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What might appear to be the most unlikely collaboration of 2024 proves also to be one of the most invigorating listens of the year! Shackleton & Six Organs of Admittance are in full aural/metaphysical alignment in their mutual effort to become Jinxed By Being. On first listen, it becomes immediately clear that this fusion of Shackleton"s bass heavy cosmic dread and Six Organs" ritual folksong makes total sense. Longtime listeners know that both Shackleton and Six Organs of Admittance have been unafraid to pursue their muse into any and all encroaching depth of darkness or outer boundary of potential dissonance - in fact, that has always been their default mode, finding more of resonance way out there in the process. They also share that ol" maverick psychedelic ritual transcendental music vibe, don"t they? And a fascination with repetition and cycles. And a mutual inspiration drawn from alternative tunings and literature...all this considered, it"s been basically inevitable that Ben Chasny and Sam Shackleton would work together. It took a while for them to find each other-and once they did, it was almost eerie, how preordained it felt. When the music started coming, though-that"s when it got really eerie. The mood rises from the music like smoke, a sure signal of total integration. Jinxed by Being finds Shackleton & Six Organs of Admittance delighting in their synthesis. Reveling in the unique sonic textures found in the collage, they launch small details that unfold into a massive space and often multiply into lines of dimensional space, crossing the stereo spectrum with enervating motility. Here lies all the proof you need against the danger of categorizing by perceived genre rather than intention-encounters like Shackleton & Six Organs of Admittance might never have found the linear space in which they sit next to each other, beyond alphabets and other institutional organizing principles. Rearrange your libraries-or you might miss getting Jinxed By Being.

DJ Support: David Penn, DJ Mes, Kevin McKay, Sebb Junior, Art Of Tones, Robbie Rivera, Moon Rocket, Peter Brown, Hatiras, Johnick, Dam Swindle, Jimpster, Disclosure, Ricardo Villalobos, Luke Solomon, Nightmares On Wax, Laurent Garnier, Louie Vega, Steve "Silk" Hurley, Terry Hunter, DJ Sneak

A1 – Vinyl opens on serious anthem by one of Chicago’s greatest also known Stacy Kidd. 'Music For You – MF Mix' encaptures the soulful power of music and the silly energy of garage house dancefloor. This already classic banger track got some little twist for 2024 re-release, and we are honored to be able to release such a nice House track on wax eventually, almost 18 years after Original release (2007)

A2 – Fouk is serving some powerful deep house disco driven music, with a clear inspiration taken from the Garage house spirit of the 90’s-2000 golden era. The result is Cobalt, an impressive dancefloor weapon delivered by the acclaimed duo from Netherlands.

A3 – We are honored to welcome Michele Chiavarini into closing A side on a deeper touch – Vibe We Share. If michele is known for its musicianship and craft capacity that brought him to work all around in the music, he delivers here an interestingly deep house track, with beautiful vocal addition that bring a modern flare to the classic soulful house sound.

B1 – B Side open on a disco banging track, and who better than the jackin house hero Angelo Ferreri to get ourselves shaking heavy on another disco cut ? All Time Disco is probably a track that will have a strong connection with hectic dancefloor. What a delight

B2 – Some very delicious vibes follow on with Marc Cotterell addition to the compilation – Paris By Night. Here goes a journey to soulful house and organ ride with many garage house hints & breaks, Marc brings here a very musical track that might fit easy listening session and dancing hours both with ease and elegance.

B3 – Last of the list comes Teuteu with Kong. Emerging artist and newer to the scene than most of the previous artists, teuteu is noneless bringing some awefully interesting vibes on his B3 closing with a heavy Jazz House track. Organ jazz solo, deep chords, broken house patterns, all you needed to wrap up our Gravity compilation with adequate taste and charm.

From P60 is an alias of Zoltan Nagy who this year marks the significant milestone of a quarter of a century in the music game. He celebrates that by launching his new label Midnight Fashion Chill with his own first EP for it. Over the years, Nagy has done it all from deep house to Balearic to lounge and downtempo and here brings that touch of class to six superbly soothing sounds that fuse all that and more. The opener is pure horizontal bliss, 'The Times We Spent Together' is a slow-motion daydream, 'Fallin' (with Jaidene Veda) is pure soul-soothing magic and 'When' is a gently lilting ambient soundscape crafted to perfection.

Limitiertes Farbvinyl von Teil #4 der "Here, Hear" Serie von einer der renommiertesten und ältesten Emo-Post-Rock-Bands der Szene, La Dispute. Die 2007 ins Leben gerufene Serie gibt interessierten Hörern Einblicke hinter dem Vorhang des Songwritings, um durch zusätzlichen musikalischen und lyrischen Kontext das Verständnis für Themen und Ideen der Alben zu vertiefen.

