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Zach Braff’s curated compilation soundtrack album for the upcoming drama film A Good Person. Written and directed by Braff, the film’s compilation soundtrack features a range of wistful folk-infused songs, including The Velvet Underground’s iconic 1969 song After Hours, written by Lou Reed and performed by the band’s drummer Moe Tucker, Bristol-based singer-songwriter Fenne Lilly’s 2021 track Hyopcondriac, American singer-songwriter Lizzie McAlpine’s 2020 song To The Mountains, American indie rock singer-songwriter Cary Brothers’ 2022 song Stardust, performed in the film for Allison (Florence Pugh) by Cary himself, and more (see full tracklisting below). The compilation soundtrack also features two brand new singles written and performed for the film by Florence Pugh. I Hate Myself and The Best Part.

Deluxe Eco Vinyl LP with 16 page lyric booklet! London slowcore band deathcrash have announced their new album Less, due March 31st via untitled (recs). Recorded at the UK's most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective. "The mission statement was to be super minimal," says deathcrash singer Tiernan Banks. "Just simple and beautiful guitar parts and to be really bare. To be...less." Swiftly following Return, the band initially had no plans to make a full length. "The last thing we felt like doing was making another album," says bassist Patrick Fitzgerald. "It was like, 'let's do this little EP that's aesthetically quite different and pared down'." Less was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. "As time went on, we started putting much more emotional weight into it and it became more important to us," says Banks. The result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks' voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as 'Duffy's' before unleashing a doom metal growl in thundering unison with the band on 'Empty Heavy'. The record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud & Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single 'Duffy's' and we expect support from BBC 6 Music, Apple Music and other tastemaker stations

Perhaps slightly better known for his dancefloor-enlivening electro productions, this is actually the third full length ambient album from UK producer Emile Facey under the Plant43 moniker. He's been writing and storing up atmospheric synthesiser experiments alongside his dancefloor oriented output since his last ambient LP The Countless Stones released in 2020, and the eight tracks here are meditative, ethereal affairs, Facey carving out a beautiful set of vivid emotions out of crystal clear pure sounds and arpeggios rolling like gentle waves lapping at a shore. Imagine classic Tangerine Dream combined with the balance and poise of Global Communication and you're getting close.
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Limited Whirlpool Blue Vinyl! Auckland, New Zealand post-punk group Guardian Singles return to Trouble In Mind for their follow-up to 2021's debut with "Feed Me To The Doves", a ten-track socio-political burner addressing our collective spiritual chaos that pulls influence from across the history of punk & permeates it into something decidedly Aotearoan & uniquely their own in ways that are both personal & universal. "Feed Me To The Doves" is the first album to feature the current, long-standing lineup of Thom Burton (guitar, vocals), Fiona Campbell (drums), Yolanda Fagan (bass), and Durham Fenwick (lead guitar). The band has been playing live together now for a few years & it shows. The songs herein vary from the deeply personal, to sketches or postcards, as Burton says "_scribbled while watching the dregs of a delirious culture war play out through broken smartphones and praline vape clouds." Expertly recorded at Neil Finn's Roundhead Studios in Auckland by engineer Steven Marr, who Burton says had a "great sense of being able to keep the urgency of the songs while adding lushness and keeping things sounding like they're about to break at any second". Marr helped turn the album's scrappy beginnings into something more cohesive and beautiful.

repressed !

Versalife's N.T.A. part 2 is taking us further down deep into the night! This is some of the at widest, cleanest, most absorbing electro, techno tracks we've heard in a while! Especially the b-side tracks oozes twilight suave and atmosphere with its precise electro pulse and caressing midnight sounds.

Backward Futura, exploring the sounds and vibes of 80’s and 90’s electronica thru the lenses of the new Millennium.

With this second release we once again want to host more cinematic, left field vibes. This time from Australian producer Voxadeon, an artist who for decades has been lurking unnoticed in Oz’s uniquely disparate electronic music scene. From coast to coast with no fear of the infamous perils, our retrieval expedition was successful: deep underground, we retraced a myth and unearthed this sound.

Belgium’s UC Beatz on the new Save The Groove release. A selection of essential house business with the additional remix from the Deep House Maestro Trinidadian Deep.

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.

