Search:jus just

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

Having (barely) survived the inaugural vinyl detonation of Powerman 5000’s Tonight the Stars Revolt!,
we’re back with its predecessor, 1997’s Mega!! Kung- Fu Radio. But the blast radius on this one might
even be bigger... after all, the initial title of this record (their first studio album) was The Blood Splat
Rating System. Once that release won awards from the Boston Phoenix Reader’s Poll for Best Metal
Album, Best Rap Album, and Album of the Year, DreamWorks signed PM5K and re-issued Blood
Splat under the Mega!! Kung-Fu Radio title in remixed, remastered, and supercharged form with a
couple of new tracks, the title cut and the great “20 Miles to Texas 25 to Hell.” Just as was the case
when we released Tonight the Stars Revolt, this baby’s never been on vinyl before, and we’re
pressing it in blue with black swirl vinyl complete with a printed inner sleeve. Duck and cover.

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter.



A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture—and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with."



Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "Solutionism"'s careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability-and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonome- try," that "white dove is a pigeon-you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."






[f] Kyanite Toothpick [feat. Hanni El Khatib]




[k] Bermuda [feat. Lealani Teano]


[n] Forward Compatibility Engine [feat. Rob Sonic]



[r] Black Snow [feat. Nikki Jean]

Repress! With all due respect to New York, Los Angeles, Atlanta, and Miami, the epicenter of the rap universe in 2016 just may be Chicago. With young stars ranging from Chief Keef to Chance The Rapper to Lil Bibby to Vic Mensa, the Windy City continues to push the boundaries of hip-hop music and culture.

The latest artist to emerge from this hotbed of talent is Mick Jenkins, a gifted lyricist who has built a strong buzz online with a series of acclaimed mixtapes. Now, one of those collections will be available in physical format for the first time ever, with a limited-edition vinyl pressing of “The Waters” set to hit stores soon. Originally released online in late 2014, “The Water

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

*LTD BLUE VINYL* Having cut her teeth as part of dream pop band Snakadaktal then as half of Two People, Melbourne’s Phoebe Go solo break out has seen her discover her own voice and potential, a process that has been both daunting and liberating for her. Her self-released debut, the Player EP, opened the world to Phoebe’s vulnerable, sincere and gut-wrenchingly honest songwriting; posing questions about her career, relationships and existence, yet still emerging with heartfelt hope for the future. A word-of-mouth success when released late last year, the likes of NME, Notion, Wonderland, triple j Unearthed, Double J and Under The Radar have already sung her praises. Having just wowed audiences at The Great Escape, her Player EP is finally getting the vinyl release outside Australia it deserves, being released by tastemaker label Dalliance Recordings (Gia Margaret, HighSchool, Francis of Delirium, lilo). Formats Available: Limited edition (300) 12” Blue Vinyl with a lyric sheet and an exclusive track ('To Love Me Now’).

"Lost" album from Todd Snider, featuring previously unreleased songs, recordings, and versions. Sometimes an artist makes a record, then decides not to release it. Neil Young and Prince are two artists who famously did that multiple times. Todd Snider is another artist who has done it, putting three albums on the shelf in a career now spanning three decades. While Snider may not be as well known as Young or Prince, he is just as committed to his art, and his decisions to shelve those three records were artistic ones. But now Snider has decided to take one of those albums off the shelf. Sixteen years after it was recorded, Crank It, We’re Doomed will finally get its release via Aimless Records.

Svart Records are proud to present the vinyl debut of the album '8 Convulsions' (1994) by Crisis (NYC, USA) "I am really glad that Svart are re-releasing 8 Convulsions, so more people can rediscover this wonderful and intriguing heavy music." Michel 'Away' Langevin, Voivod Remastered and repackaged with the vinyl format in mind, the package comes with a large booklet full of lyrics and exclusive photos. This is the first time an album from the NYC cult band's oeuvre is pressed on vinyl. There will also be a CD edition of the remaster. Hailing from the mean streets of NYC in the year 1993, Crisis was a band that defied classification from the very start. During a time when heavy music was dominated by a mostly male presence, founders Afzaal Deen and original drummer Fred Waring envisioned a female-fronted band to run against the grain and destroy expectations. Seeking out a singer with a singular sound and presence, and found their match in groundbreaking vocalist and avant-visual artist Karyn Crisis. Soon after, a newspaper ad for a bass player was answered by Gia Chuan Wang and the original unit was formed. During their first rehearsal, Karyn became so enmeshed and driven by the music that she inadvertently destroyed a microphone stand and threw herself to the floor in an outpouring of unmitigated expression. This was barely a hint at the intensity she would soon bring to the stage and studio. Karyn’s guttural growls and angelic melodic notes meshed perfectly with the mixture of grinding guitar, pounding rhythm and deep bass tones. The underground music scene would now begin to experience the dynamic intensity of this burgeoning powerhouse band in full force. Crisis signed to Too Damn Hype records and released their debut album '8 Convulsions', now being reissued to mark its 30th anniversary. In a time where inclusivity is more crucial than ever, Crisis remains a band as diverse and distinct as the city from which they originally hailed. “The United Nations of Rock” as they’ve been called, continue to break boundaries and crush antiquated archetypes with their unprecedented sound and vision. "One of the most captivating bands I’ve ever experienced in New York City in the early 90s. They had a very unique sound where you couldn’t categorize them though they had elements of metal, punk with a very dark experimental approach, which gave them their unique sound. Just raw and relentless energy." Roy Mayorga, Ministry/Soulfly/Nausea etc 8 Convulsions is available on Svart exclusive blue/red marble vinyl, limited transparent yellow vinyl, classic black vinyl, and CD. Release date October 20th.

