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ft Alton Miller Mix

Razor-N-Tape co-founder JKriv delivers a trio of all-original cuts on his Something Else EP, bringing together a cast of featured hometown Brooklyn talent to center dynamic songwriting with club-ready vibes.

On the A1 title track, a playful funk-laden bassline lays the foundation for an explosive hook and soaring vocal performance from Brandon Markell Holmes. Dynamic live instrumentation take center stage in the soulful Try Again, which builds to an anthemic peak as guests Nic Hanson and Phenomenal Handclap Band intone the song’s hopeful message.

On the flip, the laid-back boogie groover Shoulda Been Me slow-burns with heavy bass, percussive rhythms, and serene synth-work to support the layered vocal textures by Toribio (of Conclave). Detroit legend Alton Miller takes the tune in a classic soulful deep house direction, with a bouncing rhodes pattern revolving over solid drums, and showcasing Toribio’s vocal prowess in a new light.

First ever repress of the sought after psychedelic tinged funk rock private press album 'Eclipse of the City' from 1980 New York. Originally recorded between 1975 and 1977 in Manhattan's garment district. Eclipse of the City lay dormant on a reel to reel player whilst frontman Carlos Fire Aguasvivas muddled through life working as a data entry clerk away from his fellow band members. It wasn't till he rediscovered the tapes that a sudden life affirming moment drove him to get the music pressed. Putting pen to paper Carlos created the artwork as a homage to his love of comic art and brought the band to life on the reverse with his spindly characters engrossed in the jam. Only 300 copies were pressed at the time leading to eye-watering prices for a copy. with a recent digital re-release from Indian Summer's Anthology Records, Sticky Buttons stepped up to repress the record with a limited run of 500, lovingly manufactured in the UK in all its vinyl glory.

Arriving in the Bronx from the civil unrest of Santo Domingo in the early 60's Aguasvivas was surrounded by the raucous sounds of rock, jazz and prog. Absorbing the humdrum atmosphere of life in New York, Eclipse of the City came from the minds of close friends Carlos Aguasvivas, Steve Garcia and Eddy Garcia. Meeting at Monroe High School the three of them quickly formed a strong bond over their shared interest in music. It wasn't long after that they began rehearsing in a basement under a neighbourhood cleaners and in the attic of Steve and Eddy's family home piecing together their extended sessions of tripped out cinematic psychedelia.

Recording got off to a rocky start as a car accident left the three band members in A&E after taking an early morning cab ride through Manhattan to watch the sunrise on their way into the studio (a theatrical artistic statement of intent conceived by Steve Garcia) - as Eddy mentioned "Eclipse was forged from a lot of pain". Their recording sessions were postponed but a few weeks later they were back and with the added energy of John Ortega on Bass and Vincent Anderson on electric piano and organ - with just a few microphones and a reel to reel recorder, Eclipse of the City was laid down as the stark bold homage to New York's downtown.

Influences ranged from the cinematic behemoth Jaws to the UK prog rock bands of Genesis, Yes and Emerson Lake & Palmer but only could Eclipse of the City take its unique form in the attics and basements of New York with the full band adding their Puerto Rican and Dominican slanted New York energy. Side one includes 3 fully formed tracks breaking out into eerie moments of calm before diving into well timed jolts of reprise as each element weaves over the top of one another whilst side two presents a 30 minute narrative work following the night adventures of a young group of friends exploring the vibrant nightlife of downtown New York. A rumbling half hour of wobbling guitar, tight drumming and synth organ licks jutting out from the glistening lights of the night before the sun rises down Manhattan's East-West axis as the lilt changes and the organ lulls the friends back home. A truly idiosyncratic take on the heady world of New York in the 70's and one that still resonates with our urban landscapes and love for the nights they bring today.

a 01: Think Positive (Live) feat. Steve Garcia, Edward Garcia & John Ortega
b 02: Jennifer (Live) feat. Steve Garcia, Edward Garcia, Vincent Anderson & John Ortega
c 03: Try It All Again (Live) [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[d] 04: Eclipse A (Beginnings) [Live] [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[e] 05: Eclipse B (First Movement) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[f] 06: Eclipse C (Hustle Bustle) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[g] 07: Eclipse D (Funky Side of Town) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[h] 08: Eclipse E (Midnight) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[i] 09: Eclipse F (First Movement Continued) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[j] 10: Eclipse G (Home) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]

