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In August 2022, as her hook-filled triumph of a debut album ‘Garageband Superstar’ was soaring into the UK Top 40, she was grieving for her father, who’d died in the weeks ahead of the release. “A lot of stuff happened to me around that time – I lost my dad, I went through my first big break-up, I was living on my own for the first time,” she reflects now. It would have made sense if this intense period of grief, change and adaptation had left the 26-year-old needing to hit pause and focus on something other than music for a moment. Writing, though, became a way for her to deal with and continue processing the things she was going through. As she re-entered sessions in the studio, her second album ‘Girlfriend Material’ “just fell out” of her. “It felt like it needed to happen. I felt so much freer and a bit more capable of writing about certain topics than I did before,” she reasons. “It’s like, for the first album, someone sent me to Spain without me knowing any Spanish, and I’ve been like, ‘I’ll figure it out’. This time, I’ve had a year of learning Spanish, and I can ask for the time.”

In August 2022, as her hook-filled triumph of a debut album ‘Garageband Superstar’ was soaring into the UK Top 40, she was grieving for her father, who’d died in the weeks ahead of the release. “A lot of stuff happened to me around that time – I lost my dad, I went through my first big break-up, I was living on my own for the first time,” she reflects now. It would have made sense if this intense period of grief, change and adaptation had left the 26-year-old needing to hit pause and focus on something other than music for a moment. Writing, though, became a way for her to deal with and continue processing the things she was going through. As she re-entered sessions in the studio, her second album ‘Girlfriend Material’ “just fell out” of her. “It felt like it needed to happen. I felt so much freer and a bit more capable of writing about certain topics than I did before,” she reasons. “It’s like, for the first album, someone sent me to Spain without me knowing any Spanish, and I’ve been like, ‘I’ll figure it out’. This time, I’ve had a year of learning Spanish, and I can ask for the time.”

"Multi-platinum singer, songwriter and TV personality Alesha Dixon celebrates her debut album Fired Up with a special edition yellow vinyl release. Strictly limited to just 500 copies, the record features UK hit singles “Lipstick” and “Knockdown”.
Alesha shot to fame as founding member of Brit nominated R&B girl group Mis-Teeq, garnering 2 multi-platinum albums and 7 top 10 singles, before embarking on a highly successful solo career. She is currently a judge on the highest rated show on British television, Britain’s Got Talent. Formats; Pink LP, Yellow LP."

"Multi-platinum singer, songwriter and TV personality Alesha Dixon celebrates her debut album Fired Up with a special edition yellow vinyl release. Strictly limited to just 500 copies, the record features UK hit singles “Lipstick” and “Knockdown”.
Alesha shot to fame as founding member of Brit nominated R&B girl group Mis-Teeq, garnering 2 multi-platinum albums and 7 top 10 singles, before embarking on a highly successful solo career. She is currently a judge on the highest rated show on British television, Britain’s Got Talent. Formats; Pink LP, Yellow LP."

“Suddenly it’s ok to be a square” - Twelve Cubic Feet, a clear case of a band which should have been bigger than The Beatles but, for some malignant reason, became a blurry footnote in the history of underground music. Formed from the ashes of Exhibit A in the Spring of 1981, the band disappeared leaving no trace shortly after 1983. During their brief existence they released a series of stickers, a monthly newsletter, two cassette tapes and their incomparable ‘Straight Out Of The Fridge 10”, which was at the very top of our dream records to release since we started Sealed Records. Twelve Cubic Feet released this perfect 22 minute 7 track album in 1982 on Namedrop Records (home to Doof, Philip Johnson and Cold War and ran by Philip Johnson and 12CF guitarist Paul Platypus). It is a glorious scratchy DIY indie pop gem with a post punk spirit. The sound is naive and fragile yet very addictive. Based around jangly clean guitars, drums that are on the edge of falling apart, haunting keyboards and a female vocalist that has a knack for a golden pop hook. Hard not to fall in love with. It’s beautiful with a ragged charm that deserves to be heard by the masses. Anarcho Indie pop anyone?? The band played a lot of the anarcho punk haunts of the early 80’s - Autonomy Centre in Wapping, Centro Iberico and London Music Collective and were equally heralded by punks (Andy Martin from The Apostles released one of their tapes) and the DIY music crowd. The line up changed after the 10” and they recorded a Joe Foster produced demo and fell in with Alan McGee's Communication Club crowd. Twelve Cubic Feet burned bright for just a handful of years and now it’s time to burn bright again. Hopefully this reissue will help them reverse one of their sticker statements “today we’re nobodies but tomorrow you’ll know who we are”. This reissue comes with the 16 page booklet that came with the original 10". Twelve Cubic Feet feature members who did time in bands such as Khmer Rouge, The Reflections, Solid Space, Doof and What Is Oil? Amongst others. For fans of the Marine Girls, Girls at our Best, Hornsey At War, Swell Maps and Postcard Records

Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk—and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements—guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months—a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. — jj skolnik.

