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Tehran - Iran's cultural melting pot with a population of 15 million. There is a broad and lively music scene here, about which little is known in the West. Here, traditional music from Baluchistan in the south or Kurdistan in the west meets the hip trends of the metropolis.
"This Is Tehran?" invites you to discover this music scene and marvel at its diversity. From Contemporary Classical Sounds with Saba Alizadeh on the Iranian spiked fiddle Kamanche or Siavash Molaeian together with Kasra Faridi on the piano to the well-known experimental electronic musician Ata "Sote" Ebtekar.

The electronic beats of a cooperation of Ehsan Abdipour and Andreas Spechtl stand naturally next to almost jazzy sounds of a Parastoo Ahmadi or Mina Momeni. The Otagh Band invites you to the dark, trip-hop laden Rotenburg, which they wrote about the cannibal of Rotenburg.

"This Is Tehran?": a showcase of Iranian music that makes one curious and invites you on a musical journey, as we have certainly not imagined!

Neon Finger once again pays tribute to the figure of the great Roger Troutman with the second part of the compilation entitled “We Love You Roger”. Some of the most respected names in the modern funk scene show his love for a key figure, who still remains a huge influence today.

Doom laden Metal for fans of Candlemass, Solitude Aeturnus and Crypt Sermon. Featuring legendary vocalist Robert Lowe!. Blurb Single #1

Amidst the crescendo of their celebrated career-which includes six full-length albums, headlining tours, major festival appearances, extensive international road and recording work with Neil Young, and the acclaim that flowed from their contribution to Lady Gaga and Bradley Cooper's, A Star Is Born-instinctively the band wanted to reach for something higher. Enter renowned producer Dave Cobb (Chris Stapleton, Jason Isbell, Brandi Carlile), whose collaborative, spontaneous approach has helped some of Nashville's most talented, flourishing artists make the best of their particular magic. A Few Stars Apart, the new LP from Lukas Nelson & Promise of the Real, was recorded over three immersive weeks and the upshot is unmistakable: a sound that's considered, spacious, and beautifully lush, with Cobb's masterful production every note is in service of the song. While the band's constant work schedule has usually necessitated recording albums in intermittent sessions that stretched over many months, they now found themselves with a rare opportunity to go into the studio and record their songs at a somewhat relaxed pace. It was the ideal setting to allow Lukas' expansive, soulful songwriting, the album's dazzling vocal performances, and the band's exquisite playing, to fully shine. Reviews confirmed in MOJO, The Line Of Best Fit and Classic Rock. BBCR2 play on Bob Harris already.

Mind Maintenance is the new duo consisting of Joshua Abrams (Natural Information Society) and Chad Taylor (Chicago Underground Duo, Chad Taylor Trio). This is where the music begins, but Mind Maintenance can't be described simply as a summation of its parts and players. When you put on the sound, you'll know what we're saying - you'll notice how immediate and meditative it is; how simple, how "in the room," and how the natural buzz of each instrument sits remarkably well against the other. The percussive qualities of the guimbri and the mbira, so raw and unadorned individually, form with their shared resonance a soothing, sonorous whole. It's not about world music, it's not about jazz. It's about mind maintenance. The songs of Mind Maintenance exist in a zone somewhere between composition and improv. Based in melodies that unspool over time, they benefit from Chad and Joshua's intimately enmeshed sensibility and the intensity with which they listen to each other. Chad and Joshua have been playing together forever - or, if you need to think of it more tangibly, since around 1994. Based on our research, the pairing of guimbri and mbira is more than unusual - it appears to be without precedent! This is incredible if it's true, but more important to the music of Mind Maintenance is the shared ground of inspiration that both instruments occupy. Mind Maintenance pursue their inspirations on these instruments down similarly transformative paths. If some part of the 21st century isn't focused on destruction, but instead, locating a place where our traditions can work together in new ways to entertain and even ensure well-being, then that's just one more incentive for all of us to consider Mind Maintenance.

