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After 27 years and more than 100 releases on its various sub-labels, Right Tempo returns to being a label itself.

Following a 2021-2022 global tour that reaffirmed St. Vincent’s status as one of live music's preeminent forces with headline appearances at the likes of the Hollywood Bowl and Radio City Music Hall, Clark would begin work on album number seven: Her first fully self-produced album (having co-produced every one of her previous efforts), All Born Screaming is St. Vincent at her most primal. Featuring Clark leading “a curated group of rippers” through the brawny “Broken Man,” the mordant catwalk sashay through the deafening assault of self-loathing that is “Big Time Nothing,” the sublime, elegiac earworm “Sweetest Fruit," All Born Screaming is equal parts spiritual desolation and rapturous acceptance. ‘Sublime seventh album’ - Uncut ‘Emotionally lacerating’ - Guardian Culture ‘A voracious, visceral seventh record fuelled by the colours and sounds of fire and fervour’ - DIY

After the introduction that was their debut EP 'Hello, My Name Is', Currls now extend the invitation to explore their world even further with a 6 track EP that will leave you feeling empowered and wanting revolution.

Recorded in their hometown of Brighton, at Metway Studios, with finishing touches layed down at Bella Union's studio, this project has been long in the works and shows the direction in which Currls are rapidly paving, with a mighty thud every step of the way. The name of the EP comes from the idea that when we have nothing to talk about or when we think theres no common ground, we talk about the weather. Sometimes theres too much going on in our lives and in the world that talking about the weather can be our way of preventing the conversation from expanding; 'Let's Talk About The Weather' is the idea that we don't talk anymore, but there's also hope that we will; It's from the standpoint of our inner voices and collective surroundings, we experience so many heightened emotions. "Our blood, sweat and tears have went into getting this EP completed", describes Holly, "We spent so many hours tweaking it, listening to it, sitting in the garage in the freezing cold editing, we just wanted to get this into peoples ears". "We were so excited, confused and amazed that we had... mehr

Québec's own CANTIQUE LÉPREUX are back with their third full-length album "Le bannissement". It is a tale of self-initiation, a rejection of society, and a glorification of nature - manifested in their signature style of swirling tremolo-guitar-riffs, tortured screams, and elaborate melodicism. Over the recent years they have established themselves as an essential act of the Métal Noir Québécois scene. They channel the evocative power of Black Metal, carrying vast forests, desolate landscapes, impassable mountains, and cosmic torment. The band members are also associated with Mêlée des Aurores, Chasse-Galerie, Acédia, Manière Noire, Chaos Catharsis, Forteresse, Délétère and Au-delà des ruines.

"Le bannissement" tells the abduction of a young girl and the sickness that is forced into her. Tainted, and rejected by those who should have protected her, she flees to wild and unexplored land, where she shatters and mends herself continuously. In these countless battles, she severs her bond to reality, subverts the sickness, and overthrows those who had seized her innermost Dream. Through banishment, liberation.

The album presents a raging and hypnotic narrative. Fast-paced songs drag the listener in a wild hunt, rushing towards self-annihilation. It was interpreted with the band's live line-up and equipment to preserve the fierceness of the mindset it was composed. This raging maelstrom, built on alluring melodies, shows guitarists Blanc Feu and Ascèse's fascination for music history and musicology. The album's emotional power stems not only from black metal's common genre tropes but also from the austere grandeur of early music.

Before Circus Lupus landed on DC’s venerable Dischord Records, the group’s original Midwest lineup recorded a full album’s worth of songs less than a year after forming. With the demise of DC’s Ignition in the late ’80s, bass player Chris Thomson headed to Madison, WI for college. Before leaving DC, he dove headfirst into being a vocalist fronting the short-lived throwback punk / hardcore project Fury. Thomson served up pointed and profound Tony Cadena-inspired screeds about betrayal, disappointment and poseurs all set to a soundtrack of furiously primitive and chaotic music supplied by members of the DC punk band Swiz. Brief yet influential, this band marked Thomson’s switch to vocals, putting him on course to front Circus Lupus and claim a notable spot in the DC punk timeline of the late 20th century. Soon after arriving in Madison, Thomson was invited to join a new project started by friends Chris Hamley, Arika Casebolt, and Reg Shrader. Circus Lupus marked a change in direction from the familiar sounds of DC punk that Thomson had been associated with for years. The newly formed group looked to noisier Touch & Go and Homestead bands for inspiration, aligning themselves with bands from Chicago, Louisville and Milwaukee. One early supporter of the band described the new group as “profoundly familiar yet uncategorizable. Like if the Germs had gone to college and never got pulled into hard drugs and suicidal behaviors.” The original Circus Lupus lineup played a dozen shows and recorded these songs with Eli Janney at Inner Ear studios in August of 1990 while on a brief tour. Within a year, the band would decide to permanently relocate to Washington DC, where they felt they had more opportunities. Shrader opted to move to Chicago and would ultimately join the Touch and Go band Seam. Old friend Seth Lorinczi (Vile Cherubs) would become their new bass player, forming the version of the band that most listeners are familiar with. While a few of these ended up on their first single, the rest were shelved, some later to be rerecorded with Lorinczi and released on Dischord. L.G. Records is proud to have helped this notable recording see the light of day. The original tapes were recovered by Ian MacKaye and transferred by Darren Edwards. Tim Green remixed and remastered the original recordings at Louder Studios in California.

