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Tanz ist das zentrale Thema des fünften Studioalbums "Fearless Movement" von Kamasi Washington. Dass er sich dem Tanz zuwendet und das Publikum mitnimmt, ist eine natürliche Weiterentwicklung von Washingtons fortwährender Beschäftigung mit Musik als Mittel der zwischenmenschlichen Verbindung. "The Epic" von 2015 und "Heaven and Earth" von 2018 waren Alben, die Genregrenzen überwunden haben und eine neue Generation in die Jazz Musik einführte. Beide Platten waren musikalischen Epen mit viel Chor und Streichern, "Fearless Movement" hingegen bietet etwas anderes. Es klingt immer noch gewaltig, aber rhythmischer - denn dieses Mal hat er den Rap in seinen musikalischen Kosmos geholt. "Die Welt ist stehen geblieben, aber ich habe definitiv nicht aufgehört", sagt Washington. "Fearless Movement" begann in den Tagen der globalen Pandemie. "Meine Tochter wurde genau in der Mitte davon geboren. Das sind zwei ziemlich große und monumentale Dinge, die gleichzeitig passieren". Das Elternsein hat Washington ein neues Gefühl der Dankbarkeit gegeben. Während die Tourneen pausierten, verbrachten sie die ersten Jahre damit, gemeinsam Washingtons Lieblingsplatten von John Coltrane, Ornette Coleman und Eric Dolphy zu hören. "Ich wollte ihr all die beste Musik zeigen", sagt er. Und eines Tages, als sie knapp zwei Jahre alt war, fiel ihr eine Melodie ein. "Wir spielten auf dem Klavier, und sie spielte sie einfach immer wieder", sagt er. Aus dieser Melodie wurde der Song "Asha The First". Washington und seine langjährigen Bandmitglieder nahmen die Melodie auf und ließen einige Lücken offen, die ein potenzieller Gast füllen sollte. " In Leimert Park, wo ich aufgewachsen bin, ist die Schnittmenge zwischen Jazz und Hip-Hop sehr groß". Also zog er Taj und Ras Austin hinzu, das Rap-Duo Coast Contra und Söhne des L.A.-Rappers Ras Kass, die er beim Herumstöbern auf YouTube entdeckt hatte. Washingtons langjähriger Freund und Kollaborateur Thundercat ist ebenfalls auf "Asha The First" zu hören. Washington ist nicht der Einzige, der auf "Fearless Movement" mit den Konventionen bricht. Andre 3000, der vielleicht beste Stilist des Rap, spielt sein allererstes Flötenfeature auf "Dream State". "Fearless Movement" vermittelt ein Gefühl der Verbundenheit, das Washingtons Arbeit über die Zeit hinweg mit der Black Music in L.A. verbindet - von der Vergangenheit über die Gegenwart bis zur Zukunft. Auf dem entspannten und funkigen "Get Lit", bei dem es darum geht, das Licht in jedem von uns zu nutzen, um unsere Gemeinschaften aufzubauen, bringt Washington den legendären Bandleader George Clinton und den Rapper D Smoke für einen der coolsten Tracks des Albums zusammen. Dieses Ethos der Elastizität und der Möglichkeiten erstreckt sich auch auf die Mitglieder von Washingtons Band, von denen einige auf dem Album zu hören sind. Unter ihnen auch Sängerin Patrice Quinn, Saxophonist Terrace Martin, Bassist Thundercat und Schlagzeuger Ronald Bruner Jr., DJ Battlecat und BJ The Chicago Kid. Die stetige Bewegung und Flexibiltät verleiht den neuen Songs eine gewisse Geschmeidigkeit, sowohl thematisch als auch musikalisch.

»Therapie ist ist kein Zeichen von Schwäche, es ist ein Zeichen von Stärke«, so Marie, die Frontfrau und Songwriterin von Cosby, die die letzten Jahre durch extreme Höhen und Tiefen gegangen ist. Alles spitzt sich irgendwann zu, bis es schließlich nicht mehr geht.

»Loved For Who I Am« ist ein Album, das eine persönliche Geschichte in einzelnen Kapiteln erzählt. Kapitel, die aufeinander aufbauen und vieles nach und nach sinnig erscheinen lassen. Kapitel, die – ganz wie ein Prequel – nicht etwa Handlungen fortführen, sondern einen Teil der Vorgeschichte erzählen. Um somit ein großes Ganzes entstehen zu lassen. Ein Ganzes, das sich Leben nennt. Und zeigt, dass jede(r) von uns nur gestärkter und im Reinen mit sich selbst aus Herausforderungen hervortreten kann. Für all das steht der Longplayer. Für all das stehen Cosby. Robin, Kilian, Dave und Marie. »Loved For Who I Am«.

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

"The winding flight path of Torn Hawk lands at 'Trustfall', a hilarious and poignant spoken work of rewarding density. It’s almost 34 minutes of Luke talking— talking over, against, and to himself, with sporadic, slyly deployed SFX and quotes of his own music, using a childhood memory as a generative node for a funny and emotional tale of transformation.

Luke Wyatt/Torn Hawk has been pushing more into speech-focused work in the last few years, using his NTS residency as an R&D space. His 2022 album “Toxic Sincerity” featured speech pieces of newly raw intimacy, and a cassette for Cav Empt saw a longer-form exploration of these efforts. Honed from a 2023 performance at NYC’s Issue Project Room, “Trustfall” is where all this talk has been heading.

It’s branching allusions— to the ’86 Mets, WIlliam Rehnquist, Boy Scout regalia and behavioral weirdness, etc etc— take us on a wild but strangely cohesive, funny-sad path, which finally points at the deeply neccessary and spiritual utility of self-expression."

Sundub Society - featuring Josephine Nightingale, Ally Garrido, Tiago Saga, Naomi Falcon, Cutty Wren, Hedvig Larsson. The Bahama Soul Club are a German-based group whose unique blend of soul, jazz, funk, blues, bossa nova, afro and Caribbean influences has firmly put them on the map as one of the most exciting contemporary outfits of the black music scene. Inspired by the blissful energies of the sun drenched coast and the multicultural verve of tattooed wave riders, spiritual seekers, rainbow healers, mystic maidens and dreadlocked beauties, .... and of course the funky smell of sandy flip flops. Lush arrangements painted with sun-soaked brushes, captivating hangout vibes, shuffling bits of Reggae, woven threads of 70s roots, traditional rhythms and beats and sounds of the South Western Algarve. Sincere, artistic, full of spirit and definitely unique. No striving for the worldly charts. An album recorded mainly with the local legends. Stoned troubadoures, poetic pirates, authentic rebels. The songs were born from a vague idea after the release of "Bohemia After Dawn", the last album on which a few artist friends from the Algarve had already contributed. There is always a special magic in the neighborhood when sunny midday jams morph to sundown sessions to party-till-dawn skanks. We then just put those jams on tape. So, ten sundubby love songs to 'Oh, those sandy beaches'!

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

Recorded across three sessions over the last three years, ‘Behold’ is a testament to Parsnip at their most creative, catchy and collaborative. This album showcases the multi-talents of all four members, with spirited performances adding dazzle to the thirteen tracks.
Paris Richens lets the bass playfully roam. Carolyn Hawkins tumbles feeling into the drum rumble. Stella Rennex’s guitar soars alongside her saxophone work, whilst a sprightly keyboard is tenderly attended by Rebecca Liston. Everyone sings amidst this lush canopy.
Patience, environmental cues and internal signals are integral for a garden to flourish. The same can be said of the conditions necessary for ‘Behold’ to emerge. It is an album gleeful in reassessment, changed priorities and anticipation. The roots are deeply anchored to mystery, drinking up a hidden wonderment that lies within. ‘Monument’ is a twist of melody and mania, “For what am I? But a channel of light” they attest amongst the whoops and hollers. ‘The Babble’ sounds like Ray Davies playing Wordle for enlightenment. In fact most of these songs are pointing the way towards growth and understanding. ‘Turn to Love’ is mesmeric and timeless, thoroughly serene and perfectly judged. Parsnip write songs as a form of communion with the intangible in our increasingly delusory world, but there is always a gentle reminder; don’t take anything too seriously! “My head is gonna split in two, fix it with flour and glue” they demand on ultimate bop ‘Papier-Mâché’, this juxtaposition of mature resolve with childlike astonishment packs a more powerful punch.
On ‘Behold’, Parsnip explore both the inner and outer realms of consciousness with quick wits and some seriously quality jangle and jolt. ‘The Light’ is a whip smart workout, sprouting naturally from the propulsive nature of their debut album ‘When the Tree Bears Fruit’ (2019). ‘Placeholder’ is also devastatingly honest and channels The Field Mice as it buries itself like an arrow into your heart.
Anti Fade Records and Upset The Rhythm proudly present Parsnip’s first album in five years, ‘Behold’. Available in all good record stores April 26th.

Kulku return to Phase Group with the release of their new album ‘Reset To Be’.

Formed in Berlin at the turn of the millennium, Kulku have evolved as a highly unique and free-formed collective of musicians that make trance-inducing, jazz-entwined, percussive and soulful (mostly) acoustic music that takes cues from the rhythmic propulsion of Jaki Leibezeit’s Can, the street-folk of Moondog, the minimalism of Steve Reich, and the droning rock n’ roll of the Velvet Underground, forming a sound that they themselves have coined ‘No-Age Krautrock’.

Following on from last year’s sold out debut LP ‘Fahren’, ‘Reset To Be’ offers 5 new songs across 2 sides of vinyl. This is a record that perfectly showcases the unique identity the band have been developing over the past 20 years, a sound crafted through experimentation and innovation with primarily acoustic instruments; droning harmoniums, repetitive and phasing xylophones, timpani, cello, scrap metal and woodwind reeds, all sitting alongside soulful saxophone and the voice of frontman Andreas Riska, singing in both German and English.

‘Reset To Be’ is a truly special offering that we’re proud to be able to share with you on Phase Group. The album will be available on April 30th 2024 on vinyl and digital, with distribution via Bordello A Parigi.

