Search:jo di

Damian Lazarus’ Crosstown Rebels imprint announces, ‘Portrait of the Obscure’, the stunning new album from Oceanvs Orientalis.

Following three superb singles on the label across the past four months, the nine-track LP offers a comprehensive exploration of the Instanbul-based talent’s rich, globally-infused and captivating sound, with the project set for release on 26th April 2024.

Safak Oz Kutle, known as Oceanvs Orientalis, is a producer and live performer based in Istanbul. His musical style intricately weaves together diverse sonic tapestries of wide-spanning genres and cultures, and through his creative fusion of these influences, he crafts an immersive world that takes you far away from the usual club music references. His music serves as a celebration of his musical heritage, and this has never been truer than on his superb new album ‘Portrait of the Obscure’, which again pushes traditional boundaries within the electronic sphere. Set for release on 26th April via Damian Lazarus’ renowned and celebrated Crosstown Rebels imprint, the nine-track LP project features a showcase of solo and collaborative material alongside close friends such as Tooker, Idil Mese and Tilahun Gessesse, delivering a journey into the creative mind of one of
the scene’s most intriguing talents.

The bold and riveting project kicks off with the captivating synthscapes, fluttering strings and plucked bass of the gorgeous ‘Pulse Antique’, before ‘Ministry Of Midnight’ cuts loose on more jumbled rhythms and intricate organic lines warmed with wordless vocals. Next up are two of the lead
singles - the tense and intricate house sonics of ‘Neutrality’ and the haunting atmospheres and ethereal synth lines of ‘IL Lupo’ featuring Tooker, while ‘Conritmo’ continues to bring exotic new string sounds, leftfield melodies and warped bass to this most vibrant exploration of candle-lit house sounds. ‘Soul of Calypso’ blisses out on far-sighted cosmic chords with sonorous bells and late-night spoken word musings that add all-new character to the innovative grooves. Then comes the laid-back, jazz-infused house of ‘Heart Pieces’ feat. Idil Mese, a deep and jazzy jungle shuffler
in ‘Mercury’ and the playful horns and lumpy, dub-wise swagger of ‘Lanchi Biye’.

An album project encompassing its title perfectly, ‘Portrait of the Obscure’ is just that - a magnificent snapshot of the unique musical mind of Oceanvs Orientalis.

Toki Fuko – Hues Of Movement After his notable debut on
Submersive’s VA Osmotic Particles in 2021, Toki Fuko makes a
captivating return with his first solo release on the label. ‘Hues of
Movement’ comprises three original tracks and two remixes by Anthony Linell and Artefakt, embodying Submersive’s ethos of a deep, hypnotic journey into organic yet dancefloor-ready Techno. In the three original tracks, Toki Fuko once again mesmerizes with his evolving soundscapes. Electrical pulses are enhanced with expansive reverbs and woven into groovy drum sequences. The tracks gradually evolve, reminiscent of a drop of ink dispersing in water, inviting listeners to immerse themselves in the sound and lose control as they become one with the music. Anthony Linell, who performed at Submersive’s inaugural party in Paris in 2017, offers a Train remix that seamlessly bridges his signature style with Toki Fuko’s sound. The track emerges like a living entity, combining dub-influenced meditative atmospheres with ecstatic elements, growing into a full-length auditory experience.
Artefakt rounds off the release with their ‘Warble’ remix, taking listeners into depths where light cannot penetrate. The Dutch duo presents a darker take, subtly manipulating elements and maintaining high tension, keeping the end of this sonic adventure tantalizingly out of sight. Accompanying the EP is artwork by Swiss-Moroccan artist Zineb Mezzour, offering a fresh interpretation of the concepts of surface and water that Submersive explores in each release. Known for her intricate work on paper and ceramics that evoke a microscopic, organic, and spiritual world, Zineb has performed a unique visual for this vinyl. She began by drawing invisible shapes in water, then brought them to life by adding ink that transformed into unpredictable fractal shapes. This artistic process was captured to create both the cover and the video teaser for the EP.

The return of Gaussian Curve - Gigi Masin, Jonny Nash and Marco Sterk’s much-loved trio are back for the first time since their 2016 sophomore album 'The Distance', presenting two new tracks entitled 'Winter Sun' and 'Fever Dream'.

Both tracks originate from recording sessions that took place in Amsterdam in 2016 for 'The Distance'. Despite not finding a place on the final album and being left as unfinished sketches for six years, the tracks represent an important part of the Gaussian Curve story which the band felt compelled to complete. Coinciding with the decision to perform a handful of live shows in 2022, they finally revisited the sketches, mixing and arranging them with the goal of giving them the full release that they deserve.

The trio’s trademark sound hits from first moments of 'Winter Sun'; a lush slow builder with all the classic GC ingredients; Nash’s airy and spacious guitar lines interplay with Masin’s warm rhodes, underpinned by Sterk’s subtle use of electronics and the minimal rhythm of a CR-78 drum machine.

On 'Fever Dream', the trio subtly expand their palette; a gently building 303 bass line and 808 rhythm form the foundations of the piece, with Masin’s vocals adding to a slow-burning intensity. Arguably a fuller sound hinting at new areas of exploration for the trio, but unmistakably Gaussian Curve.

Kaleida are the transatlantic duo whose darkly mystic soundworld finds glimmers of hope in the disquiet. Span- ning an ocean, the pair have nurtured a long-distance partnership that withstands the shifting patterns of life. They first formed in 2013 when a friend introduced them over email. Christina Wood was working in the Indone- sian forest while recording demos in her bedroom each night, and Cicely Goulder had been composing for film productions in London. Despite the miles between them, they found an instant musical chemistry.
Kaleida first came to international renown in 2014, when their single “Think” went viral overnight and was featured in the soundtrack for the cult Keanu Reeves film, John Wick. Their debut album Tear The Roots arrived in 2017 and crystallised the pair’s moody pop aesthetic, which merges Wood’s sylph-like, operatic vocals with Goulder’s neo-Noir electronica. The record earned the duo their sec- ond spot in a film soundtrack, this time for Atomic Blonde with a tender take on Nena’s 1980s anti-war classic “99 Luftballons”. It was followed in 2020 by the pair’s second album Odyssey dubbed “a consummate work of electronic artistry.” Their new album In Arms is a record that leans into a near transcendent spiritualism, where their minimalist production conceals a raw, celestial power. With a departure from their previously insular way of working, they invited other musicians into the production process, most notably producer Johan Hugo (Self Esteem, M.I.A, Skepta).