Falling somewhere between Soulside, Ignition, and The Chocolate Watchband, Vile Cherubs were a short-lived and puzzling band that for a brief window in 1986-88 managed to captivate, confuse, and annoy the D.C. punk scene. Consisting of high school classmates Tim Green, Jesse Quitlsund, and Ben Wides—along with Green’s childhood friend Seth Lorinczi—the Vile Cherubs were more focused on the then-forgotten sounds of ‘60s garage rock and psychedelia than on Minor Threat. Being minors themselves, they likely would’ve remained trapped in the school-dance circuit were it not for Geoff Turner (Gray Matter / 3), who took an interest in the band and recorded their two demos. That first tape caught the ear of d.c. space booker Cynthia Connolly, who despite her initial skepticism paired them with Didjits, Cynics, and other noteworthy bands. Rumors of a potential Dischord album built all through 1987, ending with mysterious suddenness after label co-owner Jeff Nelson dropped in on a rehearsal to find a miasma of LSD, alcohol, feedback, and vomit. Though the band released a posthumous LP in 1988, the original Geoff Turner demos explain why the D.C. scene briefly lost its shit over these teen ne’er-do-wells. Lovingly and exhaustively resuscitated by audio maestro Tim Green from the original multitrack tapes, “Lysergic Lamentations” is the Vile Cherubs at the height of their brief existence.

Following the force of their introductory singles 'Tabernacl' and 'St Agatha', the band return with an invitation to explore their landscape of violent poetry and gothic propulsion to the fullest extent yet. Prepare to be lulled under their spell once more with the slow-burn of forerunning single, 'Remoter Heaven'.

Produced by long-time collaborator Buzzard Buzzard Buzzard's Tom Rees. It begins in a dream state of hypnotic repetition that mounts in intensity, with vocalist Jack Shephard presiding over it all with his distinctive, poetic drawl. His protagonist is revisiting a memory of the pain inflicted by a thorn as a child; "I was awake with feeling", he confesses, before the song takes on the momentum that feels like a triumph over the numbness attendant to adulthood.

Of the track, Shephard shares: "I liked the idea of writing a very simple narrative to a big, epic song - something as modest as the story of a child playing in some flowers and then bursting into tears when a thorn pricks their leg. The words are an ode to that sensitivity we embrace when we are young. Then, when we become adults, we insist on subjugating all of that wonderful, absurd rage."

'Remoter Heaven' follows on from 'Tabernacl' and 'St Agatha' which earned Slate rave write-ups and support from publications including NME, CLASH, So Young, DIY, Buzz Magazine, The Most Radicalist and more, as well as early radio plays from the likes of Huw Stephens and Steve Lamacq on BBC 6Music, Matt Wilkinson on Apple Music 1, John Kennedy on Radio X and Jack Saunders on BBC Radio 1.

2023 sees the return of multi-talented Norwegian producer Espen Horne to Wah Wah 45s, after a 24 year hiatus. The man behind the label's very first release, the now seminal Magnetica, never lost his connection with the imprint and has remained very much part of the Wah Wah family, making a comeback this year with his first solo material under his own name since that club classic from 1999.

Back in the spring, the first single from the project, the gorgeous soul-jazz beauty Bakeren, featuring the stunning vocals of Resonators' Faye Houston, quickly found a home on Gilles Peterson's internationally renowned BBC Radio 6 show as well as that of Jazz FM legend Robbie Vincent, Bandcamp Weekly and the Fresh Finds Jazz Spotify playlist.

Following that, Bergen Sunrays, became a weekly fixture on the Craig Charles Funk & Soul Show on BBC 6 Music, with the limited 7-inch of both singles selling out within hours of release.

Next up was the wistful Den Franske Gitaren, a lugubrious soul-jazz piece with drum & bass leanings featuring Bergen based MC and vocalist Aich, which found favour with legends Laurent Garnier and Jazzanova as well as hot Japanese production outfit Dazzle Drums.

This was closely followed by the final single to be taken from the album, the stunning and outspoken vocal jazz waltzer Nada Pode Me Calar (which roughly translates to Nothing Can Shut Me Up!) featuring the sublime talent of Olav Wöllo on vocals and Juno - anotherr big one with Gilles Peterson on Worldwide FM and Deb Grant on BBC 6 Music.

And now the full album, entitled The Anatomy Of Serene Eloquence is available for your aural delectation. Recorded largely during lockdown, the LP is a sophisticated and composed piece of work that sees the Norwegian producer make connections with musicians from across Europe, and some closer to home, to collaborate on this sedate and peaceful collection of songs.

The aforementioned Faye Houston also appears on the soulful, dub flavoured Don't Fall Asleep, a piece of music that explores the feeling of being isolated whilst sharing a mutual love and drive to explore new sonic possibilities.

Elsewhere, Olav Wöllo pops up again too, this time on O Mar E A Lua and once again singing in Portuguese to give this track a certain Tropicalia feel, as Espen explains:

"Olav Wöllo is a close friend, an excellent musician and vocalist, and a capoeira professor here in Bergen. He has spent much of his life living in Brazil and speaks Portuguese fluently. He wrote the lyrics for this tune years ago and had just been waiting for the right collaboration to come along.

We went to his lovely studio out on this remote island, made a massive gyoza meal, had some serious good wine and stayed the whole night to record his vocal harmonies and outspoken lyrics."

The single Bergen Sunrays also appears on the album in instrumental form with featured keys courtesy of London based player Rory More - here entitled Rory's Sunrays. His Lowrey organ adds a more melancholic feel to the track, as it does on the stunning Belle Époque, alongside the ivory work of Eirik Blåsternes - an emotional, contemplative and atmospheric track that was tested and shaped in the eclipse of Covid.

As with Belle Époque, La Psychosomnie is a playful yet explorative cut that examines insomnia, paralysis and hypnosis courtesy of some enigmatic French spoken word spinning around a framework of drums, bass and swirling keys.

And finally, the album offers up an alternative version of the single Den Franske Gitaren, this time featuring Martin Halla, a vocalist out of the Bergen Grieg Jazz Academy and winner of the Norwegian version of The Voice back in 2012! The perfect flip to Aich's more mournful interpretation of this bass and drum future classic.