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

Penrose Records is proud to introduce the newest members of the family, the Inland Empire's own Vicky Tafoya and the Big Beat. Born in Santa Ana and currently residing in Colton, Vicky started singing a capella doo wop in the late 80s for the So. Cal. Doo Wop Society and went on to co-found the Big Beat in 2001. Their debut single on Penrose is a moody minor chord ballad featuring a reverb laden guitar solo and beautiful girl group harmonies behind Vicky's effortless yet haunting vocal about two people longing to be together… Forever.

Jazz Behind the Dikes Vol 3 is the third and final installment in the Jazz Behind The Dikes series, which highlights some of the greatest Dutch jazzmen under ideal conditions: in their own combo’s and playing the music of their own choice in complete freedom. The result is a collection of straightforward modern jazz by renowned Dutch jazz musicians such as Ron Madna Trio, Tony Vos Quartet and Frans Elsen Quartet.

This third volume of the series is available as a limited edition of 500 individually numbered copies on blue vinyl.

A unique new album of poetry and music featuring Marianne Faithfull set to the music of Warren Ellis, and featuring Nick Cave, Brian Eno and Vincent Ségal
With She Walks in Beauty, Marianne Faithfull with composer and multi-instrumentalist Warren Ellis releases one of the most distinctive and singular albums of her long, extraordinary life and career. It was recorded just before and during the first Covid-19 lockdown – during which the singer herself became infected and almost died of the disease – with musical friends and family including not only composer Warren Ellis but Nick Cave, Brian Eno, cellist Vincent Ségal and producer-engineer Head. She Walks in Beauty fulfils Faithfull’s long-held ambition to record an album of poetry with music.
It’s a record that draws on her passion for the English Romantic poets, a passion she fostered in her A Level studies with one Mrs Simpson at St Joseph's Convent School in Reading. From there she entered the world of As Tears Go By, of Mick Jagger and the Rolling Stones, Top of the Pops and the left-hand path of pop and stage stardom. Sixties iconography and outrage followed, as did her subsequent battles with addiction before her 1979 return to powerful female and artistic autonomy with Broken English, an album which featured her setting to music Heathcote Williams’ poem of eviscerating rage, Why D’Ya Do It?
Drawing deep on the poetry of Shelley, Keats, Byron, Wordsworth, Tennyson and Thomas Hood, Faithfull’s vocal performances set to Ellis’s subtle collages of sound draw out the heart, the quick, the vibrant living matter in all these great poems, making them fresh, renewing them with the complex, lived-in timbres of her voice, and set to a subtle palette of ambient musical settings. It’s both a radical departure and a return to her original inspirations as an artist and performer.
The greatest poetry is best heard, and Faithfull’s accounts of some of the greatest lyric poetry in our language – Keats’ Ode To A Nightingale and Ode To Autumn – are spine-tingling in their deep understanding of the poetry’s powerful currents of meaning and identification. On Nightingale, her voice opens up like an epic landscape, while in Shelley’s miniature masterpiece, To The Moon, she sounds otherworldly, as if calling down from another medium, and the atonal, otherworldly sound textures provided by Eno on Bridge of Sighs and La Belle Dame Sans Merci become a compelling foil for Faithfull’s haunting interpretations of these rich, dark poems.
“They’ve have been with her her whole life,” says Ellis. “She believes in these texts. That world, she inhabits it, embodies it, and that really comes through. There’s just something about the way she can deliver that is incredibly affecting.”
“Eventually I always end up where I was meant to be,” says Faithfull. “I’ve noticed that. It may take a long time, but I get there. I never forget these things. After all these years, I’ve drawn the strands back and they still mean something and they resonate more, actually, because I now have life experience. Life and near-death experience. Many times! Not just once.” She Walks in Beauty is scheduled for release April 30th, with artwork created for the album by British artist and lifelong friend, Colin Self, and with the full texts of the poems, and commentary, included in the liner notes. While Faithfull continues to recover from the after-effects of Covid-19, and the world around us continues to struggle with the impact of the worldwide pandemic, these are poems and performances to steady and lift the spirit.