Funeral For Justice is the new album by Mdou Moctar. Recorded at the close of two years spent touring the globe following the release of 2019 breakout Afrique Victime, it captures the Nigerien quartet in ferocious form. The music is louder, faster, and more wild. The guitar solos are feedback-scorched and the lyrics are passionately political. Nothing is held back or toned down. The songs on Funeral For Justice speak unflinchingly to the plight of Niger and of the Tuareg people. "This album is really different for me," explains Moctar, the band"s singer, namesake, and indisputably iconic guitarist "Now the problems of terrorist violence are more serious in Africa. When the US and Europe came here, they said they"re going to help us, but what we see is really different. They never help us to find a solution."

Funeral For Justice is the new album by Mdou Moctar. Recorded at the close of two years spent touring the globe following the release of 2019 breakout Afrique Victime, it captures the Nigerien quartet in ferocious form. The music is louder, faster, and more wild. The guitar solos are feedback-scorched and the lyrics are passionately political. Nothing is held back or toned down. The songs on Funeral For Justice speak unflinchingly to the plight of Niger and of the Tuareg people. "This album is really different for me," explains Moctar, the band"s singer, namesake, and indisputably iconic guitarist "Now the problems of terrorist violence are more serious in Africa. When the US and Europe came here, they said they"re going to help us, but what we see is really different. They never help us to find a solution."

'Letters From A Black Widow' ist ein definitives Statement der Beharrlichkeit und Befreiung der mit einem Grammy ausgezeichneten Sängerin/Songwriterin Judith Hill. Die 12 Songs offenbaren meisterhaft Themen, die sie bisher nur in Therapien und Albträumen erforscht hat. Geschichten über Widerstand, hart erkämpfte Klarheit und Erlösung werden durch ein unerschütterliches Soul/Funk/Blues-Fundament erzählt, das von trotzig-schöner Kraft mitschwingt. Als Backgroundsängerin für Michael Jackson, Stevie Wonder & Prince brillierte Hill in der mehrfach prämierten Netflix-Dokumentation '20 Feet From Stardom' (2013) über die Sänger*innen hinter den Stars.

Holland, Dozier and Holland are arguably the greatest songwriters ever. More prolific than Lennon and McCartney, they shaped “the Sound of Young America” and propelled the Motown sound in the mid-1960s into a creative stratosphere unmatched by any other independent music label. Their trademark catchy teenage love songs were delivered energetically by previously unknown Detroit groups like The Supremes, the Four Tops, Martha & the Vandellas & Marvin Gaye. Although synonymous with Berry Gordy’s Motown, it was their departure from Motown after a stand-off strike in 1967 and a brutal legal battle that led them to run their own group of labels, Invictus, Hot Wax and Music Merchant. This compilation is a definitive look at this period in history, exploring how H-D-H, under a new guise ‘The Creative Corporation’, drove the next generation of soul music in a myriad of different ways, towards funk, underground disco and jazz. Featuring 55 tracks, this collection documents HDH’s creativity and growth over this seminal 8 year period. During this time the trio developed new artists to rival Motown’s success such as Chairman Of The Board, Freda Payne, Honey Cone, Glass House, Flaming Ember, 8th Day, Laura Lee & Eloise Laws. The collection is complete with a detailed depiction of this period in history by award winning author Stuart Cosgrove who wrote the Soul Trilogy, a series of books on soul music and social change - Detroit 67: the Year That Changed Soul, Memphis 68: The Tragedy of Southern Soul which won the Penderyn Prize, as Music Book of the Year in 2018, and Harlem 69: the Future of Soul. Stuart’s notes detail the relationship with Motown in the final days, the immediate fall out after the trio left Motown and the creation of the new labels Hot Wax, Invictus & Music Merchant

Nach zwei von der Kritik hochgelobten Alben, zahlreichen Mini-LPs, EPs und Singles kehrt das Londoner Trio Girls In Synthesis mit seinem neuen Statement, dem dritten Album "Sublimation", zurück. Wenn du dachtest, du kennst GIS bereits, dann irrst Du Dich diesmal vielleicht.GIS gehen weiter und haben eine düstere und intensive, aber dennoch melodische Sammlung von Tracks erschaffen, ihre Interpretation einer kantigen Pop-Platte. Der Opener 'Lights Out' besteht aus zwei Teilen; der erste ist ein Barrett-eskes Gesangs- und Gitarren-Lamento über Schlafmangel, das über eine von 'Faust Tapes' beeinflusste Freeform-Noise-Sektion in einen stampfenden, hochintensiven Showdown übergeht. In Songs wie "Deceit", "We Are Here" und "Picking Things Out Of The Air" zeigt sich die Gruppe von ihrer melodischsten Seite, indem sie einige der chaotischen Noise-Elemente ihres charakteristischen Sounds auf ein Minimum reduziert und leidenschaftliche, schwebende Vocals und Keyboard-Melodien in den Vordergrund stellt. Ihr Markenzeichen, das treibende Schlagzeug und der Bass, ist besonders bei den Stücken "I Judge Myself" und "Corrupting Memories" zu hören, wird aber durch intensive, vom frühen Gothic beeinflusste Keyboardlinien ergänzt, die Einflüsse aus den späten 1970ern/frühen 1980ern mit der zeitgenössischen GIS-Intensität in Einklang bringen. Die langsam sich steigernden Tracks 'I Was Never There' und 'The Prefix' bauen mit spärlichen Arrangements und kreisenden, spiralförmigen Outros Spannung und Atmosphäre auf, während die Band im abschließenden 'A Damning Lesson' zu ihrer intensiven, knüppelnden Soundwand zurückkehrt, nur um sie in eine verschwommene, hallende Drum-Machine zu schicken, die an die frühen Arbeiten von Cabaret Voltaire erinnert. Nächstes Kapitel, nächstes Level für GIS!