One day early in the global lockdown, Frédéric Blais scribbled four words on a Post-It note and pinned it up in his studio. When he headed to a studio in the mountains north of Montreal to start work on his fifth album as Fred Everything, those words went with him. They would not only provide inspiration during two weeks of isolated music-making, but ultimately provide the subsequent album with its title: Love, Care, Kindness and Hope.

Those sentiments – a positive mantra during a period of personal and collective vulnerability and isolation – resonate throughout the album, a gorgeously warm and beautiful affair that counts as Blais’s most personal, musically expansive, mature and sonically detailed set to date.

While each of the tracks began as a rough sketch laid down during Blais’ retreat, they evolved considerably over the months that followed. Blais reached out to a handful of carefully selected guest vocalists and collaborators, including Stereo MC’s, Robert Owens, Sapele, James Alexander Bright, Wayne Tennant, string arranger Pete Whitfield and multi-instrumentalist Finn Peters. He also lent his voice to several tracks, a first in a career that stretches back to the 1990s.

The results are magical, with Blais not only offering subtle variations on his own trademark deep house sound, but also nods to complimentary music styles and classic electronic albums from the late ‘90s and early 2000s.

Naturally, much focus will fall on the album’s high-profile guests, whose contributions work perfectly with Blais’ cultured dancefloor electronica and soul-soaked broken house grooves. Robert Owens – “the voice of house” himself – expertly delivers lyrics full of compassion and reassurance on recent single ‘Never’, Sapele infuses ‘A Long Time Coming’ with lashings of soulful spirituality, and UK hip-hop/soul legends Stereo MC’s make their presence felt on the subtly Latin-infused dub house excellence of ‘Soul Love’.

Then there’s ‘Breathe’, where UK singer-songwriter James Alexander Bright and backing vocalist Wayne Tennant rise above punchy broken house beats, Blais’ trademark square-wave bass and Pete Whitfield’s swelling strings on ‘Breathe’. By the time kaleidoscopic, sun-down breakbeat brilliance of ‘A Good Day’ arrives to draw proceedings to a close, you’ll be overflowing with Blais’ “love, care, kindness and hope” – just as he intended.

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!!

Ragga Jungle superb old school release... Last stock baught from the label.

Plates are totally mint and never played !!

Well done !

Long Gone (Are The Old Traditions) is a label out of London.

A label focused on DIY electronics, post punk, dub and techno from now and before.

The first release is from West London artist, singer and songwriter Tutu Ta. A mini LP of out there, dubbed up, post punk mutations meeting old sounding industrial electronics following from his highly acclaimed debut album last year.

Its already seen the light of day on soundsystems across the city and further afield as well as stations like NTS, Rinse & Tom Ravenscroft's BBC 6 New Music Fix.

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.

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!

2025 Repress

Following the success of last years Babe Roots EP, Echocord revisits the package with reworks from Forest Drive West, Mike Schommer, Felix K, DB1 and Babe Roots themself.

London’s DB1 leads the package with his take on ‘Work Hard’, a mostly beatless interpretation fuelled by oscillating white noise, winding dub chords and snippets of the original’s dub reggae vocals. Hidden Hawai’s Felix K then ups the energy levels with a high-octane take on ‘Sufferation Time’, driven by upfront, shuffled and distorted drums and unfaltering, tension building dub swells.

The hotly tipped Forest Drive West steps up next to remix ‘Jah Nuh Dead’, a typically classy reimagining from the Livity Sound artist, stipping things back to ethereal pads, off-kilter percussion and sporadic echoes of the original composition. Former Deepchord member Mike Schommer’s take on ‘Bless Me’ follows, the pioneer of contemporary dub techno delivers a cinematic rework employing sweeping voices, glitched out electronics and resonant swells alongside the bouncy dub reggae groove of the original.

Lastly Babe Roots revisit one of their own compositions, ‘Sufferation Time’, delivering a more refined feel this time round with more impetus on drums and dark, hypnotic synths to contrast the original’s more vocal focused feel.

Die irische Pop-Rockband Picture This kündigt ihr lang erwartetes viertes Studioalbum "Parked Car Conversations" an, das am 26. April 2024 (via Hansa Records, Deutschland) erscheinen wird. "Parked Car Conversations" wird als Picture This' ehrgeizigstes Werk bezeichnet, das bisher veröffentlicht wurde. Das Album besteht aus 15 Tracks, die die Band in den letzten drei Jahren geschrieben hat. Viele von ihnen, wie z.B. "Song To Myself", beleuchten eine emotionale Tiefe, die auf früheren Alben unberührt blieb, und zeigen die Band - insbesondere Texter und Sänger Ryan Hennessy - von ihrer verletzlichsten Seite. Das Album ist ein Einblick in Hennessys persönliche Hürden, die damals unüberwindbar schienen. Die Stärke, solche Situationen zu überwinden, und das daraus resultierende Wachstum stehen im Mittelpunkt von "Parked Car Conversations". "Parked Car Conversations" wird als CD, LP und limitierte Fotobuch Edition erhältlich sein. Letzteres bietet einen ebenso intimen wie einzigartigen Einblick in den Alltag der Band. Vom ersten kleinen Gig bis zur Headline-Show beim Electric Picnic, Irlands größtem Musikevent mit über 70.000 Besuchern. Aber auch durch die Studioaufnahmen und Videodrehs entsteht hier zum ersten Mal ein komplettes Bild der Band und zeigt die Band persönlicher denn je.

CONTEXT During the height of the pandemic, Melbourne, Australia experienced the longest lockdown in the world, keeping residents inside their homes for a total of 262 days. In the midst of this were the five members who would form AWOL, driven to create and write music almost out of necessity. Once the ban was lifted, the band hit the recording studio and released their debut EP, AWOL, in 2021 through Last Ride Records. The timing was perfect as the Australia hardcore scene was experiencing serious growth, and AWOL soon found themselves playing shows with Speed, Iron Mind, No Apologies, and on a country wide run supporting No Pressure in early 2022. The band’s persistent drive and heavy playing style caught the attention of Flatspot Records, who will release AWOL’s debut full length, Tear 'Em To Bits this Spring. It’s not hard to listen to Tear 'Em To Bits and feel like you’re going to get ripped apart. The nine tracks are monstrous, filled with gruff vocals, groove-driven riffs, and meaty breakdowns. AWOL draws from bands like Madball and Biohazard, but also fit right along modern day acts like King Nine and God’s Hate. The lyrics are punishing, covering everything from deception and failed relationships to addressing drug addiction and police brutality. And while the record packs a lot of aggression, AWOL is purely here to revel in hardcore and the community it’s built for them. On making Tear 'Em To Bits the band simply states: “The only goal was to make a good hardcore record that we were proud of and that our friends could get behind.” AWOL is Christian Schultz (vocals), Mike Williams (guitar/vocals), Otis T Bennie (guitar/vocals) Pat Shanahan (drums) and Pablo Barnes (bass) Produced and recorded by Mike Deslandis, with additional recording by Otis T Bennie, at Black Lodge Studios. Mixed by Jon Markson at The Animal Farm. Mastered by Brad Boatright at Audiosiege. MARKETING AND SELLING POINTS: * AWOL is one of the biggest hardcore bands in Australia at the moment * Can appeal to not only the Hardcore crowd but also Punk, Metal, and Rock demographics as well * Has toured w/ No Pressure, Regulate, The Story So Far, Speed * Will tour AUS, US, UK, EUROPE in 2024 * A perfect hardcore release that will stand the test of time! * Has played festivals such as L * Mixed by Jon Markson (Drug Church, Drain, Regulate, Koyo) * Music Videos for AWOL (single) + Tear Em’ To Bits (Single) * Alexa Gallo of Wordless PR will be working press * The Syndicate will be working Radio Campaign * Matt Hughes Good As Gold will be working UK press + radio * Released by Last Ride Records in AUS * First EP on Flatspot Records * Pressed on Colored Vinyl

About 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival's success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others' at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA. Now he has re-emerged in a big way with Dream Walker, his first full-length since 2018's Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O'Rourke, and Eiko Ishibashi, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he's done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream. Unabashedly tonal and repetitive, the glistening opener "Now Dream," the droning "Sleep Walker," and the closing triptych of "Lost in Descanso," "Sunrise," and "The Hidden Path" occupy a power electronics-ambient nexus that feels spiritually close to the Mego label. Elsewhere, "Ticking Clock" is reminiscent of Stereolab's non-easy listening vintage electronic side, while the two-part arpeggiated "Euphoria" recalls early Oneohtrix Point Never (which Carlos released on No Fun). The contrast between "One Breath"'s crackling opening and its remarkably fluid and soaring sustained synthesized chords is a distillation of the album's lingering tension between electronics' ability to project mechanical rupture as well as the organic and the infinite _or "walking between dreams," as Carlos himself puts it. Produced by Lasse Marhaug (who also mastered Carlos' first solo album, Welcome Home, back in 2005), released by Stephen O'Malley (who I remember DJing at the No Fun fest), with cover art and photos by personal friends, Carlos considers the album a family affair. But Dream Walker most of all heralds a maturation of the artist, and stands as a record that exists out of pure desire, rather than obligation or force of habit; a statement of reconnecting with music not by merely revisiting it, but by building on what's come before, both in his own work and in the music he loves. -Alan Licht, New York, December 2023

After a relocation to the Pacific Northwest,
Continental Drift's Conoley Ospovat turns in a laid-back EP befitting his verdant environs. Even the most energetic of the selections, Last Month in Lincoln from the B side, is anchored by an understated groove bopping along far below the floating chimes & rolling bass-line at its forefront. The pace across this record is often reminiscent of Melbourne's Analogue Attic showcases. Harwood Summer Nights dispenses with percussion altogether, while Dreamin' (Daydream Mix) reimagines the titular downtempo breakbeat tune as heard through a struggling FM radio receiver a little further up the beach.

Featuring vocals by the one Lindsey Flowers.

