Everybody Needs A Hero ist das zweite Studioalbum der in Dublin geborenen Orla Gartland, das über ihr eigenes Label New Friends erscheint.
Everybody Needs A Hero erforscht, wie Gartland sich durch die Strömungen einer Langzeitbeziehung wandelt und herausfindet, wie sie in einer
postfeministischen Welt ihren Platz einnehmen kann. Während des gesamten Albums erforscht Orla die Idee eines „Helden“: jemand, zu dem man
aufschaut, jemand, der uns vor uns selbst rettet, jemand, den wir benutzen, um uns von unserem eigenen Schattenselbst abzulenken. Als Zeugnis
ihres künstlerischen Wachstums, ihres wachsenden Selbstbewusstseins und ihres stolzen Gefühls der Unabhängigkeit ist dieses Album der jüngste
Meilenstein auf der Reise dieses Selfmade-Talents.
Mit einer Viertelmilliarde Streams in ihrer Karriere, ausverkauften Tourneen und Festivalauftritten bei Glastonbury und Latitude; bis hin zu ihrem
Debütalbum „Woman On The Internet“, das die UK & Irish Top 10 erreichte, ist Orla bereit, mutig in das nächste Kapitel ihrer Karriere einzutreten.
The Smile haben ihr neues Album "Cutouts" für den 04.10.2024 angekündigt. Mit "Foreign Spies" und "Zero Sum" sind zugleich zwei neue Tracks erschienen, wobei der Künstler Weirdcore zu letzterem auch ein Video kreiert hat. Bereits erschienen sind "Don"t Get Me Started" und "The Slip", zwei Stücke, die Anfang des Monats als limitierte 12"-Single kurzzeitig weltweit in Plattenläden auftauchten. Thom Yorke, Jonny Greenwood und Tom Skinner haben einige der Songs von "Cutouts" erstmals auf der März-Tour in UK gespielt. Insgesamt enthält das von Sam Petts-Davies produzierte Album, das auf "Wall of Eyes" aus dem Januar und das 2022er-Debüt "A Light For Attracting Attention" folgt, zehn neue Tracks. "Cutouts" wurde zur gleichen Phase wie "Wall Of Eyes" in Oxford und den Abbey Road Studios aufgenommen und enthält String-Arrangements vom London Contemporary Orchestra. Das Artwork von Stanley Donwood und Thom Yorke entstand während der Aufnahmen. "Cutouts" ist bereits das zweite Studioalbum der Band in weniger als einem Jahr. Sein Vorgänger erreichte Platz 4 der deutschen Albumcharts und die Nummer 3 in UK. Thom Yorke veröffentlichte im April außerdem den Score zu Daniele Luchettis Film "Confidenza" und kündigte eine Solotour für Neuseeland, Australien, Singapur und Japan an. Jonny Greenwood arbeitet aktuell am Score zu Paul Thomas Andersons kommenden Film "The Battle of Baktan Cross". Tom Skinner hat das Album "Voices of Bishara Live at mu" veröffentlicht und tourt mit seinen Soloarbeiten im Rahmen internationaler Jazz-Festivals.
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Off the back of "electrifying" (Rolling Stone) performances across Australia's premier festivals throughout summer, proud Yorta Yorta, Dja Dja Wurrung, Kalkadoon and Yirendali woman & multi-award-winning Naarm/Melbourne-via-lutriwita/Tasmania artist MISS KANINNA is thrilled to announce her internationally-anticipated debut EP KANINNA, out 20 September via Soul Has No Tempo. Spanning hip-hop, rap, R&B and pop with touches of Amapiano, Afrobeats and Middle Eastern influences, the EP features her latest single 'Push Up', plus "the left-right goodnight" (triple j) combo of her debut 2023 singles 'Blak Britney' & 'Pinnacle Bitch' which spurred her meteoric rise with far-ranging support from Apple Radio 1, BBC Radio 6, KEXP, KCRW and triple j, who crowned her with the J Award for Unearthed Artist of the Year 2023.
Still just 19-years-old, Toby Lee is already a three-time winner of Young Blues Artist of the Year at the UK Blues Awards - yet the virtuoso guitarist is only getting started. Praised as a remarkable talent by the likes of Jools Holland and Joe Bonamassa, 2024 represents a big breakthrough year as Toby releases his first album of all-original material ‘House On Fire’ on October 4th via 100% Records. As you’d expect from someone that The Times hailed as, “One of the best guitarists in Britain,” his six-string talents dazzle throughout with a rich tapestry of scorching leads, evocative melodies and swaggering grooves. Yet his vocals have come on leaps-and-bounds, his maturity and emotional expression providing a voice strong enough to front a band regardless of his guitar skills. His songs and stylistic scope have expanded too, with a set that moves seemingly effortlessly between classic blues jams, punchy hard rock, intimate acoustic moments and a modernist approach to classic soul and Stax-style R&B. It’s all played with a winning combination of youthful abandon and undeniable accomplishment. Toby Lee’s talents have been recognised by an array of legends. When he was 10, a get well soon video that he made for BB King went viral, leading to an invitation from the blues legend’s family to play at his club in Memphis, while the late Bernie Marsden was an early mentor and champion. He subsequently shared the stage with the likes of Buddy Guy, Joe Bonamassa, Slash, Billy Gibbons and Peter Frampton, while enjoying other high profile moments, such as starring in a West End production of ‘School of Rock’, performing with McFly on ‘Tonight at the London Palladium’ and featuring in ‘The Ellen DeGeneres Show’. Toby has now exceeded 500 million views on social media. His ability has been recognised with numerous endorsements. He has been a Gibson artist since the age of 10, and a recent highlight came when he helped launch Gibson’s custom Jeff Beck ‘YardBurst’ 1959 Les Paul Standard alongside fellow guests including Jimmy Page, Johnny Depp and Graham Coxon. Blackstar Amplification issued his own signature amp, the St James Toby Lee 50 6L6 head and cab, and he is also endorsed by D’Addario Strings.
Still just 19-years-old, Toby Lee is already a three-time winner of Young Blues Artist of the Year at the UK Blues Awards - yet the virtuoso guitarist is only getting started. Praised as a remarkable talent by the likes of Jools Holland and Joe Bonamassa, 2024 represents a big breakthrough year as Toby releases his first album of all-original material ‘House On Fire’ on October 4th via 100% Records. As you’d expect from someone that The Times hailed as, “One of the best guitarists in Britain,” his six-string talents dazzle throughout with a rich tapestry of scorching leads, evocative melodies and swaggering grooves. Yet his vocals have come on leaps-and-bounds, his maturity and emotional expression providing a voice strong enough to front a band regardless of his guitar skills. His songs and stylistic scope have expanded too, with a set that moves seemingly effortlessly between classic blues jams, punchy hard rock, intimate acoustic moments and a modernist approach to classic soul and Stax-style R&B. It’s all played with a winning combination of youthful abandon and undeniable accomplishment. Toby Lee’s talents have been recognised by an array of legends. When he was 10, a get well soon video that he made for BB King went viral, leading to an invitation from the blues legend’s family to play at his club in Memphis, while the late Bernie Marsden was an early mentor and champion. He subsequently shared the stage with the likes of Buddy Guy, Joe Bonamassa, Slash, Billy Gibbons and Peter Frampton, while enjoying other high profile moments, such as starring in a West End production of ‘School of Rock’, performing with McFly on ‘Tonight at the London Palladium’ and featuring in ‘The Ellen DeGeneres Show’. Toby has now exceeded 500 million views on social media. His ability has been recognised with numerous endorsements. He has been a Gibson artist since the age of 10, and a recent highlight came when he helped launch Gibson’s custom Jeff Beck ‘YardBurst’ 1959 Les Paul Standard alongside fellow guests including Jimmy Page, Johnny Depp and Graham Coxon. Blackstar Amplification issued his own signature amp, the St James Toby Lee 50 6L6 head and cab, and he is also endorsed by D’Addario Strings.