ANZOLA is a recording artist whose loop-based neo-psychedelic music incorporates elements of Instrumental Hip Hop, Electronic, Jazz and Latin influences. The multi-instrumentalist creates a groove-heavy and laid back landscape utilizing samplers, classic synths, drum machines and live instrumentation. His new EP Caracas finds him in a reflective mood, looking back at his youth spent growing up in the city of Caracas, and his experience immigrating to Canada. Entirely self-produced, these six tracks transport us into ANZOLA's kaleidoscopic vision of his youth: a world of heat and haze, colour and texture, of lazy afternoons and late-night dances, languid jungles and chaotic streets. All created instrumentally utilizing drum machines, bass, synths, electric pianos and samplers. "I've always been better at communicating through chords and rhythm than with words. On this record, I followed my feelings and memories to return home."

"Séparée" ist Umses erstes Projekt, bei dem er sich neben den lyrics auch für alle Beats verantwortlich zeichnet.

Wie bei seinen Vorgänger-releases handelt es sich hier um klassischen, zeitlosen Boom Bap und True School Rap. Hier treffen penibel ausgesuchte Samples sowie satte Drums und Bässe auf Umses gewohnten laid-back Flow und seine selbstreflektierenden, strukturierten lyrics.

Nach dem Kollabo-Album mit Beatmaker-Legende Nottz und den zuvor erschienenen Alben mit Tag-Team Partner Deckah, kommt hier also ein Projekt um die Ecke, das Umses Schaffen von einer weiteren Seite präsentiert und seine Leidenschaft und seinen Geschmack in voller Gänze abbildet.

Umse konnte sich hier außerdem einen weiteren Traum erfüllen: Mit US-Rapper Masta Ace ist eines seiner Vorbilder und eine seiner größten Inspirationen auf der Platte vertreten.

Katy J Pearson shares details of her stunning new album,
‘Sound of the Morning’, released on Heavenly Recordings.

 Written and recorded in late 2021, Katy’s latest effort is coproduced by Ali Chant (Yard Act and the helm of Katy’s debut,
‘Return’) and Speedy Wunderground head-honcho Dan Carey
(Fontaines D.C.).

 Katy’s recent extracurricular activities have shown that she can
dip a toe into a multitude of genres - providing guest vocals on
Orlando Weeks’ recent album ‘Hop Up’; popping up with Yard
Act for a collaboration at End of the Road festival; singing on
trad-folk collective Broadside Hacks’ 2021 project ‘Songs
Without Authors’. ‘Sound of the Morning’ takes that spirit and
runs with it.

 ‘Sound of the Morning’ is an album that’s as comfortable
revelling in the more laid-back, Real Estate-esque melodies of
lead single ‘Talk Over Town’ - a track that attempts to make
sense of her recent experiences, of “being Katy from
Gloucester, but then being Katy J Pearson who’s this buzzy
new artist” - as it is basking in the American indie pop of ‘Float’,
penned with long-time pal Oliver Wilde of Pet Shimmers, or
experimenting with the buoyant brass of ‘Howl’, in which
Orlando repays the favour with a vocal guest spot.

 ‘Sound of the Morning’ is available on CD and on clear vinyl in
‘Tip on’ sleeve with folded poster insert and digital download
code. (Once the above vinyl format has sold out, a standard
black vinyl version - HVNLP204 - will be made available.)

 Katy heads out in September for a headline UK tour, before
which she plays a number of summer festivals across the
country.

 Tourdates - August 19 Green Man, 21 Beautiful Days Devon,
September 8 Trinity Bristol, 9 Cornish Bank Falmouth, 10 Cavern
Exeter, 11 Joiners Southampton, 13 Chalk Brighton, 14 Olby’s
Margate, 15 Electric Ballroom London, 17 Brudenell Social Club
Leeds, 18 The Cluny Newcastle, 20 Voodoo Rooms Edinburgh, 21
Mono Glasgow, 22 Gorilla Manchester, 24 Float Along Sheffield, 25
Rescue Rooms Nottingham, 27 Clwb Ifor Bach Cardiff, 28 Hare &
Hounds Birmingham, 30 The Bullingdon Oxford.

For Record Store Day 2022 Morcheeba have recruited Orbital, Gui Boratto, Kutiman and Voyou to remix four tracks from their latest album 'Blackest Blue' which was released in May 2021.