After 20 years of living on the road in different places, Six Organs of Admittance had returned home to Humboldt County - a far country, to some, but still part of the world through which creatures of all kinds are moving through and contributing to. And some of them are human. Alone together - forming connection and exchange out of thought and expression - no different from the people on the other side of the Redwood Curtain. It was there, where Six Organs had long ago emerged, in the name of everything cycling, of circles that spiral concentrically and remain unbroken, the new music was conceived. In moments, it was as if the future had somehow wrapped around 360 degrees; elsewhere, the systems and patterns inside the writing and recording only became evident later - like a recognition that cumulus and nimbus clouds which passed through the sky the day before contained familiar shapes. Informing the songs accordingly as he went, Ben picked up on modes both musical and lyrical, threading backward through the time of Six Organs of Admittance. Almost marinating in it as a way of life. Working on the music and the vocals, then spending some time with them while stepping away from them. Walking the dog and coming back to them Time is Glass is made of that kind of time. Alone time. Recorded in the visceral environs of home, Time is Glass is sharply focused, even as misty impressionist mountains float through the background. Sweet and spiny, "The Mission" sings its purpose, before turning abruptly to the orchestral rumble of "Hephaestus": rural industrial psychedelia, ecosystem goth, synths arcing to lift a helplessly earthbound community into the firmament above. Winding almost imperceptibly back into song with "Slip Away", the time of the record becomes clear, moves fluidly, relaxed but aware, from event to event. People and things coming around again. The intuit, passing through wormholes and time, sounding deep then dissolving into the universal. The acoustic sounds ringing, layered suddenly, then clear again. Explosions of a new kind of distortion. Ecstatic melodies. Communing. The space of a day. The space of a season. Time is Glass, and Six Organs of Admittance is here and will be here, again.

After dark country trio Lost Dog Street Band released its 2022 album Glory, bandleader Benjamin Tod decided it was time to retire the project. Tod, alongside his wife Ashley Mae (fiddle), had been working together as a band since 2011. “I came to terms with letting go of Lost Dog completely, which is how I evaluate a lot of things in general,” explains Tod. “Oftentimes when I'm trying to make a really hard decision, I go ahead and go through the process of mourning its death and accepting that I am going to lose it.” But just a month after recording a solo project in January of 2023, Tod felt an urge to revisit the project one more time. “I thought I was done with Lost Dog, but after recording my solo album, I looked over all the songs that I had ready for a new record. These were songs for my band. I had to admit to myself that I wasn't done with Lost Dog.” Though there was heartbreak at the prospect of the project coming to an end, its resurrection has meant all the more in this new context. “Benjamin and I, both individually and together, have been through some professionally grinding and demoralizing personal times over the past five years,” Ashley Mae explains. “To take a step back from that over the past year and realize, ‘Wow, we held it down and withstood that, and we survived that,’ was a really good, bright, shining moment. It was the high point during a demoralizing time.” As such, Survived is a saving grace, a phoenix rising from the ashes. “This record means everything,” adds Tod. “It just feels like salvation.”

"All our dreamers lose to the light" - from "Angels Go Home" When the pandemic began, and the world shut down, so did the process of creating for Iron & Wine's Sam Beam. In its place was a domesticity that the singer hadn't felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes: "I feel blessed and grateful that I and most of my friends and family made it through the pandemic relatively unscathed compared to so many others, but it completely paralyzed the songwriter in me. The last thing I wanted to write about was COVID, and yet every moment I sat with my pen, it lingered around the edges and wouldn't leave. This lasted for over two years." The journey back began with a recording session in Memphis to record a handful of Lori McKenna tracks for the EP Lori with friend and producer Matt Ross-Spang. The cathartic experience reconnected Beam with his love for making music, and soon enough the paralysis had passed, and he was finishing lyrics and booking studio time for what would become Light Verse. Light Verse was recorded with engineer and mixer Dave Way at his studio Waystation high up in Laurel Canyon (with an additional session at Silent Zoo Studio with a 24-piece orchestra), with a host of talented musicians joining Beam: Tyler Chester, Sebastian Steinberg, David Garza, Griffin Goldsmith, Beth Goodfellow, Kyle Crane, and Paul Cartwright. And, Fiona Apple joined Beam on vocals for the duet "All In Good Time." Beam lyrically once again takes focus on a series of both fictional and personal insights, filled with desperate characters and wide-eyed optimists, offering promise and a dose of heartache, tears and laughter, life and love. Taking stock in the album's title, he jokes, "Light verse is a form of poetry about playful themes that often uses nonsense and wordplay, and it's my first official Iron & Wine comedy album!_. Just kidding_." While true this may be Iron & Wine's most playful record, Beam says the title mostly reflects the way the songs were born with joy after the heaviness and anxiety of the pandemic. Where recent records like Beast Epic or Weed Garden gave air to the disquiet of middle-aged frailty and brokenness, these songs trade that for the focus acceptance can bring. Moment by moment, they delight in being pointed or silly (or both) and attempt beauty over prettiness. Light Verse arrives April 26th, and it's Iron & Wine's seventh full-length overall and fifth for Sub Pop Records. Fashioned as an album that should be taken as a whole, it sounds lovingly handmade and self-assured as a secret handshake. Track by track, its equal parts elegy, kaleidoscope, truth, and dare.

Black Tusk kennen sich schon lange. Gitarrist Andrew Fidler und Schlagzeuger James May sind beide in den Sümpfen von Savannah, Georgia, aufgewachsen, wo sie seit 19 Jahren gemeinsam auf die Pauke hauen.
Obwohl sie oft in einem Atemzug mit Baroness und Kylesa genannt werden, sind Black Tusk ein ganz anderes Kaliber. Diese Sumpfmonster haben sich nie weit von ihren Wurzeln im Metal, Sludge und Punk entfernt, obwohl sie auf ihrem letzten Album nach dem Tod von Bassist Jonathan Athon darum kämpfen mussten, weiter zu bestehen.
The Way Forward ist das Ergebnis des gewonnenen Kampfes. Das Album stürmt mit neuer Besetzung (zu der auch die ehemaligen Mitstreiter Chris "Scary" Adams und Bassist Derek Lynch gehören) direkt nach vorne. Gemeinsam bahnt sich die Band einen Weg in die Zukunft, indem sie sich auf das verlassen, was Black Tusk am besten kann. Die Leadsingle "Brushfire" kommt mit einem fiesen, hässlichen, mit den Füßen stampfenden Riff daher. Der raue und ruppige Gesang lässt die Boxen durch "Dance on Your Grave" trampeln, während "Breath of Life" mit erhobener Faust lostrommelt, als ob ein Gewitter rollt und kracht.

Black Tusk kennen sich schon lange. Gitarrist Andrew Fidler und Schlagzeuger James May sind beide in den Sümpfen von Savannah, Georgia, aufgewachsen, wo sie seit 19 Jahren gemeinsam auf die Pauke hauen.
Obwohl sie oft in einem Atemzug mit Baroness und Kylesa genannt werden, sind Black Tusk ein ganz anderes Kaliber. Diese Sumpfmonster haben sich nie weit von ihren Wurzeln im Metal, Sludge und Punk entfernt, obwohl sie auf ihrem letzten Album nach dem Tod von Bassist Jonathan Athon darum kämpfen mussten, weiter zu bestehen.
The Way Forward ist das Ergebnis des gewonnenen Kampfes. Das Album stürmt mit neuer Besetzung (zu der auch die ehemaligen Mitstreiter Chris "Scary" Adams und Bassist Derek Lynch gehören) direkt nach vorne. Gemeinsam bahnt sich die Band einen Weg in die Zukunft, indem sie sich auf das verlassen, was Black Tusk am besten kann. Die Leadsingle "Brushfire" kommt mit einem fiesen, hässlichen, mit den Füßen stampfenden Riff daher. Der raue und ruppige Gesang lässt die Boxen durch "Dance on Your Grave" trampeln, während "Breath of Life" mit erhobener Faust lostrommelt, als ob ein Gewitter rollt und kracht.

Apparel Wax's 7inches vinyl series continues with a release focused on new, exciting sounds. APLMINI003, which drops in late January 2024 is composed, as usual, of two tracks, one per side. Side A kicks off with a nu-disco track, in which the solos of a wild sax and a loopy guitar riff takes the listener by the hand until the very last second. Side B, however, shows the more experimental part of APLWAX's soul, with a beat that seems nostalgic of the 90s/00s UK sounds, a broken beat and a decidedly more pressing rhythm, which recalls D&B influences, British-style Electronica. The possibility of combining tracks with different styles on the same record represents a sonic challenge, but APLWAX has always been accustomed to combining different musical currents, keeping the fresh and happy soul of its brand clear. Everything is represented by the new, elegant graphic design of APLWAXMINI, in which even the smallest details and small changes fill the record's release with anticipation. APLWAXMINI003 is coming.

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.

"Berlin is the Spanish TV series created by Álex Pina and Esther Martínez Lobato for Netflix. It serves as a prequel to Money Heist/La Casa de Papel, focusing on Andrés de Fonollosa, aka “Berlin”. The story goes back his golden age before the events of Money Heist, where Berlin and a masterful gang gather in Paris to plan one of his most ambitious robberies ever. The series features an original soundtrack by Lucas Peire and Frank Montasell. The album also contains the main theme “Bullets and Flowers” performed by Francis White and Nikki, and tracks by Samantha Siqueiros, Pipo Romero, Pedro Alonso, Tristan Ulloa, GOA, and POL 3.14. The 2LP Berlin is available as a limited edition of 500 copies on turquoise coloured vinyl and includes an insert. "

Berlin by Lucas Peire & Frank Montasell, released 26 April 2024, includes the following tracks: "Dernière Chance", "Racing Point", "No Me Mires (by POL 3.14)", "La Banda" and more.

This version of Berlin comes as a 2xLP. This release comes with (a) Insert(s).