Svart Records are proud to present the vinyl debut of the album '8 Convulsions' (1994) by Crisis (NYC, USA) "I am really glad that Svart are re-releasing 8 Convulsions, so more people can rediscover this wonderful and intriguing heavy music." Michel 'Away' Langevin, Voivod Remastered and repackaged with the vinyl format in mind, the package comes with a large booklet full of lyrics and exclusive photos. This is the first time an album from the NYC cult band's oeuvre is pressed on vinyl. There will also be a CD edition of the remaster. Hailing from the mean streets of NYC in the year 1993, Crisis was a band that defied classification from the very start. During a time when heavy music was dominated by a mostly male presence, founders Afzaal Deen and original drummer Fred Waring envisioned a female-fronted band to run against the grain and destroy expectations. Seeking out a singer with a singular sound and presence, and found their match in groundbreaking vocalist and avant-visual artist Karyn Crisis. Soon after, a newspaper ad for a bass player was answered by Gia Chuan Wang and the original unit was formed. During their first rehearsal, Karyn became so enmeshed and driven by the music that she inadvertently destroyed a microphone stand and threw herself to the floor in an outpouring of unmitigated expression. This was barely a hint at the intensity she would soon bring to the stage and studio. Karyn’s guttural growls and angelic melodic notes meshed perfectly with the mixture of grinding guitar, pounding rhythm and deep bass tones. The underground music scene would now begin to experience the dynamic intensity of this burgeoning powerhouse band in full force. Crisis signed to Too Damn Hype records and released their debut album '8 Convulsions', now being reissued to mark its 30th anniversary. In a time where inclusivity is more crucial than ever, Crisis remains a band as diverse and distinct as the city from which they originally hailed. “The United Nations of Rock” as they’ve been called, continue to break boundaries and crush antiquated archetypes with their unprecedented sound and vision. "One of the most captivating bands I’ve ever experienced in New York City in the early 90s. They had a very unique sound where you couldn’t categorize them though they had elements of metal, punk with a very dark experimental approach, which gave them their unique sound. Just raw and relentless energy." Roy Mayorga, Ministry/Soulfly/Nausea etc 8 Convulsions is available on Svart exclusive blue/red marble vinyl, limited transparent yellow vinyl, classic black vinyl, and CD. Release date October 20th.

The words "Wolde Senayet" are scrawled in silver ink across a black-and-white image of Peter Tosh on the cover of Best Of 1978 - 1987. these words are an honorific Rastafarian title meaning "Son of Thunder", which does this collection justice. The 14-track compilation is seamless in their quality and are more than representative of Tosh's vision - one that has been adopted and reworked in all sorts of reggae subgenres since his death.

Listen to classics like "Bush Doctor," "Mystic Man," "Oh Bumbo Klaat," "The Day the Dollar Die," and ofcourse the single version of "(You Gotta Walk And) Don't Look Back" with Rolling Stones frontman Mick Jagger.

Best Of 1978 - 1987 is available on vinyl for the first time as a limited edition of 2000 individually numbered copies on silver coloured vinyl. This 2LP is housed in a gatefold sleeve, including a 4-page photo booklet.

Reggie Soul real name Reginald Stone is just one of many illusive recording artists who had a very limited recording career for a handful of small independent Chicago labels then disappeared into obscurity, Reggie reputedly left Chicago in the mid 1970’s for the lone star state of Texas never to be seen or heard from again!

Reggie’s recording legacy is the sum total of 3, 45 singles two of which he recorded under the supervision of respected Chicago songwriter and producer Clarence Johnson., firstly the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for Red Balloon Records, “I Feel So Bad” was composed by Lee Sain who recorded his own version under the title of “Baby Don’t Leave Me” for the Broach label. Reggie Soul’s “I Got Jody” also came out as a B-side on Nation Time Records, the A-side was a version of the James Brown song “Soul Walkin’ but this side was credited under the mis-credited artist name of Reggie Smith?

Finally, Reggie’s third release “My World Of Ecstasy/Mighty Good Loving” was released on the Scott Brothers own Capri Records label in 1968. Both sides of the 45 were written by Reggie with Charles and Walter Scott, arrangements were provided by John Jackson and Bill McFarland who provided the horn section to many of the Scott’s future productions. The Scott Brothers of which there were several (all musicians) had begun their own careers during the late 1950’s recording under the group name of The Masquerades on the Formal label. Often referred to as The Scott Brothers Orchestra with Howard Sephus Scott at the head of their growing musical dynasty they formed their own company Capri Productions circa 1968, their initial recording productions were Fred Johnson (Shi-Lush Records) and the aforementioned Reggie Soul & The Soul Swingers. The Scott’s were also the house band in one of Chicago’s Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. The Scott’s often used the Bonanza as a source of finding future artists for their labels, such as The Soul Majestics, Judson Moore, Bobby Jones & Duke Turner amongst others, they even recorded a live performance on The Bonanza Lounges’ resident comedian Randolph Browner which gained a release on the Shi-Lush label.

“My World Of Ecstasy” like several Capri 45 releases were heavily imported into the UK, often sold in soul packs before finding favour with aficionados of the Crossover Scene in the late 1980’s with it’s popularity still remaining high to the present day.

Soul Junction through their licensing deal with Scot-Tees Publishing would like to present the first release of their Capri Records series.

Acclaimed synthpop trio A-Ha are teasing their latest album, not to mention independent film, 'True North', in what might just be the band's most crowning career achievement thus far. Their first project since 2015's 'Cash In Steel', it's high time they reined in on their success to do some good; the album and project is a relentless paean for the frozen magnetic north, and its ecological importance in connecting us to the environment.

We know you're not supposed to because it's often said to be a cheap marketing gimmick but frankly, we love a good anonymous new producer to get wondering about.

And here we have just that in the form of Skat who we're told is "heavily influenced by East End Edits and Digwah Ltd" and opens a new series with a one-sided 12".

'Skat 01' is a worthy tech cut with minimal drums loops and brushed metal surfaces all wound up into a tight groove and overlaid with some rudely vocal raps. It's the sort of tune that brings a unique character to any set and is sure to get the crowd demanding its ID.

Following much love for his EPs, remixes and club sets, the virtuosic DJ/producer Simo Cell’s debut album 'Cuspide des Sirènes' doesn’t disappoint. In fact, it takes things to a whole new level.