2023 Repress

Brown Vinyl

ALFONSO BOTTONE aka WEARING SHOES returns to OLDSCHOOL GROOVE with THE LOST SOULS a jazzy 90's cut paired with MOD MOB a heavily influenced Chicago meets Detroit slice of deepness reminiscent of HEADPHONIQ, TRACK MODE or HARMONY PARK. Limited one-sided colored vinyl.

Paul 'Damage' Bailey, one of the original resident DJs at Birmingham's House Of God club nights along with Surgeon and Sir Real, strikes back on De:tuned with 2 new relentless techno cuts. On offer, a mind-bending modular exploration that takes no prisoners from the Brummie powerhouse accompanied by top drawer remixes. James Ruskin transforms 'Hadal Zone' into a rare darkroom electro orientated piece, while Makaton turns out a deep pulsating 4/4 techno version of 'Decompression'. It's a real burner.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Opening the series with Sensual Setup, a deep and beautiful long player from our label head Rupert Hartick, including a dedicated and powerful driven remix by Ion Ludwig on the flip side. Intense material for your record bag!

Pressed on solid black vinyl, including a beautiful artwork by Justus alias Love JMP.
First 150x Copies come in a handstamped full Cover.

Its been some years since HARD TIMES dropped new music in our laps, but having kick started a new wave with March’s release of Steve ’Silk’ Hurley’s stunning ‘All I Need’, featuring Sara Garvey on vocal duty, the label follows up swiftly with more precision groovemanship.. this time from Hudd Traxx label boss and core HARD TIMES family member, Eddie Leader.

As a DJ, producer, promoter and label boss Eddie has, over a twenty five year career, become a standard bearer for UK House Music. His own productions have graced seminal labels including Classic, Robsoul, Plastic City, Morris Audio and Balance Alliance, while his own Hudd Traxx imprint has become a go-to for many a discerning disc jockey. Its roster boasts releases that feature Matthew Herbert, Rolando, Jovonn, Rick Wade, Agnés and More.

Fresh from remixing Hurley’s ‘All I Need’, Leader now looks to ’Slow Everything Down’ with four fresh jams of his own that all stay true to the Hard Times ethos of quality, deep underground sounds.

Preaching from the front is ’Stand Up’, with its warm groove, piercing piano chords and soulful sermon. So come on… Stand up, to get down. On ‘Gratitude Power’ a seismic kick drum and bass combo pave the way, garnished with keys, synth stabs, bongos and a sprinkling of vocal as the track winds things on smoothly.

‘Slow Everything Down’ is where its at. A calmer, warmer groove, built from raw beats, spoken word and glistening piano. Coolness personified. This is where we're at. Leader slows and closes with final cut ’To Me To You’, icing the EP to perfection with its drowsy and hypnotising keys.

HARD TIMES continue to deliver the good times.

Hell Yeah heads to Brazil and the cultured sounds of Pedro Bertho for a hot new 12" that features Mariana Gehring and remixes from Romain FX and My Friend Dario. The digital version includes two bonus cuts while the vinyl is the first to have all-new artwork by FJD.

Now based in France, inclusive party promoter Pedro Bertho’s music is a melting pot of sound that draws on his own personal heritage and a life spent digging for records. That means that afro rhythms, Italo melodies, rolling reggae, deep house, and plenty more all get mixed up into something new.

They have come on the likes of Cracki Records and always search out innovative ways to bring euphoria to the dance floor.

For the first tune, he works with Mariana Gehring, a Sao Paulo-based singer and composer influenced by new MPB and other signature Brazilian sounds like Forro, Maracatu and Samba.

Their excellent 'Tornei' is a mix of full-fat bass and sensuous vocals. Fizzing synths, percussion and FX bring the energy while Gehring arrives in the breakdowns to bring the spine-tingling soul. Romain FX is a scene mainstay, label head at fauve, boiler room veteran and has released on the likes of Kalahari oyster cult and many more.

His version is a retro workout with lush cosmic melodies and slinky grown-up grooves sure to get the floor full.

Next is 'Elephants au 5eme', a busy mix of analogue drums and hits, wild elephant trumpets and fleshy synths that bring unusual tropical heat to any party. The same track is remixed by label regular and new school Balearic boss my Friend Dario.

He plays with the vocals, layers in shimmering chords, and keeps things dubby to make for another of his signature grooves.