Serving up eleven tracks of rhythmic garage-psych goodness, ‘Boots N Cats’ is the third full-length from Melbourne outfit Beans and the first of two albums set for release in 2024. The long-awaited follow-up to 2018’s ‘Babble’ and 2020’s ‘All Together Now’, it’s a record that finds Beans frontman (and The Murlocs drummer) Matt Blach putting percussion at centre-stage. “I’ve always wanted to make a drum-based album, dedicated around the beat first and then everything else follows”, Blach says, explaining his desire to explore “different production approaches, like hip-hop and crunched drums, and show an admiration and appreciation for the likes of The Meters, Wu-Tang and James Brown” as much as the acid-soaked 60s/70s rock you’d expect. What emerges from the beat-first approach on ‘Boots N Cats’ charts mutant garage-rock boogies ('Groove', 'Silhouette') and festival tent psychedelia ('Haunted', 'Dreaming Daisy'), by way of blissed-out funk instrumentals ('One To Four', 'Siamese Blundstone'). The line is constantly skirted between a loose, carefree vibe and interesting, meticulous musicianship – never falling into the trap of taking itself too seriously. It’s a sunny kaleidoscope of chugging guitars, driving basslines, soaring organs and warm, echo-soaked vocals – driven always by the tightly-wound rhythms and grooves that Blach has been in pursuit of since he was a kid: “The title of the album comes from me learning drums from my dad. He had a background of German heritage and during lessons would jokingly say ‘nein, boot’n’cats’n’ like a simple 1,2,3,4

“An uplifting, tender, fun and imaginative music journey”
Warren Ellis, musician/composer (Nick Cave & The Bad Seeds, Dirty Three, Blonde)

“Carly’s score brings together both humour and haunting emotion, well crafted for this unique story”.

Martin Phipps, composer (The Crown, Napoleon)

Hear the soundtrack to British filmmaker Carol Morley’s spellbinding Typist Artist Pirate King by BAFTA nominated composer Carly Paradis.

Carly scores BBC’s Line of Duty and since 2022 plays live keyboards for Nick Cave and the Bad Seeds.

The atmospheric score beautifully balances witty percussion and angelic voice for a road journey that Audrey Amiss, the typist, artist, pirate king herself, takes in the film, elegantly reflecting her expanded sense of reality and the uncanny delights of her abstract art.

The music features the experimental vocal group SHARDS led by Kieran Brunt, percussion extraordinaire Joby Burgess and Anna Drysdale on other-worldly horn alongside prepared piano and a one-holed flute.

Paying homage to the yellow electric car at the centre of the film, it’s pressed onto transparent yellow vinyl, with art design by Jane Pollard and Iain Forsyth (20,000 Days on Earth) and examples of Audrey’s art on the label and sleeve.

An R&B band formed in Milwaukee, Wisconsin, USA, in 1961. The members were lead vocalist and guitarist Harvey Scales (b. 1941, Arkansas, USA), Monny Smith, Bill Purtie, Rudy Jacobs, Al Vance, Bill Stonewall and Ray Armstead. Superstar James Brown was sweeping the charts in the late 60s with his new kind of hard soul called ‘funk’, and under his influence, Harvey Scales And The Seven Sounds, like numerous other groups at that time, made their presence felt recording new funk sounds. The group’s one hit, ‘Get Down’ (number 32 R&B, 1967), was recorded on Lenny LeCour’s Magic Touch label. The b-side, ‘Love-itis’, was later recorded by the rock group J. Geils Band. After signing with Chess Records, Scales and his group had a regional hit with the LeCour-produced ‘The Yolk’ in 1969. Later, under the aegis of Detroit producer Don Davis, the group recorded for Stax Records with little success. In 1976, for southern soul hit-maker Johnnie Taylor, Scales co-wrote the massive hit ‘Disco Lady’. That success secured Scales a recording contract with Casablanca, with whom the artist released two albums. Scales was still recording in the early 90s.

John’s debut album was recorded at Tony Pyke’s home studio in Dryburgh Road, Putney in glorious mono and then mastered at Pye Studios, Marble Arch, London for the princely sum of £158. Recording and mastering was completed by 9 August and London Conversation was released when John was just nineteen in October 1967. Theo Johnson took the role of producer under the supervision of Chris Blackwell and the cover photograph of John perched amongst chimney pots was taken on the roof of Blackwell’s apartment. Talking to Music Week magazine in 2007 John recalled that he recorded the whole album in one afternoon in a two-track studio on Putney High Street.

The album is in the folk tradition and contains some excellent lyrics and jazzy instrumentation including the sitar and flute in Rolling Home. As a result it won praise and the instrumentation distinguished John from his contemporaries in the folk scene. Back To Stay is a beautiful love song with a sad and dreamy melody, a sign of things to come.

John took up guitar whilst at school and although he was only nineteen he was already acknowledged locally as an accomplished guitarist. He was influenced by two people in particular, amongst others, that he knew. “Les Brown, who is completely unknown and has never recorded…he plays a kind of American Doc Watson guitar very very well. Lovely voice. Also a friend of mine called Paul Wheeler who is featured on the second album.”

"Jolifanto" takes its name from the first verse of "Karawane", a seminal Dadaist phonetic poem by Hugo Ball. When Ball first recited it in 1916 at the Cabaret Voltaire, both the author and the audience embraced a trance that left Ball exhausted, requiring assistance off the stage as the audience claimed the spotlight.

Over a century later, by a series of fortuitous events, "Jolifanto" is also the title of an album featuring two powerful musical entities. Artists stemming from diverse backgrounds converge with a shared experimental spirit, curiosity and passion for exploration in their music.

"Jolifanto" is an unexpected explosion propelled by (poly)rhythm, expanding into seemingly distant territories under the influence of flamenco. The Dadaist spirit permeates the work, where a constant tension between the improvised and the meticulously planned is evident. ZA! and Perrate together form an organism traveling from the roots to the rave, with nothing sounding out of place because the place is yet to be defined.

Perrate witnessed ZA!'s concert in a festival he attended as part of the audience. The Catalans surprised him with a proposal that he found radical and unclassifiable. Later, after being invited to prepare a collaboration for the Música y Museos season in Seville, Perrate decided to move off the beaten path, approaching ZA!, who quickly embraced the proposal. Exchanges of ideas and audio tracks ensued in a short time and they quickly  found out that they were in the same wavelength. A week before the concert, they met in the same physical space for the first time, dedicating a couple of days to composition and preparing the gig at La Mina Studios in Seville. The concert took place, hailed as "the best concert most attendees had experienced in a long time", as reported by the Diario de Sevilla. That energy needed to be captured, and so it was, at the Happy Place studio in Seville, where the album was recorded between March 6th and 9th, 2023.

The Catalan duo ZA!, "the duo that mash up terrace-chant mayhem with... everything else" (The Wire #384), has operated independently and self-managed since their inception in 2004. They overlap genres and amalgamate sounds that move, with intensity, between wild jazz, post-rock and avant-garde electronics, among other influences. In their acclaimed latest work, they have revived the Phoenician language, exploring Mediterranean sounds alongside MegaCobla and Tarta Relena.