Die für einen Grammy nominierte, genreübergreifende Rockband FEVER 333 hat immer wieder bewiesen, dass sie zu den fesselndsten Acts der modernen Musik gehört. Jetzt, im Jahr 2024, schlagen FEVER 333 ihr bisher aufregendstes Kapitel auf, mit einer Fülle an neuer Musik. Die Band besteht aus dem Schlagzeuger Thomas Pridgen (The Mars Volta, Thundercat, Trash Talk), der Bassistin April Kae und dem Gitarristen Brandon Davis, die sich mit Frontmann Jason Aalon Butler zusammentun, um die mitreißenden Live-Auftritte der Band zu verstärken. Die Band hat außerdem kürzlich Headline-Termine in den Vereinigten Staaten, Europa und Großbritannien angekündigt. Die Tour findet im Herbst statt und beginnt am 17. Oktober in Los Angeles. Sie führt durch alle großen Städte des Landes und endet am 8. November in Brooklyn, NY. Am 14. November beginnt die Tournee in Großbritannien und Europa mit Konzerten in Deutschland, Frankreich, Belgien, Österreich, der Schweiz und anderen Ländern. Tickets sind ab sofort im Vorverkauf erhältlich.
Three years after appearing on Doom Sessions Vol 5 split, High Reeper are back with their most ambitious album yet,"Renewed By Death". A true heavy metal assault of eight tracks that take you on a journey to the darkest depths and leave you there to rot. Featuring monolithic riffs that pummel you from the opening of the album to the close, guitar solos reminiscent of George Lynch and Dave Navarro, and powerful vocals that deliver a knockout blow. This album showcases the band's desire to keep evolving and exploring new sounds and ideas. "Renewed By Death" was produced, recorded, mixed and mastered by Shane Trimble at the band's brand new studio Sletner Sound, in Wilmington Delaware with Justin Di Pinto also engineering. The cover was done by Solomacello and photos of the band were done by Drew Wiedemann.
Neon yellow vinyl, limited to 350 copies. Three years after appearing on Doom Sessions Vol 5 split, High Reeper are back with their most ambitious album yet,"Renewed By Death". A true heavy metal assault of eight tracks that take you on a journey to the darkest depths and leave you there to rot. Featuring monolithic riffs that pummel you from the opening of the album to the close, guitar solos reminiscent of George Lynch and Dave Navarro, and powerful vocals that deliver a knockout blow. This album showcases the band's desire to keep evolving and exploring new sounds and ideas. "Renewed By Death" was produced, recorded, mixed and mastered by Shane Trimble at the band's brand new studio Sletner Sound, in Wilmington Delaware with Justin Di Pinto also engineering. The cover was done by Solomacello and photos of the band were done by Drew Wiedemann.
In an age where the unyielding flow of time often overshadows the deeper resonances of our existence, Daniel Majer’s latest album, »Time for No Memory«, serves as an evocative meditation on the ephemeral nature of experience. Produced throughout 2023 and released in the latter half of 2024, this collection of tracks swerve through what seems like a cacophony of FM radio frequencies while oscillating between the familiar and the uncanny, leaving us with a sonic landscape that feels both timeless and retroactive yet palpably present.
In 2019, Daniel Majer released a collaborative album with Jonathan Scherk on Jan Jelinek's Faitiche label.
Carla Boregas is a Brazilian musician, composer and sound artist. By merging synthetic and acoustic instrumentation and techniques, Boregas builds up sonic scenarios driven by an invisible force, where the sensation of presence and discovery lies between density and delicacy. Her work spans composition, improvisation, performance, sound installation and radio art, and aims to transport the listener to different subjective perspectives of time and space, to invoke memories and to reflect about the nature-human relationship.
Carla Boregas writes: "Using a Tascam Portastudio 4-track cassette recorder, I invited three musicians to improvise alone with the sound recording of the sea that I did in Massaguaçu, the place where I used to live in Brasil. The recorder that I used had a defect in one of its tracks, therefore I could only invite two musicians – Vinicius Cajado (double bass) and Réka Csiszér (cello), plus the sea in another track. While listening to the tracks together, I felt a deep sense of absence ("ausência" in Portuguese). Perhaps due to their sonorous answers surrounded by the tape hiss? Because that's one of the symbolic meanings of the ocean? Maybe "saudades do mar, de estar ao seu outro lado"? Who knows – listening can be something very mysterious. Afterwards I played with and interweaved them all: the sonorous sea, Vinicius Cajado, Réka Csiszér and the absence - "Absência Tape" is the final result." – Carla Boregas, Berlin, 8 August 2024.
KR3.013_
Let's welcome Irene to our roster!
With "Forbidden Memories EP" the label celebrates its thirteenth release and kicks off KR3's fifth anniversary, which will be celebrated from September 2024 to Sept. 2025.
This 5-track EP featured a range of waves, from deeply romantic
Techno to heavier beats in pieces like 'Surrounded' and experimental droning in 'I'd Rather Be Sleeping' A 12" Hybrid designed to capture every emotion you wish to explore, embodying the sonic essence that - IA - consistently seeks in her role as both producer and performer.
KR3. 5 Years Down Road - Let Ireen drive us into the first dimension!
Order KR3013 now
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Triple Vision Record Distribution BV · Achterhaven 160 · Rotterdam, Zuid-Holland 3024 RC · Netherlands
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Piano Bar is the sixth studio album by French pop and chanson singer Patricia Kaas. It is the first album on which Kaas sings partly in English. The album includes covers and interpretations of Jacques Brel, Yves Montand and Gilbert Bécaud. It became one of Kaas' most successful albums in Europe, selling over half a million copies. Piano Bar is a limited edition of 1000 numbered copies on turquoise coloured vinyl.
Following up on last years debut release, Chontane returns with Manx, the second EP on his label, TANE. This five-track collection continues his exploration of sound design, moving into fresh territory while retaining the distinctive energy that marked TANE001.
With TANE002, Chontane invites listeners into a diverse sonic landscape, emphasizing mood, texture, and the subtle intricacies of rhythm.
Manx marks a significant progression in Chontanes artistry, expanding on the
foundation set by TANE001, which echoed the nostalgia of 90s and early 2000s rave culture. While his first EP blended old-school, rave-inspired techno, atmospheric tracks, and a touch of jungle, TANE002 boldly ventures into new, uncharted territories. It challenges traditional genre boundaries, delving deep into the potential of sound design, and offering a forward-thinking perspective that feels attuned to the future.