Detroit house and techno fans with their ear to the ground are well tuned to the sounds of Brian Kage. He's shown his skills on the likes of Omar S' FXHE, Carl Craig's Planet-E and Rob Modell's Echospace. Now it is his own label Michigander where he appears with a new EP that kicks off with Taho and Kage combining forces once more. There is acid to start with next to uplifting piano notes underwritten by deep chords on the opener, 'Warehouse Vibes' then brings driving kicks and dubby techno bliss. Things step up again on 'JAX' which is a full-body workout with first pumping rhythms. This is another EP that adds to the rich heritage of Motor City musical magic.

The latest on Warehouse Music comes courtesy of Joshua James: ‘Love To Do It’ which samples the iconic, pleasure-seeking vocals of American drag vocalist Roxy and The Ride Committee.

For the original mix, the London DJ gives Roxy’s ‘90s house lyrics an electro makeover, twisting around mangled samples, vibrant snares and bubbling slapback delays. Keeping true to the artist's wild vocal stylings and referencing the queer underground sound James has called home.

On the flip, label boss Mella Dee takes us back into four-four territory on the first of two remixes. The ‘Law & Disorder’ mix works James’ dialled-up modern sass into a hypnotic loop, rolling into the heart of the club via a deep house bassline.

Meanwhile, the 'Split Your Wig’ mix strips the track down to body-poppin’ 909s and swirling percussion, paying tribute to NYC club culture via drum machine.

"Redefining Element 78" presents a new work by British pianist-composer Rebecca Nash - a distinct musical voice with a deep musical identity. The music emerged following Nash"s encounter with the writings of legendary New York alto saxophonist John O"Gallagher, who joins her on the album, alongside guitarist Jamie Leeming, trumpeter Nick Malcolm, bassist Paul Michael and drummer Matt Fisher. Electronics are provided by Nick Walters and Chris Mapp.

Tape

A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

A Rothko-esque color field set to music, The Window Is The Dream ventures even deeper into Horn's inner space than her stark, acclaimed debut Optimism, which earned her an 'artist to watch' tag from The Guardian upon its release last year. For her second record, Horn travelled to upstate New York to record with a few musical touchstones in mind: the electro-primitivism of the Silver Apples, austere rhythm kings This Heat and The Raincoats' time-bending Odyshape , however the resulting 10 songs are an entry into a world which is very much her own.

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Del Jones, a poet, and proto-rapper, recorded Court is Closed in 1973. It was underground Philadelphia’s response to Amiri Baraka’s and Gil Scott-Heron’s indictments of the Black American experience - a call to action not just for his city, but for the nation. The set includes an oversized 10 page booklet by Jeremy Cargill, with contributions by Now-Again founder Eothen “Egon” Alapatt which delves into Jones’ music, milieu and life as an author, activist and orator, shining a light not only on his prescient awareness of hip-hop, but also on the struggles he confronted, and his urgent, current mandate. Court is Closed, equal parts psychedelic rock and deep funk, had a limited release of 500 copies and was rarely heard before Jones overdubbed horns on the album, remixed and augmented it with additional music, and issued it as the better-known Positive Vibes. Here we present both versions of the album on the 23rd release in the deluxe Now-Again Reserve Edition series. Jones’ story, and that of his family, is like his music: a loud, vital voice long silenced. Understanding it now is not just a visceral musical experience, but an essential dissection of racism and classism in America.

Potent, seductive, and raw, Love You Anyway, the new album from singer, songwriter, multi-instrumentalist Devon Gilfillian is an intoxicating, genre-blasting game changer. A musical polymath with a deep knowledge and love of vintage soul, R&B, rock and hip-hop, the Philly-born, Nashville-based artist’s second full-length LP re-imagines modern soul music by redefining its possibilities. With an incisive eye and unassuming swagger, Love You Anyway, ignites the mind, and makes the body move. Produced by Jeremy Lutito (Joy Oladokun, NEEDTOBREATHE) and recorded in Nashville, Love You Anyway, confronts as well as comforts. Chronicling Gilfillian’s journey as a Black artist living in the tumult of 21st century America, the album’s 10 original tracks, (all co-written by Gilfillian) are as much about fighting for what you believe in, equity and representation, as it is about love: finding it, making it, and channeling it into every facet of our lives.