With a fantastical menagerie of anthropomorphism, sounds create characters and tools; the mermaid-like Sirens, the mind controlling Octopus and the Magic Conch Shell:

“Have you heard of the legend of 'Cuspide des Sirènes'? This is not a simple tale, but an incredible tapestry woven over many years and through countless wondrous adventures. I will recount the legend as it was recorded in the ancient scrolls.

The album’s story explores the themes of magic, enchantment, charm, and allure, but also personal fears. The protagonist (me) embarks on a quest to find the hidden lake and confront his own demons, in order to understand and master his own power.

The protagonist is armed with a powerful conch shell. As he embarks on his journey, he will encounter Sirens who will teach him various chants. These melodies hold unique powers and grant the main character the strength to confront and overcome any danger that may arise.” Simo Cell

Musically, the LP is a continuation of Simo’s journey that began with the ‘YES.DJ’ EP, with a synthesized/modernized take on noughties hip hop, bass music, trap, ghetto house and ghetto tech – but here he broadens the scope, massively.

Exploring new pathways through magical landscapes, via infused melodies, emo and pop, the sensations are bright and addictive, like a sugar and endorphin cocktail. There’s a screen sheen and video game quality too, sounding like the high-octane score to an action flick from the year 3000, with unimaginably wild SFX.

'Cuspide des Sirènes' is the kind of record to stop someone in their tracks, to ask “what IS this?”, provoking bass face, perplexion, fascination and manic glee, all at once. Not so much organised chaos as intricately-crafted-borderline-unhingement, the album is slightly bonkers, in a very good way. There’s a boundless sense of childlike, unencumbered imagination at play, and an abundance of fun, but there are moments of serious-deep-beat-science for the heads, and introspective passages too.

There’s a lot going on, with detail, layers, flourishes, arrangement, melodies and myriad fresh sounds – but it’s never too much; just a really engrossing listen – the kind that that ruins ones appetite for prosaic, vanilla dance music, rendering such 2D pursuits boring and obsolete.

Ideally, the album is meant to be experienced as a seamless narrative from start to finish, so leave any inhibitions or preconceptions at the door, and let the pied piper of electronic futurism lead you way down the rabbit hole.

Chicago artist Justin Kay was hugely prolific in his day and world under several different nom de plume. Now some of his best work is being revisited for a series of posthumous releases. He traversed several different sound worlds with equal aplomb from bright pop to sludge metal via IDM. Under his Cosmic AC alias he manages to mix up equal parts ambient bliss with breakbeat action, raw techno and emotive house. The standouts of this Continuations album come thick and fast from the high speed jungle breaks of 'Blue Whirl' to the jazzy downtempo delights of 'Hedge Clipper' and plenty in between. See also the majestic pop serenity of closer 'WTWIRDYMTBOWSA.'

Nach einem monumentalen Jahr macht sich der belgische Superstar-Produzent, DJ und Live-Performer Lost Frequencies bereit, das Jahr 2023 mit einem großen Finale abzuschließen: mit seinem dritten Album 'All Stand Together', das am 10. November über Sony Music erscheint! Auf "All Stand Together" nehmen Lost Frequencies und eine Reihe von alten und neuen Kollaborateuren die Zuhörer mit auf eine Reise voller Wohlfühl-Elektronik. Vom internationalen Nr. Hit 'Where Are You Now' mit Calum Scott, über die aktuelle Soloveröffentlichung 'The Feeling' und einem Titeltrack, der die Szene zum Kochen bringen wird. Featurings mit Netsky, James Arthur, Tom Gregory und vielen anderen. Von House- und Tropical-Sounds über Einflüsse von Folk, akustischen Instrumentals und starken Gesangsdarbietungen bis hin zu tanzbaren Hymnen - "All Stand Together" wird das bisher charakteristischste Album von Lost Frequencies.

Acclaimed synthpop trio A-Ha are teasing their latest album, not to mention independent film, 'True North', in what might just be the band's most crowning career achievement thus far. Their first project since 2015's 'Cash In Steel', it's high time they reined in on their success to do some good; the album and project is a relentless paean for the frozen magnetic north, and its ecological importance in connecting us to the environment.

Next in line in the Snaretrade series is an EP by one of our favourite people: Gols.

He operates the Hoot label, has released with Ghent label/party Ojoo and has been crafting tracks low key for a long time.

We start out with dessert: In Au bain marie we’re given some elegant yet hard to follow instructions on how to make the perfect chocolate mousse. DJ and Knetterbar operator Yentl kindly lent her voice, not knowing the recording would be used as a final take. In Hundreds and Thousands, Gols weaves thick layers of percussion and synths, forming a dense and deep structure that pulls us in. In the midst of moving his music studio, this track was the last one to be recorded before pulling the plugs and boxing the gear up. On the flipside, Regrooved is a shuffling, sneaky and amusing bit of house that never really admits if it’s just arriving at the party, or just about to leave. After-hour fare for those who like something sweet after dinner.

A defining album of the 90s, Last Splash by The Breeders turns 30 this year. To celebrate, the band have returned to the original tapes to give it its first-ever remaster, and by doing so have also unearthed two lost tracks that will delight fans. Recorded by the "classic" Breeders line-up of Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson and featuring singles "Cannonball" and "Divine Hammer", Last Splash was "an alt-rock classic" (Pitchfork"s Top 100 Records of 1990s) on release; a fast seller too, quickly attaining Platinum status in the US. Despite having had the boxset treatment on its 20th birthday, the album was still left to be remastered so 10 years on, the original y" tapes were taken out of the archives and have been lovingly worked on by Kim Deal, Benjamin Mumphrey and Miles Showell (Abbey Road). Never sounding so good, the album for its 30th anniversary, it"s getting the ultimate vinyl pressing. Entitled Last Splash (the 30th Anniversary Original Analog Edition), this new version has been cut at half speed at Abbey Road by Miles Showell, now spanning two LPs and running at 45rpm. A Japanese cd edition will also be available. This edition contains an exclusive, one-sided etched 12" which features two previously unreleased tracks - "Go Man Go" and "Divine Mascis" ("Go Man Go" is a track that Kim co-wrote with Black Francis while "Divine Mascis" is a different version of "Divine Hammer" with Dinosaur Jr."s J Mascis on lead vocals). Both tracks originate from the original sessions and were left forgotten until the sessions were exhumed to create this new master. The attention to detail continues to the album"s art, which equally celebrates Vaughan Oliver"s iconic sleeve. With Vaughan sadly no longer with us, his long-time design partner Chris Bigg has gloriously reimagined the album"s sleeve for this new version.