The EP highlights Chontanes dedication to capturing a wide spectrum of moods and textures within a single record. The title track, Manx sets the stage with a dark, hypnotic presence. Rich in layered textures and atmospheric undertones, the track fuses a powerful kick with resonant toms, deep subs, and eerie pads. Haunting, glitchy vocal snippets add an extra dimension, making Manx a compelling, immersive experience.
On Gazebo, the EPs A2 track, Chontane shifts the energy, delivering a composition that balances driving rhythms with a melodic core. The combination of dynamic drums with an epic, mystical theme creates a piece thats both uplifting and introspective, standing out for its ability to evoke grandeur while maintaining a sense of optimism.
The B-side leans into a more shadowy atmosphere, with Oolean blending metallic
percussion and a throbbing bassline. The tracks ominous pads and powerful kick drum propel it forward, creating a narrative thats intense and captivating.
B2 offers a fitting conclusion to the vinyl release, presenting a track that blends dreamy, atmospheric melodies with a robust kick and driving sub-line. The mystical qualities of this composition make it an evocative and memorable closer.
The digital-only track, Thumb Print, rounds out the EP with a relentless, peak-time experience. Its hypnotic rhythm and expansive sense of scale make it a standout track, perfect for igniting dance floors and capturing listeners attention.
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For a few years until 2014, Indirect’s rehearsal studio was located at the abandoned Odesa drugstore “Аптека No326”, whose stained glass window is depicted on the album cover. The many hours spent there practicing and recording have ended up as a 7” Walts and a digital LP Ab Pharmacy in 2014 on Muscut and Diskultura labels.
Die Ostfriesen von der Insel Spiekeroog versinken zum Glück nicht in einem Meer aus abgestandener Nostalgie. Obwohl "God of the Godless" mit der brachialen Kraft tosender Winterstürme und dem oft rauen Charme des Nordseewetters daherkommt, haben die Norddeutschen auch die cineastischen Aspekte ihres Sounds verfeinert, die sie auf dem Vorgängeralbum "Beyond Acheron" (2023) fest etabliert hatten. Auf einem soliden Fundament aus Brutal Death zimmern TEMPLE OF DREAD mit Hilfe von dunklen und schweren Stützbalken, Querstreben aus überraschender Melancholie und sogar einigen 12-Zoll Black Metal Nägeln ihre wuchtigen Songstrukturen. Als Zierelement dient erneut ein Gastbeitrag des INSIDIOUS DISEASE, ASINHELL und ehemaligen MORGOTH Sängers Marc Grewe. Die wuchtige Produktion von "God of the Godless" stammt wie gewohnt von Schlagzeuger Jörg Uken. In dessen renommierter Death Metal Klangschmiede, dem Soundlodge Tonstudio, wurden auch schon zahlreiche Langspieler solcher Szenegrößen wie unter anderen DEW-SCENTED, GOD DETHRONED, OBSCENITY, SUICIDAL ANGELS und WARPATH in Form gehämmert. TEMPLE OF DREAD wurden von Markus Bünnemeyer im Jahr 2017 auf Spiekeroog gegründet, als der Gitarrist den Entschluss fasste, seinen Mordshunger auf mehr Death Metal der alten Schule selbst zu stillen. Ein Jahr später stießen Sänger Jens Finger und Jörg Uken dazu, mit denen Bünnemeyer bereits bei SLAUGHTERDAY aktiv war. Dieses Dreiergespann besteht seitdem unverändert fort. Schon das erste Album "Blood Craving Mantras" (2019) schlug in Death Metal Kreisen hart ein. Die Arbeitstiere ließen in kurzer Folge zwei weitere Erfolgsalben, "World Sacrifice" (2020) und das von der Kritik in höchsten Tönen gefeierte "Hades Unleashed" (2021), auf die Welt los. Während sich das Trio für "Beyond Acheron" (2023) etwas mehr Zeit nahm, sind TEMPLE OF DREAD wieder auf der Überholspur unterwegs. Noch besser: Die Ostfriesen begeistern endlich auch mit Live-Auftritten. Mit "God of the Godless" legen TEMPLE OF DREAD die Messlatte für intelligente Death Metal Brutalität wieder um einige Zentimeter höher auf!
Those in the know are well aware of Bobby Marin's work, and the fact that he was behind the scenes for some of the best boogaloo and salsa of the '60s and '70s. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This compilation comprises twenty four essential boogaloo, Latin funk, rock and afro disco gems, each one bearing the mark of quality: "A Bobby Marin Production", including songs by Ricardo Marrero, the Ghetto Brothers, Ocho, Louie Ramírez_ A freshly curated overview of his fascinatingly complex back catalog in these genres. Since the late 1980s there have been numerous Latin soul and boogaloo compilations, and certainly much has been written about the history of the music too and an an excellent documentary (We Like It Like That, by Mathew Ramírez Warren) have brought the music to a broader audience. Generally, when discussing the "first wave" of Latin soul and boogaloo, it's the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers behind the music? Over the years, one of the best old-school New York Latin music producers, Bobby Marin, has occasionally been given some well-deserved credit and popped up sporadically in articles or liner notes (Wax Poetics, Fania, Gladys Palmera). However, to the casual public, he is not a household name, even among some fans of boogaloo. There are even some contemporary Latin soul compilations that contain mostly material licensed, produced and / or written by Bobby (or his brother, Richard), and a tip of the hat must go to Bobby's friend Dean Rudland for all his work in this area, as well as to Rocafort Records for digging up the long-lost Nitty Gritty Sextet album. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This collection aims to change that and give the man his Latin soul "props" for the first time on a freshly curated overview of his fascinatingly complex back catalog in this genre.
See You At The Maypole, the sixth full-length album in Half Waif"s prolific catalog, is a recognition of personal sadness, and a call to ecstatic togetherness. It"s gathering the colors of our spirit, in all its shades, and making something intricate and remarkable. The ceremonial folk dance performed around a maypole is filled with fauna and flora, with ribbons woven into complex braids incapable of unraveling; these dances are survivals of ancient ritual, honoring the living trees, and the return of Spring and fertility. These patterns -- this dance -- cannot be completed alone, and so, Half Waif welcomes others to join her, a collective of bleeding color. "We are so much stronger for the colorful experiences we go through," she says. "That"s where we find our humanity and find each other." While the seclusion of grief feels infinite, Rose brought the songs to her trusted friend and longtime collaborator of the past decade, Zubin Hensler. The pair worked away from others for Mythopoetics, carefully crafting each note and flourish themselves but something else was needed for See You At The Maypole. To that end, Hensler and Rose welcomed a wealth of players and friends into the world of the record: Jason Burger and Zack Levine on drums and percussion; Josh Marre (Blue Ranger) on guitar; Hannah Epperson and Elena Moon Park on violin; Kristina Teuschler on clarinet; Willem de Koch on trombone; Rebecca El-Saleh on harp; and Spencer Zahn on upright bass. Andrew Sarlo (Big Thief, Bon Iver) lent his deft mixing skills to many of the tracks, including lead single "Figurine." "This wasn"t just my story, I wanted to say. It was every story of loss-the loss of a life, the loss of a dream, the loss of trust and hope and faith. A story of finding a way back again," Rose explains. "My own avenue back to the land of the living was through my relationships with people and with the natural world. It only seemed right that these songs would invite those people in to build the very heart of the sound."