Nach zwei von der Kritik hochgelobten Alben, zahlreichen Mini-LPs, EPs und Singles kehrt das Londoner Trio Girls In Synthesis mit seinem neuen Statement, dem dritten Album "Sublimation", zurück. Wenn du dachtest, du kennst GIS bereits, dann irrst Du Dich diesmal vielleicht.GIS gehen weiter und haben eine düstere und intensive, aber dennoch melodische Sammlung von Tracks erschaffen, ihre Interpretation einer kantigen Pop-Platte. Der Opener 'Lights Out' besteht aus zwei Teilen; der erste ist ein Barrett-eskes Gesangs- und Gitarren-Lamento über Schlafmangel, das über eine von 'Faust Tapes' beeinflusste Freeform-Noise-Sektion in einen stampfenden, hochintensiven Showdown übergeht. In Songs wie "Deceit", "We Are Here" und "Picking Things Out Of The Air" zeigt sich die Gruppe von ihrer melodischsten Seite, indem sie einige der chaotischen Noise-Elemente ihres charakteristischen Sounds auf ein Minimum reduziert und leidenschaftliche, schwebende Vocals und Keyboard-Melodien in den Vordergrund stellt. Ihr Markenzeichen, das treibende Schlagzeug und der Bass, ist besonders bei den Stücken "I Judge Myself" und "Corrupting Memories" zu hören, wird aber durch intensive, vom frühen Gothic beeinflusste Keyboardlinien ergänzt, die Einflüsse aus den späten 1970ern/frühen 1980ern mit der zeitgenössischen GIS-Intensität in Einklang bringen. Die langsam sich steigernden Tracks 'I Was Never There' und 'The Prefix' bauen mit spärlichen Arrangements und kreisenden, spiralförmigen Outros Spannung und Atmosphäre auf, während die Band im abschließenden 'A Damning Lesson' zu ihrer intensiven, knüppelnden Soundwand zurückkehrt, nur um sie in eine verschwommene, hallende Drum-Machine zu schicken, die an die frühen Arbeiten von Cabaret Voltaire erinnert. Nächstes Kapitel, nächstes Level für GIS!

The Cat's Miaow return to World Of Echo with Skipping Stones: The Cassette Years '92-'93, their second compilation for the imprint, and the fourth in a loosely defined series of reissues associated with the group (also including The Shapiros' Gone By Fall: The Collected Works of The Shapiros and Hydroplane's Selected Songs 1997-2003). It's a smart selection of songs by one of Australia's finest independent pop music groups, whose initial run, across the nineties, was as mysterious as it was bewitching. A generous double album featuring thirty-five songs drawn from The Cat's Miaow's history, Skipping Stones lets listeners in on a bunch more secrets. The four cassettes that Skipping Stones draws from - Little Baby Sour Puss, Pet Sounds (both 1992), From My Window, and How Did Everything Get So Fucked Up (both 1993) - were released or assisted by Toytown, a Melbourne cassette label of rare taste, savvy and intelligence. Diving into that two-year period, Skipping Stones is full of surprises, rich with unexpected and inspired detours, while reminding everyone just how clear and distinct The Cat's Miaow's music was from the very start. Looking in from the outside, they always felt like a group that knew just what they were doing, but intuitive as they are, they weren't forcing anything: these songs always sound exactly what they need to be, rough edges, playful moments and all. The Cat's Miaow may have been bedroom dreamers, but their songs were richly informed, with the sweetest of girl-pop moves sashaying into walls of tremolo-d and distorted guitar, jangling six strings tangling with melodic bass that's pure Peter Hook/Naomi Yang, while the gentle trickle of a drum machine or the earthy twitch of brushes on drum skins provided the spine for Kerrie's and Bart's lovely, unforced singing. This double LP on World Of Echo feels like the very core of the thing - some of the most heartbreakingly beautiful, effortlessly lush and deeply moving pop music you're likely to hear. RIYL: Hydroplane, The Cannanes, Magnetic Fields, Belle and Sebastian, Jesus and Mary Chain

Repress of Child's EP "I". "If you're familiar with CHILD and are particularly a sucker for the keyboard, I'm afraid I've got some bad news - It's mostly gone. Fear not, though, as their fuzz-infused blues is alive and kicking and is sure to continue to appeal to a lot of fans of different genres. The three songs follow as their lengths increase, starting with "Age Has Left Me Behind", clocking in at 03:47 and ending with "Going Down Swinging", a 10:20 jam which definitely raises the temperature and which I'm confident will be talked about for a long time. In-between, one can find "The Other Song", which is not just another song, but a sublime cover of Spirit's "The Other Song", originally released as part of the album "Son of Spirit" in 1975. A great tune started only by Michael (drums) and Danny (bass), to whom Mathias and his guitar join after around 20 seconds, and later with a lovely vocal melody which stands throughout the whole song - the less fuzzy song of the EP but definitely a pure beauty (so is the original)." - More Fuzz