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

New Heaven, INTER ARMA’s latest album, is a compelling testament to perseverance, top to bottom. Its thicket of ever-dense layers of doom, death, and black metal occasionally let bits of light slip in, fleeting reminders to keep going amid the tumult. New Heaven marks a sharp turn for the band, showcasing some of the most extreme and angular songwriting INTER ARMA has ever laid bare. Known for their cinematic take on sludgy, extremely cavernous, and borderline psychedelic Metal, the Richmond band broadens their dynamics by seesawing between piledriving momentum and swirling oblivion. New Heaven crushers and conquers, and illustrates what INTER ARMA can truly be. Take the title track, with its hair-raising lead riff stemming from drummer/songwriter TJ Childers’ challenge to himself to write a nonsensically dissonant part that he ended up loving. The song spirals upward into a punishing Death-Metal march, Meanwhile, vocalist Mike Paparo’s stentorian bellows the bludgeon, above an impossibly complicated web of riffs and rhythms. From the get go, New Heaven and the opening title track eschews any restraint - INTER ARMA is completely unchained. Paparo’s keen and empathetic lyrics about innocent victims of war, addiction, and social apathy affirm that feeling, as a survivor grimaces at the carnage behind him and presses ahead best he can. “You stared into the brutish jaws of strife’s heartless device,” he growls into a chthonic blitz during “The Children the Bombs Overlooked,” a late-album powerhouse. “And you turned your back to hell.” That forward march out of madness is New Heaven in an armor-plated nutshell. Though this is indeed another INTER ARMA triumph, it is not a triumphant album, meant to offer some glib or naïve assurance that everything will be fine. What evidence is there for that, really, either on a record where friends are forced into submission, addiction, suicide, or retreat to a world where suffering remains the lingua franca? No, INTER ARMA and New Heaven are too realistic and experienced for that. This is, instead, a record about enduring brambles and curses and lasting long enough to make something profound, honest, and even affirming about it all every now and again—exactly as INTER ARMA has on New Heaven. FFO: Amenra, Neurosis, Full of Hell, Cult of Luna, Yob, Primitive Man, Thou, Ulcerate, Mastodon, The Body, Panopticon

The EP "Turbojazz & Friends" once again brings to light the sound and vision of Turbojazz, following the success of his debut album "Whateverism". This time collaborating with Rona Ray on the instant classic "Like You" with a remix by Sean McCabe, Broke One on the modern "Take 3" and closing the EP with the solo track "Star Chaser" which discovers the deep-tech side of Turbojazz.

Arð stammen aus Northumbrien. Die Erfinder des Monastic Doom Metal errichten mit ihrem sehnsüchtig erwarteten zweiten Album "Untouched by Fire" einen weiteren beeindruckenden Meilenstein auf dem Weg ihres rasanten Aufstiegs. Sowohl musikalisch als auch textlich erklimmt Bandkopf Mark Deeks neue Höhen. Arð setzen ihre Mission fort, die Kultur, das Erbe und die Identität der alten nordenglischen Region Northumbria zu erforschen. Das Debütalbum "Take Up My Bones" folgte den Legenden und dem Jahrhundert der Wanderung der Reliquien des Heiligen Cuthbert von Lindisfarne (634-687). Die Geschichte des neuen Albums, wirft ein Schlaglicht auf eine ganz andere Art von Heiligen. Arð erzählen vom Kriegerkönig Oswald (604-642), der Northumbria mit Feuer und Schwert schmiedete, indem er die Reiche von Bernicia und Deira vereinigte. Seine Zeitgenossen bis ins Frankenreich hinein, sahen Oswald als den mächtigsten angelsächsischen König auf der Insel an. Arð zeichnen mit "Untouched by Fire" seinen Aufstieg zur Macht nach. Die Reise beginnt mit seiner Jugend im Exil. Seine Mutter war aufgrund einer Familienfehde nach Norden in das irische Machtzentrum Dal Riada an der schottischen Westküste geflohen. Oswalds Weg führt weiter über siegreiche Schlachten, in denen Oswald jene Territorien zurückgewann, die bereits sein Vater Æthelfrith beansprucht hatte. Am Ende steht die Gründung des Königreichs Northumbrien. Musikalisch bleiben Arð ihrem ursprünglichen Doom-Kurs treu. Die charakteristischen, Stil prägenden "Mönchschöre" sind weiterhin stark präsent, wie man es von einem Musiker erwarten kann, der neben seiner Tätigkeit als Bestseller-Autor, Klavierlehrer und Keyboarder bei der führenden britischen Black-Metal-Band WINTERFYLLETH auch als Chor-Arrangeur und -Dirigent arbeitet. Doch Deeks bereichert seinen Doom Metal auch durch neue Elemente, wie zum Beispiel über das gesamte Album verstreute, wohlplatzierte Prog-Momente. Die Kompositionen auf "Untouched by Fire" spiegeln die auch auf der Bühne gewachsene Erfahrung und das gewonnene Selbstvertrauen des Bandkopfs in Form eines konzentrierten Songwriting und einer größeren Dynamik wider. Diese Entwicklung wird durch die kraftvolle und organische Produktion von Markus Stock (EMPYRIUM, THE VISION BLEAK) deutlich gemacht - da Arð das Album in der Klangschmiede Studio E aufgenommen haben. Als Deeks Arð im Jahr 2019 gründete, wagte der Komponist nicht einmal in seinen kühnsten Träumen darauf zu hoffen, was alles in den kommenden Jahren passieren würde. Seine Demos brachten ihm bald einen Plattenvertrag ein und die erste Auflage des Debütalbums "Take Up My Bones" (2022) war schon ausverkauft, bevor das Album in die Läden kam. Es folgten mehrere Auflagen und auch alle limitierten Editionen waren schnell vergriffen. Die ersten Auftritte der Band, z.B. beim Prophecy Fest in Balve, verbreiteten den Ruf von Arð als hervorragender Live-Act durch Mundpropaganda wie ein Lauffeuer. Die Band wurde nicht nur in der weltweiten Metal- und Musikpresse gefeiert, sondern landete sogar im deutschen Staatsfernsehen, wurde von der renommierten britischen Zeitung The Guardian interviewt und in der BBC sowie anderen britischen Medien mit ihrem speziellen "Organic Doom" Konzert erwähnt - für die Deeks Stücke von "Take Up My Bones" neu arrangiert hatte, um sie mit Band und einer echten Orgel in Huddersfield zu spielen. Dieses Konzert findet sich in voller Länge als CD und DVD in der limitierten Artbook Edition. Mit dem zweiten Album "Untouched by Fire" legen sich Arð die eigene Messlatte gleich um mehrere Stufen höher auf. Perfekt arrangierte Monastic Doom Songs mit hoher Dynamik und unverfälschtem Songwriting finden in einer opulenten Produktion ihre Entsprechung. Es ist Zeit, die Augen zu schließen und sich von Arð aus Northumbrien in eine Zeit entführen zu lassen, in der germanische Kriegerkönige mit Schwert und Feuer und einem neuen Gott als Sieghelfer an ihrer Seite neue Reiche erschufen. Ein blutiges Fest für die Raben, ein Goldschatz für die Ohren!

Matthias Reim ist zweifellos ein großfühlender Mensch. Ein beneidenswert produktiver Zeitgenosse ist er sowieso. Vor bald 35 Jahren hinterließ der Vollblutmusiker und Songwriter einen Aphorismus von bleibendem Wert: "Verdammt, ich lieb' dich". Liedzeilen, die aus einer Laune heraus entstanden, formte der damals 32 Jahre junge Mann zu einem Mammut-Refrain, der zu einem Millionenseller gelangte. Er hat rund zwei Dutzend Studioeinspielungen veröffentlicht, etliche davon brachen in Gold- und Platin gegossen Verkaufsrekorde. Auf dem neuen Longplayer "Zeppelin" präsentiert Reim seine 16 neuen Songs so frühlingsfrisch und auf den Punkt gebracht wie ein tatendrängender Newcomer. Einer, der sich gleichzeitig eines enormen Musikmacher- und Lebenserfahrungsschatzes ermächtigen kann. Anders lässt sich die gesteigerte Wahrhaftigkeit in "Zeppelin" nicht erklären. Reims Rock klingt heute handgemacht-rockiger als je zuvor, die Refrains sind größer geworden und die Balladen balladesker. "Zeppelin" ist kurzum der beste Reim aller Zeiten.

A new Toy Tonics EP. It’s the second by Venezuelan house DJ and producer Gee Lane. Including amazing remixes by NYC mainstay musclecars!

Gee Lane’s debut EP Metamorphosis (with remixes by Demi Riquísimo and Divorce From New York Remix & PIEK ) came out last October.
But as Virginie (her real name) is a steady name of tue Toy Tonics crew now and plays almost every weekend at one of the worldwide Toy Tonics Jams it makes sense to put out a follow up fast.

Gee Lane originally from Caracas now in Barcelona is a passionate DJ and vinyl digger with an extraordinary positive energy and attitude. A DJ diva in a positive way. A unique personality with a very strong style (in music but also as a person) and very elaborated ability to read and play with the dancers. Like the first EP also this one was recorded in Barcelona and Berlin with a little help by Robin Braum from Athlete Whippet. The music reflects well her roots and passion for everything what came out from New York’s dance culture. You can hear influences from the 80‘ promo disco scenes as well as the 1990 Body & Soul/ Francois Kervorkian / Joe Claussell universe. In fact Gee Lane after being raised in Caracas and musically educated by her father from a very early age, (a composer and musician) she moved to New York at a very young age in the late 90's where she fell in love with the HOUSE scene. And especially everything that happened at the famous and influential ’Body & Soul’ club.

This culture increased her curiosity to become a DJ (and vinyl digger herself) who is not just interested in house music but wants to explore other genres such as funk, Hip-Hop, jazz and Latin sounds and include these vibes into her DJ sets. A vinyl collector (and long time record shop employee) since then, she is known for her musical eclecticism that leads her to mix everything what she wants ...

Gee Lane now is a steady member of the Toy Tonics Krew and is already playing the Toy Tonics Jams all around Europe.