Ladi6 is a singer with soul. A singer with a hip-hop background and masses of pop-appeal. A singer who first gained attention through her features with the legendary New Zealand export-band Fat Freddy's Drop, but who has also performed alongside such diverse artists as Gil Scott-Heron, Mayer Hawthorne and Mos Def. In short: A singer whose eyes have seen much and whose style is not governed by rules. As if that wasn't enough, her enormous charisma enables her to win her audience over within minutes with full support of her band of Parks and Julien Dyne (BBE).
The 30-year old has always endeavored to use music to tear down barriers and dissolve purported genre-boundaries. With her previous album, "Time Is Not Much" (BBE) which was produced by Parks and Mu (Fat Freddy's Drop), Ladi6 has already taken a perfect shot at her goal, which, combined with the interplay between the many diverse elements of the music, has a highly impressive effect. "The Liberation Of…" has already top the New Zealand independent charts for consecutive weeks and her single "Like Water" is the #1 independent New Zealand song on radio.

Brainwave Research Center returns with their 3rd Electronic music LP. Their DIY approach to creating music has forged a unique sound that is not experimental music, but music born out of experimentations with analog synthesizers. Feel Free is the third installment of their first four part series and captures the feelings and emotions of a summer season.

The A-side begins with a soundtrack to a daydream; imagining the life of a earthworm. Followed by a teeth-grinding drive through the grime of Brooklyn streets in Interceptor iii. Side A finishes out with that summer euphoria that comes from laying in the grass under the sun through dusk and watching the moon rise.

The B-side begins in a startling manner; an attempt to capture the feeling of falling in your dreams. The music continues down a darker path that reminds us of their second LP, Mosaic, with electronic experiments mixed with acoustic elements. The side concludes with two songs that capture the nostalgic feelings of summer.

Feel Free offers you a glimpse into the musings of everyday life for brainwave research center. Recommended if you like analog / digital synthesizers, sequencers, hand-played melodies, simplistic clock-like rhythms

ZOOM SUR LES ARTISTES DE LA SEPTIÈME ET NOUVELLE COMPILE VINYLE STAR WAX, CETTE FOIS EN PARTENARIAT AVEC MID, UNE MAISON EN CHARGE NOTAMMENT DE LA DISTRIBUTION EN FRANCE DE VOID, HH, ECLER… LES SIX TITRES SONT SEULEMENT DISPONIBLES EN FORMAT VINYLE EN ÉDITION LIMITÉE ET LA MAJORITÉ DES ARTISTES PLAYLISTÉS SORTENT LEUR MUSIQUE EN FORMAT PHYSIQUE POUR LA PREMIÈRE FOIS.

In 2012 we at Soul Junction were able to release two previously unissued songs on the Internationally renowned recording artist, Oliver Cheatham. The songs recorded in Detroit circa 1974/75 were cut under the supervision of Olivers cousin William R. Miller. “Don’t Pop The Question (If You Can’t Take The Answer)” went on to become Soul Junction’s biggest seller, selling in excess of over a thousand copies, but such is the enduring quality of the song that there hasn’t been a week gone by where we haven’t received a sales enquiry for a copy. So, after much deliberation we have decide to re-release the 45 again with a nifty 300 limited press run to hopefully satisfy this continuing demand. During the ensuing years the soulful sweet soul ballad b-side “Good Guys Don’t Make Good Lovers” has also grown in stature with collectors of this genre with many of the sales enquiries received coming from the direction of the West Coast’s lowrider scene.



Oliver Cheatham will forever be remembered for his timeless 1983 R & B hit “Get Down Saturday Night” on MCA records, which he co-wrote with fellow Detroit musician and ‘One Way’ group member Kevin McCord. Oliver’s own career began way back in the mid 1960’s when his future brother-in- law Allen Cocker invited Oliver to join his group the ‘Young Sirs’ to recorded the mellifluous “There’s Something The Matter (With Your Heart)” for Ernest and Barbara Burt’s Magic City label with Oliver now being the groups lead singer.

Into the 70’s the Young Sirs, briefly became ‘Butch & The Newports’ who under the auspices of George McGregor recorded “I’m Only A Man/Out Of My Mind” on the Black Rock label, with Butch being Oliver’s nickname. “I’m Only A man” was released for a second time on Marvin Higgin’s Grand Junction label, this time credited to ‘The Gaslight’ along with a further two releases. A subsequent Gaslight release “Just Because Of You/It’s Just Like Magic” reputedly came out on the local T.E.A.I label before being picked up for national distribution by Polydor Records. Under the guidance of influential Detroit radio DJ and record producer Al Perkins, Oliver firstly became the lead singer of the group Sins Of Satin later re-named Roundtrip and then following a further re-naming just becoming known as Oliver.



Following on from “Get Down Saturday Night” Oliver continued to score chart success with “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as a guest vocalist on Room 5’s UK No1 hit “Make Luv” which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a garage version of the old standard “Our Day Will Come” with the London based band, Native Soul. Sadly, Oliver passed away in November 2013.

Two fabulous funky tracks originally released on the award winning album Goma-Laca – Afrobrasilidades in 78 rpm which updated Brazilian Music originally recorded on 78's in the 1920s to the 1950s. With musical direction and arrangements by Letieres Leite, the vocal pyrotechnics of Russo Passapusso and Juçara Marçal masterfully accompanied by double bassist Marcos Paiva, Hercules Gomes on piano, Sergio Machado on drums and percussion master Gabi Guedes. Under the direction of Letieres, the group created with the singers arrangements of jazzy tones over Afro-Bahian rhythms, and everything was recorded live at Estúdio Traquitana, in São Paulo.