Perrate, active since the late 90s, explores the outer edges of flamenco without forsaking its profound essence rooted in lineage and tradition, evident in every note of his voice. His latest work, "Tres golpes" (Lovemonk/El Volcán, 2022), named flamenco album of the year by Babelia/El País, and one of the albums of the year for BBC3's Late Junction, reflects an innate curiosity, possibly the seed of all the fortuitous events leading to this album.

The encounter between Perrate and ZA! is the result of serendipitous events interwoven with the narrative of artists dedicated to experimentation and radicalism in all its forms.

Since 2011, For All We Know has been the side project of Ruud Jolie, known from Within Temptation. The debut album was released in the same year, followed by the second album called 'Take Me Home' in 2017. In 2023, both albums were released on vinyl via prog rock/metal label Construction Records.

The brand new third album, entitled 'By Design Or By Disaster', will also be released on CD and colored vinyl via Construction Records.

During the writing process, Jolie again worked closely with singer Wudstik, and the band consists of the same musicians who were featured on the first two albums: Léo Margarit (Pain of Salvation), Kristoffer Gildenlöw (ex Pain of Salvation), and Marco Kuypers (ex Cloud Machine). The 11 songs on the album were produced by Jolie herself and range from heavy, thrashy metal to calm melodies.

Compared to the previous two albums, 'By Design Or By Disaster' takes the listener to even more extreme corners, ranging from beautiful atmospheric strings to powerful rhythms and heavy guitars. Despite this diversity, Jolie continues to search for unexpected melodies and harmonies, where he is not afraid to go off the beaten path. There are also some 'Easter eggs' hidden for the attentive listener; melodies from the previous albums that return in an innovative way on this new album, making the first two albums together with this album a kind of trinity, which also applies to the artwork.

Since 2011, For All We Know has been the side project of Ruud Jolie, known from Within Temptation. The debut album was released in the same year, followed by the second album called 'Take Me Home' in 2017. In 2023, both albums were released on vinyl via prog rock/metal label Construction Records.

The brand new third album, entitled 'By Design Or By Disaster', will also be released on CD and colored vinyl via Construction Records.

During the writing process, Jolie again worked closely with singer Wudstik, and the band consists of the same musicians who were featured on the first two albums: Léo Margarit (Pain of Salvation), Kristoffer Gildenlöw (ex Pain of Salvation), and Marco Kuypers (ex Cloud Machine). The 11 songs on the album were produced by Jolie herself and range from heavy, thrashy metal to calm melodies.

Compared to the previous two albums, 'By Design Or By Disaster' takes the listener to even more extreme corners, ranging from beautiful atmospheric strings to powerful rhythms and heavy guitars. Despite this diversity, Jolie continues to search for unexpected melodies and harmonies, where he is not afraid to go off the beaten path. There are also some 'Easter eggs' hidden for the attentive listener; melodies from the previous albums that return in an innovative way on this new album, making the first two albums together with this album a kind of trinity, which also applies to the artwork.

Curacao-blaues Vinyl, bedruckte Innenhülle. Farbe ltd auf 500 Exemplare

Hi! Spencer, plötzlich leicht wie eine Wolke? Cover und Titel des neuen Albums lassen das vermuten. Aber keine Sorge! „Wir machen immer noch furchtbar melancholische Songs“, sagt die Band, die sich traditionell in keine Schublade stecken lässt, sondern sich irgendwo zwischen Indie, Pop, Rock und Punk befindet. Und doch gibt es in „oben“ einen Twist, der neu ist für die Osnabrücker: Die Songs bleiben inhaltlich nicht da stehen, wo sie beginnen, bohren sich nicht immer tiefer rein in das Gefühl – sondern zeigen Lösungen und Ausblicke auf. Und so schließt „oben“ nahtlos an das letzte Album „memori“ an, denn wie hieß es dort so schön? „Doch das geht, fängt man an, die Perspektive zu drehen.“ Eine andere Sicht einnehmen, eine Situation so annehmen, wie sie ist – das ist ein wesentliches Thema in den neuen Hi! Spencer-Songs.

Das Wechselspiel aus oben sein, oben bleiben und immer mal wieder abzufallen bringt Frontsänger Sven Bensmann gewohnt stimmgewaltig zum Ausdruck. Und das Wissen darum: Es gibt keine pauschal gute Zeit, es gibt nur ein Akzeptieren der Tatsache, dass man irgendwann einen Umgang mit seinen Themen findet. Und sich dadurch oben hält. Nicht die Umstände sind es, die sich ändern – sondern der Blick darauf: „Es tut anders weh, weil ich jetzt versteh …“ („Vermissen“). In „oben“ geht es auch um den Erhalt des Guten und die Gewissheit, dass man immer mal wieder abdriften kann und wird. Und, etwa in Songs wie „Nebel“ oder „Juno“, dass auch andere einen aus einem Tief holen können – und es sich daher immer lohnt, Gutes hochleben zu lassen!

Passend dazu zeigt das Artwork der Platte erstmalig ein gemeinsames Foto der Fünf. Zentrales Element auf dem Cover ebenso wie bei Merch und Co ist die Wolke – denn kaum etwas ist weiter „oben“. Wolken sind leicht. Sie schweben. Sind hell, oft durchsichtig. Und doch können sie uns die Sicht vernebeln und regenschwer am Himmel hängen. Sie verschwinden, bilden sich neu. Driften ab. Lösen sich auf. Sie können alles sein.

Hooligan (aus Dublin) mit Szene-Veteranen von Angelic Upstairs, Cockney Rejects und UK Subs starteten 2009 und veröffentlichten ihre Songs weltweit nur auf limitierten (ausverkauften) 7inch EP's. Jetzt gibt es zum ersten Mal auf 12"-Vinyl die Retrospektive für Sammler mit allen Hits, limitiert! Ihr Sound ist eine geniale Mischung aus Streetpunk, 77er Punk, Dub/Reggae und beeinflusst von ihren Hauptbands und Klassikern wie The Clash ("Calling Joe Strummer" ist einer der besten Tribute-Songs), Addicts, Pistols bis hin zu Cockney Rejects oder Undertones und vielen mehr. Kein Wunder, denn die Jungs haben ihre Jugend in dieser großartigen Zeit der späten 70er zusammen mit den Bands verbracht und das Cover-Artwork enthält ein Bild von Sänger Dave aus diesem Jahrzehnt. "First offence" enthält 12 Songs, die man sich nicht entgehen lassen sollte, wenn man auf diesen Streetpunksound steht! Vinyl Irish Grün mit Orange, limitiert!

