre-Hardrock geprägt, klingt neue Album deutlich sumpfiger, chaotischer und größer. Alles, was den Zuhörer näher an das heranführt, was bei einem Live-Auftritt von Spidergawd auf der Bühne passiert. Tracks wie 'Sands Of Time', 'The Tower', 'Your Heritage' oder 'Dinosaurier' beweisen, dass die Band on fire ist wie nie zuvor - und vielen Pseudo-Rockern mal wieder zeigt, wo der Barthel den Most holt! Die beiden limitierten Erstversionen kommen inkl. CD, 7inch Single (inkl. Etching auf einer Seite) sowie Poster!

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music.

This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in DISCO and ELECTRO.

Following the height of its’ popularity in the late 1970s, Disco in the early 1980s retained the irresistible melodies and beat but became primarily synth driven. The era saw some of the genres’ biggest hits including this collections’ opener ‘Flashdance…What A Feeling’ from Irene Cara – this theme from the film ‘Flashdance’ was not only a massive selling single, but the song also won multiple awards including an Academy Award. Lipps Inc. produced a timeless hit with ‘Funkytown’, and Shalamar with ‘A Night To Remember’, Odyssey with ‘Use It Up And Wear It Out’ and Indeep’s ‘Last Night A DJ Saved My Life’ were all huge commercial Disco hits.

Disco royalty Nile Rodgers and Bernard Edwards of Chic feature here in their roles as producers and writers with Diana Ross’s massive hit ‘Upside Down’, ‘Why’ from Carly Simon, and the peerless ‘Spacer’ from Sheila & B. Devotion and in 1984 remixed Sister Sledge’s ‘Lost In Music’ which became a massive hit again and is included here in its full 12” version.



Amii Stewart’s classic version of ‘Knock On Wood’ was remixed and a hit again, Donna Summer enjoyed huge success with ‘She Works Hard For The Money’, and other established Disco superstars celebrated returns to the charts with an 80’s Disco sound including, and featured on this collection, KC & The Sunshine Band, Patrick Cowley feat. Sylvester and Evelyn “Champagne” King.



The prevalence of the synth in the 1980s gave rise to new and exciting sounds and to tracks that were created with fusions of genres. On this collection we are celebrating ‘ELECTRO’ – a sub-genre of Electronic Dance music that combined elements of Disco, Funk and Hip-Hop and featuring a heavy synth backing, and the commercial Electro-Pop hits it produced. In 1984, Chaka Khan who had achieved huge success with the Disco classic ‘I’m Every Woman’, had a worldwide smash with a cover of Prince’s ‘I Feel For You’ which combined Disco, Funk, R&B, Synth-Pop and Hip-Hop – to stunning effect. Also a hit in 1984, Jimmy Jam and Terry Lewis produced a classic fusion of Disco, R&B, Funk and Synth-Pop for the S.O.S Band with ‘Just Be Good To Me’ and also included here are hugely influential Electro-Pop gems from Freeez, Rockers Revenge feat. Donnie Calvin, Malcolm McLaren, Break Machine, and Rock Steady Crew.



In the latter half of the 80s, Disco and Electro-Pop continued to evolve and fill dance-floors. Taking influences from both genres, Expose and Company B enjoyed ‘freestyle’ hits and DJ, remixer and producer Jellybean had a string of hits including ‘Just A Mirage’, and Whitney Houston became a global superstar. One of her signature tracks ‘I Wanna Dance With Somebody (Who Loves Me)’ serves as a stellar example of how Dance music had evolved through the decade and remained as vital and uplifting as ever.