The version of Cala Menino Boca best known from the version by Joao Donato that's been doing the Dancefloor round since the early Acid Jazz days here gets a funky and rhodes led percussive update and of course the traditional tune "Ogum" gets a soulful jazz run through, folky funk like you've never heard before. This is yet another welcome addition to the Jazz Room canon, watch those dancefloors light up when this wax spins!

Repress!

‘Hardcore Jollies’ was Funkadelic’s ninth studio album and their debut on Warner Bros Records. Released in October 1976 and dedicated to “the guitar players of the world”, it showed Funkadelic was the heaviest black rock band since Jimi Hendrix’s Band Of Gypsies (even featuring Buddy Miles on one track). With lead guitarists Michael Hampton and Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell’s keyboard wizardry and many more, the album was helmed by the genius of George Clinton. Reaching no.12 on the US R&B chart, the album spawned singles ‘Comin’ Round The Mountain’ (US R&B No.54) and ‘Smokey’ (US R&B No.96) and a live remake of 1973’s ‘Cosmic Slop’ from the album of the same name. Recorded during rehearsals for 1976’s P-Funk Earth Tour, this version features a vocal introduction dropped from the 1973 studio cut. Over 45 years since its original release, ‘Hardcore Jollies’ is among Funkadelic and George Clinton’s best-ever albums and remains a masterful example of their creative genius. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram coloured vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Dive into the soulful sounds of house with "Inhale Exhale," a label that takes you on a journey through deep, funky, disco, and soulful beats. Introducing "inextape003," our latest compilation that delves into the depths of rhythm and groove. Immerse yourself in tracks curated to elevate your senses, where every beat is an invitation to let go and feel the pulse of the underground. Inhale the vibes, exhale the ordinary, and let "Inhale Exhale" redefine your house music experience. Welcome to a world where the beats are deeper, the vibes are smoother, and the dance floor is your sanctuary.

K.Nibal never stopped... they kept on with digital since a few years... But it's a celebration to get at least a new wax from the crew...

Amiga-core sound style get melted with hardware and create a new sound with, a new vibe... This KBAL Sound System release definitely bring what this legendary label deserves !!

WAX IS BACK !

K.Nibal never stopped... they kept on with digital since a few years... But it's a celebration to get at least a new wax from the crew...

Amiga-core sound style get melted with hardware and create a new sound with, a new vibe... This KBAL Sound System release definitely bring what this legendary label deserves !!

WAX IS BACK !

K.Nibal never stopped... they kept on with digital since a few years... But it's a celebration to get at least a new wax from the crew...

Amiga-core sound style get melted with hardware and create a new sound with, a new vibe... This KBAL Sound System release definitely bring what this legendary label deserves !!

WAX IS BACK !

Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.

Irlam's infamous upstarts DJ Absolutely Shit are at it again with four more tracks to rattle yer spines and rupture yer spleens.
Utilizing the classic approach of sourcing a sick sample, adding a rugged breakbeat, then tweaking out the buzz for maximum enjoyment, the pair deliver an explosive EP of global hypercoloured mayhem that burns hotter than an oz of 'Ells Angels sputnik.

'Bridge To Your Heart' grabs Sade by the hand, shoves two purple doves down her throat and queue-jumps to the front of Bowlers for an endorphin-rushing hardcore workout full of modern beat engineering and sample manipulation.

Switching approach, 'Bolivia' shuns the dreamy feminism for an altogether more masculine affair - roping in the Wu for an argy-bargy, elbows-out speaker shaker full of hi-definition laser stabs and destructive, land mine subs.

Hitting the accelerator, 'Rocking You Eternally' traverses the jungle boarders in a blacked out Nova, Ab Shit's flair and panache at drum programming and contemporary production chops beautifully on show throughout this big system roller with a carp-hunting vocal hook.

'Gong' closes off proceedings, merging moods inna more seductive flavour. E-soaked pianos and a gentle throb coaxing us to that end-of-night climax that'll have us humming the piano line all the way down the M65 home.

No jokes cru, this is some of the best tackle to emerge outta the DJ Absolutely Shit studio to date. One of two, vinyl-only EPs and ahead of their debut album that follows on C90 tape.

Boing boing boing, boing boing boing, boing boing!!

As we continue the five part journey to say goodbye to the Telomere Plastic series we have Telomere 020.3 now available for preorder!
This five tracker VA, features producers, Hiroyuki Kato, Six Dreams, Ty Senrna Sherman C & Konerytmi!

We begin off the record with ‘Black from Hiroyuki Kato. This long play is over 9 minutes and is a beautifully structured deep & house tune. Perfect for your summer day time sets!

Next on the A2 we have ‘Static Es’ by Six Dreams, This moody minimal breakbeat tune is filled with heavy bass & lush chords, the perfect track to slow things down for a few minutes during your sets!

On the B1 we have Ty Senrna who delivers a whacky groover! This acidic tech tune will work wonders and bring the spooky & trippy energy to the dance floor!

B2 is a tripped out phat acidic break beat tune from the mighty Sherman C. With some tripped out vocals & classic Sherman breaks & bass, this one will get the dance floor rockin’ full speed!

Lastly, we close out the release with a classic tune from Konerytmi. As expected we are gifted with his signature electro & bass beats!

Very limited black copies with a few colored copies available via the Wex bandcamp, be quick!

Stuck in the depths of a dark alley, blocked by yet another breeze, hitting a stone wall, road sign ahead: Dead End.
Impasse. "Cul-de-sac".
Hip‐hop. The original, some would say, official music of the late 20th Century Bronx.
Some say it has endured it's fair share of distractions, detractors and defectors. Some say it has murdered itself, having been abandoned by its so‐called best men, those who have gone off in other directions, or who have, simply, just beat‐retired. Yet, there are plenty of Soldier Monks still out there, prepared to sweat it out in the Temple of Machinery and Mics.
Low Cut honored this cause four years ago, with his MPC crafted minimalist version of NY Minute and he's back to ring the bells and unsheathe the samples!