Christina Kubisch’s Stromsänger finds this legendary sound artist at the top of her game mixing electromagnetic wave recordings with a score for six voices, creating powerful results. Stromsänger is based on a collaboration with the Norwegian vocal ensemble Trondheim Voices and on a special experience while researching and recording electromagnetic waves in the city of Trondheim.

“The general theme of the composition is the idea of sounds which travel. During a tram ride from the city up to the hills with an old tram I discovered not only stunning views of the surrounding landscape but as well a special soundscape. Wearing a custom made induction headphones, I could hear the normally hidden electromagnetic fields of the tram, which were so impressive and musical to me that I immediately decided to base my piece for Trondheim Voices on this discovery.

As a start, a series of pure vocal recordings were produced by Trondheim Voices while listening to a choice of electromagnetic tram sounds and following score instructions. This material was mixed in my Berlin studio and afterward was played back through a multi-loudspeaker setup into the room of the Elisabeth Church in Berlin and was instantaneously recorded. The emerged recording was played back and recorded again. The process of playing back the previous recording was repeated numerous times, generating numerous “re-recordings”, until the voices sounded aethereal and abstract. The last one of these recordings became the very beginning of the Stromsänger piece.

Part A is based on the electromagnetic sounds of the waiting tram and previously recorded voices. The singers come on stage and start to sing together with their recorded part which slowly fades out while the live singing takes over: a kind of choral for electrical tram waves and voices.

Part B is based on the actual tram ride with strong and intense electromagnetic sounds. The single recordings were treated electronically and were divided into six channels. Each singer has chosen one of these files and improvises with the magnetic sounds as a soloist or in duos or trios.

Part C is based on the itinerary of the tram ride to Lian, where a pilgrim's path starts. The names of the single stops, which have very beautiful and poetic names, are performed together as a kind of "sound poetry". The singers walk around on stage and/or can choose special positions for their performance. The recording of the word "Lian", the final stop, was recorded beforehand and played back and re-recorded several times in the open Norwegian landscape near the final tram stop. The voices slowly disappear and fade out.”

Christina Kubisch, 2024

Endlich die Wiederveröffentlichung dieses High-Energy-Punkrock Klassikers, der internationalen Band, die aus Scott Morgan (Sonic's Rendezvous Band, Solution...), Nicke Royale (The Hellacopters, Imperial State Electric, Entombed...) und Tony Slug (Loveslug) besteht. Mit Scott Morgan von Sonic's Rendezvous Band (neben Fred "Sonic" Smith von den MC5) haben die Hydromatics eine echte Detroiter Legende in ihren Reihen. Morgan gründete die BAND 1998 zusammen mit Nicke Royale (The Hellacopters) und dem Gitarristen Tony Slug (Loveslug) und veröffentlichte '99 dieses großartiges Debütalbum mit dem Titel Parts Unknown, das den Motor City-Rock-Sound vergangener Tage in Form eines modernen Power-Punk-Rawk-Outfits wieder aufleben ließ und nun endlich wiederveröffentlicht wird. Das Album beginnt mit einem kräftigen Remake von "Earthy" von der Sonic's Rendezvous Band und rauscht die ganze Zeit über weiter, keine Balladen. Morgan singt sich den Arsch ab, und die Band unterstützt seine Stimmgewalt mit furiosen Sound, indem sie mühelos zwischen knallhartem Rock und rauchigem Soul hin und her schaltet. Eine Mischung, die sich Fans der Garage nicht entgehen lassen sollten. Für alle eingefleischte Punk- oder Hardrock-Fans, und alle, die gernn deftig rocken und ebenso auf den swingenden Sound der 60er Jahre stehen, wenn auch durch Wände aus Marshals und einen dicken Vorhang aus Bläsern und Lärm ergänzt. Ein absolutes Muss für Fans von Sonic's Rendezvous Band, MC5, Stooges, The Hellacopters, Bored!...

Give Them Rope, the first proper full-length from this wildly influential, trail-blazing hardcore band, blew minds upon its original 1997 release. The record took hardcore’s urgency into an altogether heavier, more angular and discordant direction than any of the bands progenitors before them.

"Corrosion of Conformity's In The Arms Of God was released in 2005 and was the last album to feature Pepper Keenan on vocals and guitar until his return in 201The set shows a return to the form of albums like Deliverance and Wiseblood, where it features a new form of progression and maturity not seen in older Corrosion of Conformity releases and resembles a true underground metal album as opposed to the much more catchy and commercial albums of their classic era in the 90's. The opener of the album, ""Stone Breakers"", closely resembles a Tony Iommi-led Sabbath jam, while such other ragers as ""Paranoid Opioid"" and ""Never Turns to More"" feature a classic COC sound. In The Arms Of God is widely seen as one of their best albums to date and is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl. "

In The Arms Of God by Corrosion Of Conformity, released 26 April 2024, includes the following tracks: "It Is That Way ", "Rise River Rise " and more.

This version of In The Arms Of God comes as a 2xLP in a(n) Gatefold Sleeve packaging.

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

There are one million ways to approach love, one million ways to experience love, one million ways in which love shapes both the course of our lives and how we choose to navigate that course. On her second album, Bnny’s Jessica Viscius looks love square in its many eyes and describes, with self-awareness and humor, not only what she sees, but what it makes her feel. Deep romantic love, breathy lust, generous self-love—and their opposites, self-loathing, resentment, disappointment—all make appearances. Like a sheet being draped over a clothesline, channeling Mazzy Star and mimicking the soft, gauzy, fresh feeling of realizing you’re able to begin it all again with a new person. Recorded in Asheville at Drop of Sun and produced by Viscius alongside Alex Farrar (Wednesday, Indigo De Souza, Snail Mail), One Million Love Songs is Bnny’s revelatory second album. Out April 2024 on Fire Talk

There are one million ways to approach love, one million ways to experience love, one million ways in which love shapes both the course of our lives and how we choose to navigate that course. On her second album, Bnny’s Jessica Viscius looks love square in its many eyes and describes, with self-awareness and humor, not only what she sees, but what it makes her feel. Deep romantic love, breathy lust, generous self-love—and their opposites, self-loathing, resentment, disappointment—all make appearances. Like a sheet being draped over a clothesline, channeling Mazzy Star and mimicking the soft, gauzy, fresh feeling of realizing you’re able to begin it all again with a new person. Recorded in Asheville at Drop of Sun and produced by Viscius alongside Alex Farrar (Wednesday, Indigo De Souza, Snail Mail), One Million Love Songs is Bnny’s revelatory second album. Out April 2024 on Fire Talk

1998 was a fertile year defined by juggernaut projects from Black Star, Lauren Hill, Outkast, and others, all of whom synced experimentation with foundational tenets that made the 1990s ferociously groundbreaking.


Out of Oakland, California, a collective known as Hieroglyphics were positioning away from industry control, to helm their own assets in manners more suited to their own marketing self-vision. While artists have certainly went solo prior, this came at a critical juncture for the crew during a spiraling and newfound Internet world. Born out of this independent spirit was the crew’s first official studio album 3rd Eye Vision.


The album spans twenty-two songs, all featuring beats by Domino who manned the lion’s share of production. A-Plus, Opio, Del, Casual, and Phesto also contributed beats. MCs each had their own song, short interludes highlighting their individuality through short verses, a clear espirit de corps statement.


Even among standouts like “Oakland Blackouts” or “At The Helm,” perhaps the most celebrated song off the release is “You Never Knew,” a track that propelled 3rd Eye Vision to #88 on the Billboard Top 200, not an entirely easy feat as a new label competing with the late ‘90s’ abundant onslaught of classic material.


In celebration of 20 years of 3EV, Fat Beats and Hiero Imperium are proud to present this CD/Vinyl reissue in deluxe packaging, expansive liner notes and the full original album tracks and a bonus for the very first time in one package.

Released on 180-gram vinyl including sleeve notes and rare photos.Recorded Live at Basins Nightclub in February 1987, 12 songs including the hits that made Desmond Dekker an international reggae star. Desmond Dekker's contribution to Jamaican ska, rocksteady and reggae is unique with his amazing songwriting and wonderful vocal talent.His song "Israelites" reached the top of the UK Singles Chart in 1969 and was one of the first reggae songs to gain widespread popularity outside of Jamaica. The song's success helped bring reggae music to a global audience. Desmond Dekker's music often featured themes of everyday life, love, and social issues, and he played a significant role in popularizing Jamaican music genres.Desmond's other successful songs include "007 (Shanty Town)," "It Mek," and "You Can Get It If You Really Want".His contributions to the development of Jamaican music have left a lasting impact, and he is remembered as one of the pioneers of reggae and a key figure in the genre's international success.Recorded Live at Basins in 1987, here you have a live performance of 12 songs including the forementioned hits that made Desmond Dekker an international reggae star.

For KING + COUNTRY musicians Joel and Luke Smallbone just announced the April 26 release of their “The Inspired By Soundtrack” album, based on their upcoming movie UNSUNG HERO. “The duo drops their latest track from the soundtrack today, ‘Crazy,’” The Christian Beat reported on Tuesday, “featuring the Smallbones and GRAMMY Award-winner (and sister) Rebecca St. James, along with a soundtrack version of the title track, ‘Unsung Hero.’”






[d] To Hell With the Devil (Rise) [With Lecrae & Stryper]

The upcoming album, How to Build an Ocean: Instructions is a project doused in personal conflict, but simultaneously a love letter to the normal and how beauty can be found in just being. Charged with references to literature, philosophy and film, as well as first hand experiences, the band explore thoughts of what it means to find purpose when everything feels purposeless, all whilst ultimately instructing themselves to find “small joys in the face of cosmic indifference”. Produced by George Perks (Enter Shikari, The Doves, You Me At Six), How to Build an Ocean: Instructions marks an exciting new development for Bears in Trees, being the first album they’ve recorded with the help of consultants outside of the band themselves, having previously relied on drummer George’s expertise, who outside of the band, works as an engineer at Subfrantic Studios. Tenderness, triumph, and a totally unashamed feeling of enjoying the ride whilst they're on it, How to Build an Ocean: Instructions is their definitive statement. Though no matter how far this record takes them, the most important thing is that they are together and doing what they love. Because when all is said and done, that's the connection that will last a lifetime. "We started the band because we loved hanging out with our friends and wanted to make stupid music together"; Iain concludes. "That's always been the reason, and it hasn't changed. All we want to do is make what we do as honest and authentic as possible. That's what it means to be in the Bears in Trees business."