"One of the most famous Dutch bands ever is Shocking Blue. The band released some of their best-selling hits all around the world, including the still standing ""Venus"". It´s one of the many songs which can be found on the double LP Single Collection Part 1. This collection was originally released in 1997 and consisted of 28 of their best tracks, including ""Pickin' Tomatoes"", ""Never Marry a Railroad Man"", and ""Mighty Joe"". Also included are Robbie's powerful B-sides like ""Fireball of Love"", ""Hot Sand', ""Wild Wind"", and ""Roll Engine Roll"". Single Collection Part 1 is available as a limited edition of 1000 individually numbered copies on white coloured vinyl, housed in a gatefold sleeve. "

Single Collection Part 1 by Shocking Blue, released 22 March 2024, includes the following tracks: "Lucy Brown Is Back In Town", "Send Me A Postcard", "Long And Lonesome Road", "Venus" and more.

This version of Single Collection Part 1 comes as a 2xLP in a(n) Gatefold Sleeve packaging.

The vinyl is pressed as a white disc. Another vinyl is pressed as a white disc.

After his first two one-off singles "Black Pegasus" and "Day Without You" introduced DJ Swagger's massive songwriting abilities and love for recording instruments, his first album on Kommerz Records, "Chemistry Forever", showcases his background in UK-leaning elec- tronic music as well as new tendencies towards neo soul, indie pop and jazz. Welcome DJ Swagger to the Kommerz Records stage and prepare for the album to drop on March 22nd.
The 25-year-old from West Germany's Bielefeld is pretty much the archetype of a so-called Wunderkind. At his young age the producer, DJ, multi instrumentalist and songwriter released more than 40 vinyl records including two solo albums and endless rave tracks since turn- ing 16. As of most recently and even though coming from an electronic music background DJ Swagger's creative agenda ventured more and more into classic songwriting and taking over the role of lead vocalist of his one-man-band. His third solo album "Chemistry Forever" show- cases this transformation from UK-influenced electronica towards neo soul and indie without losing its listeners at any point. His subtle melancholic vocal performance and the just as subtle, yet constant pop appeal make this equation solve itself magically. From electro, 2 step and breakbeat over hip-hop, indie and R&B to a final bebop (!) madness - "Chemistry Forever" is a trip for music lovers while each and every song has heavy potential to be listened to on repeat.
Besides his own vocal performances DJ Swagger also invited rappers TripSixVivo (London), Vitus04 (Bielefeld), Kaba (Paris) and poet Dainell Aiken (NYC) for mesmerizing guest perfomances. Additional production work came from Hamburg dance producer Speckman and jazz outfit Jonas Gersema Trio.
Aaaand since we called him a Wunderkind: Be aware that he's not only a next level musician, but studied graphic designer, illustrator and most likely many more things. Just an example: Most recently he sold self-made perfumed candles through his D.I.Y. label and fashion brand Goddess Music. He obviously designed everything around the album, directed the music videos and merch drops are to be expected.
For us, brothers Lukas and Jonathan, the love story goes way back though. In the midst of the long gone lo-fi house hysteria (2017-2018) we discovered the Bielefeld native's dance floor productions, which fused hip-hop braggadocio with pumping electronic music. We kept following up on his ever evolving musical journey into new genres and felt super honored when he reached out to release his upcoming projects via Kommerz.

This is The Wreckery album that never was but always should have been!

At the crest of the Australian post punk era, The Wreckery played atmospheric rock with film-noir swagger and renegade attitude, carving a loyal following. Critics quickly positioned them as successors to a darkly exciting avant-garde Melbourne tradition previously marked out by The Birthday Party.

Early recordings for Rampant Records (1985-87) showcased The Wreckery's fusion of swamp blues and noir-jazz, delivered with a deadpan, reckless, and romantic cut (check out the 'Ruling Energy' video!). Creative tensions saw the band implode as they were reaching their peak with the Laying Down Law album (Citadel Records, 1988). Yet another great and dangerous rock 'n' roll band who became a danger to themselves.

35 years later, the new album Fake is Forever delivers on unfulfilled promises, revealing The Wreckery on fire like never before. The DNA is still there – the signature sound of Charles Todd's baritone sax; the scathing lyrics and vocals of Hugo Race; the distorted angular guitars of Clayton-Jones; the eclecticism of multi-instrumentalist Robin Casinader; Nick Barker and former Plays With Marionettes drummer Frank Trobbiani fuse as the solid engine room of this iconic group. All the original edge with a new maturity and control.

The songs still emanate from the deep, dark end of the musical gene pool. The sarcastic, provocative lyrics of 'Smack Me Down', 'Get A Name' and 'Young People'; the musical fury of 'Stole it from Alpha Ray' and 'Evil Eye', the romantic melodrama of 'The Devil in You' and 'Whistle Clean', the deranged rock of 'Dragonfly' and 'Garbage Juice' – The Wreckery's range is as vast as it is ferocious. Whereas the band in the 80's were brash and angry this record finds the band conjuring quiet menace, sensual, intoxicating.

Hugo Race – vocals, guitars, keys

Ed Clayton-Jones - guitar, piano, synth, Mellotron, slide guitar , Solina string synth

Nick Barker – bass guitar and backing vocals

Charles Todd - the saxophones

Robin Casinader - Hammond organ, mellotron, mandolin and violin
Frank Trobbiani - the drums and percussion

Recorded by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne
Mixed by Hugo Race at Helixed
Mastered by Toto Strapporava at 3Faders Studio, Buenos Aires
Published by Peermusic

Retrofuturistische, skandinavisch-coole Sounds zwischen Indie, Electro und Dream-Pop der finnischen Formation Aves, unterstützt von zahlreichen Gästen wie JDFR, Lydmor, Charlotta Kerbs, IkeN, Markus Perttula, Jonsjooel, Conal Kelly und Leifur. 'Transformations' bietet einen tiefgründigen, aber dennoch freudigen Ausdruck von Freiheit und Veränderung. Um das Engagement für Offenheit und persönliche Meinungsfreiheit auszubauen, haben sich Aves mit Drehbuchautor Tim Koomen (Bloodrave) und Regisseurin Inka Rusi (Onerva Pictures) zusammengetan, um Musik für den Spielfilm 'Neon Cross' zu schreiben, der das erschütternde Thema der Konversionstherapie behandelt und sich für die Rechte von LGBTQIA+ einsetzt.

MIZU’s Forest Scenes is an experimental project at its core - an exploration of the vast possibilities of the cello (as a melodic instrument, as a seed for digital manipulation, as a percussive and resonant body) within a forest of electronically synthesized sounds, found samples, and vocals. Conceived and composed primarily over the course of two inspired weeks in Summer 2022 during a visit to São Paulo, Brazil (following the completion of MIZU’s debut Distant Intervals), Forest Scenes is a journey within oneself as much as a journey into the unknowns of various woodlands and uncharted, yet-to-be-explored territories. The title, while referencing Robert Schumann's hidden gem of a piano work Waldszenen, makes no overt musical odes to its Romantic predecessor; rather, it creates an entirely new narrative and language of its own. Cinematic in composition and production, the album relishes in darkness and mystery as much as the excitements and joys of pure exploration.