The starting point of Dead End's production remains the 90's boom-bap, but the will to carry it even further brings it to its destination. By decorating it with rich samples flushed out after digging through vinyls pressed several decades ago, it is guided by a compass pointing deposits to the East. With sound quality inherited from a fastidious composition and mix works, using inspiration rather than just being a copycat, Dead End celebrates it without setting it up as a museum piece.

Picturing the beatmaker stuck in the depths of a dark alley, ended with a brick wall, is easy. But far from isolated in his Parisian basement, Low Cut has rung phones in New York, Baltimore and Detroit, rounding up the faithful. He magnetized the hidden but sharp forces, and gained attendance of legends. The casting of Dead End : Ruste Juxx & Nutso, Dirt Platoon, Guilty Simpson, Torae, Rasheed Chappell and the stainless Masta Ace, among other beat crushers. Also starring DJ Duke, Nix'on, Topic and Ordoeuvre with their DMC titles crates, for a deep beatfight on bars scarified of scratches.
Heavy atmosphere, martial beats and street soul, Dead End is also the final episode of the projects initiated by Low Cut, based on the model of a producer inviting various MCs.
He will then replace his turntable needles, refresh his sample banks, and settle the BPMs of his productions on more abstract frequencies.

"Less Is More is the debut studio album by DJ and record producer Lost Frequencies. The Belgian youngster shook the world with debut single ""Are You With Me"" and soon found himself on top of the world, following up on his worldwide smash with global sensation ""Reality"" and ""Beautiful Life"". Now, he shows the full extent of his potential through his debut album. Harboring a plethora of ridiculously catchy singles alongside the before-mentioned hits, Less Is More shows exactly why Lost Frequencies' signature sound is so widely acclaimed. Easy on the ear, increasingly addictive, and filled with gorgeous, laid-back vibes, the songs on the album allow minds to drift and emotions to flow freely, all made possible through the delicate arrangements and a strong choice of sounds. Lost Frequencies describes the album himself as being ""all about the simplicity of good feelings blending together, bringing a chill, but still energetic vibe."" Less Is More is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl. The vinyl package includes an insert with lyrics. "

Less Is More by Lost Frequencies, released 22 March 2024, includes the following tracks: "Beautiful Life", "Reality", "In Too Deep" and more.

This version of Less Is More comes as a 2xLP. This release comes with (a) Insert(s).

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

Precursor EP to Mr Raoul K's new album, which will be released in autumn 2024. The afro house pioneer has returned to his home country Côte d'Ivoire. Raoul K: "Since I know how good and easy it is to live in my home country of Côte d'Ivoire, I drew a line in Germany and set off." So he's back in full effect with spiritual afro-tinged gems, catching the vibe and easier living there, and discovered new voices from Kenia, South Africa and India, too. "Sinkere" got mixing skills from Rancido, while Compost head honcho Michael Reinboth delivered a tempered stripped down remix of "Loni ké".

Francis Lai is France's best-selling international film composer, with hits such as "Love Story", "Bilitis" and "Un Homme et une Femme".

International hits in the USA, Germany, the UK and South America, as well as in Korea and Japan, where the Francis Lai Orchestra recorded the tribute album "13 Jours au Japon" just a few months ago, during a tour that took them to Tokyo, Osaka, Nagoya and elsewhere.

A limited-edition Vinyl featuring the composer's cult tracks, including the 100 million-stream digital hit "La Leçon Particulière", "Concerto Pour la Fin d'Amour", five songs and, for the first time, his unpublished posthumous work "The Final Dot".


"13 Jours au Japon" (13 Days in Japan) is the ultimate vinyl tribute, featuring 25 musicians and singers covering the multi-award-winning works of the man nicknamed in the USA: "the artistocrat of melody"!

The 12 songs that constitute Dreams, the third full-length from the Kaohsiung trio Elephant Gym, explore the deep spacetime continuum that consciousness cannot capture. Beyond the trio’s staple instrumentation of guitar, bass, and drumset, Dreams blends in wind instruments, traditional drums, and Taiwanese narrative. Through collaboration with Hakka singer-songwriter Lin Sheng Xiang and pop musician 9m88, notable for their accomplishments in jazz, soul, and R&B, Dreams is a sweeping narrative about a fantastical dream that crosses the boundary. After pressing play, please do close your eyes, and enjoy the dream

Erlend Øye & La Comitiva - 'La Comitiva': In einer kleinen Stadt wie Siracusa, Italien, findet das gesellige Beisammensein meist in den Häusern der Menschen statt und besteht aus: Zutaten für ein Essen kaufen, das Essen zubereiten und reden, das Essen essen und reden, die Instrumente holen und stundenlang am Tisch sitzen und spielen und singen. Erlend spielt eine Ukulele, Marco spielt Nylonsaitengitarre, Luigi spielt Cavaquinho, ein brasilianisches Samba-Instrument, und Stefano spielt Bass auf denselben Stahlsaitengitarren, die Erlend bei Kings of Convenience verwendet. Die Band wurde während einer Tournee 2018 durch Chile, Argentinien, Kolumbien und Mexiko professionalisiert. Während dieser Tour entstanden viele der ursprünglichen Songs der Band, wie Altiplano, dessen Arrangement in einer staubigen Grenzstation zwischen Chile und Peru stattfand. Nach vielen unfreiwilligen Pausen (Covid, Veröffentlichung des Kings of Convenience-Albums, Veröffentlichung des Marco Castello-Albums) wird die Full Length LP "La Comitiva" im Frühjahr 2024 endlich das Licht der Welt erblicken. 2016 wurde Erlend während des kollaborativen Festivals "People" in Berlin auf das freigeistige Klassik-Ensemble Stargaze aufmerksam und er begann, einige der Mitglieder in Studio-Aufnahme-Sessions und Live-Konzerte mit La Comitiva einzubinden.