Having toured the world with Mczo and been at the helm of his own studio Pamoja Records since he was just 18, influential Singeli producer Duke, now 25, is one of Tanzania's busiest club alchemists. On his acclaimed solo debut "Uingizaji Hewa" we were introduced to his idiosyncratic "hip-hop Singeli" sound, a slower cousin to the Dar Es Salaam-rooted hard 'n fast club template that takes as much special sauce from Busta Rhymes and Eminem as it does the 200BPM clatter of genre veterans Jay Mitta and Sisso. On September's "Sounds Of Pamoja," we were treated to a closer look into Duke's studio, and specifically at his work with the city's best young MCs like Dogo Kibo, Pirato MC and MC Kuke. "Early Instrumentals" allows us to witness the depth of Duke's evolution with a selection of unearthed genre melting Singeli mutations laid completely bare without vocals. This 11-track set features some of his most arresting hybrid dance music yet, expressing his visionary fusion of contemporary rave sounds, US rap attitude, and Tanzanian dance history. While the roots of Singeli are in taraab, a popular fusion of East African and Middle Eastern traditional dance rhythms and melodies, Duke steers the sound into a synth-led, syncopated firework display that sounds spry and futuristic. Centered arounda bumping staccato melody and urgent synth strings 'Dukelo Fl Sing' echoes the lo-swung swagger of early Dr. Dre productions, but kicks the tempo into overdrive, decorating any gaps with flickering late-nite synths. 'Beat Kali Duke' meanwhile drives carnival trance leads through hard and fast rolls of kick drums, whistles and woodblock cracks. It's not all completely high speed either: 'Duke Selecta' is almost afro-house, with slow, sexy bass and woozy vocal melodies, and 'KKKKKKKKKKKKKKK' absorbs the propulsive spirit of South African gqom. "Early Instrumentals" is the most varied picture we've been presented yet of Duke's rousing dance cocktail. IT's a physical call to action that assures listeners the genre is for movement, not headphone listening

Polish artist Satl is one of the most diverse and prolific artists to break through in the Drum & Bass realm in the last decade. After a multitude of music on Amsterdam label The North Quarter he is now set to release his most ambitious and eclectic project: Gloom.

This is a project that sees a more mature artist, one that has developed and refined his sound. In what is a clear departure from his previous material, Satl has managed to craft his own exciting take on dark electronic music taking influences from UK Bass music, Techno and beyond.

“I never wanted to be boxed in to one style/genre, but I think I just wasn’t brave enough as an artist to really push this agenda forward until now,” Satl explains. “I think this collection represents where I am at the moment, a ‘new me’, and I’m definitely planning to stay here for a little while, while always looking to the future.”

Gloom has been a mostly solitary creative undertaking for Satl, who explored the boundaries of his Waldorf Blofeld, Elektron Digitakt, FL Studio, Reason, VCV Rack and a handful of plugins over the course of about two years. The album is entirely produced by him and sees just a handful of vocal collaborators: Tru Thought’s own Rhi, New York’s Frank Carter III and L.A.-based vocalist Saigo.

A coming-of-age project, Gloom is the end product of Satl honing his craft and exploring the limits of his own creativity.

The first release in a new catalog series dedicated to the 7" . Here are two reworks produced between Italy and the United States, inspired by Italian cosmic atmospheres of the late 70s: “Cascades” by Stephen Schlacks (1978) and “Pulsazioni” by Filippo Trecca (1979).

“Cascate Emozionali Volume One” is a tribute to these two composers, and to all others that, just like them, have created immortal melodies and atmospheres. This project is also a work of sound archeology, of careful research of the synthesizers and the sounds that have given life to the original versions, here reproduced with a contemporary luster, honoring their original essence.
This music is a container full of emotions, of nostalgia for an era that no longer exists, of faded memories that are suspended in the cosmos, of moments that we miss. All of them connected to our childhood, our family, to our loved ones, and to the objects that were there all along, like the “Selene” chair of Vico Magistretti, redesigned for the cover by French illustrator Alexis Jamet.

Music to remember.

Thomass Jackson presents UFO HOUSE.

A fixture in Mexico's thriving electronic scene, the Argentinian import has made a name for himself alongside cohort Iñigo Vontier with a style that seamlessly blends haunted desert disco with gritty acid house and techno.

This EP might be his most cogent formulation yet, a mightily playable set of peak-time DJ-friendly tracks that bring enough mystery and wonkiness to a perfectly club-ready backbone. It's a conspiracy of sound, a cosmic abduction with pulsating rhythms and hypnotic bleeps sure to melt minds on the dance-floor.


DJ Feedback:

Tiefschwarz - "soooo gooood!!"

Roe Deers - "dope EP"

Matt FX - "an absolute tour de force EP. hard to pick a favorite, maybe guadalajara"

Justin Strauss - "great ep"

Kiki - "Cool trax!"

Mawimbi - "really like the acid touch in back in guadalajara"

Jerry Bouthier - "well put together madness yay!"

Phil smart - "Solid bunch of tracks, all great! Can't wait to test out on a dancefloor:)"

Vidis - "Cool stuff as per usual from señor Thomass. Young Woman in Kashmir and Back in Guadalajara are the faves."

Phred Noir - "Alll the tracks are so good, super happy to see Thomass back with sooo good tracks !"