The sun sets over the ranch, a can of beer cracks, and an acoustic guitar
wrangles the day's thoughts and memories into a semblance of orderDuring moments like these, California-born and Nashville-based singer
and songwriter Emily Nenni chronicles her life through delicate songcraft
rife with honky-tonk spirit and spiked with just the right amount of soul
In possession of a deep understanding of music stoked by a lifelong passion and
sharp chops shaped by endless sets in smoky bars and sizzling doublewides, she
asserts herself as the consummate country storyteller on her full- length debut
album, On The Ranch.

A1 - French artist aka Dylan Dylan hits first on the record with energetic groove, breaks and deep synths - that's how we do it!

A2 - HATT.D is a Belgian music maker. A truly moving track with a soothing bass and both broken and straight rhythms. The tune may conjure up images of tropical flora and fauna.

A3 - Dawn Again, a faraway Australian artist, hits with the charming track “I’m Like a Bird" - a minimalistic style house tune with catchy rhythms.

B1 - Manhood is a collaboration of two Russian artists, Denis Kazakov and Lachetto.
The boys wrap us in delicate breaks with cosmic sounds, as if to remind us that we are not alone in this universe.

B2 - German musician Palmate continues the vibe with his dreamy and slightly lo-fi deep house "departure," which sounds like you're going home with happy recollections after a fantastic time with old friends.

B3 - The conclusion of this story will be presented to us by Dj Bigspin, a musician originally from France who now lives in Copenhagen.

He reminds us with his melancholic deep acid hous

After 10 years, Vinyl is back on Brise Records.

The first selected vinyl comes with four convincing deep house tracks.

Of course, Mihai Popoviciu, Pornbugs, Helmut Dubnitzky, Tolstoi & Khaan are allowed to do so not missing. Always smooth, groovy and of course deep.

2023 REPRESS

Four luscious, beach-coasting, jet-skiing tracks from the depths of Detroit via Manchester from Hidden Spheres.

Vocal tracks that undulate with 'mmm's and 'uuuh's for the real deal summer feel. Sweeping Rhode lines, organic percussion to make the thumbs raw and those deep, woofing basses that just keep on giving.

Hidden Spheres going for the jugular. Melting the sun like butter on a roasting-hot lobster.

Following in the footsteps of "Mind Palace" and "Lost Spirits", respectively issued in 2018 and 2021, Hidden Empire return to Stil vor Talent with their eagerly anticipated third studio full-length, "Momentum". Going the same route that came to define their sound throughout the years, Branko Novakovic and Niklas Schäfers cook a savvy mix of deep electroid flavours and prog techno magnitude which flourishes in the long-playing format. Orbiting the frontier between proper no-nonsense, floor-focussed effectiveness and a trademark exploratory take on electronics, Hidden Empire here delivers one of their most accomplished slices to date, which not only spans the largest span of their many-faceted influences, from tribal anchorage to hypermodern escapology, but breathes a truly epic wind into it.

Draped in luscious, silken envelopes and easternmost ambiences, "Dawn" gets the ball rolling on a mystique-imbued note, halfway meditation-friendly material and square-shouldered club busting wares. Moving into Afro-infused house grounds, "Modesty" finds Branko and Niklas heading for the deeper end of the spectrum, as they pull out a clinically precise blender of rattling percussions, opaque incantations, lush synth swashes and verbed-out machine talk, tailored for nightly boogie rituals in the forest. "Avalanche" opts for a more brooding, deadlier approach. Cutting its path away from prying eyes, this one finds Hidden Empire pulling the stealth weaponry to absolute hypnotic effect - perfect for serious in-between peak time business with its thick, thriller-like tension, mist-shrouded atmosphere and surgical focus. Featuring Felix Raphael on vocals, "Who We Are", is a pop-influenced chugger that perhaps best defines Hidden Empire's ambivalent style, both hi-NRG and innervated with a melancholy that infuses down to the bass and most functional elements. Geared up for big-room traction with its seesawing synths and clinical drumwork, Raphael's moving timbre does more than offer a sensible counterpoint to the track's overall sturdy backbone, it takes it to a whole other dimension completely.