Orange vinyl, limited to 350 copies. Repress of Child's EP "I". "If you're familiar with CHILD and are particularly a sucker for the keyboard, I'm afraid I've got some bad news - It's mostly gone. Fear not, though, as their fuzz-infused blues is alive and kicking and is sure to continue to appeal to a lot of fans of different genres. The three songs follow as their lengths increase, starting with "Age Has Left Me Behind", clocking in at 03:47 and ending with "Going Down Swinging", a 10:20 jam which definitely raises the temperature and which I'm confident will be talked about for a long time. In-between, one can find "The Other Song", which is not just another song, but a sublime cover of Spirit's "The Other Song", originally released as part of the album "Son of Spirit" in 1975. A great tune started only by Michael (drums) and Danny (bass), to whom Mathias and his guitar join after around 20 seconds, and later with a lovely vocal melody which stands throughout the whole song - the less fuzzy song of the EP but definitely a pure beauty (so is the original)." - More Fuzz

I Know I'm Funny haha is Webster's most realized manifestation yet of this emotional and musical alchemy. Continuing to bloom from her 2019 breakthrough and Secretly Canadian debut Atlanta Millionaires Club, Webster's sound draws as much from the lap-steel singer-songwriter pop of the 1970s and teardrop country tunes as it does from the audacious personalities of her city's rap and R&B community. The album began for Webster with the stirring ballad "In a Good Way," as in "You make me want to cry in a good way"_an instantclassic Faye Webster one-liner. It's beguilingly simple, the kind of melody and arrangement that seem to have existed forever. A sense of relief charges the neo-psychedelic pop of "Cheers," where Webster experiments with an overdriven guitar tone. She also collaborated, on "Overslept," with the Japanese artist Mei Ehara, who she calls the biggest influence on her new music. Webster's music is full of personality. Many of her songs contain bits of girl-group-esque talk-singing, which color her atypical storysongs. Webster says she's in a growth mindset, pushing herself to learn more, to be more vulnerable. "Growth is really important to me," she says. "I hope people will relate to my songs, and not just be like `this is a good record' but `this makes me feel something. This is making me think differently, this is making me question things.' I told myself a few years ago that I was going to be more honest in my songwriting, that honesty is the best route to take with music. If I have a voice and people are listening to me, I'm not going to waste it."

Warehouse Find! Test Pressing

Pattern Select aka Milton Jackson and Show-B have gone well and truly back to the raw on this, their first collaborative work together and debut EP for Delusions Of Grandeur. Both producers have been busy on some top quality projects just recently with Milton Jackson remixing Recloose for Planet E and Show B producing for Robert Owens on Compost. The pair met at a party in Munich, promptly fell in love, and soon enough Pattern Select was born.

Kicking off Tale Of The Tape sees the pair go deep n dark on this low-slung groove where demonic laughter rides the driving hats and insesant crashes until the filtering arpeggiated synth line joins the fun. Tale Of The Dub gives us a stripped back, dub-infused version which goes a little lighter on the craziness of the first version but without losing any of the deep, hypnotic funk.

Cottam is a producer who will need little introduction seeing as he's been getting hyped from all corners of the electronic scene following a series of untitled vinyl only EP's on his own Cottam label. Brilliant releases on Story and Use Of Weapons followed, and now we're very happy to have him bring his own unique take on house music here on this remix of Tale Of The Tape.

Finally, another original entitled Matrix drops the bpm's further for a lazy, hazy, hiphop inspired jam with deep atmospherics and simple rolling groove.

Hana Vus "kontemplativer Indie-Pop fängt die Desillusionierung des jungen Erwachsenseins ein", schreibt der NME. Ihre neue LP Romanticism unterstreicht dieses Gefühl als ein Coming-of-Age-Werk, das die Vergänglichkeit der Jugend betrauert und nach einem Sinn sucht. Die in LA geborene Songwriterin macht seit der High School Musik und hat bereits ein Debütalbum und mehrere EPs mit glühenden, grüblerischen Hymnen voller Abstraktion und Emotionen veröffentlicht. Bei ihren früheren Arbeiten hat Vu immer wieder Feedback erhalten, aber für die Entwicklung von Romanticism hat sie sich von der Außenwelt abgeschirmt, um ihre eigene Vision zu bewahren. Das Ergebnis ist eine einheitliche Sammlung von Songs, die vor Tiefe und Intimität nur so strotzen. Die üppigen und lauten Songs erinnern sowohl an gitarrenlastigen Indie-Rock der späten Achtzigerjahre als auch an futuristisch anmutende Synthie-Bass-Schichten. Sie pulsieren vor Bedeutung und schütteln sich vor Verspieltheit, getragen von ihrer kraftvollen, sonoren Stimme und unterstrichen durch das von der Romantik inspirierte Artwork der Platte.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her." Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson"s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus. But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment." While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha. Over the past decade, she"s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson"s 2016 breakout single "Work." Additionally, she"s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there"s no sound Wilson can"t adapt to and sprinkle her cyan-colored magic over.