Ltd Edition! Augustus Muller (Boy Harsher) kündigt die Filmmusik für den Film My Animal an, unter der Regie von Jacqueline Castel feat. Amandla Stenberg (The Hunger Games, Star Wars) und Bobbi Salvör Menuez (I love Dick, Something In The Air).
Die Filmmusik ist Mullers Debüt als Spielfilmkomponist.
My Animal (Premiere auf dem Sundance Film Festival 2023), Drehbuch von Jae Matthews (Boy Harsher), erzählt die Geschichte von Heather, einer starken, aufmüpfigen jungen Frau, die in einer ländlichen Stadt im Norden lebt und unbedingt in der örtlichen Hockeymannschaft spielen möchte. Sie lernt Jonny kennen und verliebt sich in ihn, einen Eiskunstläufer, der neu in der Gegend ist. Ihre Beziehung gedeiht trotz Heathers versteckter persönlicher Probleme mit ihrer alkoholkranken Mutter, ihrer nicht akzeptierten sexuellen Orientierung und einem familiären Fluch, der sie, ihre Zwillingsbrüder und ihren Vater einmal im Monat in wilde Wölfe verwandelt. Das Stelldichein von Heather und Jonny gerät bald in Konflikt mit ihrer kleinen Gemeinschaft, bringt die Wahrheit ans Licht und führt zu einer leidenschaftlichen, gewalttätigen Nacht der persönlichen Verwandlung. Augustus Muller schrieb und nahm die Filmmusik in seinem Heimstudio in Northampton, MA, auf, wobei er hauptsächlich Hardware und analoge Synthesizer verwendete. Gemeinsam mit der Regisseurin Jacqueline Castel huldigt Muller Klaus Schulzes Musik für "Angst" und John Carpenters "Assault on Precinct 13" als Haupteinflüsse. Muller begann seine Karriere als Komponist im Jahr 2019 mit der Erstellung von fesselnden Filmmusiken für zwei Kurzfilme für die Erwachsenenfilm-Website "A Four Chambered Heart". Die Partituren mit dem Titel "Machine Learning Experiments" wurden 2020 veröffentlicht und stellten mit ihren innovativen Klangwelten sein Talent unter Beweis. Im Jahr 2023 arbeitete Muller erneut mit "A Four Chambered Heart" zusammen und komponierte zwei weitere Partituren mit dem Titel "Cellulosed Bodies".

First-ever vinyl repress of Sheena Easton’s hit 1983 album.
• Remastered from the original master tapes and pressed
on white coloured vinyl with refreshed artwork including
new inner sleeve.
• Includes the US smash singles ‘Almost Over You’ and
Grammy-nominated ‘Telefone (Long Distance Love
Affair)’ as well as her stunning take on the Dusty
Springfield classic ‘Just One Smile’.
Sheena Easton rocketed to overnight fame in 1980 with the BBC
broadcast of The Big Time - arguably the first pop reality show -
subsequently breaking records with her first two singles ‘Modern
Girl’ and ‘9 To 5’ simultaneously hitting the UK Top Ten. Within
a year, she had topped the US Hot 100 with the renamed
‘Morning Train (Nine To Five)’, recorded the Bond theme ‘For
Your Eyes Only’, released two platinum-selling albums and
become an international sensation.
1983 proved a pivotal year for Sheena as she fully embraced her
burgeoning US stardom following a sell-out US tour, hit TV
specials and regular primetime appearances. ‘Best Kept Secret’
was her first album recorded Stateside. Working with red-hot
producer Greg Mathieson (fresh from holding down the top two
slots with Toni Basil and Laura Branigan) and Grammy-winner
Jay Graydon (Earth Wind & Fire, Dionne WarwickJ) the album
repositioned Easton as a youthful new wave stylist - as capable
of rocking hard on cuts like ‘Devil In A Fast Car’ as she was in
nailing a soaring Streisand-style ballad like the top 5 AC smash
‘Almost Over You.’ Lead single ‘Telefone’ was an out of the box
smash - reinstalling Sheena in the US top 10 pop and establishing
her as heavy rotation MTV star and dance chart regular.
This is the fourth in a series of remastered vinyls of her 1980s
albums, and part of Cherry Red’s on-going reissue campaign of
the star’s EMI catalogue in association with RT Industries.

Ultra limited edition release from Taiwan’s psych-rock heroes Dope Purple, joined here by fellow Taipei resident, noise musician Bei San Q Nan.

250 copies all pressed on transparent purple coloured vinyl, and housed in a gloss finished full colour outer sleeve with polylined inner bags and download code. Non-Returnable.

What we have here is a one off pressing of the bands self released 2019 cassette only release ‘Psychedelic Scum Freaks’

“Dope Purple's most ferocious noise psychedelic live album with a whole lot of harsh noise and amphetamines added to the music of "Grateful End".

Recorded in September 2018. Taipei's noise musician Bei San Q Nan joined Dope Purple to begin the album with over 10 minutes of harsh noise and continued to bring the noise psychedelic tinnitus hell”

This double vinyl set includes the remastered version of the cassette album, in addition to a super-heavyweight drone song recorded in 2022.

One for the die-hards.

Building on the styles showcased on the first “Beatbox Studios” LP, Hi-Tek was clearly developing his own personal style on the studio’s in-house Akai MPC 60II sampler. The drums were swinging more; the grooves were deeper; the bass thumped harder. Even when choosing familiar samples, he was chopping them in fresh and unexpected ways, which would eventually help shape his signature sound.