Genish - "Back in Guadalajara for me ! fire"

Ayala (It) - "I'm a Thomas fan from years and years"

Kato - "mad fun”

Fabio Me Llaman Soltero - "Sublime work, always favorito Thomaaaaaazzzz"

2lanes is proud to announce the next single, TINCTURE/ MY SIMULACRA, from his recently minted label AUTO SHOP. The two-tracker finds the artist both deepening his expansive sound and honing it to weave seamlessly into any DJ set. “TINCTURE / MY SIMULACRA” solidifies the cinematic textures and rusty low-end percussive drive of 2lanes’ earlier releases this year, “Diamond Rain EP'' & “Sid Ranger Redux EP.” Spending much of this past year on the road, 2lanes dove headfirst into the contemporary electronic music world, meeting an array of new and exciting producers, some of which are featured remixers on this release.

On the A side, take a dose of TINCTURE and see just how far the rabbit hole goes. Inspired by raving all night with friends, 2lanes linked with Detroit-based singer AKILLACO for a wild talking track like none other. We all know those moments at the party when both nothing and everything makes sense. You want to be prophetic but you just make everyone laugh. You think about the past, future, & present all at once. This is the ultimate message of TINCTURE, which AKILLACO emphatically points out. The long-winded musing is underlined by a heavy swung style beat that 2lanes fans have come to know well. Frequent 2lanes collaborator Salar Ansari joins the fun for the steamy, guitar-laden Howling Diablo remix that could as easily be played at a forest rave as a sleazy dive bar a la Coyote Ugly. Purelink’s MILLIA reduces the solution to an even dubbier chill out mix that begs to be played in the early mornings.

On the B side, we have the bass-heavy vision quest MY SIMULACRA. Ancient percussion meets modern sub bass–and together, they transport you to a new plane of being. This track also features performances from a few regular 2lanes sonic cohorts. Detroit keyboard prodigy Ian Fink (Scott Grooves Ensemble, Omar S) evokes celestial moments with a memotron solo, and Jonah Baseball (Overtone Series) provides a stargate-sounding break beat. MY SIMULACRA features two amazing remixes. The First is from Baltimore-based club aficionado JIALING and the second is a prime cut of rough and ready machine phunk from Los Angele’s 1morning.

Initially recorded at 2lanes’ home studio over Halloween in 2021, TINCTURE has since evolved to its final form that we see now. The tune has even shown up in sets from electric selectors like Scott Zacharias and Livwutang. The record label features beautiful artistic renditions by Norway-based Sverre Brand, whose work can be found on releases by Priori and Dust E-1.

• Following on from the highly successful first two editions of
Dance Masters featuring the classics mixes from maestros
Shep Pettibone and Arthur Baker, the spotlight turns to
another remix legend, John Luongo.

• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons onto a
promo and then passing them back the tape. This resulted in
him being flown to New York, and put in a studio (of his
choice) to mix and produce Melba Moore`s “You Stepped
Into My Life”. From this point everything he touched was a
hit. He went onto remix Disco classics by Jackie Moore –
“This Time Baby”, Dan Hartman “Vertigo / Relight My Fire”
and Patti Labelle “Music Is My Way Of Life”.

• However, John was not afraid of remixing artists that didn’t
fit into the disco genre and this attitude is borne out by the
tracklisting of this compilation, on which Gladys Knight and
The Pips rub shoulders with Fine Young Cannibals and
Billy Idol, and Baltimora appears alongside Banararama
and Serge Ponsar.

• “…if you played this whole thing, just put it on and didn’t
tell anyone it was me, they’d say ‘boy, what a great group of
songs this is!’” - John Luongo

• This cut down 16 track essential edition in pressed on 140g
black vinyl and features foreword by Arthur Baker and an indepth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian).

• All tracks remastered by Nick Robbins at Sound
Mastering

Willie Nelson - Greatest Hits jetzt auf CD und Vinyl erhältlich, anlässlich des 90. Geburtstags von Willie Nelson und seiner Aufnahme in die Rock & Roll Hall of Fame am 3. November. Diese Greatest Hits Compilation enthält Titel aus allen Epochen seiner Karriere, von den frühen 60er Jahren bis zu seinen letzten, mit einem Grammy ausgezeichneten Alben.

Phat Kat's "Dedication To The Suckers" and "Re-Dedication To The Suckers" EPs! 3 EPs in total for the digital release. The A Side of the vinyl version includes "Dedication To The Suckers", originally released in 1999, this version includes 6 tracks all produced by J Dilla.

The tracks are from the late 90s and early 00s. "Re-Dedication To The Suckers (U.S. Version)" was originally released in 2015 and is on the B Side of this vinyl release. 7 tracks all produced by Agor and with guest features from Guilty Simpson and Elzhi on the track "All Madden". The Euro Version of "Re-Dedication To The Suckers" is digital only, also produced by Agor, just different beats!

The last twelve months have been a whirlwind for Henry Counsell and Louis Curran, the men who make up Joy (Anonymous). Having established themselves during the Covid-19 era by playing impromptu meet-ups on London’s South Bank, they have graduated to bigger venues, travelled to far-flung locales and recorded their second album, Cult Classics, while maintaining the spontaneous energy and irrepressible joy that made their name. Their music revels in the euphoria of being alive and all the feelings, good or bad, that come with it. It invites us into a community, draws us close and promises the night of our lives.

Recorded over the course of a year, the blueprint for Cult Classics was laid down over a two-week span at Imogen Heap’s Round House in east London. Joy (Anonymous) invited friends old and new to visit - they’d record live instruments in jam sessions upstairs and then retreat to a second room to flip and loop and generally mess with the sounds, moulding them into sizzling dance tracks. “Loads of people were coming up to me like ‘I thought this was going to be a dance record?’” Louis says, remembering the quietly beautiful music they’d be recording. “I’d be like, don’t worry about that, just keep playing.” He’d send it back to people later and they’d be floored - “That was my bit and you’ve made it... jungle!”