Hauptsächlich mit dabei sind: Kobi Arditi (Posaune), Maaike van der Linde (Flöte), Romain Bly (Trompete, Horn und Percussions).

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

Isaiah Collier & The Chosen Few return with a new musical journey, "The Almighty". The first quartet offering since 2021's Cosmic Transition.
Collier's compositions and lyrics focus on using music to communicate deeper principles that are part of everyday. Isaiah showcases these principles through sounds that evolve within the titles: Love, Compassion, & Perspective. These principles once taken fully in are arranged to deliver the message that there is a Divine energy connecting through us all and is seen within all things. The album opens up with LOVE, featuring the legendary Chicago vocalist Dee Alexander channeling her energy to deliver the message of love to the human family. With lyrics written by Collier specific to Alexander's qualities as a maternal figure to him and other musicians, the message remains strong within the music throughout the album. Searching deeper to share more sincerely through our interactions with others, is the albums objective. Collier & The Chosen Few showcase those Principle with Musicianship and an unyielding commitment to put their all into each breath of this episodic journey. The album features the legendary Saxophonist Ari Brown, who has mentored Isaiah for over a decade in their native Chicago. The conversation between student and master evolves on the song "Compassion". Collier's steps into the vocalist roll on the infectious, Perspective (Peace & Love) which serves as Collier's acknowledgement of Pharoah Sanders for his musical contributions, that features percussive sounds that connect the ancestors of the diaspora. Throughout "The Almighty" the group explores elements heard on 2021’s Cosmic Transitions and 2022’s Beyond by I AM (Isaiah Collier and Michael Shekwoaga Ode), and streamline the sound with laser focus in this incarnation.

If blue is the color of sadness, or the best color to reach authenticity, R.Y.F. – the project of the Italian singer-songwriter and musician Francesca Morello, based in Ravenna – goes even further with the new album Deep Dark Blue. Deep Dark Blue is an underwater album, maybe it is even a deep-sea album. The sound is dark and muffled, as if we were in a sort of cradle, a blue bubble, a sea cocoon in which to wrap ourself ves to regenerate and achieve peace, but whose casing also conveys energy. Born following a dazzling baptism in the mesmerizing sea of Stromboli, in Sicily, Deep Dark Blue is an album of suffering and healing which confirms R.Y.F.‘s destabilizing power. According to her: ”Sometimes I experience moments of great suffering, in the last two years caused by my wife’s health problems. I was “broken inside” and I didn’t know if I would be able to go back to the way I was before. Deep Dark Blue tells how I felt and how I would like to rebuild myself. I still talk about the freedom to love, but I also felt the need to talk about suffering, and I tried to do all this with irony, in the most joyful way possible. And it worked. That’s why this is also a healing album”. In Deep Dark Blue there are also some important guests, underlining R.Y.F.’s rise in her international career. They are Moor Mother, Skin (Skunk Anansie) and Alos (aka Stefania Pedretti, formerly OvO and Allun), united by feminism, queerness and political activism, to get precious artistic affinities stronger in these hard times of new repression that we are experiencing. Deep Dark Blue arose from software and analog instruments and was then developed with Maurizio “Icio” Baggio (The Soft Moon, Boy Harsher), who also took care of recording, production, mixing and mastering at the music studio La Distilleria in Bassano del Grappa. Matteo Vallicelli (The Soft Moon, Death Index) participated in the production of some tracks. Although it flows with compact fluidity, the album highlights R.Y.F.‘s mastery in expressing herself through different stylistic genres. There is a dark electro-punk common thread, but there are also blackness (Run Run Run), alt-metal guitars on dance house structures (Can I Can U feat. Skin), industrial doom (Deep Dark feat. Alos) and other experiments (the instrumental interludes Droplets and Sirene). The variety of sounds corresponds to a spontaneous variety of topics. The theme of suffering opens and closes the tracklist with Blue and Deep Dark feat. Alos, almost as if to represent a first contact with the water and the culmination reaching the bottom of the abyss, and is approached both with a smile on the lips in the sexy Lies and from a more authorial perspective in the heartfelt Violent Hopes and December 25th, the first songs on the album to have been written. Deep Dark Blue by R.Y.F. is an immersion from which you emerge different from your old self, some kind of magical creature in a new form, but it is first of all an electric shock from which one is violently happy to be struck.

Entering a decade of existence since the first release back in 2015, Imogen Recordings has a constant flow of hi-quality releases. Based on an inhouse sound and artists that perfectly fits to that sound, Imogen label gained small but finger picked releases catalog and artists repertoire. Among those few Label released music from Darshan Jesrani ( Metro Area, Startree ), Charles Webster - Presence, Don Carlos, Ian Pooley, Ilija Rudman, Kai Alce to name a few and most recently Antonio Zuza.

New Catalog Number 19, brings Antonio Zuza and a duo Project between Ilija and Antonio - Imogen Soundsystem on the table. It's a "never leave my bag" material.
Antonio's "Palmizana" or Imogen Soundsystem's " Paloma" are both strong munition for any dancefloor request by simply delivering that vibe that we all love.
Powered by pristine production as Imogen's standard signature Darshan Jesrani and Ilija Rudman brought 2 sublime remixes to wrap this beautiful 12" Vinyl.
If we are talking about modern house approach with all the respect to it roots, we are talking about this record. It is here to satisfy old diggers and new people on the scene.