Before "Svengali" came to describe any vaguely megalomaniacal personality in the entertainment industry-from the genuinely evil Phil Spector and Colonel Tom Parker all the way to their Diet Rite equivalent Jack Antonoff-he was a literary character who was probably the prototypical megalomaniacal personality in the entertainment industry. The antagonist in the famously mid and otherwise unmemorable 19th century novel Trilby, Svengali is depicted as a machiavellian manipulator who transforms the guileless titular character into a famous singer. Mo Troper's Svengali is a deeply psychological record with the throbbing heart of a fragile giant. It is a meditation on evil-ness. At certain points across Svengali's 13 tracks, Troper relishes his own innate evil-ness; just as often he's repulsed by it. Like any Mxo Troper album, Svengali is a collection of razor-sharp pop songs that sound like they were written yesterday, or in 1990 by Paddy McAloon, or in 1966 by Brian Wilson, or in 1936 by some unheralded Tin Pan Alley great. Troper has always belonged in the Pop Hook Hall of Fame but his latest and sixth LP of original material is, lyrically, a "look, there are levels to this" moment.

About S. Raekwon & Steven "Steven is the sound of me holding a mirror up to and critically reflecting on who I am: the good, the bad, the ugly. It's about trying to understand the multitudes within me." - S. Raekwon Steven Raekwon Reynolds performs as S. Raekwon, but his second LP is simply called Steven. Across ten tracks of furious and subtly strumming guitars, plodding bass riffs, and whispering revelations, S. Raekwon's newest album strips back sonic and personal layers to present his most vulnerable, yet authentic self. Born in Buffalo and now based in the East Village of New York City, Steven wrote, produced, engineered, and mixed everything on the record, in addition to playing every instrument except the drums. He packed up a rental car with all his gear and returned to his fiancée's parents' home in Southern Illinois, where they rode out the pandemic and where he recorded half of Where I'm at Now. The house proved to be a nontraditional recording space, but one that provided plenty of physical space as well as spiritual room for experimentation. Steven and drummer Mario Malachi, longtime friends since their days at college in Cleveland, Ohio, spent a week in July 2023 transforming the living room into a makeshift studio, rearranging furniture, sitting face-to-face in front of a mic, and taping songs in single takes. It was a new way of working together, with no demoing or pre-production; Mario hadn't even heard the songs before getting there, which created a sense of spontaneity and improvisation. Where his debut explored his past - longing for a connection to his father and the Black side of his family and wrestling with his identity while being raised in a household by a single, white mother - Steven looks inward. Steven is loosely structured in three parts: Part 1 is fast and energetic, exploring the concepts of rage, anger, jealousy. Part 2 is slow and dynamic, with themes of ugliness, disappointment, embarrassment. Part 3 is something gentler, a moment of contentment and clarity. Steven is a portrait of strengths and weaknesses, flaws and fulfillments.

"Beethoven On Speed is the second studio album by heavy metal guitarist and violinist The Great Kat. As a Juilliard School alumnus, it’s no surprise that she’s best known for her thrash metal interpretations of well-known pieces of classical music. Her classical background, technical skills and self-promotion are sometimes compared to Yngwie Malmsteen. The 1990 album Beethoven on Speed includes the track “Beethoven Mosh (5th symphony)”, which remains one of her most popular tracks to date. For the first time since its original release, Beethoven on Speed is being reissued. A limited edition of 1000 individually numbered copies on translucent red coloured vinyl is available, which includes an insert.

"A Dream Is All We Know" lässt die auf Nylonsaiten basierenden Arrangements von "Everything Harmony" hinter sich und kehrt zu dem Stil zurück, den die Brüder erstmals auf "Do Hollywood" vorstellten. "A Dream Is All We Know" verbindet die Theatralik und den Glam-Rock des Lennon-McCartney-Songbuchs mit zeitgenössischen Erzählungen, explosiven E-Gitarren-Riffs sowie den sonnigen Harmonien und ausgeklügelten Aufnahmetechniken der Wilson-Familie und bringt die Liebe zum Detail und die Fähigkeiten der Brüder als Multiinstrumentalisten zum Vorschein. Mit fast einem Jahrzehnt an Songwriting auf dem Buckel zeigt "A Dream Is All We Know" deutlich die Entwicklung der D'Addario-Brüder von rehäugigen Teenagern, die Musik machen wollten, die an ihre Helden erinnert, zu jungen Männern, die die Bühne mit PHOENIX, BLEACHERS, ARCTIC MONKEYS und ihrem musikalischen Helden TODD RUNDGREN teilten, von ELTON JOHN, THE ZOMBIES, GERARD WAY und IGGY POP gelobt wurden und sich zu visionären Songwritern und Arrangeuren entwickelten, deren Werk selbst eine Quelle der Inspiration für andere Künstler ist. "A Dream Is All We Know" wurde komplett mit historischem Equipment aufgenommen und von Brian und Michael selbst abgemischt und gemastert. Das Album zeigt THE LEMON TWIGS, wie sie nach Jahren der Perfektionierung ihres Handwerks mit einem neu entdeckten Sinn für Intuition spielen.