It was an organic and creatively fulfilling approach, one that didn’t allow any of the music to get stale or stagnate. As they built the tracks from the sounds they’d collected, Joy (Anonymous) would weave the new songs into their famously improvised live sets, testing them, refining them, taking note of the audiences’ reactions. In a year punctuated by a lot of travel, they’d also incorporate the voices of people they met along the way - “Beazley’s Poem”, which opens the record, features the words of a man who was working security at a Fred Again show at New York’s Terminal Five. “He was basically doing the opposite of his job and being a hype man, climbing on the fence and ramping up the crowd - we ended up hanging out with him - like, who’s this legend?” Louis explains. “He just speaks really amazingly about his life, all these amazing thoughts and opinions - he started jumping on the mic when we were playing, preaching these amazing messages to the crowd, like that we all need to be nicer to each other. The first time we played the record in its entirety, he introduced us and that’s the recording we’ve used.”

Joy (Anonymous) remain dedicated to the spirit of spontaneity. They shut a street down with a surprise waterside party in New York. On a trip to Copenhagen they played an impromptu set in a cafe, which turned into a house party and a night-long good time. In Lithuania, they ended up playing in a decommissioned prison. It’s harder, perhaps, to keep that spirit alive now that they are operating more within the confines of the music industry but they will keep lugging their kit to wherever the party calls for as long as they can. “I think if we lose that, we’ve kind of lost what makes us us,” Henry says.

Bursting with multi-genre reference points and disparate influences, Cult Classics is very much a dance album. The samples we made ourselves or we took from music that is quite different to dance music, but we definitely wanted to shout out a lot of the dance influences that we love,” Henry says. They listened to a lot of Daft Punk and Basement Jaxx as well as The Prodigy (“more rage stuff”), taking songwriting tips from their dance forebears, but also recording bits that felt more like jazz and motown (see: A Place I Belong and the lovely album closer, You’re In Or You’re Out). Emir Taha’s gentle classical guitar runs like a thread throughout Cult Classics, washing into the undertones of the record, tying it all together.

The album follows the beat of a night out, from frenetic, sweaty movement to the gentler winding down as the dawn breaks. At times it is euphoric, celebratory and pure, whirling fun, at others it seeks the joy in the darker emotions that life throws our way. 404 is designed to encapsulate everything about the Joy (Anonymous) journey so far. Skittering beats and ghostly vocals give way to vibrating house chords: sirens blare as we approach a dubstep drop. It’s dramatic and wild, ratcheting up, seeming to settle then hitting you with an intense and frantic breakdown before the ghostly vocal returns to lull us back into the world. It has the feel of a hungry cat playing with a mouse, toying with it before letting it get away.

What sounds like someone playing the spoons on playful, housey How We End Up Here is actually Louis’ restless habit of clicking his rings on everything, one of a myriad of calling cards and easter eggs that day one fans will recognise. They rework Miley Cyrus and Swae Lee’s Party Up The Street into a French-electro-inspired future classic, adding a note of melancholy to a tune that you can imagine hearing blaring from every car on a summer drive. The lyrics on Cult Classic are generally reassuring, inspirational, originally drawn from Henry in stream-of-consciousness freestyles. You’re fine the way you are, they seem to say - the repeated “No need to try” of A Place I Belong, the assurance that “It’s in me all the time” on In Me All The Time. Even the summery but regretful Did You Wrong hints at the growth that is possible from less than ideal behaviour. For Joy (Anonymous), joy isn’t about just being “happy” all the time - it’s about relishing every element of your being.

The name ‘Joy (Anonymous)’ is taken from the work Henry did with Alcoholics Anonymous groups: it is a way to build a community around sharing joy. Their impromptu live sets are known as ‘meetings’; they encourage fans to share moments of joy to their website. They care deeply about the scene they’ve come up in and are determined not to leave it behind. Every show is another chance to reach out and connect with people who love to come together and revel in music as loud as it can go.

Support slots for Fred Again and The Streets, wild B2Bs with Fred and Skrillex, and a set at Four Tet’s Finsbury Park all-dayer this summer have given the duo the opportunity to live out childhood dreams and introduced their infectious live shows to new audiences at huge venues.

With an album as assured and joyful as Cult Classics on the horizon (and a killer collab with The Blessed Madonna coming up), they’re only going to reach higher heights. But the essence of Joy (Anonymous) remains on the South Bank. Between shows at Ally Pally in September, they dragged their camping chairs and gear back down to the banks of the Thames: and it just felt right.

Tkay Maidza, die erste Rapperin, die bei 4AD unter Vertrag steht, veröffentlicht ihr mit Spannung erwartetes neues Album "Sweet Justice". Der Nachfolger ihres selbstbetitelten Debüts aus dem Jahr 2016 enthält Produktionen von Flume und Kaytranada. Es ist ein flirrendes und zeitgeistiges Kaleidoskop des aktuellen Pops einer Künstlerin, die nach den Sternen greift, um selber einer zu werden. Das zweite Album der in Los Angeles lebenden, in Simbabwe geborenen und in Australien aufgewachsenen Tkay Maidza, ist strahlend, gefühlvoll und verführerisch und zeigt alle Facetten der unbändigen Tkay: ihren beißenden Witz und ihre Ansteckungskraft, ihren unerschütterlichen Glauben an sich selbst und ihre Weigerung, Kompromisse einzugehen. Maidza wechselt zwischen den Stilen und überwindet so mühelos Genregrenzen - Musik ohne Zwänge, Regeln und Vorgaben