This is the second of a series of 12" remixes being released especially for RSD, the first 'Blazed Away - The Remixes' sold out in 2019. This year 'Blackest Blue - The Remixes' includes British giants of electronic music Orbital switching up the signature Morcheeba 'chill' vibe of 'Namaste' to an electronic drum and bass dancefloor stomper whilst producer Gui Boratto's remix of 'Sounds Of Blue' is a progressive Electronica/Chill House masterclass!

Morcheeba’s global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name with a discography spanning three decades.

With at least 12 gold and platinum discs & over 350M all time streams, Morcheeba continue to create their own unique sound, a laid-back mix of fusion, funk, and blues with the sweet, fluid vocals of Skye Edwards.

For their second installment, the Chateau Chepere crew brings on board legendary producer Stephan Laubner under his STL moniker, with four time warping pieces of music. With his distinctive and intricate sonic palette, Laubner extracts from his hardware different musical colors and shapes to produce singular atmospheres. Opening up the EP is Fly Fly, an epic 11 min minimal house trip full of tension and excitement, followed by Eargrind, an eerie, laid back Detroit leaning ballad. On the flip is Light Up, a spaced out, playful and bittersweet number that will revitalize any hazy after-hours dancefloor. Closing up the EP is Unlike Dislike, a quirky, jacking and mischievous techno workout for the packed club. This diverse ep will pull the listeners and dancers into Laubner's multifaceted, low key but captivating universe.

EALZ! Records & brand new label A.D.S team up to pay tribute to the mysterious bluesman and producer : Cleo Page.

Born in Louisiana, this L.A.-based musician worked with the great Johnny Otis, hang out on Central Avenue’s clubs and possibly jammed with top West Coast bluesmen like Jessie Allen, Pete “guitar” Lewis, Jimmy Nolen, Lafayette Thomas.

Curley Page for some, Sly Williams for others, difficult to follow his career and in definitive, little is known about him despite his “big deal” recently approved by blues specialists : Cleo Page IS the man who wrote and recorded the original Boot Hill, a blues classic covered many times up until now.

Cleo Page who lived in California since 14 years-old has been crossing Blues, Rhythm & Blues and proto-Rock'n'Roll in a personal way. He will run his own labels in the heart of Watts just after the 1965 riots. Those tragic events deeply influenced his laid-back groovy sounds, powerful guitar playing, organ-driven garage Blues with strong political and social messages. Somewhere between the first electric recordings of Howlin' Wolf and… Black Diamond Heavies!

You're about to discover 12 rare tracks probably recorded between late ‘60s and early ‘70s. This brand new release includes the ultra-rare track "Black Man part. 1 & 2".
Material reissued here for the first time in an arty/artisanal trifold Vinyl LP and a bonus Vinyl 7inch

The austrian musician and Live-Act / DJ Lukas Poellauer has been establishing a distinct production style with recent releases and remixes on Luv Shack Records, Fine Coincidence, Fortunea Records and Schönbrunner Perlen, melting classic house with airy, catchy melodies and mature songwriting.

“I Don’t Care” is the name of his first single for an upcoming release on Luv Shack Records and features the austrian funk Band Mary Jane´s Soundgarden and the piano player Valentin Zopp. The vastly featured musical talent of the Band makes the track oscillate between tight, club ready production and earthy, live-jazz café vibes, with the hazy voice of singer Tanja Peinsipp at its core.

For his second track Lukas Poellauer teams up with legendary singer Hubert Tubbs of "Tower of Power" fame. Tubb´s remarkable vocal timbre perfectly contrasts the light footed instrumental, as he sings about "When A Groove Is In Control". The actual groove itself is reduced and rather laid back, but Lukas Poellauer manages to bring in both dramatic and quirky overtones with a plethora of mallet, brass and string melodies.

On the flip, Patrick Pulsinger & Sam Irl deliver a fabulous dub rendition of “I Don’t Care” with a mad wobble bassline and classic reggae stabs, sitting comfortably between Grace Jones’ electronic tango and the hazy studio wizardry of dub emperor Lee Perry.

Luv Shack´s very own Space Echo put their spin on “When A Groove Is In Control”, opting for a cold and eerie vibe with the help of digital bell pads and a tight, stripped down four to the floor groove.

Rounding off the package, we have the Pulsinger & Irl Dub Instrumental which really makes the fantastic arrangement and mix shine even more.