The upcoming album, How to Build an Ocean: Instructions is a project doused in personal conflict, but simultaneously a love letter to the normal and how beauty can be found in just being. Charged with references to literature, philosophy and film, as well as first hand experiences, the band explore thoughts of what it means to find purpose when everything feels purposeless, all whilst ultimately instructing themselves to find “small joys in the face of cosmic indifference”. Produced by George Perks (Enter Shikari, The Doves, You Me At Six), How to Build an Ocean: Instructions marks an exciting new development for Bears in Trees, being the first album they’ve recorded with the help of consultants outside of the band themselves, having previously relied on drummer George’s expertise, who outside of the band, works as an engineer at Subfrantic Studios. Tenderness, triumph, and a totally unashamed feeling of enjoying the ride whilst they're on it, How to Build an Ocean: Instructions is their definitive statement. Though no matter how far this record takes them, the most important thing is that they are together and doing what they love. Because when all is said and done, that's the connection that will last a lifetime. "We started the band because we loved hanging out with our friends and wanted to make stupid music together"; Iain concludes. "That's always been the reason, and it hasn't changed. All we want to do is make what we do as honest and authentic as possible. That's what it means to be in the Bears in Trees business."

DISBELIEF’s new album’ Killing Karma’ once again underlines the band's singularity and their persistence to follow an unconventional way for more than 30 years against all resistance. DISBELIEF have grown into a very experienced band that has always kept an open minded spirit, yet remote from any mainstream connection, in order to further sharpen their Death Metal style with implacable conviction and dedication. A colossal, destroying, atmospheric, yet subtle wall of sound was conceived with this new album. The band invited two of the most unique singers in the German Metal scene on ‘Killing Karma' : Michelle Darkness (End of green) and Joschi Baschin (Undertow). They perform on some of the album songs : ’The Scream that slowly disappeared’ , ‘Flash of inspiration’ and the epic ‘Reborn’. DISBELIEF captivates the listener further with a special rendition of Killing Joke classic ‘Millenium’, shaping it into a very memorable remake which will surprise a lot of fans out there. Lyric wise, DISBELIEF vocalist Karsten ‘Jagger’ comments : "'Killing Karma' is a declaration of war to desperation, grief and helplessness, an unbelievable musical journey through the human soul threatening to break under the weight of life." DISBELIEF ’s new album ‘Killing Karma’ is a diversified, captivating , strength giving, crushing Death Metal monster !

Legendary alto saxophonist Charles McPherson makes his Smoke Sessions debut with an inspired new album, Reverence, dedicated to his lifelong mentor and friend Barry Harris. These thrilling performances were captured in front of a live audience at Smoke Jazz Club and feature his quintet of Terell Stafford, Jeb Patton, David Wong, and Billy Drummond and represent the first of a series of live recordings scheduled for release to celebrate the 10th Anniversary of Smoke Sessions Records and the 25th anniversary of Smoke Jazz Club. McPherson certainly reveals why he’s been held in such reverence for the last 60 years. The set is a showcase for McPherson’s gifts as both composer and soloist and bridges his deep and far-reaching exploration of the full jazz spectrum.

Born of Austin's underground musical melting pot; Glassing's 2017 debut album `Light and Death' erupted out of the famously genre-resistant scene. 35 minutes of harrowing blast beats, searing angular feedback and frontman/bassist Dustin Coffman's sandpaper screams that set out to redefine the idea of heavy music to better reflect increasingly heavy times. Two subsequent full-length releases, 2019's `Spotted Horse' and 2021's `Twin Dream', plus especially the band's last release, the eponymous two-track EP, `Dire and Sulk' paved way for the new longplayer. More discordant, more distorted and somehow even angrier than before `From the Other Side of the Mirror', Glassing prove that uncertain times call for decisive measures. Recorded across two years of intense fits and starts, affectionately nicknamed `Hell Weeks' by the band, `From the Other Side of the Mirror' is a metaphysical foray into the fractured, warped impressions of ourselves that exist only in the minds of others. Working again with producer Andrew Hernandez, who the band liken to a fourth member at this point, Glassing pushed themselves harder, faster and more punishing than ever before. As their first full-length release with Osment and their first release on Pelagic Records, `From the Other Side of the Mirror' became an opportunity for a new beginning, free of any pre-existing limitations or thresholds. As Coffman tells us, "This allowed us to forgo a lot of the convention and structure we've relied on in the past, the substitution was for raw expression. Kindred to the emotions that birthed it, this record is spirited, painful and unmethodical." There's an indescribable, beautiful rawness to this album that comes from Glassing throwing everything on the table in plain sight, rather than polishing ideas for the benefit of others until they're unrecognisable, perfect and fake. FFO Portrayal of Guilt, Neurosis, Converge, Botch, Pelican, Unsane, This Will Destroy You, Chat Pile, Old Man Gloom, Départe

Born of Austin's underground musical melting pot; Glassing's 2017 debut album `Light and Death' erupted out of the famously genre-resistant scene. 35 minutes of harrowing blast beats, searing angular feedback and frontman/bassist Dustin Coffman's sandpaper screams that set out to redefine the idea of heavy music to better reflect increasingly heavy times. Two subsequent full-length releases, 2019's `Spotted Horse' and 2021's `Twin Dream', plus especially the band's last release, the eponymous two-track EP, `Dire and Sulk' paved way for the new longplayer. More discordant, more distorted and somehow even angrier than before `From the Other Side of the Mirror', Glassing prove that uncertain times call for decisive measures. Recorded across two years of intense fits and starts, affectionately nicknamed `Hell Weeks' by the band, `From the Other Side of the Mirror' is a metaphysical foray into the fractured, warped impressions of ourselves that exist only in the minds of others. Working again with producer Andrew Hernandez, who the band liken to a fourth member at this point, Glassing pushed themselves harder, faster and more punishing than ever before. As their first full-length release with Osment and their first release on Pelagic Records, `From the Other Side of the Mirror' became an opportunity for a new beginning, free of any pre-existing limitations or thresholds. As Coffman tells us, "This allowed us to forgo a lot of the convention and structure we've relied on in the past, the substitution was for raw expression. Kindred to the emotions that birthed it, this record is spirited, painful and unmethodical." There's an indescribable, beautiful rawness to this album that comes from Glassing throwing everything on the table in plain sight, rather than polishing ideas for the benefit of others until they're unrecognisable, perfect and fake. FFO Portrayal of Guilt, Neurosis, Converge, Botch, Pelican, Unsane, This Will Destroy You, Chat Pile, Old Man Gloom, Départe

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.

The Best of ZZ Top (10 Legendary Texas Tales) is a greatest hits album by American rock band ZZ Top, released November 26, 1977.4 Spanning the years from 1971 to 1975, this compilation album does not contain any songs from Tejas, which was released the year before. The first ZZ Top Compilation with hits from their first six albums, including La Grange, Tush and Just Got Paid. This was released in the US last year and will now be available everywhere

EYE – the new band from Mammoth Weed Wizard Bastard (MWWB) singer-songwriter/musician Jessica
Ball – has announced the arrival of their eagerly awaited debut album, 'Dark Light’. "These songs have
been many years in the making... Some of these ideas were crafted before MWWB, this is something
I've always wanted to do. Over the last couple of years, I’ve spent some time on finishing and crafting
these ideas and pieces of music into songs. Some were snippets of lyrics from my early twenties which
reflect on what seems like a different person. I think it’s quite poetic how it’s all come together now.”

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.

. Lodge has been performing and recording with The Moody Blues for more than five decades, selling in excess of 70 million albums, and also enjoys a successful solo career, doing what he loves, performing and playing music. Lodge has been voted one of the “10 most influential bass players on the planet,” and has been the recipient of numerous awards, including ASCAP, and Ivor Novello Awards for Outstanding Contribution to Music. John was inducted into the Hollywood Walk of Fame, and in 2019 was given a star in his hometown ‘Walk of Fame’. In 2018, John and the Moody Blues were inducted into the ‘Rock and Roll Hall of Fame’, and in 2019 John was given the Lifetime Achievement Award in the Prog Awards. John’s latest release is the new studio Album ‘DAYS OF FUTURE PASSED – MY SOJOURN’. The album was recorded over the last year and has grown from John’s current live show as he, and his 10,000 Light Years Band, lovingly recreate this classic album

The third studio album from Rebecca Downes with 12 new, original blues-influenced, rock tracks all written by Steve Birkett and Rebecca. Album mixed by Bill Drescher and Chris Childs. With exciting new material that continues the evolution of the music towards rock, More Sinner Than Saint is worth the wait. At the outset, Downes consulted with producer Chris Kimsey, who has previously worked with The Rolling Stones, to select and refine the 12 tracks and to achieve what she and co-writer Steve Birkett see as the perfect expression of their current writing. With five of the fabulous tracks having been mixed by Californian based Bill Drescher, whose previous accolades include working with Rick Springfield and The Bangles, Downes showcases her trademark powerful vocals throughout. With the remainder of the tracks being mixed by Thunder’s Chris Childs, the pedigree of this album is faultless. With her superb studio band that includes Dan Clark, Lloyd Daker and Magnum’s Rick Benton, there was no shortage of artists queuing to join her on the odd track or two. The multi award winning Alan Nimmo (King King) plays guitar on If I Go To Sleep and Magnum’s Tony Clarkin delivers a fabulous guitar solo on Breathe Out. With her signature voice, style and song writing, it was little wonder that last year she was voted Female Vocalist of the Year at the FORM UKBlues Awards. The release of this jubilant new album once again gives her the chance to showcase her formidable powerhouse and gutsy vocals in tracks that have greater range and depth than anything she’s done before. Rebecca said: “We were honoured and humbled to receive Chris Kimsey’s guidance. He gave us confidence about the direction of our writing changing to a rockier sound and advice on the way the material should be recorded. Meeting Bill Drescher in LA was fantastic – such a lovely, down-to-earth guy – and his mixing took the five tracks to the next level. Chris Childs has since done an excellent job on the rest in matching Bill’s mixing style. We are very proud of this album – and the way the music has evolved towards rock. More than ever before we believe it captures the best of our song writing.”