Here's the thing about ill peach: this band exists because they are too weird to not exist. The seed of ill peach was first planted in the recording studios of New York City where Pat Morrissey and Jess Corazza were working together as professional songwriters, collaborating with artists like Icona Pop, SZA, Weezer, Pharrell, Big Freedia, and others. Then came the day they were offered their own publishing deal. Cool, right? Well, about that: "Everyone kept saying, 'The stuff that you're writing is slightly too left-of-center-weirdo stuff," remembers Morrissey. "Why don't you start your own project?" Thus ill peach, a pop band with a punk streak and a taste for both the rotten and the sweet, with an approach to making music that goes something like: "Do you want to pick up a guitar and do you want to be on this water jug and we'll record it on the iPhone and create some weird drum pattern?" Following a series of well-received EPs on their own Pop Can Records (a record label and artist collective Morrissey and close collaborator Jesse Schuster run with friends), a digital single for Hardly Art's 15th anniversary series, and some colorful music videos that crystallized the band's visual aesthetic along with their sound, ill peach's "weirdo stuff" comes to fruition on first full-length THIS IS NOT AN EXIT: a collection of anthemic songs built out of bright pop and gritty experimental elements (Morrissey names the sculptural use of distortion on the final albums by Low as an inspiration), punctuated with hooky choruses ready to be screamed along to in the safety of your own bedroom or with a bunch of friends at one of ill peach's intense live shows. If ill peach first blossomed in New York, it took quarantine in Los Angeles for the project to ripen. The end of the world turned out to be what ill peach needed to get real with themselves. "It helped us creatively to zone in and removed us from the industry side of things to where we could just be like: this is our new identity, let's jump with both feet." THIS IS NOT AN EXIT's title is a reflection of something Corazza realized during a period of personal and familial crises "I kept walking into buildings and I'd try to exit somewhere and the sign would be like, 'This is not an exit,'" she says. "It just felt like a metaphor for a hopeful thing-don't give up yet." This combination of hope and anxiety is all over THIS IS NOT AN EXIT, reflected in a sonic palette (Alternative! Electronica! Indie! Radio pop! Coldplay!) as eclectic as it is unpretentious. Ultimately, THIS IS NOT AN EXIT is a record about healing, a process often spoken about in New Age-y terms but one that in reality can be really confusing and, yes, weird. But it is the beautiful strangeness of being alive that ill peach capture so well on THIS IS NOT AN EXIT.

Sven Torstenson's notorious Drugs is a loopdigga's fever dream, bursting with breaks for days and featuring possibly the most iconic cover of all library music's cult classics. First released in 1980, it's now a hyper-rare and seriously sought-after electronic album full of experimental soundscapes and samples just waiting to be flipped. It's both terrifying and terrifyingly good. So much so, it's been brilliantly sampled by Kendrick Lamar and Chance The Rapper.

The sleeve describes Drugs as containing "the newest dimensions of electronic sounds. Dramatic underscores for all problems of today's life and society, at the border between reality and delusion." That's pretty spot-on. The fast moving "Euphoria" is an incredible, unignorable opener. It's loaded with disorientating effects and really needs to be heard to be believed. It's followed by the gorgeous "Soft Hallucinations", containing quiet, meditative and beautiful sounds - as the title suggests. One listen and you'll want to live in the warm embrace of this beatless, harmonic gem. Sinister squelchy synth stabs don't distract from the sheer beauty of the track's main (gentle) thrust. They only serve to elevate its trippy magic.

Next up, "Sky Move"'s agitated and repetitive rhythm makes it an intense listen but with a broad melody that will appeal to many. "Destroyed Dreams" utilises a muffled church organ and it sounds heavenly to begin with but it gradually invites increasingly distorted elements. Yes, you've had trips like this, we're pretty certain. Mental! Talking of bad trips, never have they sounded so good as "Horror Trip"; this fractured drama-synth just needs some some dusty beats to hold it up - get involved.

"Floating Illusions" almost sounds like a beatless Spiritualized bomb from the early-mid 90s; melodic, synthy, church organ-drenched. The mournful, dramatic "Lost Chance" pulses along on a bed of acidy synths whilst "The Morning After" is the sonic equivalent of the extreme fear and doom experienced in the aftermath of the previous night's carnage. Whilst somewhat uncomfortable listening, again, it's pretty compelling thanks to the myriad effects being expertly utilised. Fascinating. The sprawling, fragmented "Random Thoughts" is described as containing "confused melody phrases" - yeah, pretty much sums this one up.

The B-Side is ushered in by "Heroin" and it's as sketchy as you might think, all mysterious minor chords with a dominating - but not overbearing - bass refrain. Next up, the dream-like synthy fanfare of "Night Trip" climaxes after a few minutes of dramatic, ecclesiastical sounds whilst "Day Trip" layers its melody over a repetitive rhythmic base.

Next up, one of the *REAL* highlights makes itself known. Absolutely not to be missed, "Dealer's Corner" is all shifting tenors from quiet to hectic and back around again. The hectic parts are like a totally synthed-out-the-eyeballs jazz-funk collective wigging out with the latest electronic toys from 1980. This one totally SMOKES.

The dramatic "Sad And Hopeless" is appositely replete with dissonant, minor church-organ chords whilst "Riding Pegasus" uses a creepy ostinato bass melody to create irrational bleepy menace that's ripe for sampling. The penultimate track, "Hopeless Chaos" is another disorientating trip, a bleepy confection of sounds and phrases whilst closer "Goin' Mad" is all electronic percussion with an unpleasant rhthymic feel and irritating melody. Music to annoy your partner with!

Established in Munich in 1965 by Gerard and Rotheide Narholz, Sonoton introduced library music to Germany. Initially intended to cater to the country's new TV market, the library also provided an avenue for Gerhard Narholz's astonishing musical prolificacy, and soon became a haven for a wide range of European composers and musicians. In 1969, Sonoton struck a deal with the British label Berry Music for international publishing rights, exposing its catalog to a worldwide audience; when Berry was bought out by EMI in 1973, Sonoton transitioned into a full-fledged international label, with successes in the library and commercial fields and many innovations to its credit. Now a worldwide operation with hundreds of producers and composers under its employ, Sonoton nonetheless remains an independently run business still helmed by its founders - a remarkable achievement in an era when nearly every other major library has been absorbed by a multinational conglomerate.