Limited Edition 180g Vinyl LP! All-Analogue Mastering by Kevin Gray!
Pressed at RTI!

This mid-period masterwork from jazz piano's most uncommon voice finds Monk and his quartet (Charlie Rouse on tenor, Ben Riley on drums and Larry Gales on bass) exploring every texture, tone and melodic turn of seven expansive tracks. This group was subtle, mature and confident, easily supporting Monk's more idiosyncratic side-tracks (check out the solo on "Locomotive" or the restless exposition on "Japanese Folk Song") while allowing listeners freedom to move through or contemplate all the sublime subtexts Monk conjures from the endless well of his inspiration.

This emphasis on laid back and mature presentation aided the recording as well. These master tapes sound amazing and getting them to disc was a pure pleasure. Subtle changes in atmosphere, tone and melody fill the space between the speakers, a wide soundstage and expansive dynamics the gift of music indelibly played. This is one sonic powerhouse for the ages.

Available for the first time on 180-gram 2-LP with the full performances of the original tracks and including two bonus tracks, this new Impex release gets you closer to Monk's genius than ever before. Kevin Gray and Robert Pincus used analogue master tapes and minimal processing to great effect, while original session and jacket images were culled to create the deluxe gatefold jacket. Add in the sound-of-silence pressings from RTI and you have a can't miss jazz disc ready to delight and inspire every time it spins on your turntable. Impex has pulled out all the stops on this mesmerizing Monk classic. All you have to do is get one and enjoy before they're all gone.

Irish folk-pop brothers Harry and Alfie Hudson-Taylor are back with their first new music since the release of their second album - "Loving Everywhere I Go" - which topped the Irish album charts in February 2020. Produced by Luke Potashnik, who has recently worked with Gabrielle Alpin, Hannah Grace and Katie Melua. Lead-off track "Won't Be Too Long" is instantly recognizable as a warm-hearted, acoustic-powered, camp-fire sing-along, the kind that has helped forge Hudson Taylor's reputation as master tunesmiths and harmonizers. This is the first taste of Hudson Taylor's new album which will be released in June 2022. Hold Out Hope (Acoustic) Irish brothers Alfie and Harry Hudson-Taylor continue to explore the laid-back, acoustic side of their songwriting with this delicious, campfire-lit version of their latest single 'Hold Out Hope'. Following the successes of 'You Me Myself' and 'Honest' (featuring Gabrielle Aplin) which have seen Hudson Taylor's monthly listener figures grow to over 400,000 fans, 'Hold Out Hope (Acoustic)', with it's positive lyrics and easy-going groove is another joyful leap forward to their much-anticipated new album - 'Searching For The Answers' - out June 3rd. Hudson Taylor have just announced a 10-date, national Irish tour in support of the album release.

The second album from Wehrmacht, “Biermächt” saw the band maturing while still retaining their Thrashcore roots. Released in mid-1988, “Biermächt” featured a slightly cleaner production than the one found on their debut album. To some fans this rendered the album with much less intensity, but to our ears the sound was still very powerful. The massive reverb used on the first album made “Shark Attack” sound like a true shark attack and only added to the overall intensity. This time around the drums are more compressed and some blast beat parts tend to get lost in the overall blur of things. But on the same token, the guitars are much sharper sounding. Marco Zorich and John Duffy were truly evolving as guitar heroes. The thing that is really great and different compared to “Shark Attack” are the funny bit songs. We love them and enjoy them. A lot of the songs on “Biermächt” were leftovers from their demo days, including the phenomenal “Night Of Pain”, one of our all time favorite Thrash songs ever, but newer stuff like “Radical Dissection” and “Balance Of Opinion” showed the band handling a more mainstream Thrash sound somewhere in the middle of a Slayer/Kreator sound and Metallica/Megadeth. There is a certain progressiveness to those songs that hint to a more elaborate musical future. “Biermächt” is a very strong Crossover/Thrash album with a laid back party vibe to it. The sound, however, is very in-your-face. This is not a subtle album by any means. It’s not that they were the funniest bunch around (their side project Spazztic Blurr went a lot further). But Wehrmacht did have their own specific sound (mostly because of the vocals and guitars). Especially after all these years it becomes obvious all Crossover lovers and Thrashers from those days do in fact have this album and hold it dearly. The album has historic importance as well as huge sentimental value. Biermächt is a landmark in eighties Crossover Thrash and should be checked out immediately by all newbies.