‘Landmass’ Turtle’s first artist album since 2017’s ‘Human’. To be released on 24 March 2023, it is his third official album having also released the acclaimed ‘Who Knows’ EP in 2013.

‘Landmass’ is a beautiful body of work that flows naturally as one piece of music and is inspired by the sparse surroundings of Jon’s studio in Argyll, Scotland, an area he moved to to try and escape the noise of the city and a move that has directly impacted on his creative process.

Jon Cooper… “Since I started producing music I have never gone into a track with any preconceived ideas, I let the music develop in its own way so my direct surroundings have always played a huge part in how it sounds and the hustle of the city was something I felt I needed to get away from. This was a cathartic experience in making it - it's a real outpouring of love for the Scottish countryside and the beauty I’m lucky enough to live in and see every day!”

Jon’s musical journey is one of experimentation and passion. A regular of the electronic scene in Glasgow in the late 90's/early 2000’s, he started to experiment with DJing and music production more for his mates entertainment than with any aspiration of a career as one of the most understated electronic artists Scotland has produced.

Skylax Records Is Proud to Introduce You to the Sound of RotorMotor With Their Astounding "Dream Beams" Ep That Encapsulates the Essence of Early '90s Trance, Italo Disco, and Ebm, While Evoking the Nostalgic Sound of Kompakt From 2004 to 2007. Hailing From Ljubljana, Slovenia, RotorMotor Is a Dynamic Duo Whose Tracks Have Gained Popularity Through Their Association With Lesyeuxorange, Feinstoff, Sexy Dinosaur From Outer Space, and Esteemed Remix Luminaries Like Neurotiker. Prepare to Be Transported Into an Audio Realm Where Pulsating Beats and Infectious Melodies Collide. the Ep Kicks Off With "Size of a Photon," a Track That Encapsulates the Signature Sound of Kompakt in Its Purest Form. "Feel My Pulse" Follows Suit, Immersing Listeners in a Rhythmic Journey That Resonates Deep Within. One of the Ep's Standout Moments Is the Remarkable Remix by Italian Producer Amarcord, Recently Acclaimed for His Releases on Ombra International, Eskimo Recordings, and Curses' Excellent Compilation "Next Wave Acid Punx". Amarcord's Remix of "Flashblinded" Flawlessly Blends Breakbeat and Trance Elements, Resulting in an Elegantly Treated Sonic Masterpiece. on the Flipside, RotorMotor Collaborates With Pholia on "Flashblinded," Delivering Both an Instrumental and a Vocal Version. the Vocal Rendition Adds a Post-Apocalyptic Touch as Pholia's Robotic Voice Sings in Slovenian, Creating an Atmospheric and Haunting Experience. "Dream Beams" Is a Demonstration to RotorMotor's Ability to Fuse Influences From the Past With a Contemporary Twist, Creating a Sonic Landscape That Captivates the Senses. With Their Relentless Energy and Creative Vision, RotorMotor Never Ceases to Amaze. This Vinyl Release Is a Must-Have for Any Enthusiast of Electronic Music Seeking an Extraordinary Sonic Adventure. Grab Your Copy and Experience the Hypnotic Power of RotorMotor....

With $10 Cowboy, Charley Crockett didn’t set out to make a themed record. He had released a concept album in 2022, the critically acclaimed Man From Waco, propelling Crockett to new heights and establishing him as one of the leaders of a sparkling revival of traditional country and folk music. For the follow up album, Crockett wrote freely, over a two-month period, as he wound his way across the United States on the back of a tour bus. The resulting songs—raw, personal, vivid portraits of a country in transition—ended up being connected after all. “This material is written at truck stops, it’s written at casinos, it’s written in the alleys behind the venues, it’s written in my truck parked up on South Congress in Austin,” explains Crockett. “A ramblin’ man like me, a genuine transient, is in a pretty damn good position to have something to say about America.” As the album unfolds, you begin to understand that a $10 Cowboy is anyone who has hustled to get by, who didn’t fit in, who has slept on other people’s couches, or the street, who has fallen down, gotten up, and ventured from home chasing a paying gig, or a new start. “Being out on the road gives you a first-hand experience of how different kinds of Americans see themselves as going through some kind of great struggle,” Crockett says. “The roughneck working the oil and natural gas fields in West Texas. The single mother raising kids by herself. The young man working a street corner because he thinks it's his only option. I would be dishonest if I said I couldn’t see the thread. Each of ‘em feel invisible. I am struck by the battles they are fighting internally, and the ways they have been entrapped by what America says they are.” The album was recorded at Arlyn Studios in Austin, produced by Crockett and his long-time collaborator Billy Horton. It was recorded live to tape, with anywhere from 6-12 musicians and backup singers on each track, giving the songs the feel of a live performance. It’s a sound Crockett has been after for years. “Reason I cut it on tape is because when you got the right people in the room, and the great players rise to the occasion when that red light is on and the tape is rolling, you get the magic of a great performance.” It's exactly what he achieved with $10 Cowboy. Regular bandmates Fox, Nathan Fleming, and Mayo Valdez are joined by some of the genre’s most talented players—Rich Brotherton, Kevin Smith, Dave LeRoy Biller, T. Jarrod Bonta and others, including a string quartet. Lauren Cervantes and Angela Miller sing on the album. While the musicianship and accompaniment are exquisite, they are also subtle, placed joyously, yet judiciously across the album. No, Crockett didn’t set out to write a themed record. Or, through his studied eye, to find America. But with $10 Cowboy, he might have done both.