Die aktuelle Version des Projekts ändert im Laufe seiner Geschichte regelmäßig Formen, Ansätze und Medien und besteht aus Aufforderungen zum kreativen Schreiben, die von einem einzelnen Mitglied eingeführt und befolgt werden, bevor sie nacheinander an die anderen weitergegeben werden, um in einer Art musikalischem Telefonspiel Beiträge zu leisten. Das Endergebnis sind Songs, die Schicht für Schicht, Mitglied für Mitglied, geschrieben und aufgenommen wurden, rund um einen zentralen Vorschlag oder eine zentrale Einschränkung, die ausführlich auf Patreon und in aufgezeichneten Podcast-Gesprächen diskutiert werden, in denen die Erfahrung analysiert wird.

Claire Dickson (she/her), the Brooklyn-based vocalist, composer, and producer lauded for her "striking-at times, wordless-lyricism and melody-driven sound chamber within shapeshifting ambiance" (Downbeat) and whose voice "draws the listener into a world complex and jostled, where everything seems possible, loaded with...fascination and mystery" (Silence and Sound), releases her highly anticipated sophomore album, The Beholder, via New Amsterdam Records.

In den letzten zehn Jahren hat sich DANIEL DAVIES zu einem gefeierten Komponisten atmosphärischer, synthielastiger Instrumentalmusik entwickelt - für Film- und Fernseh-Musik, an der Seite von JOHN CARPENTER auf den "Lost Themes"-Alben des Regisseurs und auf Solo-Veröffentlichungen wie "Signals And Spies". In seinem früheren musikalischen Leben war DAVIES jedoch ein Rocker, der mit Bands wie YEAR LONG DISASTER und KARMA TO BURN durch die ganze Welt tourte. Mit seinem neuen Solo-Album "Ghost Of The Heart" kehrt DAVIES zu dem Alt-Rock-Sound zurück, den er vorübergehend beiseite gelegt hatte, und ergänzt ihn mit dem, was er beim Produzieren von Soundtracks und Instrumentalmusik gelernt hat. "Ein Rockalbum zu schreiben ist ein Ausdruck der Gefühle des Künstlers, während es bei der Vertonung eines Films darum geht, Klanglandschaften zu schaffen, die die Geschichte eines anderen ergänzen", sagt DAVIES. "Bei diesem Album wollte ich die schweren Gitarrenriffs aus meiner Rockzeit mit den atmosphärischen Synthesizerklängen verbinden, mit denen ich als Komponist experimentiert habe." Die Songs auf "Ghost Of The Heart" lassen sich nicht in ein bestimmtes Subgenre einordnen: Sie sind stimmungsvoll, schwer und ein wenig proggig, aber mit einer starken Pop-Sensibilität und viel Melodie. Das Album verrät DAVIES' Vorliebe für eingängige, zukunftsweisende Bands wie RADIOHEAD und BLUR, aber vor allem fühlt sich "Ghost Of The Heart" natürlich an, so als würde er etwas Grundlegendes über sich selbst als Musiker wiederfinden. DAVIES nahm "Ghost Of The Heart" im Laufe des Jahres 2023 mit dem Produzenten John Spiker auf, seinem langjährigen Freund und Mitarbeiter. Spiker steuert auch den Bass bei, während Matt Flynn Schlagzeug spielt. Alles andere auf der Platte wird von DAVIES selbst eingespielt.

The EP by Bézier "Negative Velocity" sees the Californian artist (now for a few years a Berlin resident) initiate the launch of their new German-based record label "Körperspannung".

For 'Negative Velocity', Bézier collaborated with Bay Area drummer and avant-garde musician Dave Easlick taking live recordings of him on a drum kit warping and wrapping his pieces into curves and ellipses to project mappings outward into the atmosphere. From Easlick's source material Bézier generates a technological, multi-dimensional landscape through mental manipulation of sound waves bending the fabric of time and space. For both the title track and on the b-side 'Diabolical Embroidery' the lattice work here involved sampling and resampling every puncture from Easlick to atomize, pressurise, polish and disintegrate into fine particulate matter while reassembling parts back together fortifying the sonic tapestry further.

'Deep Sea State' is an exercise showcasing the raw form of Easlick's drumming but laced with an adamantium frame. Melodies from Bézier's musical training past haunt the entire interlude.