The vinyl is pressed as a colour in colour, pink & red disc.

400 copies purple wax! Fold Out Poster, remastered & remixed by Eroc Welcome to the definitive Vortex. The LP you're holding has been on a journey, and no, not just shipping. Mouth's second after 2009's Rhizome, Vortex was mostly recorded in 2011 and 2012 over five sessions in a small space where the band rehearsed. Material was pieced together intermittently over a period of 11 months with Chris Koller handling guitar, keys and bass and Nick Mavridis on drums. That's where it started. Two construction projects: the studio and a recording that would help define the course of the band in classic and melodic progressive rock, happening almost simultaneously in a creative meta-narrative that could easily stand as analog for the depth of pieces like "Into the Light" or the sprawling "Vortex" itself, which opens the record (new and old editions) in an encompassing display of impulse and fluidity Through experiments in atmosphere like "March of the Cyclopes" and toward the finish of "Epilogue," Mouth married sounds that in other contexts would come up disparate, like finding a hidden magnetism between two north poles. Most of the Vortex songs were created on the spot in the studio.There would be no way to know it at the time, but this process would result in a collection of songs with a broad range, within as well as between the component tracks. "Parade" taps Sly Stone on the shoulder and asks if he wants to party (he does), while the penultimate "Soon After_" resonates with its smoky, mellow-jazz vibe. "Vortex" itself happens over six movements and was put together across different sessions, while "Epilogue" happened in a day. Dissatisfaction with the original mix - and when an album has as much put into its arrangements as Vortex, that balance matters - would lead Mouth to offer Out of the Vortex in 2020 as a collection of alternate versions of pieces like "Mountain" and "Parade," as well as the unreleased "Ready" and "Homagotago's Paddle Boat Trip," the latter an apparent successor to a cut from Floating. But sometimes a thing nestles itself into the back of your head and just won't leave, and Mouth's pursuit of a finished Vortex would lead them into the studio again. Koller handled the remix himself in Oct. 2023, and in addition to helming the new master, krautrock legend Eroc (who drummed in Grobschnitt) brought a gong to mark the beginning of "March of the Cyclopes." Like a lot of the finer touches on this Vortex, be it a hashed-out stretch in the title-track built on a drum/bass jam or just pulling the vocals and Hammond down a bit in "Epilogue," the result is a stylistic flourishing that was there all along throughout the journey and now can finally shine as the band intended. - JJ Koczan / Dec. 2023

This is The Wreckery album that never was but always should have been!

At the crest of the Australian post punk era, The Wreckery played atmospheric rock with film-noir swagger and renegade attitude, carving a loyal following. Critics quickly positioned them as successors to a darkly exciting avant-garde Melbourne tradition previously marked out by The Birthday Party.

Early recordings for Rampant Records (1985-87) showcased The Wreckery's fusion of swamp blues and noir-jazz, delivered with a deadpan, reckless, and romantic cut (check out the 'Ruling Energy' video!). Creative tensions saw the band implode as they were reaching their peak with the Laying Down Law album (Citadel Records, 1988). Yet another great and dangerous rock 'n' roll band who became a danger to themselves.

35 years later, the new album Fake is Forever delivers on unfulfilled promises, revealing The Wreckery on fire like never before. The DNA is still there – the signature sound of Charles Todd's baritone sax; the scathing lyrics and vocals of Hugo Race; the distorted angular guitars of Clayton-Jones; the eclecticism of multi-instrumentalist Robin Casinader; Nick Barker and former Plays With Marionettes drummer Frank Trobbiani fuse as the solid engine room of this iconic group. All the original edge with a new maturity and control.

The songs still emanate from the deep, dark end of the musical gene pool. The sarcastic, provocative lyrics of 'Smack Me Down', 'Get A Name' and 'Young People'; the musical fury of 'Stole it from Alpha Ray' and 'Evil Eye', the romantic melodrama of 'The Devil in You' and 'Whistle Clean', the deranged rock of 'Dragonfly' and 'Garbage Juice' – The Wreckery's range is as vast as it is ferocious. Whereas the band in the 80's were brash and angry this record finds the band conjuring quiet menace, sensual, intoxicating.

Hugo Race – vocals, guitars, keys

Ed Clayton-Jones - guitar, piano, synth, Mellotron, slide guitar , Solina string synth

Nick Barker – bass guitar and backing vocals

Charles Todd - the saxophones

Robin Casinader - Hammond organ, mellotron, mandolin and violin
Frank Trobbiani - the drums and percussion

Recorded by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne
Mixed by Hugo Race at Helixed
Mastered by Toto Strapporava at 3Faders Studio, Buenos Aires
Published by Peermusic

In Berlin geboren, aber in der Kleinstadt Bad Salzuflen aufgewachsen, pendelt Mina zwischen den Welten und entdeckt in der CD-Sammlung ihrer Tante Schätze wie Joan As Police Woman und Nina Simone. Soul und Blues, die Hip-Hop-Kultur und die Revolte der großen Singer-Songwriterinnen stehen Pate, als sie an ihrer Debüt-EP ,Jaywalker" (2022) arbeitet, mit der sie als beste Newcomerin für den PopNRW Preis nominiert wird. Von ihrem Vater ,aus Versehen" zur Feministin erzogen - wie sie es einmal in einem ,Zeit"-Interview formulierte - bediente sie sich für ihren Künstlerinnennamen beim berühmten Cher-Zitat ,Mom, I am a rich man". Ihr Solidaritäts-Song ,Baba Said" geht während der Revolution im Iran schlagartig viral und verschafft der Sängerin über Nacht auf dem ganzen Globus Aufmerksamkeit. Das Musikalische mit dem Gesellschaftlichen zu verbinden war ihr schon immer ein Anliegen. Mit renommierten Festivalslots bei dem New Fall, Herzberg und Reeperbahn Festival und Supportshows für Maxim, Anna Calvi und Alice Merton zeigt Mina, dass sie ,mit 25 Jahren schon eine ganz schöne Powerfrau ist." (WDR 5, 2022) Mit ihrem Debütalbum ,Grown Up" stellt sich Mina Richman nun dem Erwachsenwerden. Mit schonungsloser Ehrlichkeit kehrt sie in ihre Kindheit zurück und verarbeitet streitende Eltern, kulturelle Entwurzelung und den gesellschaftlichen, wie auch ihren persönlichen Umgang mit ihrem Körper. Ehrlich. Queer. Selbstbestimmt. Auch musikalisch ist Mina gereift und stellt einen Sound mit Einflüssen aus Soul, Folk, Indie und HipHop vor, zeigt dass Amy Winehouse, Ronda oder die Alabama Shakes nicht spurlos an ihr vorbei gegangen sind, beleuchtet die schönen Seiten des Erwachsenwerdens: Mut und liebe Menschen, die einen begleiten. Das Album ,Grown Up" wird am 15. März 2024 über Windig erscheinen und anschließend auf einer großen Release Tournee vorgestellt.