The audio for Drugs has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

In this accompanying remix set, "Earth 2.23: Special Lower Frequency Mix", the Bug has taken a bit of "Seven Angels" and laced it with feedback and big bass, allowing grime luminary Flowdan to climb atop it with his dark, staccato visions. Responsible for many transformational records himself, Justin K. Broadrick of Jesu and Godflesh crawls inside "Teeth" to lash at it with punishing drum machines and sordid layers of new distortion, building it into some brokedown palace of industrial mayhem. Loop's Robert Hampson makes good on the premise of ambient metal with his 30-minute hypnotic beauty, while longtime Earth cohort and longtime Built to Spill multi-instrumentalist Brett Netson seems to float the sound through a benighted graveyard on his clever "Teeth" revamp. These are not obvious directions for Earth's impact. Again, Earth 2 was never an obvious record. 30 years on, have we yet to grasp the enormity of Earth 2, an album that has continued its slow cycle of influence, uninterrupted? Probably not. Hell, most of us don't even know there are horses on the cover. VERY limited indies only LOSER copies pressed on lovely CURACAO BLUE vinyl!

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

“I’m still learning how to experience joy, how to be free, how to be comfortable in my own
skin,” says Jaime Wyatt. “A lot of us grow up feeling like we have to hide who we are just
to be accepted, but that comes from a place of fear and judgment. I wrote these songs as
a way of letting go of all that, as permission to feel good.” Feel Good, Wyatt’s extraordinary
new album, is more than just a permission slip, though: it’s an invitation. Recorded with
Black Pumas’ Adrian Quesada, the record is bold and ecstatic, built on tight, intoxicating
grooves that belie the songs’ substantial emotional stakes. Wyatt’s writing is raw and
intuitive here, tapping into the deep recesses of her subconscious as she reckons with
grief and growth, and her delivery is visceral to match, cutting straight to the bone with
equal parts sensitivity and swagger. Taken as a whole, the collection stands as a radical
act of creative liberation from an artist already known for pushing limits, a genre-defying
work of healing and self-love that tips its cap to everything from Al Green and Otis
Redding to Waylon Jennings and Bobbie Gentry in its relentless pursuit of peace and
pleasure.

On his third voyage as Skyway Man, artist + producer James Wallace is still seeking answers beyond the stars and still coming back with more questions in the form of ten brilliant songs. On its surface, 'Flight of the Long Distance Healer' registers as another concept album replete with aliens and alternative philosophy, but this time around, Wallace coats the glass with a vital layer of self-reflection. Like a West Coast Dr. John—but more preoccupied with flying saucers than voodoo dolls—Skyway Man is in the business of opening new aural worlds, cracking open reality just enough to get the message through. 'Flight of the Long Distance Healer' sparkles and blinks, whispers and moans—hugely enjoyable music rendered in imaginative and gleaming style. There are hints of the polyrhythmic cinematic sensibility from Wallace’s contributions to the Joe Pera television series, rhythms of the Stax-inspired Spacebomb house band, and ripples of the current East Bay scene outside San Francisco. In a real showcase for the extended Skyway Man family, Wallace has coaxed personal and masterful performances from the likes of Erin Rae, Vetiver’s Andy Cabic, pedal steel wizard Spencer Cullum, Kelly McFarling, and more. Cooking up genres in such a way as to keep their nutrients intact; he packs prog, blues, glam rock, acid folk, swamp boogie, and future folk into a beautiful Martian bouillon.

OLAYA SOUND SYSTEM, Peruvian band founded 15 years ago and with a discography of 6 CDs, present their first vinyl release, comprising some of their most outstanding productions recorded between 2015 and 2022. Their songs explore the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century.
Just like Chico Trujillo, Frente Cumbiero or Son Rompe Pera are also doing, OLAYA SOUND SYSTEM are reaching a global impact modernizing tropical music.
This album is released on the recently revamped Peruvian label Rey Record, one of the essential and most iconic record labels during the golden days of cumbia and chicha, decades ago. Olaya Sound System was founded in Chorrillos, Lima (Peru), in 2009 and since then they have developed a very particular exploration of the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century. Both on the dance floor and in meditative listening, Olaya Sound System take us with this LP on a journey through bucolic landscapes of the Andes, the Amazon and the infinite Pacific Ocean, essential locations that constitute their native Peru and that have inspired very perceptibly their sound. This album, the band's first release on vinyl, comprising some of their most outstanding productions recorded between 2015 and 2022. Cultivators of a very particular tropical musical style, they collect and adapt the Peruvian traditions of the cumbia, chicha and huayno genres, and then blend them with a melting pot of contemporary Latin and global influences such as reggae, salsa, rock, among others.
Emerging from the Peruvian independent scene, Olaya Sound System reflect relevant social topics in its lyrics, such as the search for individual and collective consciousness, with a strong content of social issues. The band has become, from their native Peru, in one of the most interesting projects that modernize tropical music today, just like groups like Chico Trujillo, Frente Cumbiero or Son Rompe Pera, are also doing from different Latinamerican territories, reaching a global impact

Roe Kapara"s debut vinyl release on Epitaph Record brings the songs from his wildly successful 2023 digital release, i hope hell isn"t real ep, together with his catalog of singles from 2021- 2022. "Nobody was born cool" proclaims . "Where"s the fun in that?" After relocating from Nashville to Los Angeles just before the pandemic, the St. Louis-born singer/songwriter did what any reasonable 20-something would: find solace online and build a community. Soon, his burgeoning digital fanbase hit six digits, enthralled by his endearingly unpretentious personality but also by his irresistible music, a modern swirl of indie, psych, dream pop, and alternative. Dwelling on the death of his own past is a common theme through "s music, throughout a catalog of DIY singles like "Everyone"s Dying" and "Past Grow" that helped boost his streaming listeners into the 2 Millions and TikTok audience over 350,000 (with 5.8 Million likes.) But just as he"s willing to expose vulnerable parts of himself in his songs, he"s quick to shine the mirror outward to address the creeping dread of modern life: consumerism, corporate greed, climate change, the general feelings of the younger generation in 21st-century America. Combining these two sides of his musical personality - deeply relatable yet unafraid to stand up and ask life"s big questions - into pop songs makes for a musical journey that"s a little off-kilter, sure, but all the better and more interesting in the end.