Good Neighbours release their self-titled debut EP on 4th October. The EP includes their huge debut hit single ‘Home’ which has had over 300 million streams globally alongside follow-up feel-good singles Keep It Up, Daisies and Bloom. Since playing their debut headline show in November 2023, the band consisting of Scott Verrill and Oli Fox have come together to create an indie-euphoric dreamscape of sound and vision, racing through the London gig circuit and beyond with likes of Reading & Leeds Festival, Latitude, Boardmasters, and All Points East. Available as a Limited edition CD edition includes cover of Taylor Swift’s Wildest Dreams recorded for BBC Radio 1. The Limited edition Blue Vinyl includes mash up cover of MGMT’s Time To Pretend with Lorde’s Perfect Places recorded for BBC Radio 1 earlier in 2024 (doesn't include Taylor cover)
Hellstain Productions are proud to present you with "Et Alter Av Forakt» - the second release by the Norwegian Black Metal entity ENE, following the debut «Lang Kald Natt» from 2021. The new album is a natural next step musically, while still focusing on primitive and atmospheric black metal.
«Et Alter Av Forakt» shines with a far more refined production, but holds the same cold and desperate feelings. Lyrically, the tracks describe the souls of a lost world, where our purpose and existence is fragile and perhaps equally lost.
Earlier this year we were excited to announce the return of one of our most beloved bands of recent years: New Street Adventure. To mark the 10th Anniversary of their debut album ‘No Hard Feelings’, on 4 October we are releasing a special, limited edition olive green colour vinyl reissue. The release will coincide with an extensive UK tour.
‘About eighteen months ago, someone asked if I had a spare vinyl copy of ‘No Hard Feelings’. I checked the shelves, and found my own copy and no more. I checked Discogs and saw that it was changing hands for far more than an 8-year-old album should be. Released in the pre-vinyl-revival years, its limited original pressing means that demand is now out-stripping supply – a measure of just how good this record is. With that in mind Nick Corbin and I hatched a plot for a 10th Anniversary reissue, and here it is!
I loved New Street Adventure. They were smart, looked great on stage, and in Nick was one of the best front-men and songwriters I have ever worked with. With their own ecosystem of self promoted gigs, they created their own audience, and for a while it looked like a major label deal was in the offing. Eddie Piller had wanted to sign them from the first time he met Nick, and when the big deal didn’t happen, he was still there for the band as they became an Acid Jazz act in 2013.
There were endless back-and-forths on how the album should sound (and some despair that it wasn’t quite sounding as good as it should have). Then Mitch Ayling came on board to produce the final mix. He brought out the songs, lifted the playing, delivering the shiny finished recording that took its place as one of the finest moments in the Acid Jazz catalogue. Nick’s songs now sparkled. As his love of soul shone through, his politically and socially aware lyrics showed a rare, wry observational gaze that was turned on 21st Century life. From the warnings against populist hatred of ‘On Our Front Doorstep’, to the hopeless ennui of ‘Foot In The Door’, and the day-to-day pursuits of being in your twenties in a big city. Through it all shines a passion – sometimes coming out as anger – that drives the music. It is of course encapsulated in ‘The Big A.C.’, written about the night that Nick’s dad took him to the 6Ts Allnighter at the 100 Club, which brought him into the world of Northern Soul. It’s a classic that nails the feeling of excitement as well as anything written.
The album was released late in 2014 and for those who want a vinyl copy – even the CDs cost a fair penny now – we have prepared this special 10th Anniversary Edition on transparent olive-green coloured vinyl. The inner sleeve is illustrated with never-before seen photos from the archive, both candid and by early band supporter Dean Chalkley, and has sleeve notes by Nick and myself. Nick is taking New Street back on tour this Autumn, and it you would be foolish (once more) to miss either the tour or the record.’
"OneDa's story is so clearly mirrored in her music: a sprightly flow preaching a message of empowerment, enveloped in a dark, raucous soundscape…interlacing vibrant, punchy lyrics with that classic drum & bass sound has given OneDa a new lease of life." – DJ MAG
“OneDa is solidifying her position as one of the UK’s most thrilling hip-hop artists. With poignant lyrics and charisma that is off the charts, she dives deep into the complexities of life, love, and liberation.” – DIVA
Manchester rapper and poet OneDa is set to soar with the release of her debut album, 'Formula OneDa', on October 4th via Heavenly Recordings. Featuring the singles 'Major Pay' and 'Set It Off.'
On the ethos behind the album, OneDa says:
“In early 2023, while listening to my mixtape demos, the line ‘had to step away, get the levels up fast, Formula OneDa never come last' from my song ‘Off My Light’ stood out. We decided to name my album 'Formula Oneda'. Coincidentally, I discovered that the F1 Academy had just started, aligning perfectly with my album’s vision. For the first time in over 30 years, Formula 1 has created a platform to inspire and support young girls and women. Previously indifferent to Formula 1, I am now excited by the progress these women are making in the male-dominated racing circuit. While becoming a racing driver was never my goal, the F1 Academy metaphor fits my journey from a backmarker to a leader. This year, I plan to support these inspiring women as they drive with Pussy Power to take pole position in motorsports.”
Having supported Kneecap and Baxter Dury, and with standout performances at The Great Escape, OneDa is establishing herself as one of the UK’s most dynamic hip-hop artists. Her music transcends genres, blending hip-hop, drum and bass, afro-trap, and afrobeats, reflecting her Nigerian heritage and Manchester roots. Known for her dexterous wordplay and poetic verses, OneDa's voice is a unique force in the evolving drum and bass scene. Her boundless linguistic talent and poetic verses set her apart. Named by The Face as a key MC in the drum ‘n’ bass renaissance, OneDa is dedicated to empowering others.
Her live performance credits include headlining with Angélique Kidjo at Aviva Studios' launch in Manchester and leading performances at Manchester Pride 2023. She continues to gain acclaim from BBC Radio 6, DJ Mag, The Face, NTS, Wonderland, UKF, and The Line of Best Fit.
Beyond her music, OneDa is dedicated to community initiatives, leading hip-hop therapy for Manchester youth and championing projects like Herchester, which amplifies marginalized voices in music. Her vision extends beyond chart success; she aims to establish a hip-hop therapy school for all ages, showcasing music's potential for positive change. Her drive and authenticity inspire others to embrace their true selves.
Citing 'empowerment' as her greatest inspiration, OneDa channels her struggle with acceptance of her queerness into her music, promoting a message of self-love and freedom: “When you truly love yourself, that overpowers anyone else’s opinion.” Although she only began producing music two years ago, OneDa’s debut LP showcases her mastery across multiple genres. Collaborations with artists like Sam Binga, Songer, Devilman, and Mr. Scruff highlight her versatility. Her standout verse on Vibe Chemistry’s 'Ballin’', with over 35 million streams, further cemented her reputation. Her first fully produced track, 'Rude Girl Flex', earned her a spot on the BBC 6 Music playlist and an appearance at the BBC 6 Music Festival.