Gimp Fist im Doppelpack! Die Alben "ISOLATION" und "UNIFICATION"! Jeweils 15 Songs auf jedem Album und wie nicht anders zu erwarten, liefert die North-East Oi! Division wie gewohnt Songs der Extraklasse ab! Den klassischen UK Skinhead & Punk Sound mit abwechslungsreichen Mischung aus straight forward Punkrock-Hymnen, druckvollen Singalongs und mitreißenden Oi!-Shoutern beherrschen die drei Engländer bis zur Perfektion! Abgerundet durch das ausgeklügelte Songwriting und treffsichere Lyrics von Sänger Jonny Robson hat sich die Band seit 2005 weltweit eine riesige Fangemeinde erspielt. Nicht umsonst sind Gimp Fist auf dem Rebellion-Festival in Blackpool jedes Jahr einer der Headliner und von Craig Charles in seiner BBC Radio 6-Sendung fast in den Punk-Adel erhoben worden. Limitiertes blaues Vinyl mit weißen Spritzern!

Zweimal Gimp Fist! Die Alben "UNIFICATION" und "ISOLATION"! Jeweils 15 Songs auf jedem Album und wie nicht anders zu erwarten, liefert die North-East Oi! Division wie gewohnt Songs der Extraklasse ab! Den klassischen UK Skinhead & Punk Sound mit abwechslungsreichen Mischung aus straight forward Punkrock-Hymnen, druckvollen Singalongs und mitreißenden Oi!-Shoutern beherrschen die drei Engländer bis zur Perfektion! Abgerundet durch das ausgeklügelte Songwriting und treffsichere Lyrics von Sänger Jonny Robson hat sich die Band seit 2005 weltweit eine riesige Fangemeinde erspielt. Nicht umsonst sind Gimp Fist auf dem Rebellion-Festival in Blackpool jedes Jahr einer der Headliner und von Craig Charles in seiner BBC Radio 6-Sendung fast in den Punk-Adel erhoben worden. Limitiertes rotes Vinyl mit blauen Spritzern!

Reverberations of Non-Stop Traffic on Redding Road is a duet in ambience by Pan American (Mark K. Nelson) and Kramer. This experimental record is 11 brief sojourns into the dream state, produced by Kramer (of Shimmy-Disc) and co-written with Mark K. Nelson (of Labradford, Anjou).This record is a brotherly and collaborative follow-up to Kramer's 2022 ambient excursions, "Music For Films Edited By Moths".On the making of this collaborative project, Mark K. Nelson said "It was an honor to work with Kramer. That we came out of it with a great friendship and a record that's unique to each of our histories and music that we're proud to share is a privilege and a joy."As Kramer has described, the result of this record is a work that begs listeners, both animal and human, to allow these beautiful landscapes to sing and speak and weep for themselves.Simply put by Kramer, "Please. Forget about words. Just LISTEN."

Marilyn Monroe (born June 1, 1926, Los Angeles, California, U.S.—died August 5, 1962, Los Angeles). Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She had a good voice that matched her seductive visual appeal, and her limited catalog includes effective interpretations of the work of such songwriters as Harold Adamson and Hoagy Carmichael, Harold Arlen and Johnny Mercer; Irving Berlin, Sammy Cahn and Cole Porter. Marilyn Monroe's singing constitutes a significant part of her overall appeal as a performer. On this album “Diamonds Are A Girl's Best Friend”," I Wanna Be Loved By You", “Happy Birthday (For President Kennedy) ”, “The River of No Return ”, “Two Little Girls From Little Rock (ft. Jane Russell)”. a.o. Limited Edition on Blue Transparent coloured vinyl.

Reverberations of Non-Stop Traffic on Redding Road is a duet in ambience by Pan American (Mark K. Nelson) and Kramer. This experimental record is 11 brief sojourns into the dream state, produced by Kramer (of Shimmy-Disc) and co-written with Mark K. Nelson (of Labradford, Anjou).This record is a brotherly and collaborative follow-up to Kramer's 2022 ambient excursions, "Music For Films Edited By Moths".On the making of this collaborative project, Mark K. Nelson said "It was an honor to work with Kramer. That we came out of it with a great friendship and a record that's unique to each of our histories and music that we're proud to share is a privilege and a joy."As Kramer has described, the result of this record is a work that begs listeners, both animal and human, to allow these beautiful landscapes to sing and speak and weep for themselves.Simply put by Kramer, "Please. Forget about words. Just LISTEN."

For Fans of Robyn, Tirzah, Charli XCX, Mica Levi, Jessy Lanza, Maurice Fulton. "Don't come closer, because I might hurt you boy / You don't deserve it, I treat you like a toy." So sings 28-year-old South East London musician Tatyana on "It's Over", the sad and squelchy electro-leaning title track to her second album. Primarily written and produced over the summer of `23, It's Over follows the loose trajectory of a not-quite-relationship from the year before. But, more than that, it's an album about modern dating, alienation and the confines of existing online. If you've heard Tatyana's name before, it's probably because she released a debut album back in 2022, Treat Me Right, co-produced with Metronomy's Joe Mount, a record she describes as more of a collaboration. For It's Over, Tatyana took control of every aspect of the album's creation, from the production (she co-produced it alongside Mikko Gordon) to the artwork and the technology she used throughout. "This record made me technically proficient because I really pushed myself," says Tatyana. "I figured out a lot of things that I didn't know before. In the past, I allowed others to lead the charge and I'm not doing that any more." Born in London, before moving to Russia, Holland and Singapore in her teens, before eventually studying music at Berklee College in the USA - which she attained on full scholarship - and then back to London, Tatyana imbues her music with both haywire technical proficiency and encyclopaedic, far-flung tastes. Mostly, though, her sound originates from a pure love of the dancefloor: Robyn, Tirzah, Mica Levi, Jessy Lanza, The Knife. You can hear these dance-pop influences everywhere, from the colourful synth shapes of "Control (ft. Dave Okumu)" to the crackling analogue hiss of "Nothing is True, Everything is Possible". Lean in a little closer, too, and you might catch the shimmer of a harp on every song (she's played harp since she was a little girl, and toured extensively as a professional session harpist). "I write about love, I write about romance, these are the things that interest me," says Tatyana. "That's what this record is. It's about this relationship that broke my brain and I had to write about it."

On his debut album "OK ROMANCE!", BLOWSOM has gained experience. He's more mature, and certainly stronger. He uses his new songs as a diary, this time recounting his break-up with the woman he thought was the love of his life, "NANCY".A true therapy, each track deals with the stages of reconstruction, where the acceptance of grief quickly transcends melancholy to draw out the strongest emotions; those that make you feel you've never experienced so intensely the joys and sorrows that build us up.The title track "OK ROMANCE!" is reminiscent of Radiohead's masterpiece "Ok computer".Where the legendary band criticize the growing grip of technology on humanity, BLOWSOM chooses to remind us that love is timeless.