"Repeat The Good" ft. Wolfson balances out a fast-ticking groove with those subtle melodic lines Hidden Empire champion to astounding vibrancy, offering a particularly satisfying glimpse into their vortical imaginarium, whereas "Last Call" has us journeying to straight out Moroder-esque territories, flush with the aptly configured palette of fuzzy space disco bass, fast-paced Italo churn and vocodized talk for good measure. All in breaks and chopped-up euphoria, "Vivid" runs the hoodoo down in muscular fashion and with impressive levels of energy throughout, all set at cranking up the heat one notch further, while "Rebel" provides us with the kind of rough-around-the-edges EBM horsepower and neon-clad synth engineering that'll get the basement in a state of alert. Encompassing all of the pair's idiosyncratic merger of styles - from pop-laced Italo to spaced-out techno wares, through jagged motorik and heavily mecched-out jacking house, "Alright" shows off Hidden Empire's wide arsenal of pyrotechnics under the most compelling of lights. A more openly jagged and quirky weapon that hatches into a full-fledged solar number around the half, "Momentum" roars up the club's highway at full throttle, proving a formidable asset when it comes to plunging dancers into a state of weird, left-of-centre euphoria.

A stroboscopic eclipse is predicted as "Dark Sun" enters the room, deploying its obscure wingspan over the ravers, not quite a bad omen as it lets more light in with every bar, its brittle piano lines and heart-wrenching vocals cutting a path into the crowd's pulsating hearts. Graceful as Hidden Empire's music can be, a moment of utter exhilarating beauty. "Savasana" wraps up the voyage with a pure slab of cyphered 4x4 seduction, as an ASMR-like voice guides us across the soul-questioning haze that blankets our pathway onto a luminous finale. A piece of elusive nature, clearly designed for the club and yet telling a tale of off-piste initiation through twelve fascinating movements, "Momentum" will undoubtedly etch on the listeners' mind as one of the German pair's most strikingly powerful emanations.

Download:
1. Hidden Empire - Dawn Interlude
2. Hidden Empire - Modesty
3. Hidden Empire - Avalanche
4. Hidden Empire & Felix Raphael - Who We Are
5. Hidden Empire & Wolfson - Repeat the Good
6. Hidden Empire - Last Call
7. Hidden Empire - Vivid
8. Hidden Empire - Rebel
9. Hidden Empire - Alright
10. Hidden Empire - Momentum
11. Hidden Empire - Dark Sun
12. Hidden Empire - Savasana
13. Hidden Empire & Felix Raphael - Who We Are (Instrumental)

Let's get it straight: "This is" is THE album by Ghia. It catches the band at its peak and features 10 songs, including not only their impeccable hit, "What's Your Voodoo?" but a full arsenal of yet unheard, timeless, and soulful music without equal. The songs on the album, which were recorded between 1988 and 1991, could be considered forerunners of the downtempo genre, with one foot in the late 1980s street soul direction but sparkling with touches of synth pop and contemporary jazz-funk. Genre limitations aside, all that Ghia ever wanted to do was create music-good music-and you will hear this in the depth of the compositions.
The album starts with "Keep Your House In Disorder," which has yet again become another classic song from the band's catalog since it was featured as the B-side of the "What's Your Voodoo?" reissue. The song is about a relationship in which the woman has trouble adapting to her boyfriend's turn in life. He tells her to "keep your house in disorder," meaning don't take things too seriously, don't stand still, and you will do better to take the sideroads in life.

"This Is" continues with the downtempo numbers "Crystal Silence" and "Close to You." Both are deep, one-of-a-kind, and previously unissued street soul ballads. On these two tracks, you can still hear the band's roots in jazz-funk. Hence, as a follower of the band's output may have yet recognized, instrumentals of these two tracks can be found on their first LP, "Curaçao Blue." In fact, "Close to You" was one of the band's first compositions. Earlier recordings of the song exist with different singers and different vocals, but it wasn't perfect until Lisa laid down the final version and a choir was added. It's difficult for us to recall any late-80s soul tune as beautiful and intriguing as this one. The final section, which begins with "so much baby we can say," sounds ahead of its time, reminiscent of mid-90s contemporary R&B.

Next up is "Eskimo," an equally brilliant and soulful downtempo composition, but with more focus on synth sounds than the previous tracks. Once more, it showcases the creative lyricism of the song writers, Boberg and Simon, imagining a train ride during a rainy and cold night: "feeling like an Eskimo in an igloo in New York."