Billy Reeves returns with new album Steve, released by Last Night From Glasgow in April 2024 - This new album follows his solo debut Nostalgia of the Future released in early 2023.

Amadis and The Ambassadors" are a music group who came together in London, through front man Amadis Ferreira; cooking up a blend of music with flavours of Afro, Funk, Reggae and Soul on the menu. Rich in melody and groove, it will take you on a journey of rhythm and conscious vibration.

I want to express my unconditional gratitude to my mother and my father for all the love they have given me, all the guidance and for showing me how to share the same with all peoples in the most prosperous manner. I would like to thank my musical family, The Ambassadors, for their courage, advice, musicianship and having believed in this vision, without visionaries beside me the journey would be much harder and dimmer to see. Words alone cannot describe the joy in my heart, this is why we play music. You are blessed. My infinite gratitude also spreads to my beautiful sisters and nieces along with family dotted around various parts of the world, Angola, Portugal, India, Switzerland, Spain, Luxemburg, France, England; and to my spiritual family of dear friends, cousins, uncles and aunties spread throughout this planet all under one firmament. You are loved. Last but not least, I would like to praise my brother and friend Jonathan Rogers for opening up his studio and being the binding cord that enabled the possibility of this album to come to fruition along with the love that only true higher spirituality brings.

The legendary Horsepower Productions return to Sneaker for a thematically charged trip into future zones, driven by dexterous breakbeat science and ruffneck soundboy wisdom.

The UK dubplate heavyweights are no stranger to a loaded sample, and they’ve got a message to impart on this double-edged record. They kick off with a rumination on the planet’s fragile ecosystem on ‘Tropic’, which looks to a possible future with an ominous fate for the foliage we hold dear. Production-wise, Horsepower set electric drum loops off against lurid daubs of synth without derailing the motion, but a huge amount of the track’s impact arrives in the sampling from a cult classic slice of sci-fi. The premise is that the last remaining trees and plants from earth are adrift in space in a bio-dome, and have been condemned for demolition - a depressingly feasible scenario with an aggravated soundtrack to boot.

On the flip, ‘Computer Rock’ rides a tough break slow and hard and injects dystopian electro synth licks into the mix for a darkside roller that celebrates the visionary talent of Jeff Brown, aka Kase 2. Brown pioneered graffiti in the 70s with futuristic styles that still hold sway today, leaning into his own sci-fi imaginings about computer worlds inhabited by extra-terrestrial beings, Brown passed away in 2011, and this track and the attendant B2 cut ‘Kase - Reprise’ pay tribute to a forefather of hip-hop culture by channeling the future shock styles of Bambaataa et al without ever sounding throwback.

The concept on this record gets taken out further with the additional digi-only tracks, which take in the low-slung, skunked up funk of ‘Blaque Gras’ and the amped up rave damage of ‘Kase 2-Part 2’. Throughout, on-point samples and a clear-eyed focus bring out the best in the Horsepower approach, offering up next level dance wreckers with something to say.

Somehow Klasse Wrecks has made it to 50 official releases, not bad for a label that wears its ignorance for others and 'the norm' proudly on its dirty sleeve. Over the years the label has released a multitude of various sounds, spanning bleep, rave, deep house, down tempo and the 50th release does well to encapsulate that free spirit and openess. Without much planning and totally by way of coincidence the responsibility lies with label co-owner Luca Lozano and its sonically a typical mixed bag as to be expected. Kicking off with restless acid stomping, the title track barges through the door...knocks over a few drinks before blossoming into a breakdown that propels the 303 deep into space and back again. On the A2, Lozano shows off his love for creaky breakbeats and DX donks on a track called 'Re-Mix'...which as far as we know isnt a remix of anything at all. The flip contains more raving beauties, 'Save Me From The Rave' might be a desperate plea but by the sounds of it he's still enjoying the madness, the producer makes an epic breakdown that might well signify the end of all Trance homages. Then the final track of the EP sounds like it could be played in a field in Glastonbury in 1993, its haunting vocal harmonies signify the sun is coming up soon and likely that we're about to start Chapter 2 of the Wrecks Wrebellion. The special edition sleeve artwork features examples of previous artwork from the last 50 records, overlaid in a typically chaotic manner by the label's designer

Limited edition - 180g vinyl - deluxe gatefold sleeve, remastered from the original tapes by Rinaldo Donati, Maxine Studio, Milano. Cut and pressed by German audiophile specialist, Pallas Group. 1985 was perhaps the best year of the last phase of Baker's career and his recordings with Philip Catherine and Jean-Louis Rassinfosse are clear proof of this. These, in general, are of great artistic standing and show that the trio, born almost extemporaneously, had turned into a real group, in which the musicians conversed with each other, but also had ample spaces to express themselves as soloists. A trio without piano and drums in which the lyricism of Baker's trumpet, Catherine's nervous guitar phrasing, as well as the solidity of Rassinfosse's constant rhythmic drive, ensured the music a surprising balance based on contrasts.

"Nothing and no one can extinguish this flame within you," sings Emilie Simon from the opening title of Polaris, her first true album in ten years. An apparent long eclipse that the French singer, musician, and producer has nevertheless used to explore new territories, open uncharted paths, and reinvent her musical vocabulary and narrative threads. Like Ariane in a dreamlike world, she stretches these threads along her journey, inviting us to blindly follow.

After composing music for the film "The Jesus Roll" with John Turturro, and a musical journey between Earth and Mars through a series of singles, in 2023, Emilie Simon chose to revisit her debut album, both in the studio and on stage, to definitively close a chapter begun twenty years earlier. She also published "Phoenix," a gothic tale with a "vampiric" theme, sung and spoken in alexandrines. The central character, Lily Mercier, is the same one found at the heart of the Polaris adventure. Clearly, Lily is a projection of Emilie, on a quest for the North Star that symbolizes the never-extinguished desire to find her way. The dazzlement too, when one is a musician always eager to ignite again for the infinite mysteries of sound and to translate its shivers into songs.

This album, sung in both French and English, succeeds in combining the clarity of melodies with the demands of production. It immediately captivates (the irresistible burn of the Sun) and enchants over repeated listens, like a lasting iridescence of a thousand sonic fragments. Recorded in New York (where Emilie lived for a long time), Los Angeles, Montreal, Rome, and Paris (where she returned to settle), Polaris has its own cartography. Its universe is the standard scale, its pulsation inspired by cosmic rhythms, and its unique poetry both disturbs and captivates. A sign that nothing and no one can extinguish this flame within her.

The collaborative project from Vincent Lemieux and Guillaume Coutu-Dumont, Flabbergast, returns this March with a new EP, entitled ‘Default Mode Network’ and coming via Swiss imprint Adam’s Bite.

Vincent Lemieux is a staple of the Montreal, Canada underground and a widely beloved DJ for his impeccable technique and selections, he’s also offered up productions on the Studio Club and DISDAT labels and a collaborative EP alongside Ohm Hourani for Jigit and co-founding the Musique Risquée alongside Akufen, Deadbeat and Stephen Beaupré.

Guillaume Coutu-Dumont, a fellow Montrealer has long been a prized producer for his unique spin on micro house and
deep house music with his music finding a home on the likes of Mule Musiq, Meander and Dokutoku among others. In 2015 the two joined forces for their Flabbergast debut on Circus Company, have gone on to release with Yoyaku and Copier/Coller, and here makes a triumphant return for Switzerland’s Adam’s Bite with four fresh original cuts.

Opening the EP is the playful ‘Peppermint Poddle’, fuelled by oscillating synth tones, twitchy percussion and saturated bass alongside a spoken word vocal. ‘Manger Du Bon Manger’ then
shifts focus to cinematic organ lines, jazzy drums and a snaking bass groove throughout.

‘Mou D’état’ kicks off the B-side and sees the duo dive deeper via ethereal atmospherics, their signature wonky, mind bending synths and an amalgamation of processed vocal murmurs. Lastly
‘Dans L’oeil’ sees César Merveille join the party, the trio working collectively to create a unique slice of percussion fueled microhouse with intricately intertwined organic percussion, dubby
synth flutters, cinematic pads and pulsating subs.

Gidge makes a welcome return to Atomnation with an immersive new five-track EP, Tundra. It features the single "Bleak" which was their last release following their superb 2020 album, New Light.

One of the most consistent new labels around, Cyphon Recordings, marks double figures with another standout release that gleans from the past, but faces the future. This time they look to the talents of Emotive Technology, a new alias from Chilean Massiande who provides a five-track EP of machine-wielding, soul-rousing techno from across the spectrum.

Although this may be the first release under his new moniker, Massiande has spent the last decade putting out productions with labels such as Housewax, Phonica, Freerange and Groovin. Firing on all cylinders from the get-go, ‘Rise’ kicks off the Walk Into The Light EP. A hyperspace melding of new beat, Italo and arp-operating techno that opens out into a slice of peak-time revelry.

The swirling textures of ‘It’s On’ follow, pushing you into the next dimension. A hypnotic, entrancing and arresting heads-down powerhouse. Crunchy and considered it's the kind of strobe-stuttering basement jam that turns heads inside out.