If the Chateau Marmont could sing. This would be it. Loren Kramar's voice vibrates with the shameless hum of a room after a celebrity exits Ecstatic aspiration. Doubt. Proximity. Desire. The album "Glovemaker" is about the skins we craft to be seen by the world, and Loren reminds us that we are all in drag. All exposed. No matter what gloves we slip on. "I'm a slut for all my dreams", Loren Kramar sings with Patti Smith brashness, "I'm a whore for them, I've got more of them". Loren's lyrics move like tinsel, shimmering bravely, then just as quickly, curling, fragile under the spotlight. Loren has always been obsessed with fame. Not with famous people, but with the electricity that perverts attention - the crushing desire to be truly seen. And all of Loren, and this obsession, is in this album. He grew up in the Valley, forced to hide his Barbies from his father, so the closet was a gorgeous Spanish ranch house on a gilded cul-de-sac crawling with celebrities. Naturally this gay boy wanted to be a child star so his mother secretly shuttled him to tap and jazz and figure skating lessons. "I've got hands and feet to put in the concrete", Loren croons, in "Hollywood Blvd", a song which clangs with brawny bravado. But "Gay Angels" reminds us that Loren's infatuation with stardom is inextricably linked with his queerness and his own desire to live outside of fear. To be famous is to be out. To be known. To be himself. "Glovemaker has become a kind of code for art making itself. A glove as a covering or mask that follows the contours of the life beneath it. As a song and a symbol, this is an album about studying and tracing a life - and then sharing what's there," Loren says. And his desire to share truth feels urgent. To listen to Loren is to understand there is no choice; the songs must tear through the air right now. This very second. "I see myself tearing and splitting and becoming a trampoline", he belts in "No Man," breaking our hearts right alongside his. Part poet, part theatrical diva, Loren loops together the tragedy of breathing on this planet, because like Eartha Kitt or Cat Stevens, Loren is at his core - an incredible story teller. This whole album is a shrine, a mantle atop a blazing fire of life, spread with the memorabilia of Loren; all of the pain and lust dazzling on unabashed view. This is a songwriter's album. Loren's lyrics are all his, and you feel it with every bright, Maraschino-cherry-like word that falls from his lips. "Like a lover, You scream and I shatter, I hit like a hammer" Loren sings. And we get to feel what Loren feels We live in his brain, riding his genre bending emotions, on a wave of modern pop. And the songs lift, they are anthems of belief, "Hollywood Blvd", "I'm a Slut", "Euphemism", "Gay Angels", are all odes to triumphing over the corroding powers of fear and doubt. And on this ride, Loren's voice is the guard rail, ever eager to stretch and transform, belting, talk-singing, multiplying, keeping us safe. "Glovemaker" slaps and soars. The album is an ecstatic overture to love and loneliness, to dreams and promises, to everything Los Angeles dangles. Buckle up. Loren knows how to craft space, how to move us through darkened bars, strobing arenas, beige carpeted bungalows and yellow lit highways. "How do you like LA?" Loren asks. I hope you love it.

Red Vinyl

If the Chateau Marmont could sing. This would be it. Loren Kramar's voice vibrates with the shameless hum of a room after a celebrity exits Ecstatic aspiration. Doubt. Proximity. Desire. The album "Glovemaker" is about the skins we craft to be seen by the world, and Loren reminds us that we are all in drag. All exposed. No matter what gloves we slip on. "I'm a slut for all my dreams", Loren Kramar sings with Patti Smith brashness, "I'm a whore for them, I've got more of them". Loren's lyrics move like tinsel, shimmering bravely, then just as quickly, curling, fragile under the spotlight. Loren has always been obsessed with fame. Not with famous people, but with the electricity that perverts attention - the crushing desire to be truly seen. And all of Loren, and this obsession, is in this album. He grew up in the Valley, forced to hide his Barbies from his father, so the closet was a gorgeous Spanish ranch house on a gilded cul-de-sac crawling with celebrities. Naturally this gay boy wanted to be a child star so his mother secretly shuttled him to tap and jazz and figure skating lessons. "I've got hands and feet to put in the concrete", Loren croons, in "Hollywood Blvd", a song which clangs with brawny bravado. But "Gay Angels" reminds us that Loren's infatuation with stardom is inextricably linked with his queerness and his own desire to live outside of fear. To be famous is to be out. To be known. To be himself. "Glovemaker has become a kind of code for art making itself. A glove as a covering or mask that follows the contours of the life beneath it. As a song and a symbol, this is an album about studying and tracing a life - and then sharing what's there," Loren says. And his desire to share truth feels urgent. To listen to Loren is to understand there is no choice; the songs must tear through the air right now. This very second. "I see myself tearing and splitting and becoming a trampoline", he belts in "No Man," breaking our hearts right alongside his. Part poet, part theatrical diva, Loren loops together the tragedy of breathing on this planet, because like Eartha Kitt or Cat Stevens, Loren is at his core - an incredible story teller. This whole album is a shrine, a mantle atop a blazing fire of life, spread with the memorabilia of Loren; all of the pain and lust dazzling on unabashed view. This is a songwriter's album. Loren's lyrics are all his, and you feel it with every bright, Maraschino-cherry-like word that falls from his lips. "Like a lover, You scream and I shatter, I hit like a hammer" Loren sings. And we get to feel what Loren feels We live in his brain, riding his genre bending emotions, on a wave of modern pop. And the songs lift, they are anthems of belief, "Hollywood Blvd", "I'm a Slut", "Euphemism", "Gay Angels", are all odes to triumphing over the corroding powers of fear and doubt. And on this ride, Loren's voice is the guard rail, ever eager to stretch and transform, belting, talk-singing, multiplying, keeping us safe. "Glovemaker" slaps and soars. The album is an ecstatic overture to love and loneliness, to dreams and promises, to everything Los Angeles dangles. Buckle up. Loren knows how to craft space, how to move us through darkened bars, strobing arenas, beige carpeted bungalows and yellow lit highways. "How do you like LA?" Loren asks. I hope you love it.