Firnis DC lands on Perko’s FELT imprint with Firnis der Civilisation, an eponymous collection of 9 tracks that transmit the enigmatic meditations of its author; discordant trudges of twilight romanticism from pastures far beyond.

The uncommon threads that bind FELT intersect neatly at Firnis DC. Their previous outings as тпсб, for Blackest Ever Black, Climate of Fear and AD93, and a pair of The News Cycle releases, were cult hits of uncanny ambient techno and jungle volleys interpreted through lenses of outsider electronics. A snug fit, in other words, for Perko’s unpredictable stable.

On Firnis der Civilisation, we find things paired back further than before. Its 9 tracks play out like beatless symphonies of wayward folk music who’s basement transmissions have been intercepted from the ether; a stirring limbo of grotty emotions that inspire and conflict in equal measure. Tracks offer brief portals into zones of sampladelic oddities, haunted vocals and scatty euphoria that is collectively driven by an (un)willingness to straddle familiar pastures. By the time you reach its finale gut-punch of Dreifach Fiktierung’s twitching breakcore and Innozenz Jahr funk rollage, you are offered a light at the end of a rather odd tunnel that you never quite understood how you got there in the first place.

Death Is Not The End präsentiert eine limitierte LP-Pressung ihrer Sammlung unheimlich-brütender Flamenco-Aufnahmen aus den frühen 1900er bis in die späten 1930er Jahre. Diese Überblick konzentriert sich auf den Cante Jondo-Stil ("tiefer Gesang"), der als ursprüngliche Manifestation des Flamenco-Gesangs gilt – aus dem andere Elemente wie Tanzen und Spielen hervorgingen – und erfasst und dokumentiert Titel der frühesten aufgenommenen Stars dieser Form.

Who is Leon Dinero? From whence did he come? The soulful singer dropped his first single this past June, tearing up a ska version of Lee Fields & Sugarman 3's classic "Lover Like Me". Backed by The Frightnrs, and with Victor Axelrod in the producer's chair Leon returns with "If You Ask Me", a gorgeous piece of wax that draws inspiration from the deep vaults of Jamaican Rocksteady.

Originally penned for The Frightnrs' debut long player but never tracked as such, this version showcases Dinero's timeless vocal delivery - his voice etched with honey-dipped imperfections that call to mind the classic vocals of Alton Ellis and Hopeton Lewis. Gracing the flip-side is"Bandits", a lyrical takedown of the continuing gentrification of New York City that rides the A-Side's instrumental in pure Jamaican DJ style. Vocal duties for this stellar side are brought to you by Screechy Dan, who's often described as the glue that holds the NYC reggae community together.

Beyond his classic tunes like"Pose Off" and "Big Bills", Screechy has nurtured generations of young artists, sound systems and selectors, forging deep ties that bind Jamaica to New York and veteran artists to the new school. Victor Axelrod expertly handles the production by employing the rhythmic powerhouse that is The Frightnrs to help mine the sweetness of rock steady for the A-side whilst tempering it with the drum and bass toughness of classic rub-a-dub for the flip. We're looking forward to much more to come from this extraordinary group of musicians!

The VA theme on the LP series under the name Untitled || continues to explore the subject of 8 different minds from different corner of the globe connected by the principle and love for the audio frequencies in line with Exarde. Featuring two artists which already dear to label due to the fact of past releases on it and six new ones who have become instant people of love and admiration for me.

From the more deep and mellow to the higher pressure for the brain this double disc shall meet your demands. The art theme of this one is blobs & globs from space, whether they are emerging, fighting with their own shadow, or just simply floating and co-existing. This shall conclude my rambling for this body of work as I go and put these eight essences through my ear canals once again. Great deal of thanks for the hard work and dedication of these talented conductors.

Based near Nantes & just 30 years old, Dj King Flow has almost 20 years of beatmaking under his belt, with numerous trips back and forth between France and the USA. His many travels have enabled him to network with a large number of independent MCs.
Today he presents Halftime, his first project on vinyl, which speaks volumes when you see the many names of hip-hop legends such as Rase Kass, O.C., Tragedy Khadafi, Goodie Mob, Shabaam Sahdeeq and other lesser-known but equally talented names!
The osmosis operates on King Flow's beatmaking style, with a mix of 90s, Sudist and boombap influences!

A new vinyl bomb for all lovers of good hip-hop music !!!!

Nuron continues to make his mark on De:tuned with the long-awaited new 3-track EP 'Blanchimont'. Nurmad Jusat aka Nuron, one of the key figures from the golden era of 90s electronic music and UK techno, extends his legacy by swinging back into gear. On 'Blanchimont' Nuron combines his signature drum programming with uniquely lush and highly emotional synth arrangements. Futuristic aesthetics and mystic sounds to take over your senses. New and essential material!

Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Nuron continues to make his mark on De:tuned with the long-awaited new 3-track EP 'Blanchimont'. Nurmad Jusat aka Nuron, one of the key figures from the golden era of 90s electronic music and UK techno, extends his legacy by swinging back into gear. On 'Blanchimont' Nuron combines his signature drum programming with uniquely lush and highly emotional synth arrangements. Futuristic aesthetics and mystic sounds to take over your senses. New and essential material!

Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

"Two Sevens Clash" became a huge hit in reggae circles both in Jamaica and abroad. The prophecies mentioned in the song's lyrics so captured people's imaginations that on July 7, 1977 - the day the sevens clash completely (seventh day, seventh month, seventy-seventh year) - a silence fell over Kingston; many people did not go outside, stores were closed, an atmosphere of foreboding and expectation pervaded the city. The song begins with a plaintive, harmonious refrain. Culture sang a new kind of hymn with sublime melodies, prophetic lyrics that connected great historical events to present suffering, complex, driving rhythms that made the hymns danceable, and wonderfully subtle arrangements that transformed the timeless simplicity of the hymn-like melodies into sophisticated statements. Two Sevens Clash, Culture's first LP, set a new standard for reggae music, indeed for pop music the world over. Culture went on to record a series of outstanding albums that are remarkable in their consistency, but Two Sevens Clash remains their masterpiece - an inspired work of enduring power.

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band's story, Sonic Youth's `Walls Have Ears' appeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité on par with elements of side B of `Master Dik' to come later. With a bit of complexity to the situation of the release itself. But that's a different story. Deleted as quickly as it appeared then, it's now issued for the first time officially under the band's auspices. In this 2LP set brimming with primitive classics like "The Burning Spear", "I Love Her All The Time", "Death Valley 69" and "I'm Insane" (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board. The first two sides of `Walls' are massive, cavernous, with newly-drafted drummer Steve Shelley in tow taking on past tunes and unveiling "Expressway To Yr Skull" in glorious form. They tear it up especially on one trash-fi excerpt of "Blood On Brighton Beach" (actually "Making the Nature Scene") from a legendary outdoor gig November 8th where Moore, Gordon and Ranaldo's guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame. The record's second slab spotlights an April 1985 pre-Shelley gig supporting Nick Cave at London's Hammersmith Palais and was one of the final appearances live of Bob Bert, again featuring some molten takes on "Brother James", "Kill Yr Idols", "Flower" (Iisted as "The Word (E.V.O.L.)"), "Ghost Bitch" and others. The emergence of the Jesus and Mary Chain in the world gave Brit scribes a lazy and easy parallel, addressed here with a wink with the inclusion of "Speed JAMC", another offstage tape interlude playfully scrolling through one of that band's songs at fast-forward. This document remains an essential representation of some lean and mean years of the quartet's throttling march out into the world in the mid eighties. Coloured vinyl, one red, one yellow LP.

Lauded experimental death metal band Dååth has emerged from its 13-year hiatus with a new album, The Deceivers, at once a devastating reminder and giant leap forward that showcases the technical wizardry and brutal intensity that the Atlanta, Georgia-bred band is capable of. After 12 years on hiatus, Dååth found their ideal new home at Metal Blade, signing to the label and wasting no time creating new music, cover songs (Death’s “The Philosopher” and Morbid Angel’s “Where the Slime Live”) and reissuing previous albums. The first new song from the revitalized Dååth, “No Rest No End” (released ahead of the album in February, 2023), features guest solos by Spiro Dussias and now-Daath member Trujillo, who impressed Levi so much while guesting on the track that he was invited to join the band. Metal Injection called the song “massive,” with Sean Z. saying, “The first time I heard 'No Rest No End' in demo form, I was blown away! I immediately knew exactly what I wanted to do vocally. The words practically flew off the page. During every step of the creation process, the song was an obvious masterpiece.” The band began their journey in 1999 and stayed busy for just over a decade before its 2011 hiatus. In that time, Dååth released four studio albums—2004’s Futility, The Hinderers in 2007, The Concealers in 2009, and their self-titled LP in 2010. Tours with Cattle Decapitation, Dark Funeral, Cynic, Nile, Slayer, Dragonforce, Goatwhore, Chimaira, Dying Fetus, and Devildriver followed. Dååth also landed a coveted spot on Ozzfest playing before tens of thousands of fans in outdoor amphitheaters across the US, in addition to the infamous and long-running metal tour Summer Slaughter. Levi believes this is the most focused and deadly version of Dååth to date, and is excited about what’s in store. “The chemistry is great, because we can talk about stuff that would normally be uncomfortable for a lot of musicians to do without causing problems,” he says. He’s lived a lot of life since the band went away over a decade ago and admits that his mindset is very different now than it was during the original run. “We're taking this to its full potential, letting nothing and nobody stand in our way,” Levi concludes. “If you're not going all out, what's the point?"

Great vocals from Capleton and Jr Cat on driving UK steppers riddims. Leeds' finest reggae rhythm constructors are back with an industrial strength combination enlisting two of Jamaica's top lyricists. Following the success of their last 12 inch release, Up Deh with Mark Iration, the duo have laid down two heavy duty slabs of pure sound system mayhem. Mercy features the unmistakable voice and flammable lyrics of ferocious rockstone deejay Capleton. Thunderclap gives a similarly hard stepping backdrop to the younger brother of Supercat, Junior Cat, who carries the hypnotic family style. The Capleton vocal comes with a pair of spiky, heavily filtered dubs, making mass movement a must. This release was originally due to come out in 2020, but got locked down in the lockdown and is now back due to popular demand.