As his reputation was becoming cemented in the local Cincinnati scene, his relationship with the rap group Mood was helping to catalyze more regular visits to New York City. The beats collected for “Beatbox Studios 2” were the ones that would stick in the auto-reverse tape deck for those road trips, as were the demo tapes he crafted with Mood, which would eventually earn them a record deal with Blunt Records in 1996—the same label and year where he would land his first major placement on Royal Flush’s “Ghetto Millionaire” album. It was also on one of those 1996 journeys to NYC that he would meet a young Brooklyn emcee named Talib Kweli—with whom he would form one of the most iconic duos of the indie-rap boom of the late-nineties.

“Beatbox Studios 2 (1996 MPC 60II)” showcases Hi-Tek as a hungry young talent on the rise, and his continued elevation would lead him to a career as one of the few producers who can claim to have worked with such a broad range of legendary artists; from superstars like Dr. Dre, Snoop Dogg, 50 Cent, and Anderson .Paak, to underground heroes like Mos Def, Common, and J Dilla.

Tha God Fahim has carved out a unique place in the hip-hop firmament, fashioning street-level morality tales set to mesmerizing soundscapes. Depicting an ongoing battle between good and evil, these rap fables find Fahim slaying demons, surviving betrayal, learning lessons, outmaneuvering obstacles, and ultimately realizing his limitless potential. Now, the Atlanta emcee is back with "Tha Supreme Hoarder Of All Pristine Wealth", a new album entirely produced by Camoflauge Monk. Tha God Fahim’s compelling lyricism entwines perfectly with the soundtrack provided by Monk, an acclaimed beatsmith who has crafted tracks for Westside Gunn, Mach-Hommy, Conway, Benny The Butcher, Boldy James, Mayhem Lauren, Rome Streetz, and more. Capturing the essence of Fahim’s artistry, The Supreme Hoarder Of All Pristine Wealth celebrates living life to the fullest, where luxury and abundance are hard-earned rewards for dedication, sacrifice, wisdom, and righteousness.

URGE sind ein Teil independent alternative Musikgeschichte und prägten den Begriff "Hardcorehausen". Anfang der 90er Jahre gründeten sich in Hannover zeitgleich mehrere Bands. Das Musikmagazin "Spex" gab ihnen und damit der Stadt den Namen "Hardcorehausen". Bereits 1990, hatten URGE ihren ersten Longplayer "Listen Carefully To The Powerful Urge Outburst*, und kurz danach des erste Studio-Album "Why Hide The Lie", 1991 veröffentlicht. Im gleichen Jahr haben sie die Washingtoner Legende FUGAZI auf der Europa-Tournee begleitet. Die Lust am Weitermachen ist Anfang 2022 neu entflammt, nun soll der Funke überspringen und einen Schwelbrand langsam und beständig entfachen! URGE haben mit ihren neuen Songs "Interfere the Game", der Anfang 2023 veröffentlicht wurde, und "Brainwashed", bereits das Glutnest für die weiteren neuen Songs entzündet. Wer Genre Schubladen braucht: Post-Hardcore, Alternative, Crossover?

Brachiales Drumming, ein massiv drückendes Basslick und kreischende Gitarren - so eröffnet der heißeste Postpunk-Newcomer vom Monte Scherbelino - dem Trümmerberg aus dem 2. Weltkrieg auf dem Birkenkopf Stuttgarts - sein unverschämt souveränes Debütalbum "Scherbenhügel". Die 2021 gegründeten BERLIN 2.0, um die mit ihrer sonoren Stimme gesegneten Ausnahme-Vokalistin Elena Wolf, liefern damit ein absolutes Highlight ab, unter dessen waviger Oberfläche immer eine nicht von der Hand zu weisende, rohe Punkrockbasis lauert, die sich natürlich auch in den exzellenten deutschsprachigen Lyrics niederschlägt. Hardcore-Versatzstücke vermengen sich mit dem Einfluss von US Deathrock, bergen aber eben auch diese herrliche Pop-Affinität, die die 10 Stücke von "Scherbenhügel" gleichsam so fordernd und fragil wie dringlich und emotional wirken lassen. Zwar erwachen durchaus wohlige Erinnerungen an Bands wie Xmal Deutschland, II. Invasion, EA 80, Hysterese oder die Terrible Feelings, BERLIN 2.0 definieren auf "Scherbenhügel" aber meisterhaft ihren ganz eigenen wehmütig-desillusionierten Sound, der einen sofort einfängt und einfach nicht mehr los lässt.