Two Detroit-leaning tracks ‘Your Zone’ and ‘Walk IntoThe Light’ are up next. The former is a heavyweight machine workout. Layered synth lines and crisp drum programming transfix, as that grooving low-end powers bodies into bedlam. The latter, a Motor-City-influenced tour de force. One that sees Massiande recode the circuitry to hit with a piano-laden stunner, balancing power and presence, with emotion and nuance.

Closing out proceedings, ‘The Swing’ sucks you in deeper. A resonating world of synth stabs, pulsating basslines and atmospheric electronics.

Doing the Emotive Technology namesake proud, Walk Into The Light is machine music hardwired with a heavy sense of soul.

Conceived, written and recorded during the COVID pandemic, "King Perry" was produced by Daniel Boyle, and features guest performances from Greentea Peng, Shaun Ryder, Tricky, Marta, Rose Waite and Fifi Rong. Two tracks were also co-produced with Tricky, who releases Perry"s last recorded performances on his False Idols label. Record producer, composer, singer, and pioneer of the dub music genre Lee Scratch Perry passed away in August 2021. His influence over popular music since the 1970s is hugely significant, with artists including Bob Marley & The Wailers, The Clash, Beastie Boys, Max Romeo, Junior Murvin and The Orb all enriched by Perry"s legendary touch, innovative studio techniques and production style.

Take a trip to Jamaïca with this selection of the finest tunes played by the masters of Reggae. A nice 5 LP vinyl boxsett with Bob Marley, Lee " Scratch " Perry, Max Romeo, Black Uhuru....

Bite Down, the Merge Records debut of Rosali, finds acclaimed songwriter and guitarist Rosali Middleman in the midst of transition. Written after moving to North Carolina from her longtime home of Philadelphia, Bite Down is a searching, hungry record by an artist who is resolved to bite down on life, in all its horror and joy. She is joined here by Mowed Sound_David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion)_and in studio by Destroyer collaborator Ted Bois (keys). Bite Down is Rosali's second album working with Mowed Sound, and there is urgency and ambition in their collaboration_a band pushing each other not just to expand on what they've already done together, but to break through into altogether new territory. Among those joining Rosali and her band there is Dan Bejar of Destroyer, who waxes poetically on where she's been, where she's going, and how thrilling Bite Down is to experience: It's hard to talk about Rosali's music. Songs that reach outward like this, but then constantly disarm with their intimacy. What do you call such inner searching that is hellbent on rollicking? Songs that long for a sense of peace and songs that want romance, all on equal footing in the same plot of earth? Performed wild, but always centered around the incredible lyrical calm that is Rosali's voice. Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. (Jim captures the tone of this perfectly, again!) The calm of her voice over top of the band's raging_it is the emblem of songs that live to put themselves in harm's way. But it's not harm. It's just that you have to play hard to get at these goods. The calm of Rosali's voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That's their sound. The Mowed Sound. It's hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you'll find them paying real close attention to each other and exactly what the song demands. Maybe Fairport did this, maybe VU. It's a strange telepathic brew. Breezier songs like "On Tonight" and "Rewind" sound like they've fought their way to get to that sense of ease. Maybe that's the Mowed Sound "sound"_hard-won ease. Then add to that Ted Bois' patented Rhodes sleaze (see sinuous title track "Bite Down") steering the record into late-night corners; the incredible "Hills on Fire" (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, "My Kind" is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of "I've traveled through fire to deliver you these songs," but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that. By the final track, "May It Be on Offer," it is the prayer uttered as you hand yourself over to the world.

Manuel Tur presents two previously unreleased remixes of Estonian-Swiss singer, pianist and composer Ingrid Lukas and her song "DIGNITY", taken from last year's album "ELUMELOODIA". It is the second remix collaboration between Ingrid and Manuel since "We Are", which was released in 2016 as part of Innervisions' "Secret Weapons" series.

DJ support from: Black Coffee, Axel Boman, Terry Francis, Hyenah, Adriatique, Colin Dale, Hunter/Game, Jonathan Kaspar, Santiago Garcia, Âme, Marco Carola, Nicolas Masseyeff, Bog, Kadosh, Luke Garcia

We are delighted to bring you the first in the Ivan The Tolerable Archive Reissue Series, Autodidact!

Originally released on a 10” lathe cut by Ack Ack Ack Records in February 2018, this has now been remastered and repackaged, and will now be available on ltd edition khaki vinyl, with only 250 copies pressed. Here’s a bit about the record in Oli Heffernan’s aka Ivan The Tolerable own words-

“I recorded the bulk of this record over a weekend in January 2018, in the midst of a very minor breakdown that was to last for pretty much the entire year. I was living in a big house all on my own, smoking too much and not really seeing any people. Happy days indeed.
It was tracked in the back room of 97 Hambledon Road, Middlesbrough using two questionable microphones, a broken HH 100 amp, my friends drums and a Tascam DP08 (that wasn’t to see the year out, RIP 2009-2018) When I was done, Robbie came round and recorded a ton of violin drones through my amp and i remember feeling like I’d gone into a trance a few times, then Ben recorded his parts at home and sent them over. Mixed and mastered the same night - I released it myself a month later as a lathe cut 10”and then promptly moved on. I listened to the album for the first time in years to write this sleeve note and I think it is possibly the closest I’ve ever got to capturing the sound I hear in my head - I love how grubby and cavernous it sounds, claustrophobic and swirling - the track Autodidact I have recorded 4 more times since this version and I’ve never got that sound back. I’II keep trying.’’
“Oli Heffernan, June 2023’’

Over the last couple of decades, Charlie Parr has crisscrossed the world on tour more times than one can count. He also has released over a dozen albums of his songs, acclaimed for their poetic simplicity. Little Sun, his most ambitious album to date, was recorded with Tucker Martine (The Decemberists, Sufjan Stevens, My Morning Jacket) and features Parr augmenting his raw and affecting songs with stunning full-band arrangements. The remarkable backing band here includes Marisa Anderson, Victor Krummenacher, Andrew Borger, and Asher Fulero. Masterfully channeling the philosophical and transcendental qualities of the blues, Parr takes us on a journey through the winding streets of his imagination.

The last 3 critically acclaimed PiL albums on cassette for the first time… This is PiL first released in 2012, and the first PiL album in 20 years, followed by 2015's What The World Needs Now.... Completed by last years End of World. The cassettes were the last project that legendary PiL manager John Rambo Stevens worked on before his sad passing in December 2023. Released on the band's own PiL Official Limited label

Warehouse Find!

Son Of Sound aka Henry Maldonado has been producing influential house music dating back right back to 1991.
He has released on Strictly Rhythm as House 2 House, Maxi Records as Deja Vu and MAW Records as Rhythm Section.
Son Of Sound has recently appeared on Tirk and Local Talk before dropping the bomb that is Jewel Eye Nights on Jus Ed's Underground Quality. He also has releases scheduled for later in the year on Razor n Tape and City Fly.
Currently working on a collaboration EP with Recloose for his own District 30 Label. Henry is also host of the highly regarded 'Hit It and Quit It' radio show on The Lot and East Village radio with Recloose and Private Panther.

This Album is a collection of what I call Punk Art Poetry.
Poetry put together like a lyric to tell a certain story or explain a thought on some punk related matter. Some of these stories did actually turn themselves into a song which I released on my Punk Art imprint.

Most of these poems were influenced or inspired a piece of art I was working on.
Hope you like them or can relate to these stories.

Thanks for your indulgence

We have a very special release planned for Record Store Day 2024, marking the 30th anniversary of Patrick Prins seminal Le Voie Le Soleil, we welcome back Solardo with their hands in the air rework of the timeless House classic plus a very special re-flex from the main man himself, Patrick Prins who steps up with a fresh new version completely exclusive to the vinyl package!

This release punctuates the meteoric and exponential rise of Solardo, a UK dance duo that have graced the stages of Glastonbury, Tomorrowland, EDC Las Vegas, Ultra Music Festival Miami, Creamfields, and Parklife.

The track has garnered huge DJ support from the likes of Calvin Harris, Sasha, MistaJam and more and looks to soundtrack many a euphoric dance floor moment.

With a heavy legacy on the original to lean on with Patrick Prins, Solardo’s deftly and authentically handled remix is guaranteed to revitalise this absolute club classic and reintroduce legions of dance music fans, old and new, to the soaring sonics of the original track.


Radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong
Other notable radio plays – Capital FM, Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio.

The sophomore album from acclaimed US musician Vanderwolf and follow-up to 2022 debut '12 Little Killers' ("Soul, gospel, theatrical rock and more" Mojo), 'The Great Bewilderment' is a major rock record full of big emotions and adventurous songs. Whereas '12 Little Killers' was written and recorded during Vanderwolf's final years in London following the break-up of his semi-legendary band Last Man Standing, 'The Great Bewilderment' was mostly written during the pandemic, during which he relocated from New York to Los Angeles. For the recording, Vanderwolf reached out to an old friend, drummer Angie Scarpa, while a recommendation from John Cale's guitarist, Dusty Meadows, led to bassist H Chris Roy joining the band. Tim Sonnefeld contributes a variety of guitars, including beautiful crying feedback throughout album centrepiece "Gaza", which also features a guitar solo from Portishead's Adrian Utley. The album title itself is drawn from the mood of writing music during the pandemic. "I think we're still in that great bewilderment," insists Vanderwolf. "With threats to democracy, the division of opinion, plus this latest war on top of the war in Ukraine, and the climate crisis becoming acute, there's a looming sense that there's nothing we can do. 14 years of Tory corruption in an alleged democracy...that is bewildering. That a twice impeached President with 91 indictments against him can be the frontrunner in a presidential election...that is bewildering." As a music programmer and concert producer, Max Vanderwolf has worked for some of the worlds' most celebrated clubs and concert venues. These include New York's legendary Knitting Factory and London's internationally renowned Royal Festival Hall, where for 9 years he produced the Meltdown Festival working closely with artists including David Bowie, Patti Smith, Jarvis Cocker, Massive Attack and Ornette Coleman.

The last 3 critically acclaimed PiL albums on cassette for the first time.

The last 3 critically acclaimed PiL albums on cassette for the first time.