England, 1884 - a world on the brink of change. On the morning of her 16th birthday, Enola Holmes (Millie Bobby Brown) wakes to find that her mother (Helena Bonham Carter) has disappeared, leaving behind an odd assortment of gifts but no apparent clue as to where she’s gone or why. After a free-spirited childhood, Enola suddenly finds herself under the care of her brothers Sherlock (Henry Cavill) and Mycroft (Sam Claflin), both set on sending her away to a finishing school for “proper” young ladies. Refusing to follow their wishes, Enola escapes to search for her mother in London. But when her journey finds her entangled in a mystery surrounding a young runaway Lord (Louis Partridge), Enola becomes a super-sleuth in her own right, outwitting her famous brother as she unravels a conspiracy that threatens to set back the course of history.

Enola Holmes was released on September 23, 2020. The film received positive reviews from critics, who praised Brown’s performance. Daniel Pemberton composed the film’s score. Pemberton described it as “unashamedly melodic and emotional orchestral music” with some “messy quirky oddness thrown in as well”.




RELEASE: 4-6-2021




• 180 GRAM AUDIOPHILE VINYL
• PVC PROTECTIVE SLEEVE
• CRITICALLY ACCLAIMED 2020 MOVIE ABOUT THE TEENAGE SISTER OF THE ALREADY-FAMOUS SHERLOCK HOLMES
• STARRING MILLIE BOBBY BROWN (STRANGER THINGS “ELEVEN”), HENRY CAVILL, SAM CLAFLIN & HELENA BONHAM CARTER
• MUSIC BY DANIEL PEMBERTON
• INCLUDES INSERT WITH PICTURES AND LINER NOTES BY DIRECTOR HARRY BRADBEER (KILLING EVE)
• LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON SOLID TURQUOISE VINYL

This is a limited edition contains of 500 individually numbered copies on solid turquoise vinyl. The package includes an insert with pictures and liner notes by director Harry Bradbeer (Killing Eve).

- The complete film music available for the first time on vinyl - 180 Gram "Satanic Rite" Colored Vinyl - Exclusive liner notes by Rob Zombie - 16 Page Booklet featuring unreleased photography - Bonus Black Metal live album by Count Corgan pressed to 180 gram black vinyl with B-Side etching // Waxwork Records is proud to present Rob Zombie's THE LORDS OF SALEM Original Motion Picture Soundtrack. Available for the very first time on vinyl and pressed to 180 gram "Satanic Rite" colored vinyl, the music of THE LORDS OF SALEM features The Velvet Underground, Rick James, Rush, Leviathan the Fleeing Serpent, John 5, and more. THE LORDS OF SALEM is a 2012 American supernatural horror film written, produced, and directed by Rob Zombie. The film stars Sheri Moon Zombie (The Firefly Trilogy), Meg Foster (They Live), Bruce Davison (X-Men), Dee Wallace (E.T., The Hills Have Eyes), and Patricia Quinn (The Rocky Horror Picture Show). The plot focuses on a troubled female disc jockey, Heidi (Sheri Moon Zombie), who is a recovering drug addict living in Salem, Massachusetts. Her life becomes entangled with a coven of ancient Satan-worshipping women after receiving a strange wooden box and listening to the album inside it by a band named "The Lords". The soundtrack features classic songs by The Velvet Underground, Lou Reed, Manfred Mann's Earth Band, and several more. The score features original cues by John 5 and Griffin Boice. In line with other Zombie soundtracks, the album features intermittent dialogue tracks from the movie. Waxwork is thrilled to present the debut vinyl release of THE LORDS OF SALEM as a deluxe album package featuring 180 gram "Satan Rite" colored vinyl (Blood Red and Blue Butterfly effect with White Splatter), exclusive liner notes by Rob Zombie, new and original art by Robert Sammelin, a 12"x12" 16-page booklet including unreleased set photography from Zombie's personal archive, a heavyweight art print, printed inner sleeves, and old-style tip-on gatefold jackets with satin coating. Also included is a bonus black metal album by Count Gorgann entitled Corpse Eater: Satanic Misery Live for the Dead. This bonus album features a 2015 live recording at Black Forest Discothek and is pressed to 180-gram black vinyl with an etched B-Side.