"Once more with attitude: April Art have set out to do nothing less than change the world. That may seem bold, true, but you know what: They have the songs to back this attitude. It’s a modern metal sensation like no other, emerging from the underground and led by sparkling frontwoman Lisa-Marie Watz. In, fact, April Art have risen so rapidly in recent years that it could make you feel dizzy just by watching them. Now, however, the time has come for the big leap, for their breakthrough: their third album “Rodeo” unapologetically changes into the fast lane, speeding away from everyone else with huge hits, a brutal bite and peerless power.
Trigger warning: a German band hasn’t sounded this explosive, this hungry, this insatiable for a very long time. “Our music stands for hope,” says the German band. “We want to give strength and courage to believe in yourself and in life. The more people realise that they can take their lives into their own hands, the less room there is for hatred and envy.”
April Art deliver this important message in the best possible way – with uplifting, electrifying, euphoric music somewhere between modern metal and alternative rock. The band are just as averse to blinkers as they are to racism, homophobia or division, spicing up their energising brew with flavours ranging from pop to rap and electro. “Rodeo” gives us all wings. Let’s soar together. In 2022 and 2023 alone, April Art earned two million streams on Spotify, appeared on WDR Rockpalast and will be on stage at the legendary Wacken Open Air this year. "
The Finns have crafted a top-notch piece of powerful heavy metal with the incomparably strong roars of frontbeast Noora Louhimo, catchy keyboards and earworm invasions. From the opening classical up-tempo opening track, 'Straight To The Heart,' to the last note of the closing ballad 'Far From Heaven,' BATTLE BEAST’s new opus is full of heaviness and emotions. Recorded and produced at JKB Studios by keyboardist Janne Björkroth, the album was also mixed by him alongside Viktor Gullichsen and Mikko Karmila, while mastering was done by Mika Jussila at the world famous Finnvox Studios. “Bombastic and brilliant heavy metal with a killer singer! »Bringer Of Pain« is gigantic!” MYROCK (F) “BATTLE BEAST at their best - majestically melodic and 'Straight To The Heart'!” ROCK IT! (D)
METAL HAMMER - 8/10 review “Mangled post-Bathory riffs and Marzia’s blasphemous bark collide with the darkly serene shimmer of wilfully corrupted shoegaze and nobody escapes with their San(ci)ity intact. This is a profoundly heavy work, yet laced with elegant moments of restraint…A dark star is born.”
Debut full length for one woman band Marthe on Southern Lord.
True Valkyrian metal inspired heavy riffing in a dark atmosphere of feasting ravens over a thunderous battleground.
The war cry belongs to a distorted horde of crust punk and black metal venture.
The dust settles over the power of Bathory, the melancholy of Tiamat and the stench of Amebix.
Antifascist. Feminist. Misanthropic.
Includes cover of Siouxsie and the Banshees ‘Sin In my Heart’
With the debut album "Mechanical Spin Phenomena", MNEMIC introduced themselves to the metal world impressively: Their music, made of heavy Thrash riffs, Progressive elements, modern synthesizers and electronic samples created both a hard and spacy atmosphere – therefore the band decided to describe their sound as Fusion Future Metal. Crushing songs like 'Ghost' and 'Liquid' got stuck in your head so easily and the comparisons to bands like FEAR FACTORY, MESHUGGAH or STRAPPING YOUNG LAD were drawn soon. But MNEMIC are not a simple copy of those acts – they are a band with their own ideas and self-contained style. "The Audio Injected Soul" shows MNEMIC grown and more mature. Less complex than "Mechanical Spin Phenomena", the band worked a lot with melodies and set a high value on creating catchy refrains. The result is amazing songs like 'Dreamstate Emergency', 'Door 2.12' or 'Deathbox' groove like hell and unify brutality with melody. Finalized by a dynamic cover version of DURAN DURAN's 'Wild Boys', "The Audio Injected Soul" is all in all a perfect package of ten punishing Modern Metal songs that will catapult MNEMIC to the major league of the genre! Tue Madsen, who again took care of the producing in his Antfarm Studios in Aarhus/Denmark, additionally provided the album with a clear and explosive sound that displays the effect of each track fully.
A1 - Desire
Opening the EP in quietly epic fashion, Desire begins with a delightful beat pattern with adistinctive cymbal hit set over warm bass tones and whale song samples. A smooth, thoughtful bass melody is introduced which joyfully intersects with gorgeous piano keys while swirling strings and atmospheric vibes layer and recede like tides of the ocean, creating a truly unique journey of a track that will linger anywhere it may be heard.
A2 - Voidscaping
Instantly setting the scene with crisp, striking breaks, Voidscaping is an atmospheric treatfor the senses with serene throwback pads reminiscent of the halcyon days of Good Looking. Bringing the piece up to date for the Spatial era is the typically intricate blending of reflection and intrigue ASC conjures with his sampling and reverb work, effortlessly thickening the soundscape with memories old and new.
AA1 - Let Go
Opening with the vibrant sounds of twilight nature and metallic bongos, ASC sparinglydeploys a glorious choral vocal before the breaks take off with an energetic pattern drivenby constant, playful hi hats. As the track develops, questions are asked of the listener bythe curious atmosphere, gradually unraveling with strings, synths and trademark vocalusage, offering a new perspective with each listen.
AA2 - Meltdown
A darkly, anxious undertone floods the mix as Meltdown grips the listener from the first barwith skillfully sequenced minimal breaks, hi hats that whoosh in and out like evening crickets you can't quite track, and intense ambient padwork. A longing female vocal occasionally yearns over the various melodies which enter at will, discreetly developing the mood with purpose, unfurling a stream of aural consciousness from this incredible producer.
Words by Chris Hayes (Spatial / Red Mist)
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Last delivered 14 months ago available to reorder, subject to availability
A1 - Deep Sea
Hefty jungle breaks shudder and thud as Aural Imbalance chartsa path through the depths with a shimmering backdrop of glorious synths and padwork that dance gleefully around asymphony of gentle rhythms. An over-arching earworm melody develops and rises above the mix, intersecting with the break pattern which gradually adds to its own character and texture with muffled breaks beneath, all combining to create this superb EP opener.
A2 - Echoes In Time
Flexing his breakbeat skillset in style, Aural Imbalance cuts andchops fine analogue jungle breaks effortlessly as Echoes In Time showcases his ever evolving production talents on Spatial.Wisps of airy pads are floated in the mix that slowly rise around the listener, somber in tone with delicate keys, bells and micro-melodies that build the atmosphere with a wondrous clarity feware capable of achieving.
AA1 - Sense of Space
A DJ-friendly intro opens with a plinky melody and hi hats asserene pads slowly usher in rumbling, weighty amen breaks, edited to perfection as is fast becoming trademark for Aural Imbalance's breakwork on the label. As the soundscape develops, a softly, hopeful xylophone melody innocently shuffles around subtle keys and synths to cap off a tale of two vibes effortlessly moulded into another sublime atmospheric collage.
AA2 - Regolith
Closing the EP with a stunning analogue break-laden workout, Regolith sees Aural Imbalance delve deeper still into the oldschool brand new vibes of Spatial with a beat pattern that immediately makes an impression. Scattered and flecked across the mix, the edits juggle restless snares and hats with a dense kickdrum and subtle 808 bass, while a tranquil blend of ambient atmospherics circle inquisitively above.