"Matt Andersen has drawn from the best roots music has to offer over his decades-long career: down and dirty blues, heart-wrenching soul, life-affirming gospel, and introspective singer-songwriter balladry. These sounds, textures, and influences are laid bare on House to House…” -

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

"Sun Salt & Air," is Mellow Drunk band leader Leigh Gregory's latest fulllength solo record released on limited edition LP.Recorded in Leigh's
home studio during the pandemic all of the main tracks (guitar and
vocals) were first laid down at home, then backing vocals, violin, cello,
and drums were added by additional friends and musicians remotely due
to the lockdown
San Francisco engineer/ producer Damien Rasmussen pulled all the tracks
together and mixed the record and Nikos Lavdas mastered the record for Tip Top
Recordings. Based in San Francisco Leigh Gregory has opened for the likes of
Supergrass, Luna, trashcan sinatras, The Church, The Clientele, The Morning After
Girls, LILYSand Gorky's Zygotic Mynci as part of Mellow Drunk."Sun Salt & Air" had
its beginnings back in January 2020 when I was working on a handful of new
demos. Suddenly COVID hit and the rest of the year became free to write and
polish up the tunes and finish a fully realized record. It was quite inspiring to have
plenty of free time to develop parts for the songs, plus being at home I could run
into the home studio and spend as much time as I wanted trying out guitar
sounds, vocal melodies, and lyrics as they came to mind. I wanted "Sun Salt & Air"
to be a classic vinyl record with five individual songs per side that fit together
seamlessly and flow from one song to the next. I really like the sequencing on the
record in that it has longer songs with improvised endings, short songs, an
instrumental, and an acoustic song without drums. What I've always loved about
a ten song vinyl record is that it takes you on a little musical journey from side to
side which by the end you're ready to flip over and listen again and again."

Giacomo D’Attorre – lead singer of Clever Square – has been through a lot of late. With his band. In his personal life. Even just with the state of the world. This fire has fuelled Clever Square’s new record Secret Alliance, eleven tracks that explore feelings of frustration, disillusionment, and disconnection, and chronicle what it’s like to be swept along by a world that “gets noisier everyday”. The record was inspired by a creeping realisation; of coming change, and a sense that D’Attorre was “losing contact with who I was before, for the good and the bad.” New needs and desires surfaced; old ones disappeared. Thus he began writing around ideas of rethinking yourself, and “acquiring a new conscience of mutation”. The darker realms of science fiction informed much of D’Attorre’s thinking here; Philip K Dick, Ray Bradbury – ‘Mr. & Mrs. K’ was inspired by The Martian Chronicles – and Flannery O’Connor, whose The Violent Bear It Away proved particularly inspiring. All of this is perfectly framed by Clever Square’s shuffling, quirky indie, and cute melodies. Soft and worn around the edges, like the perfect flannel shirt, there’s a gentle, shambling quality to the music; “blue collar”, D’Attorre calls it. Guitar lines gently bloom, Fender Rhodes organ is sprinkled throughout, and the acoustic strumming sounds easy and unhurried. From the relaxed bustle and acoustic picking of ‘Hail The Proper Karl’, to the joyous, bouncy ‘Little Flaws’; from the stripped back melancholy of ‘Obsolete Epsilons’ to the arena-ready vibes of indie classic ‘Golden Wires’, D’Attorre has crafted a spell-binding, mesmerizing set of songs that delight on first listen and reward deeper inspection. “It’s a hymn to privacy, to the joys of secrecy, and solitude,” he says of Secret Alliance. That he wraps such heartfelt, profound topics in gloriously laid-back indie adds to the charm, and cements Clever Square’s status as one of Italy’s finest contemporary bands. The world might seem increasingly complex and be spinning ever faster, but Secret Alliance slows it down just enough to savour the scenery and think about charting a path back to something a little more manageable.

Back in 2017, Moderat announced that they’d be taking an extended break following a final concert in front of 17.000 people in their hometown of Berlin. And now they return. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III). Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. The ten songs on MORE D4TA are rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities.
But no matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.
What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow. After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.

Deluxe Edition / LP+Poster

Back in 2017, Moderat announced that they’d be taking an extended break following a final concert in front of 17.000 people in their hometown of Berlin. And now they return. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III). Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. The ten songs on MORE D4TA are rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities.
But no matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.
What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow. After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.