Auf 'Good Morning Seven', dem zweiten Longplayer auf Polyvinyl, teilt das australische Duo Good Morning einige seiner bisher schönsten, komplexesten und ehrgeizigsten Songs und liefert ein Doppelalbum ab, das den Hörer in eine Welt unerschütterlicher Klangtiefe und klanglicher Meisterwerke einlädt. Aufgenommen in ihrem Melbourner Heimstudio, wurden die 17(!) Songs später in Joshua Tree, Kalifornien, von der Band und Tyler Karmen (My Morning Jacket, Sharon Van Etten, Devendra Banhart) gemischt. Good Morning traten 2018 in Erscheinung und spielten seitdem auf Festivals wie Roskilde, Nine Lives und Tropicalia.

Fado music’s fastest-rising stars, Portuguese singer Sara Correia’s acclaimed third album Liberdade is a triumph. Sara arrives in 2023 with the status of a phenomenon: she has travelled the world to great acclaim, nominated for a Latin Grammy along with her appearances as a judge on the hugely popular Portuguese version of reality singing competition The Voice. Sara Correia’s smoky and passionate voice captures love and power, sadness and joy, the city of Lisbon and the Portuguese soul. Inhabiting the space between traditional, dark Fado and its modern, lighter incarnation, her mellifluous toplines are influenced by French chanson.

On-Ly is the solo and collaborative moniker of pianist and producer Joshua Smeltink. Spanning genres, On-Ly's house and hip-hop history is ever-present and imbued with the hard-hitting post-bop jazz-rock of the 60's / 70's, harking back to bands such as Weather Report and Miles Davis Group (70s).

Reflecting on great leaders and great bands and what makes them essential; there is not too much more that On-Ly has considered for Wonderlust. Distinct in that it inaugurates his first release with a band; Wonderlust simultaneously pulls at the coat-tails of Santana's Moonflower, The Mars Volta and the original Herbie Hancock and the Headhunters all whilst serving you some Bob James on the side. The album takes on a facilitating role in the style of great psychedelic albums as one finds themselves at the whimsy of through-composed pilgrimages to soft, heartfelt song and back to sun-soaked heights woven with engaging arrangement, a one-of-a-kind production style and an incredible pedigree of musicianship.

In 2024, the singer and songwriter Oum is celebrating her fifteen-year career, with a live album, recorded in Marrakech, which plunges back into the magic of her three flagship records, here revisited in a different light. This seventh album, named Dakchi, which means "those things", is the opportunity for this daring off-roader to allow herself a suspended moment for a temporary assessment, a return to her roots. Dakchi is the first best-of live album, in which Oum brings together around ten titles from her repertoire woven throughout three albums with identities as singular as they are filled with a common sap: Soul of Morocco (2013), Zarabi (2015) and Daba (2019). It is the expression of typically Moroccan hybridizations - African, Berber and Andalusian - which irrigate the crossbreeding of Oum. It is also joyful and natural fireworks display of polyrhythms which galvanize her music : the Marrakech signature, playful, sunny, festive. Oum slips three unpublished pieces, including the sublime Arabic cover of the legendary bolero "Lagrimas Negras", "Toda la Gente", an introduction to "Mansit", signed by cuban musician Damian Nueva or the delicate "Intidhar", composed by Yacir Rami.

SOYUZ (СОЮЗ) stole our hearts back in 2022 when we released their album Force Of The Wind to critical acclaim. Here we proudly present the predecessor to that LP, the band’s sophomore long player from 2019 that was previously only available digitally. It captures a pivotal evolving period in the band's career, the recordings giving a snapshot of what would become their sound on Force Of The Wind, yet with echoes of avant-psychedelic-pop footprints from yester years.

Produced at a time when band leader Alex Chumak had moved from Minsk to Kyiv, torn between the need to try something new and the homesickness it brought about. Travelling back to Minsk almost weekly, Alex joined fellow band members Mikita Arlou and Stanislav Murashko to lay down II at Studio 42. The album captures these transient feelings, contextualised through the broad scope of influences the band were nourished by. From MPB to Ethio-Jazz and the Italian library soundtracks of Piero Piccioni and Piero Umiliani, the album shines with touches of joy from across the globe.

The opening track 'Verocai' is a tribute to the Brazilian maestro and 'Mirouze', whilst being named after a French favourite of the band, Jean-Pierre Mirouze, pays clear homage to Milton Nascimento and Lô Borges. A ghostly sample and invisible connection to music made miles away in a different era that has influenced and become part of the band’s lives. This is further reinforced in the album's enchanting closer, the aptly titled 'Nascimento', another nod to the great Brazilian musician and singer.

The beginnings of the cinematic, soul-laden jazz SOYUZ are now known for, are on display across the likes of ‘Lyric’ and 'Motive I'. The latter an orchestrated jazz instrumental with sensuous string sections, all of which were recorded on the warmth of a Studer reel-to-reel and waltzing Rhodes keys.

SOYUZ’s wide-ranging palate is further demonstrated in tracks like ‘Business Partners’ with its Krauty, kosmische, new wave production featuring Inturist, and the oh-too-short Anatolian-influenced interlude 'Corrida'. Elsewhere, 'Tezeta' and ‘ES-2 Jazz’ hint at the psychedelic haze of soul-funk, with the former featuring verses from Serbian rapper Petar Martic.

For this new physical and digital release, the whole album was mixed from scratch by Ryan Power before Joker worked his magic on the remaster. More excellence is to come from SOYUZ, but in the meantime, we are thrilled to present this essential recording from the band’s foundational years, mixed to a level that does it the justice it deserves.

LA/Joshua Tree based Sugar Candy Mountain deliver carefully built psychedelic odes in the style of Jacco Gardner and Tame Impala. Their breakout album 666 feels like something unearthed from a box of records found in your dad's garage, glowing wistfully with vintage inspired tones, rambling organs, fuzzed out guitars, shimmering keys and sprawling drums. Ash Reiter's woolly voice croons with the icy warmth of Francoise Hardy, while Will Halsey's tender Lennon-esque vocals uncoil with easy languor. Recorded with Jason Quever of Papercuts, the bands sophomore album sits comfortably between 60's Laurel Canyon bliss and more modern production of Dave Fridmann (Flaming Lips/Tame Impala). 666 is the band's first record after deciding to retire Ash Reiter's eponymous solo project to focus solely on Sugar Candy Mountain. With this shift Ash became more heavily invested in writing for the project. On 666 the band moves away from the grandiose production of their previous album, Mystic Hits, on which some songs featured over two hundred instrument tracks. The majority of basic tracking was done on Jason Quever's 16 track Ampex tape machine through a Neve console, and completed at the bands home studio. Under Quever's guiding hand, production on 666 is significantly simplified, favoring featuring strong melodies over the wildly playful orchestrations of Mystic Hits. Quever is also significantly featured on the record as a player, with his influence distinctly coloring the album.