It’s a given that timing is everything in music – most obviously in terms of composition and production but often just as much in regard to conception and release – the latter two doubly poignantly so in the case of this massive DOOM vs The Sugarcubes mash-up LP from turntablist and producer Krash Slaughta.

Which is why the tale of this project’s gestation is perhaps what should be told about it before anything else.

Begun last August and finished on 25 October, the album started life as an idea born from a casual listen to final Sugarcubes album Stick Around For Joy that Krash had bought a copy of years before in a charity shop. Contemplating the cover art while listening to the LP and the track Hit in particular, it came to him that here might be the musical basis for a concept LP in the grand tradition of the hip-hop mash-up album. Thus the project was born, becoming something of an obsession as lockdown restrictions recommenced through a sanity-testing autumn. As it developed, the provisional title of Stick Around For DOOM morphed into Sugar Coated DOOM and Brighton artists Leigh Pearce and Rob Crespo were roped in to create the artwork. So pleased was Krash with the results that he decided to self-finance the pressing of the LP to vinyl which in turn would allow him to send a copy to DOOM in the most fitting format. On that basis, along with his dad’s advice that if you want something done properly; do it yourself’, he initiated the process for a limited press run as soon as the project wrapped and telephoned his dad (who’d been shielding and who he hadn’t seen for months) to say he’d done precisely that. In a tragic twist, this turned out to be their last ever conversation, for Krash’s dad died suddenly the next day. Two months later of course, while waiting for the Covid-slowed vinyl pressing process to complete, came a further tragic twist as the world received the delayed news that DOOM himself had also passed away back in October – in the event, only five days after Krash’s father. So it’s no understatement to say that Sugar Coated DOOM carries significant emotional resonance for its maker, forever linked as it will be to the deaths of two of his personal heroes.

Which brings us to the content. The album contains seven vocal tracks, with an alternate version of one and instrumental versions of five of the seven across two sides of an album with the music, track names, LP title and cover art mashing up musical, lyrical/ textual and visual elements of The Sugar Cubes’ Stick Around For Joy with DOOM acapellas, track names and references. Listeners won’t need long to appreciate that Krash Slaughta was right to be proud of his creation, almost certainly correct in thinking DOOM would dig it and no doubt The Sugarcubes too. Also, who would have thought The Sugarcubes had so much potential for beat-mining? But then seeing potential in the unexpected was always a vital skill from the golden era of sampling in hip-hop and those who follow in the tradition. The first track proper, for example, swipes Madlib’s lo-fi beat from underneath the vocals for Figaro and replaces it with the looped and beefed-up opening bars of the Cubes’ I’m Hungry. The result is a natural fit. But then the blending of elements in every track on this release provides evidence of the effort and love put into its creation, reinvigorating DOOM’s classic vocals while re-purposing The Sugarcubes in a manner that will delight. Indeed, if you’d didn’t know the work of Bjork’s former band, you’d be unlikely to pin an early 90s alt-rock LP as the sample source. I imagine listeners will have a hard time picking a favourite too. Perhaps Hit It (based on the track which triggered the project idea in the first) which splices the Bond-theme-ish Hit with My Favourite Ladies might prove the most popular, or the monkey’s favourite, Nurse Chong, which blends Happy Nurse with Raedawn (named for Tommy Chong’s daughter) from Viktor Vaughn LP Vaudeville Villain. Whichever one punters pick though, anyone who hears anything off this will know it’s one to rank alongside your other favourite hip-hop mash-up albums. And who knows – perhaps even Mr Daniel Dumile himself might have considered it a not unfitting epitaph.