Words by Chris Hayes (Spatial / Red Mist)
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Last delivered 4 months ago available to reorder, subject to availability
After a triptych released by Un je-ne-sais-quoi, in barely 3 years, under the name Tachycardie, Jean-Baptiste Geoffroy, musician, composer but also visual artist, continues his very singular journey to the heart of sound matter, with an album composed on Baschet sound structures.
From the 1950s, the Baschet brothers created a truly innovative set of instruments which has since fascinated musicians seeking new sound experiences.
Both sculptures of glass, metal and instruments of great acoustic sharpness, these sound structures have made rare but remarkable forays into recordings of contemporary music (Bernard Baschet, Jacques Lasry, Luc Ferrari, Toru Takemitsu, Jonathan Fitoussi…).
The Baschet brothers were also keen to use these instruments for educational purposes in the form of workshops, cultural action projects or simply by inviting the public to try these instruments at the end of concerts. It is in the Ateliers Baschet, a place aimed at preserving and transmitting the work of the brothers (workshops, conferences, residencies) that Tachycardie recorded this new album.
After having combined on his previous albums, analog synthesis, audio-naturalism and percussion in an overwhelming balance, he explored here all the sonic variety of Baschet structures. He then just sculpted this sound material in his studio, using simple effects: editing and pitch.
The result is a new path to explore in Tachycardie’s world, made of subtle percussive crackles, beneficial chaos and restorative oscillations.
Kill Emil is a Greek DJ and producer, based in Athens, who since 2009 has produced tracks with powerful and sophisticated rhythms and vaporous atmospheres.
Influenced as much by Latin and Jamaican music as by Hip-Hop, Kill Emil regularly collaborates with artists such as l'Entourloop (on their album “Le Savoir Faire”), The Architect, Taiwan MC and Marina P.
Deja Vu is a sonic journey through nostalgic rhythms and fresh beats, offering listeners a blend of the familiar and the new. Each track is a testament to Kill Emil's dedication to the craft, featuring meticulously crafted layers that invite repeated listens.
Parallel zum digitalen Release veröffentlicht die Schweizer Künstlerin LEILA ihre zweite EP "Generation" zusammen mit der ersten "Burnout" EP (2023) als Doppel-EP erstmals auf Vinyl. Auf inhaltlicher Ebene gehen "Burnout" und "Generation" sowieso Hand in Hand, kreist Leila lyrisch doch auf beiden Projekten um die grossen Themen, die ihre Altersgruppe im Jetzt beschäftigen. Es geht um Einflusslosigkeit und Lethargie, um schnelles Erwachsenwerden und zähes inneres Ausbrennen, um Leistungs-, Entscheidungs- und Performance-Druck, um die verzweifelte Suche nach dem eigenen Platz in einer wirren Welt.
LEILAs zweite, millionfach gestreamte Single "Gun To My Head" ging im gesamten deutschsprachigen Raum viral und führte zu einem Signing beim Berliner Indielabel Grönland Records. Dort erschien die "Burnout" EP mit allen sieben bisherigen Singles, die LEILA prompt auf die "Amazon Music - Newcomer To Watch 2024" Liste beförderte. Nach dem Miley Cyrus-Cover "Mother's Daughter" und Supportgigs mit Kaffkiez begann der Zyklus der neuen "Generation" EP.
LEILA ist eine DIY-Allround-Künstlerin, deren Dramaturgie vom Spiel mit Kontrasten lebt, von erfrischender Ungeplantheit, Brüchen und antizyklischer Roughness, von spitzen Blues-Cords im pixeligen Bedroom-Pop-Gewand, dem Clash zwischen kraftvoller Klarheit und verwaschener Fluidität. Ihre englischsprachigen Texte performt sie mit einem subtil trotzigen Akzent, der manchmal an Tove Lo, Fever Ray oder Dolores O'Riordan erinnert. Die aus Bern stammende Mehrsprachlerin ist binnen weniger Monate ohne grosse Starposen zum Sprachrohr einer bikulturellen, diversen, gefühlsbewussten Generation junger Menschen geworden. Ihre Songs verbinden Pop-Appeal mit radikaler Naivität und einer eigensinnigen Ästhetik der Unordnung. Zwischen zarten Gitarrenballaden, sehnsuchtsvollen Electronica-Flächen und wütenden Garage-House-Passagen entfaltet LEILA ihre künstlerische Perfektion meist in den Momenten absoluter Nahbarkeit. LEILA ist bis heute bekennender Ultra des Nuller- und Zehnerjahre-Pop (Rihanna, Justin Bieber, Lady Gaga, Miley Cyrus) und sich keineswegs zu cool, diese Obsession auch zum Ausdruck zu bringen. Sie hat durchaus emotional reagiert, als ihr Paris Hilton auf TikTok zu folgen begann oder Billie Eilish sie kürzlich zu ihren engen Instagram-Freund*innen hinzufügte.
ZEKE ist eine Punkrock- und Hardcore-Institution, die 1992 in Seattle gegründet, immer noch aktiv ist. Sie machen das, was sie am besten können: lauten, schnellen und schweren Punkrock mit einem Hauch von Blues. In Anlehnung an Motörhead brachten ZEKE aber ein gewisses Punkrock- und Hardcore-Element in das Genre, das viele Bands nach ihnen aufgegriffen haben.
RPM Online schrieb, „Zeke sind wirklich, wie keine andere Band auf der Welt“ und „It's not fast, its fucking hypersonic hardcore“, während Maximum Volume empfiehlt „... they are the kings of the underground.“ Vive le Rock aus Großbritannien freut sich, dass „das Quartett dem Brexit den Stinkefinger zeigen wird“ und auch das Ox Fanzine aus Deutschland bestätigt: „Sie sind in Topform, so wie wir sie 1996 bei „Super Sound Racing“ gefeiert haben.“ Mit den Originalmitgliedern Blind Marky Felchtone (Gesang und Gitarre) und Donny Paycheck (Schlagzeug) sowie Jason Freeman (Bass) und Jeff Hiatt (Gitarre) ist „Snake Eyes“ so kompromisslos wie eh und je, mit einem furiosen Wirbelwind-Rhythmus als Fundament und eine Flutwelle schneller Gitarren. Feltchtones messerscharfe Stimme ist sogar noch giftiger als vor zwei Jahrzehnten. Beim Titeltrack ‚Snake Eyes‘ verlangsamt die Band das Punk-Tempo etwas zugunsten einer hochoktanigen Rock-Affäre, die an Hellacopters erinnert aber trotz allem zu schnell bleibt. Auf der B- Seite gibt es pure Intensität mit 'The Knife' und man kann sich vorstellen, wie ZEKE einen durch die Nacht fahren und tun, was auch immer sie im Hintergrund tun. Wenn es vorbei ist, fühlt man sich benommen und verwirrt. Wie einer dieser Masochisten, die den Schmerz lieben, will man sich diesem erneut hingeben.
Die Titel sind nicht auf den Streaming-Plattformen verfügbar.