Das 50-minütige Werk für 3 Vibraphone und 20-kanalige 1-Bit-Elektronik wird von der dynamischen französischen Gruppe ensemble 0 aufgeführt, die nach ihrer Zusammenarbeit mit Peter Broderick im Jahr 2023 zu Erased Tapes zurückkehrt. Perichs Musik überspannt die Kluft zwischen Elektronik und Klassik, wobei er Streichinstrumente, Klavier, Orgel und andere akustische Instrumente mit speziell angefertigter 1-Bit-Elektronik kombiniert. Open Symmetry reduziert das Ensemble auf nur drei Musiker, die die resonanten Metallstäbe von drei Vibraphonen spielen, begleitet von einem glitzernden Ensemble aus 20 Lautsprechern, von denen jeder seinen eigenen musikalischen Teil der Komposition spielt.

(Clear with black, white & yellow splatter limited to 500 copies) SKA DREAM is a complete re-recording of Jeff Rosenstock's critically-acclaimed 2020 record NO DREAM however this time around all the songs are ska songs you're welcome. The very good idea to make this record came together when, like many other bands throughout this pandemic that refused to participate in super spreading events, we were trying to find a fun way to make some music together to share with people. Otherwise we were just spending our evenings texting the group chat in dread about the collapsing world around us. Not the most fun band activity. As with most things ska in my life, what started out as a fun goof with friends eventually morphed into "Hey, what if we tried to make it good though?" All of us have a pretty deep history playing and touring the country in punk/ska bands. We all understand the stigma that comes along with ska, we've all dealt with the pitfalls of it, and we've all kept on truckin' regardless. If you are one of those people who loves music as long as it isn't ska, that's cool, we see you. This record isn't for you and you don't have to listen to it. Byeeee. Okay, everyone else, we see you too, we love you and check it out, SKA DREAM is real. This record includes contributions from Jer Hunter (JER, Skatune Network, We Are The Union), Rick Johnson (Mustard Plug), Laura Stevenson, Ara Babajian (The Slackers, Leftover Crack), Boboso, Sean Bonnette (AJJ), George Clarke (Deafheaven), David Combs (Bad Moves), Chris Farren, Augusta Koch (Gladie, Cayetana), Angelo Moore (Fishbone), Franz Nicolay, nonregla, Elise Okusami (Oceanator), Mike Park (Bruce Lee Band, Skankin Pickle, Asian Man Records), PUP, Anika Pyle (Katie Ellen, Chumped) & Shannon Toombes.

* Sounds like a mix of Thom Yorke, Burial, Nils Frahm, all swirled together in a colorful yet creamy mix;

* A blend of Emikas neoclassical descending melodies, signature breathy, female vocals, icey pianos, heavy sub-bass vibrations and layered Hazy beats.

* Sat between her life in moving-boxes, wedged between them surrounding her upright piano in an unfurnished empty-sounding room in her in-laws house. Haze was made with voice-memo recordings of her piano and voice on her phone, edited and mixed on her laptop in headphones. Little loops in Ableton, lyrics, sadness and melodies, just like Emika’s real-life in boxes.

* Emika is set to launch a new event series, inspired by her memories of early Dubstep in the legendary Black Swan venue in Bristol (now closed) she saw her friend Mala play, with one table-lamp, it was all about this new sound, and meditating on the bass-weight. Something she plans to continue in her Haze Nights, where each guest will be gifted a little Haze Light with their ticket.

Returning to Ransom Note Records sub-label, Insult to Injury, Timothy Clerkin is back with incendiary new record, Fading EP. An overt, Acid-Techno analogue assault on the senses, all tracks were performed live in Clerkin's vintage synthesiser recording facility. Backed with a vinyl exclusive remix from the mighty Posthuman (not available digitally) and limited to a run of 100, hand stamped 12”s, you’ll need to be fleet of foot to get your hands on it!

Titular track, Fading, features the inimitable vocal talents of Brighton based Shoegazers HANYA’s front person Heather Sheret, whose heavenly articulation offsets the high voltage, rhythmic battering that opens the record. Booming 909’s propel us forward as we’re launched headlong into the rave maelstrom where squelchy bass lines and breakbeats grapple with trancelike strings for dominance.

Next out of the gate, Sigma hurls itself from the cocoon and slaps us around the face, hugging it tightly like an Acid-Techno Xenomorph. A face melting melange of retro sounds & futurism, it’s underpinned by the nihilistic vocal sample that belies Clerkin’s antiestablishment Punk musical past. Hold onto your hats and remember to BREATHE!