Bite Down, the Merge Records debut of Rosali, finds acclaimed songwriter and guitarist Rosali Middleman in the midst of transition. Written after moving to North Carolina from her longtime home of Philadelphia, Bite Down is a searching, hungry record by an artist who is resolved to bite down on life, in all its horror and joy. She is joined here by Mowed Sound_David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion)_and in studio by Destroyer collaborator Ted Bois (keys). Bite Down is Rosali's second album working with Mowed Sound, and there is urgency and ambition in their collaboration_a band pushing each other not just to expand on what they've already done together, but to break through into altogether new territory. Among those joining Rosali and her band there is Dan Bejar of Destroyer, who waxes poetically on where she's been, where she's going, and how thrilling Bite Down is to experience: It's hard to talk about Rosali's music. Songs that reach outward like this, but then constantly disarm with their intimacy. What do you call such inner searching that is hellbent on rollicking? Songs that long for a sense of peace and songs that want romance, all on equal footing in the same plot of earth? Performed wild, but always centered around the incredible lyrical calm that is Rosali's voice. Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. (Jim captures the tone of this perfectly, again!) The calm of her voice over top of the band's raging_it is the emblem of songs that live to put themselves in harm's way. But it's not harm. It's just that you have to play hard to get at these goods. The calm of Rosali's voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That's their sound. The Mowed Sound. It's hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you'll find them paying real close attention to each other and exactly what the song demands. Maybe Fairport did this, maybe VU. It's a strange telepathic brew. Breezier songs like "On Tonight" and "Rewind" sound like they've fought their way to get to that sense of ease. Maybe that's the Mowed Sound "sound"_hard-won ease. Then add to that Ted Bois' patented Rhodes sleaze (see sinuous title track "Bite Down") steering the record into late-night corners; the incredible "Hills on Fire" (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, "My Kind" is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of "I've traveled through fire to deliver you these songs," but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that. By the final track, "May It Be on Offer," it is the prayer uttered as you hand yourself over to the world.

The New Mastersounds have been performing live and making funky organic-sounding records for 25 years. Starting out in Leeds, UK, having initially appealed mainly to old-school DJs and vinyl collectors, they managed to build fanbases across the USA, Japan & Europe.

The album comprises ten original instrumental tunes composed and performed at the keyboard player's studio in the heart of the English Peak District during a rainy week in July 2023. The tracks showcase the earthy essence of the band via its signature vocabulary of uncomplicated funk, soul-jazz, classic R&B and reggae-infused grooves.

In the UK selected tracks from the album will be featured on The Craig Charles Funk & Soul Show on BBC 6Music. An extensive US tour is planned for Spring 2024 in support of this release.

Eddie Roberts - guitar & tambourine

Simon Allen - drums

Pete Shand - bass guitar

Joe Tatton - organ and piano

Embark on a soul-stirring voyage with Oriana Ikomo as she unveils "THE HEALING," an EP that encapsulates the profound metamorphosis she has undergone in recent years. This musical journey is an ode to personal empowerment, and Oriana's resilience echoes through each note and lyric.

The EP unfolds with a powerful, ethereal introduction where the piano and Oriana's soulful voice are in the center. With a hauntingly beautiful atmosphere, she passionately repeats the mantra, "Be kind to the mothers, the sisters, the brothers, and the sisters," serving as both an affirmation and an importantmessage to the world.

Oriana's sonic palette is a rich tapestry of genres, seamlessly weaving together R&B, Gospel, Ambient, Jazz, Electronic, and Pop influences. Her sound throughout the EP is affirmed and robust, reflecting the strength she has discovered within herself.

In each track, Oriana showcases her exceptional versatility as an artist. From the heart-wrenching 'MAMA, LET'S GO' to the rhythmically charged 'IMMA PLEASER', she navigates effortlessly through different musical landscapes. The EP becomes a sonic experience, offering you a diverse and immersive experience.

"THE HEALING" is not just an EP; it's a musical expedition that invites you to delve into the depths of Oriana Ikomo's soul. Through her evocative lyrics and dynamic melodies, she invites you to witness the beauty that emerges from personal growth and self-discovery. Join Oriana on this transformative journey as she leaves an indelible mark on the intersection of R&B, Gospel, Ambient, Jazz, Electronic, and Pop, proving that empowerment and artistry go hand in hand.

Stop. Breathe. Reload. And dive into "El Paso, Elsewhere: The Album". Black Screen Records, Lost In Cult Records and Strange Scaffold are teaming up to bring the original songs of RJ Lake and LAKE SAVAGE to life on glorious vinyl. "El Paso, Elsewhere: The Album" takes aim at the key songs that punctuate the game's dark and introspective journey through haunted hallways - with heavy doses of hip-hop, electronica and Trace-Wave coalescing into a pellucid vision of influences and a deeply entrenched sense of identity, akin to the works of seminal hip-hop artists such as Kendrick Lamar and Open Mike Eagle. All tied together within the beautiful gold foil cover artwork by Bri Neumann. RJ Lake shared some of their thoughts going into the creation of this album: "Months before the first thing I ever started working on with Nelson Dog Airport Game (that's not the actual title, but it might as well be) even came out, he asked me if I knew anyone who could make a horror game. I knew a guy. A few months in, we did a touch-base about the music and mutually agreed that none of it at that point was totally working. It was good (look, I'm not going to put myself down here; even back in 2020, it kicked ass) but it wasn't RIGHT. He gave me a bunch of reference materials and kept pointing to them and saying: 'Okay, but these? These are RIGHT. These have the juice we want.' The thing every single song he showed me had in common, was that every one of them had vocals. After some back and forth, we both agreed: 'El Paso, Elsewhere' had to be a rap record as much as it had to be a game. So, three and a half years later, here we are. This is probably the most lavishly mixed thing I've ever made, full of weird, intricate beats, layered vocals from both myself and Nelson, lyrics that go everywhere from bleak to so-party-that-you'll-die to totally ridiculous, loads and loads of genre switch-ups, and absolutely zero subtlety. For 'El Paso, Elsewhere', I made a full score, but that's not what this is. This vinyl is a fucking album and it's sequenced like one. Play it loud!" Alongside the LP, explore what happens after the events of "El Paso, Elsewhere" within the diaries of James Savage - an exclusive in-world archive of the thoughts and feelings directly from the heart and soul of our protagonist within the liner notes. As well as a 5-page excerpt from the "El Paso, Elsewhere" original script and never before seen concept art by Demente Animation Studio.