Dies ist das ultimative Burnout-Biker-Psycho-Meisterwerk. Circuit Rider ist ein 40-minütiges Rezept für den Nervenzusammenbruch. Es wurde direkt von den Bändern neu gepresst, um die Zigarettenverbrennungen, Harley-Abgase und Kokain-Kater des Originals perfekt wiederherzustellen. Circuit Rider wurde von den Acid Archives in die Liste der Top Ten LPs aufgenommen, die am wahrscheinlichsten im Besitz eines Serienmörders sind, und ging auf derselben Reise verloren wie Kenneth Higney, Nicodemus & Matchez, YaHowWa, Boa, Heitkotter, Dave Lamb & Gye Whiz, Raven, Fraction und - klar, warum nicht? - The Doors' L.A. Woman.
On 4 October 2024 Universal Music Recordings and Decca Records are making Jamaican/British jazz saxophonist Joe Harriott’s album ‘Movement’ available again for the first time since it was released in 1964. Long sought after by collectors and connoisseurs, original copies now sell for upwards of £1,000.
This new edition was mastered at Abbey Road using high definition 24bit/192kHz audio files, copied directly from the original stereo analogue master tapes (previously only the mono version has been on vinyl). Images of those tapes are included in the package alongside new sleeve notes written by noted author, compiler and documentary maker Tony Higgins, who also acts as Executive Producer for Decca’s ‘British Jazz Explosion’ series.
Recorded in 1963, ‘Movement’ was released as part of the Lansdowne Series, overseen by the influential Denis Preston, one of the UK’s first independent record producers, and engineered by Adrian Kerridge. Of the nine tracks, seven are Harriott originals, whilst the other two were written by another pioneer of British Jazz, Michael Garrick. Playing alongside Joe were bassist Coleridge Goode (b. 1914 Jamaica, d. 2015 London), drummer Bobby Orr (b. Scotland 1928, d. 2020), pianist Pat Smythe (b. Scotland 1923, d. 1983), and trumpet/flugelhorn player Ellsworth ‘Shake’ Keane (b. St. Vincent 1927, d. 1997).
Born in Jamaica in 1928, Joseph Arthurlin Harriott was a pupil at the Alpha Boys School (alma mater to Harold McNair, Dizzy Reece, and a myriad of Ska greats). He arrived in Britain in the early ’50s, initially touring with the Ozzie Da Costa Band, followed by a brief spell with the Ronnie Scott Big Band, and sessions backing the likes of George Chisholm, and Lita Roza.
By the mid ’50s Joe was a big enough draw to release records under his own name, and whilst these early recordings conform to the then popular bop style, the following decade would see him release albums whose titles chart his development; ‘Free Form’ in 1960, and ‘Abstract’ in 1963.
‘Movement’ is a testament to Joe Harriott’s visionary approach to jazz. It blends structure with freedom, tradition with innovation, and individual expression with collective creativity. His development of free-form jazz represents a significant contribution to the genre, paralleling yet distinct from the work of Ornette Coleman and other American free jazz artists. It is an essential listen, not only for fans of British jazz, but jazz fans in general.
It is perhaps best summed up by the epitaph that now adorns Joe’s gravestone; “Parker? There’s them over here can play a few aces too.”
“Everything here is a gem. Neneh triumphs with a seamless and unorthodox blend of hip-hop, R&B, dance music, and pop” 4 ½/5 Allmusic
Coloured vinyl reissue of Neneh’s second album – first UK reissue on vinyl since its release in 1992. On release the album gained favourable reviews (4/5 in both Q and Rolling Stone) with Allmusic labelling the album “magnificent and risk-taking”.
The singles “Money Love” and “Buddy X” charted internationally with album track “Trout” featuring Michael Stipe and receiving heavy airplay on US alternative radio. Portishead’s Geoff Barrow co-wrote and co-produced “Somedays” and “Move with Me” appeared on the soundtrack of the 1993 Sharon Stone film Sliver.
The Swedish-born, UK-based artist started her musical career in The Slits going on to gain global recognition as a solo artist with her 1988 single ‘Buffalo Stance’ from the album “Raw Like Sushi’. Always irreverent, unpredictable and stylish, she has now released five studio albums and collaborated with Peter Gabriel, Massive Attack, Michael Stipe, Lenny Kravitz, Geoff Barrow and Four Tet, won two Brit Awards and been nominated for a Grammy.
Produced by Lenny Kravitz (Executive) and Fela Kuti’s original engineer Sodi Marciszewer (Artistic). Worldwide tour in 2024 / 2025 (North America, Europe, Australia). New album from 2018 Grammy nominated album “Black Times”. Seun Kuti set to release highly anticipated album ‘Heavier Yet (Lays The Crownless Head)’ featuring guests Damian Marley and Sampa The Great on October 4th. Afrobeat virtuoso Seun Kuti is gearing up to unleash his latest musical masterpiece upon the world with the upcoming release of his album that will be set to make waves globally via Milan independent label Record Kicks. Coming 6 years after the Grammy nominated album ‘Black times’, this album marks a pivotal moment in Seun Kuti's illustrious career, showcasing his evolution as an artist and activist. Executive produced by legendary musician Lenny Kravitz and Fela Kuti’s original engineer Sodi Marciszewer (artistic producer), ‘Heavier Yet (Lays The Crownless Head)’ promises to deliver a sonic experience like no other. With both Kravitz's and Sodi’s expertise together with Seun Kuti's unmatched talent, the album is poised to redefine the boundaries of contemporary music while staying true to the roots of afrobeat. Featuring a tracklist of six electrifying songs, each track on ‘Heavier Yet (Lays The Crownless Head)’ embodies the spirit of resistance, resilience, and revolution. Each song talks about standing up against challenges and fighting for change. Like the standalone singles ‘Dey’ feat reggae icon Damian Marley, described as “a song about embracing and championing who we are, regardless” and ‘Emi Aluta’, “a song about struggle (Aluta means struggle) that pays homage to all the great revolutionaries”, that features Zambian singer, rapper and songwriter, Sampa The Great, one of best and most innovative lyricists of our time. The song ‘T.O.P.’ is about “how society values money and success more than people”. Seun Kuti wants to change this by promoting empathy and reconnecting with nature. In another song, ‘Love & Revolution,’ he expresses his love for his wife and believes that true love can inspire people to make the world a better place. “This project has been very special to me from the moment I conceived it, speaking to Lenny Kravitz, who has shown me such a brotherly love and respect” Seun says. “He has brought me to his home. I met his daughter Zoe and he has guided us with fierceness. Since we spoke about the album, three years ago, as the executive producer of this project, he has always been by our side and very supportive”. “I want to thank Craig Ross and Sodi, the producer of this project. We had a great time. It was the first time for me in the studio with Sodi and I was really impressed by his work and his fatherly advice and dedication”. Each song on the album is a testament to Seun Kuti's unwavering commitment to using music as a tool for social change and empowerment. Through his powerful lyrics and infectious grooves, he continues to carry on the legacy of his father, the legendary Fela Kuti, while carving out his own path in the world of music. As a musician and pan-African activist, Seun has been involved in a number of campaigns in recent years, including #EndSARS – a social movement against police brutality in Nigeria. Significantly, he’s revived the Movement of the People (M.O.P.), the political party his father set up in 1979, which was quashed by the military government not long after Fela’s failed presidential bid. Fans can expect an album that not only entertains but also inspires and ignites a spirit of activism and liberation. Seun Kuti is a Nigerian musician, singer, and songwriter renowned