It all starts with a great song and “You Baby” has it all! Penned by husband and wife team Barry Mann and Cynthia Weil with the magic touch of Phil Spector – what an awesome trio – and the bedrock of a future classic.
The song was originally produced by Spector for the Ronettes, signed to his Philles label, and appeared on their 1964 breakthrough album ‘Presenting The Fabulous Ronettes’ featuring, of course, his wife to be Veronica Bennett. The song was also recorded in the U.S. by pop/rock band the Lovin’ Spoonful for their 1965 debut album ‘Do You Believe In Magic’.
However, in January 1966 Pye Records unleashed JACKIE TRENT’s epic Northern Soul version produced by her husband Tony Hatch. Heralded by a pounding drum beat and trumpet blast it is no wonder that Jackie’s definitive cover shook the walls at Wigan Casino a decade later. And its popularity has never gone away, hence its current price tag of £300-400! Check out Jackie’s performance on the Morecambe and Wise Show on YouTube, what an intro!
“You Baby” was also recorded in May ’66 by Cameo Parkway’s Lovenotes in a very similar vein and in November ’66 by the legendary Len Barry. Other notable cover’s include Sonny & Cher, the Bubblegum pop group Salt Water Taffy and, in 1975, John Holt’s reggae version.
“Lost Summer Love” was originally recorded in 1964 by U.S. actress Shelley Fabares known for her long-running role as Mary Stone in the sitcom ‘The Donna Reed Show’ and as Elvis Presley’s leading lady in ‘Girl Happy’, ‘Spinout’ and ‘Clambake’. She also scored a No.1 pop hit in 1962 with the teen anthem “Johnny Angel”. But, as with our ‘A-side’, it was reborn as a Northern Soul classic when Pye Records picked the song up in 1965 and recorded it on their latest signing, teenager LORRIANE SILVER. Once again the stomping drum track, percussion and handclaps propel you to the dancefloor where you’re greated with an unforgettably catchy tune, a bevvy of backing vocals and Lorraine’s effervescent vocal.
Two fabulous reasons to make this one of the top reissue 45s of 2020!

81355 (pronounced `bless') is a meeting of the minds between three pillars of the Indianapolis music scene; Sirius Blvck, Oreo Jones, and Sedcairn Archives. While the three have worked together in the past, this is their first start-to-finish collaboration, and the result is the stunning and distinctive debut Time I'll Be of Use. Simultaneously mystical and stark, somber and danceable, the project grapples with hard-wired truths and imagines alternate realities with better futures. These lucid wanderings amongst the street fires sound like a cross between the ghost of progressive electronic music of the 70s with its innovative eccentricities, and acrobatic wordplay delivered with sharp resolve. While surrealist in its metaphors and abstraction, it doesn't betray a present awareness. Reflecting on Black struggle in the pandemicridden and democracy faltering landscape of 2020, each member arrived from a synchronistic space, and the recording process ended up being largely intuitive. On "Capstone," the opening track on the album, Sirius Blvck offers a look from inside his space, "This is what we've come to. Generational curses I still can't undo. Just taught my lil girl to tie her shoes now she running to. Holy smokes lungs made of leather like it's comfortable. Climbing up this infinite ladder to get a better view." These three musical vagabonds have met up to find even themselves surprised with the results. Drawing inspiration from the likes of biting poetic commentary of the late Naptown residents, Etheridge Knight and Kurt Vonnegut, OJ summons a golden-era flow and paints a picture of the group's influences, surroundings, and trajectory in one fell swoop in "Thumbs Up." "Alright, in my feelings tonight, Honda Civic overturned as it burns through the night. Bone Thugs in these streets no Surender in sight. I'm writing poems from a jail cell, Etheridge Knight. I throw a fit when I flip it, it's all vintage. A pearl white Bronco like OJ you done did it. The sunshine shatters the rock painted so vivid. Two-hundred fifty pounds of gifted we so lifted_ wassup?" Sirius, with poetry present even in his speaking voice, adds, "It's a way to carve our story in the sky before we're gone. This is us choosing to believe that this time, things will be different. It is an affirmation to the universe. This time I'll see the whole blessing. This time I'll be of use."