BELFAST PARTY THE NIGHT INSTITUTE LAUNCHES NEW ELECTRONIC MUSIC LABEL

The Night Institute, the legendary cult club night at the forefront of Belfast's thriving electronic music scene, announces eponymous new record label.

Spearheaded by scene stalwarts Timmy Stewart of Black Bones fame and Jordan Nocturne, known for his contributions to labels like Correspondent and Polari, this new venture aims to showcase Belfast's true independent club scene on a global scale.
The Night Institute has long been synonymous with cutting-edge music, providing a haven for the city's electronic music aficionados.
With the label, the vinyl and digital project features tracks by both resident artists as well as global artists who've played at the party.
The inaugural release boasts a stellar lineup.

Alongside Night Institute residents Timmy Stewart (Ft. Northern Irish vocalist Megan Sylvan) and Jordan Nocturne, the record showcases guest appearances by Justin Cudmore, resident of New York's renowned The Bunker and regular contributor to Phonica Records, and Hifi Sean, who has been making waves with his collaborative project alongside David McAlmond while working with icons like Ce Ce Peniston and Yoko Ono.

The label aims to capture the essence of Belfast's underground electronic music scene, while joining the dots with global collaborators across four tracks of acid, odd-ball house and dance floor electronics.

Good Vibes for Uncertain Times

The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

Musically it takes as its starting point a particular moment of early 1970s British film soundtracks by the likes of Roy Budd and Roger Webb; a soundworld of easy-going jazz and funky rhythms gently coloured with pastoral strings and flutes. The Path, however, is unmoored from time or place thanks to Hopper’s narrative style, Chandler’s rustic flutes and keys, Budd’s soulful psychedelic guitars and Jupp’s production and electronics. The co-writers were all chosen for their unique abilities and an
intuitive understanding of the ongoing Belbury Poly project. The spoken word elements form a loose, open-ended narrative; very much an album with spoken word rather than a spoken word album.

The Band and Album Recording:
Christopher Budd: Electric Bass, Double Bass, Guitars, Electric Sitar
Jesse Chandler: Piano, Synths, Mellotron, Flute, Clarinet
Justin Hopper: Narration
Jim Jupp: Electric Piano, Synths, Mellotron, Percussion, Sound Effects
Max Saidi: Drums, Percussion

The project came together over two years, beginning with a conversation between Hopper and Jupp during a walk on the Sussex South Downs. Originally, it was to tell the tale of an American academic unravelling while adrift in an alienating English landscape. From the beginning, the pair wanted on a narration integrated lyrically into the piece, rather than dropped on top. The words gradually became more film-noir and open to interpretation; occasionally a little tongue-in-cheek. The final
texts explore a folklore of alienation; the way we impact the landscape and it impacts us.

Belbury Poly:
Jim Jupp has released EPs, singles and seven albums on Ghost Box as Belbury Poly. It’s generally a solo project, but he calls on a floating roster of like-minded musicians to extend the sound beyond studio based electronica. He is also one half of The Belbury Circle along with Cate Brooks (of The Advisory Circle) - occasional collaborators with John Foxx. He has recorded library tracks for KPM, BMG and Lo-Editions. He’s remixed tracks for several artists including Beautify Junkyards,
John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

Getting into an album by Cyril Cyril is being invited to a party where you thought you didn't know anyone, only to realize that this chap's gal is your bro's cuz, and leave with everyone's cell. Their music seems familiar because it's not deaf to its neighbors, in the broadest sense : Geneva, their lair, Europe, their playground as a duo, and the world, their grocery store. There's plenty in those two heads, but just the two of them on stage. For their third Born Bad album, they have invited two lads from Orchestre Tout Puissant Marcel Duchamp, Ines Mouzoune, multi-instrumentalist from Amami, and Violeta Garcia's cello on Le Futur ca marche pas. On the ruins of Switzerland, people dance hard but consciously, and won't complain about them having a go at the homeland - notably in " Sweetzerland Bunker Love ", where they claim it's time to "free the money from the banks". There's something rotten in the state, wherever it may be, and they prefer to put its fall to music. And they're not shy about it, either: this album features heavy guitar/drums text-driven ballads (beautiful "Mensonge" opens the album with a certain gravitas), polyrhythmic noisy drum splatter with crafty vocal knitting ("Plus rien a? faire"), deconstructed and harmonically ambitious compositions ("Les Phoenix de l'amour"), and latino frogs croaks, because yes, why not. Since their previous efforts "Certaine Ruines" and "Yallah Mickey Mouse", it turns out that the future isn't working out so badly for the two Cyrils. (Not so) Quietly sitting on crates of records, they patiently build their sound. Never tired of sick networks and never-ending struggles, Cyril Cyril is a rousing mess, shouting out the common spleen while still managing to have a good laugh.