Capitane Records freut sich, die Veröffentlichung von Moping in Style ankündigen zu können: Eine Hommage an Adam Green. Auf diesem mitreißenden Doppelalbum sind Regina Spektor, Father John Misty, Devendra Banhart, The Libertines, Jenny Lewis, Sean Ono Lennon, Frankie Cosmos, The Lemonheads und viele andere bekannte Namen zu hören, deren Beiträge Adam Greens Position als feste Größe des Indie-Rock der letzten zwei Jahrzehnte belegen. Mit einer Songauswahl aus Adams Soloalben, angefangen bei Garfield aus dem Jahr 2002 bis hin zu seinem letzten Album That Fucking Feeling, zeigt dieses Tributalbum Adams bemerkenswerte Bandbreite als Songwriter.Weithin bekannt als eine Hälfte des Songwriter-Duos The Moldy Peaches, hat Adam Green seit den frühen 2000er Jahren einen einzigartigen Einfluss auf seine Generation von Musikern und Künstlern ausgeübt. Seit den frühen Nuller, als Bands wie The Strokes, The Libertines und The White Stripes begannen, das neue Kapitel der Indie-Kultur zu schreiben, spielte Adam eine wesentliche Rolle dabei, an einem Dienstag voller gezielter Katastrophen zu verlieren? oder Bartholemew, bring me a fork? Von seinen frühen bis zu seinen jüngsten Songs haben sich die Fans von Adam Green an der kaleidoskopischen Landschaft der Sprache erfreut, die er malt. Mit seiner lyrischen Vorstellungskraft öffnet er Türen möglicher Bedeutungen und schafft es, absurd zu sein, ohne absurd zu sein, und anzüglich, ohne offenkundig provokativ zu sein. Er fädelt die sehr zarten künstlerischen Nadeln von Zärtlichkeit und Humor, Kitsch und hoher Kunst, Rock'n'Roll und Fackellied. Neben den Moldy Peaches und seinen Soloalben umfasst Adam Greens beeindruckendes Werk mehrere Serien von Gemälden, Skulpturen, zwei Filme in voller Länge und sogar epische Gedichte. Um es nicht zu sehr auf die Spitze zu treiben, aber für viele seiner Generation - zumindest für die Eingeweihten - hat Adams Statur fast Warhol-ähnliche Ausmaße erreicht. In einer Zeit, in der die im vorigen Jahrhundert Geborenen vielleicht den Verlust dessen bedauern, was wir kollektiv als "Gegenkultur" in Erinnerung haben, erinnert Adam Green uns alle an eine komplexere und reichere Ära des künstlerischen Dialogs. Für eine jüngere Generation von Songwritern, von denen einige auf Moping in Style zu hören sind, hat Adam den Weg geebnet und die Richtung gewiesen. Aus den geschickten musikalischen Händen seiner brillanten Mitwirkenden hören wir neue Sichtweisen auf Adams Songs und stellen fest, dass Adam Green vielleicht genauso sehr wie jeder andere der oben erwähnten Koryphäen des 20. Jahrhunderts dem großen George Gershwin ähnelt, einem Meister der Melodie und des Liedes. Dopple-Vinylalbum/CD Mit Devendra Banhart / Regina Spektor & Jack Dishel / Father John Misty / The Lemonheads / Sean Lennon / The Libertines / Binki Shapiro / Jenny Lewis / The Lemon Twigs / Frankie Cosmos / Ben Kweller / Kyp Malone (TV on the Radio) / Rodrigo Amarante / Joanna Sternberg / Hubert Lenoir / Jeffrey Lewis / Turner Cody / The Cribs / The Pirouettes / Vincent Delerm / Herman Dune / Cut Worms / Ben Lee / Lou Barlow / Jonathan Rado (Foxygen).

Repress

Following their 2021 debut on Mindri, Ernestas Sadau, Rapha & PRZ return to the Pinkman fold as Pluto Junkies with a 7 track mini-LP recorded at the furthest reaches of the solar system. After the swirling synths and cryptic messages on opener Launch, the record quickly descends into a frenzied supernova of metallic synths and propulsive drums. From the twitching Italo-informed techno of Astronaut Dolphine Detective to the frenetic speedball electro in Black Eye Galaxy Battle, this collection of hardware jams is straight up sonic fuel for sweat-drenched hours at wide eyed raves right around the galaxy. With the snarling acid riffs on Captain Blade and the punishing pulse in Cosmo Scooter Race, Pluto Junkies continue to ride the wave of manic energy from their first release, providing further soundtracks for only the most serious space travellers. You have been warned!