Eskimo leads to the aforementioned classic, "What's Your Voodoo?" Originally released in 1991 on the small Mikado label, it was reissued on our label in 2019. We already called this "one of the most wonderful and mystic slow motion synth pop tunes ever recorded"-and we still mean it! Let's face it: this was done before British bands like Massive Attack, Tricky, and Portishead laid the foundation of trip-hop. Dare we call Ghia's music "proto trip-hop"? As a special bonus, the digital version of the LP features a previously unreleased mix of the song, which includes added samples; this should clarify how close Ghia actually was to the sound of the mid-'90s.

"Angel On Your Shoulder" and "L O M E" are two more completely unissued and great tracks from the band's shelved works. Being a bit more uptempo than the rest of the album, they fall between contemporary soul/R&B and synthesized pop music. And of course, another downtempo hit needed to be featured on the album: "You Won't Sleep on My Pillow." It was the original A-side of their single release in 1991, and since then it has been featured on various compilations.

The album concludes with a really strong ballad entitled "I Haven't Got The Power." Here we hear only pianist and keyboardist Lutz Boberg with Lisa Ohm, without further instrumentation. Basically recorded in a live session, this showcases once more the talent and ingenuity within the Ghia project.

Whether you agree or not, "This is" may easily be considered one of the best German late 80s/early 90s soul pop and downtempo albums ever recorded. Cautiously, it may even be submitted as the missing link between mid/late 80s soul by bands such as Sade, and later trip-hop groups like Massive Attack. Let us celebrate Ghia and their music, which had been shelved for more than 30 years but has now finally been released on The Outer Edge.

green marbled vinyl

Paul 'Damage' Bailey, one of the original resident DJs at Birmingham's House Of God club nights along with Surgeon and Sir Real, strikes back on De:tuned with 2 new relentless techno cuts. On offer, a mind-bending modular exploration that takes no prisoners from the Brummie powerhouse accompanied by top drawer remixes. James Ruskin transforms 'Hadal Zone' into a rare darkroom electro orientated piece, while Makaton turns out a deep pulsating 4/4 techno version of 'Decompression'. It's a real burner.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

030303 Records taught us a lot about the many faces of acid throughout the 18 years of its existence. The label has specialised in all substyles of the genre, whether that's tracks inspired by early 80s proto acid, Chicago house, braindance or the eerie melancholy of Polygon Window. Good thing is, they haven't stopped getting better at it. Most 030 releases are now out of print and severely sought after and, with so many instant classics featured on it, this fifth compilation will be no exception. Caramel Chameleon kicks off with an epic cut, one that will appeal to fans of Roy of the Ravers. Perseus Traxx, Raving Kid and RAG aka Steven Brunsmann follow suit with acid on a deeper tip, with the latter adding a heavenly soulful touch to it. And how great it is to see American producer Korr? return to the label with a wonderfully spaced out introspective cut. Also standing out is Endfest's heavy electro/acid take on one of the most obscure mysteries ever to come out of Detroit: Shari Vari. Dwaalgast and De Beer Uit Allekmaar aka Cosmic Force deliver the last track before the lights go on - the aptly named A Wave Goodbye has a distinctive, bouncy westcoast-sound-of-Holland feel to it. An excellent compilation and a huge tip!

Damage and Their Slices” is a collaborative album NVST and Theo Muller, in which they invite the listeners to a deep dive into an esoteric universe where dark magic meets political revolt.

The Swiss artist NVST shouts, preaches, stirs up and questions the consciences of his audience with a deluge of words about this sick society, the capitalist infection and the abuse of power. In tune with this mantra of georgeorwellian rhetoric, the music by Frenchman Théo Muller turns the malaise of the content into form: paranormal psychedelia, arcane dub, industrial ectoplasms, esoteric ambient and paranormal drones. In short: a friction of electronic sounds that Kraftwerk, years ago, unwittingly defined as metal on metal. Live, this call to action to necromancy and revolution takes on an amphibious, organic, almost cathartic and revealing form.

For dubcom's 10th vinyl release we welcome 'Bukkha' & 'Dubbing Sun' to the label with a Deep heavywheight Sound System track featuring 'Donovan Kingjay' on vocals.
B-Side has 'Frenk Dublin' echoing things out with his 'EchoSpace Verion'. Pressed on a 10" Minty Ice vinyl.