Swiss heavy metal coven BURNING WITCHES and Nuclear Blast Records proudly present “The Witch Of The North”, the group’s much anticipated, fourth studio album set for worldwide release on May 28th, 2021. Following 2020’s “Dance Of The Devil”, which charted in Germany at #22, and the quickly sold-out “Circle Of Five EP”, vocalist Laura, guitarists Romana and Larissa, bassist Jeanine and drummer Lala notably up the ante on “The Witch Of The North”, their most dynamic, intricate and powerful album thus far. Perfectly mixed and mastered by V.O. Pulver and produced by German thrash titan Schmier (Destruction), BURNING WITCHES stick to their irrefutable 80’s influences (Judas Priest, Iron Maiden, Dio, Accept, Warlock, WASP etc.) and inject an irresistible energy and refreshing vibe, topping it off with classic art by Claudio Bergamin (who illustrated Priest’s triumphant “Firepower”). From the epic title-track to the album’s most catchy anthem ‘We Stand As One’ over to the ballad ‘Lady Of The Woods’ and speedy riff attacks like ‘Thrall’, ‘Flight Of The Valkyries’, and ‘Nine Worlds’, “The Witch Of The North” marks a new highlight in the band’s career, with vocalist Laura brilliantly shifting from aggressive to seductive with ease. No matter if you have followed the band since its humble beginnings in 2015 or just recently fell for their charms, BURNING WITCHES are doubtlessly one of the most sensational bands in heavy metal right now.

Dry Cleanings fiebriger Post-Punk klingt wie kein anderer Sound zurzeit. Bassist Lewis Maynard, Drummer Nick Buxton und Gitarrist Tom Dowse kennen sich schon eine kleine Ewigkeit und hatten schon diverse gemeinsame Bandprojekte zusammen. Die neue Band der Londoner entstand 2017 nach einem Karoke-Abend, bei dem sie Florence Shaw kennenlernten. Shaw, die vorher nie gesungen hatte, wurde zur Stimme der Band. Binnen weniger Monate entstanden die ersten Songs; die Texte handeln von Neurosen, seltsamen YouTube-Kommentaren und den normalen Dingen des Lebens. Shaw ist eine gute Beobachterin und eine Archäologin des Alltags. Der ungeschminkte Sound von Dry Cleaning bietet Shaws Geschichten dabei eine berauschende Klangkulisse. 2020 waren nach zwei EP-Veröffentlichungen und Touren durch englische Clubs Konzerte in den USA und Europa geplant, aber wegen der Pandemie saß die Band stattdessen im britischen Lockdown. Die Zeit nutzte man, um weitere Songs zu schreiben und das Debütalbum mit John Parish als Produzent in dessen Rockfield Studios aufzunehmen. "New Long Leg" wird die Musikwelt im Sturm erobern.

The creative minds behind Handy, merch dons, illustrative geniuses, radio hosts and all-round good guys are now trying their palms at the world of the record label.

No strangers to danger, they hit the ground running with a five-track rodeo from Handy resident Maroki, complete with remixes from two standout talents of their respective scenes, 1800-Girls and Jensen Intercepter.

Kicking things off ‘Taff Trails’ a crunchy, Detroit influenced, synth laden house gem with a dose of dreamy pianos nestled in for good measure. 1800-Girls puts a breakbeat spin on the original with his emotive take. Blissful, climbing synths all tied together with a solid break. Rounding of the A side, ‘Special’ hypnotsises with reverberating vocals, lo-fi organs and acidic arps.

Flip it over to find ‘Hatchi’ a straight up electro mind melter, driving basslines, crazy reeses & infectious rhythms, before Jensen Interceptor offers his signature sound on a plate to close out proceedings. Warp-speed tempo, rapid fire synth lines and crazy percussion result in a guaranteed dancefloor destroyer.