for his captivating performances and socially conscious music. He is the youngest son of Afro beat pioneer Fela Kuti. Seun has spent most of his life preserving and extending his father's political and musical legacy as the leader of his father's former band Egypt 80. As a developing saxophonist and percussionist, he entered the formal ranks of the band before he was 12. In 1997 when Fela passed, in fulfilment of his father's wishes, Seun assumed the mantle as head of Egypt 80 and he has run it ever since. During his career, Seun Kuti released 4 albums with Egypt 80: ‘Many Things’ (2008), ‘From Africa with Fury: Rise for Knitting Factory Records’ (2011), coproduced by Brian Eno and John Reynolds, ‘A Long Way Beginning’ (2014) and the Grammy nominated ‘Black Times’ (2018) that included a feature from Carlos Santana. They also released numerous EPs. Seun has played for enthusiastically receptive audiences globally and collaborated with many great artists. In 2022, he joined forces with Roots frontman and MC extraordinaire Black Thought in the EP ‘African Dreams’. In 2023, Seun collaborated on Janelle Monae's ‘The Age of Pleasure’ (Grammy nominee for Album Of The Year) with the two singles 'Float' and 'Knows Better', teamed up with Talib Kweli and MadLib for their album ‘Liberation 2’ on the song ‘Nat Turner’ featuring Cassper Nyovest and released a new version of the single ‘Bad Man Lighter’ with Black Thought, featuring Vic Mensa
Debut album from Los Angeles duo Los Yesterdays, Sweet Soul music meets Mexican Folklorico "Sweet soul music also known as lowrider oldies on the West Coast, rolas and souldies are typically early 60s-style tunes that emphasize vocal harmonies. Most songs are slow-to-midtempo, many are ballads, and the sub-genre is generally stripped down compared to the highly produced Motown hits of the time....there is a generations-long appreciation for sweet soul music among California’s Latino communities. Eastern Los Angeles teens.... helped foster a love of sweet soul in the early 60s by covering soulful ballads by artists like James Brown... Those sounds... were kept alive by record collectors and people who spent evenings cruising along East Los boulevards." BILLBOARD // Los Yesterdays are a Chicano soul band from Los Angeles based around the creative collaboration between Gabriel Rowland and Victor Benavides. They began working together when Rowland a drummer by trade, then creaky and exhausted from waking up at dawn to work construction decided to channel those struggles into song. He contacted Benavides, a former bandmate of Rowland’s deceased brother, to record the soul ballads that Southland Chicanos call “oldies.” Los Yesterdays filter love-struck R&B crooning through guitar-strumming Mexican balladeering; the result is something that sounds like the Los Angeles of yesterday and today the indelible, immovable Los Angeles of cruising Whittier Boulevard, of cold drinks on the porch on blazing summer nights, of watching a blue-orange toxic sunset and wondering if they are thinking about you. Los Angeles changes; Los Angeles stays the same. Los Yesterdays have changed, outgrown their childhood barrios and the bands of their early 20s and their private garage hermitude; Los Yesterdays are Frozen In Time. Tracks: A1. Nobody’s Clown A2. Frozen In Time A3. Something Happened A4. I Can’t Feel A5. Brown Boy B1. Last Request B2. I Want You To Stay B3. But You Did B4. Name On Me B5. Love Is A Game For Fools
Bones Shake are a scuzzy, fuzz enthused garage rock trio formed in Manchester in 2011. They play everything to the extreme; violent bottle-neck blues riffs, drums kicked, pounded and exploited and squeals of reverb drenched vocals which when combined, will help save your soul. With a relentless energy, they’ve never taken their foot off the gas. In July 2022 they released Bleed to critical acclaim, itself the follow up to 2019’s debut LP Sermons. Purge sees the trilogy complete. Through tirelessly playing across the UK and Europe, their cult following makes them one of the best not so kept secrets in the underground scene. Wherever they go they fill out venues and have now played the infamous Raut Oak festival twice. With a string of previous releases under their belt, they have gone from strength to strength and attracted attention worldwide. Imagine a desert dive bar, the only bar in a hundred miles, the soundtrack as the shots fly is Purge. Talking about the LP, Bones say that “we needed to purge ourselves of these songs so we stuck two fingers up, lodged them at the back of the larynx and spewed out a new album.” Opener ‘Banshee’ wastes no time in providing that proverbial kick to the face these guys are infamous for. With a gnarly vocal and guitar interplay you’re hooked from the first note; the intensity rises with every rotation and if this one doesn’t leave you breathless you are not listening loud enough. ‘One Kiss’ is a filthy little blues number that taunts and teases, while ‘Pretty Little Things’ takes you on a journey through their sound bringing out all the bumps and grinds you could possibly muster. ‘The Creeper’ is a bit different to their usual, adding a sense of intrigue and unease that draws you in deep. Lead single ‘Let Go’ is an adrenaline fuelled expedition through all the best parts of their sound, with a few surprises thrown in for good measure. ‘Passive Intervention’ changes track a little, keeping you aurally attentive while title track ‘Purge’ is the experience that can’t be surmised, get the volume up high and release. With its rolling, thunder-esq. drums, closer ‘Stench’ rounds things off in the best way; leaving you wanting more. Purge is without doubt their strongest and most visceral release to date, dare you miss out on this experience
‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.
‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.
CECILIA is a nomadic soul. Like in an existentialist epic that traverses different ages on a phantom thread of love, spirituality, desire and rage. She inhabits different bodies, inserts herself in a whole array of different characters. Some are fictional, some are as real as the artists that inspired her, and whose influence appears in CHOEUR under the guise of tiny fragments, direct quotes, dedications and spectral presences. Cecilia channels the poetry of different lives that might have been her own or might have only existed in dreams, and does so within a collection of songs that twist the path of traditional French and Italian songwriting into the inmost recesses of electronic mysticism. The composition of CHOEUR took place mostly around January 2023, a pretty precarious time in the artist life, and happened in a spontaneous and ritualistic manner that could appear as somewhat odd in the realm of electronic music production. Birthing out of ego-free solo jams in hyphened states of consciousness and audience-less performances, these moments of do-or-die energy intake served to funnel the wilderness of her emotions into extremely tight arrangements, ultimately allowing a dramaturgy of fierce and beautiful songs into existence. Striving for the sublime, CECILIA trained her whole body for a paradoxical procedure of disconnection and reconnection. A crucial pin in Melissa Gagné’s system of 7-year creative cycles, CHOEUR marks her debut on Haunter Record as much as the first step towards the possibility of a new artistic identity. A labour of love if there ever was one. CHOEUR is made of Awe, Chants and Ravishment, of Pain until Vision. CHOEUR prays Earth, Water, Stars, Sea. CHOEUR feels Spirits, Lightning, Thunder, Dawn, Dusk, Blood, Flowers. CHOEUR invokes a Return, to Grace. CHOEUR loves Mud and longs to Play. CHOEUR lives in a Dream created by a Dream. CHOEUR lives in a Body created by Love. CHOEUR is about a broken heart, open and ecstatic, about the beauty and the sadness that all is not what could be, about wandering and wondering why were the stars made so beautiful?