ITI Records are very excited to have head honcho of the I Love Acid parties, Balkan Vinyl and record producer extraordinaire, Posthuman on remix duties. Never one to disappoint, he ‘breaks’ Fading down into tiny pieces and rebuilds it in his own image. Taking inspiration from early Hardcore and Acid aesthetics, we’re treated to a proper dance floor workout of 808s, Rave Hoovers and breakbeats.

Rounding off, Collapsed Lung is a slightly more introspective affair. Jam packed with glitched drums and sequenced, mechanical tones, it builds towards an etherial climax. This slightly distant, intangible and dreamlike number glides out of view just as quickly arrived, leaving us feelin incongruously all warm and fuzzy, after the absolute clobbering that opened the record.

After the roaring X5NRG Ep released a year ago, with a driving remix from Losoul, AGP heads back to his own imprint for a new EP set to drop on Ausblick in June 2024.
A1: "Everything From Uptown" sets the tone with its sundowner House vibes, boasting a powerful punch, a deep jazz bassline, and emotionally charged chords that promise to win your heart from start to finish.
B1: Prepare to embark on a journey of reinterpretation with Altitude (aka Matt Thibideau) at the helm. This track offers a fresh perspective on A1, a bold re- appropriation that delves even deeper into the heart of the original piece, offering a mesmerizing sonic experience.
B2: Rounding off the release is a summer anthem like no other : Cocktail De L'eau. Smooth and effortlessly cool, this track has already garnered early support from
industry heavyweights Ohm and Steve O'Sullivan, making it a must-have addition to any playlist

Supported by : Ohm, Steve O'Sullivan, Thor, Fletcher, Costin Rp, Philipp Priebe, Anton Kubikov, TM Shuffle, Gabriel Belabbas, Laurent Garnier.

Drumcode hits 300 releases as the brilliant Mha Iri returns to the label for her second EP, 'Bombay'. Since debuting on Drumcode just a year ago with 'Never Go Back To Sleep', (her contribution to the debut Elevate compilation series and one of the best-selling techno tracks of 2023), the Scottish producer has rapidly established herself as one of Drumcode's most exciting new artists. A stellar debut EP followed in September with 'The Unexpected', before 'Bell' her cut on A-Sides Vol.12 charted #1 in Beatport's techno Top 100. Due to its success Drumcode chose it for the Change The Beat remix competition, and the remix from YOZÉ is a highlight on the latest 'Elevate Vol.II'. Amidst an impressive touring schedule which will include Awakenings main stage, Junction 2, Tomorrowland and Drumcode's Mysteryland main stage takeover this summer, Mha Iri has been active at Drumcode showcases, playing Watergate in Berlin and more recently the massive Drumsheds show in London. It was there her spit-fire new EP 'Bombay' shined in the huge halls of techno. A hypnotiser of the highest order, the title track is a fully-loaded barrage of tribal techno, crushing drums and vocals that unite for arguably Mha Iri's strongest track on DC to date. We can't wait to see this one launch. Pairing beautifully is 'Existence', a galloping slice of peak-time fare elevated by a rousing vocal.

Continually in a state of evolution with a future-focused vision, yet ensuring the signature sound that has defined the label and event series for over a decade remains at its core, Enzo Siragusa’s FUSE imprint is once again keeping things moving with new ventures, projects and concepts.

Having previously introduced the label’s collaborative X Series in addition to the launch of sister imprint LOCUS, summer brings a new project for 2024 as the label now presents its new vinyl-focused VA, welcoming four label debuts for the first instalment of the project. First up is Amstedam-based Nachtbraker, whose classy house sound has welcomed releases via Aus Music and Peach Discs, amongst many. His contribution, ‘Banda’, is deep and trippy, balancing light and dark moments via a warping bassline, sweeping pads and slinking drums.

Next, Phone Traxxx member and live wizard Rob Amboule makes his debut on the label following his appearance for the collective’s 15th birthday at fabric. Playful and vibrant, with wicked acid-dipped and funk-fuelled bass licks, ‘Capnhat’ perfectly showcases his sound as he delivers another gem.

On the flip, Melbourne-born, Berlin-based Reflex Blue lands fresh from his second EP on Gene On Earth’s The Sound Of Limousine imprint with the glitchy yet smooth ‘Life’s A Bleep’ - combining spacey tones, skippy drums and sporadic bleeps and lasers. To close, Un_Mute resident Mario Liberti harnesses influences from a classic to deliver a heady dancefloor anthem, fusing hooky vocal samples, murky low-ends and those iconic synth stabs.

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

repress !

Network’s 30th Anniversary celebrations continue with the re-issue of the debut release from the iconic label. The launch of the logo with Neal Howard “Indulge” in 1990 caused a sensation, with the track being instantly acclaimed as a Classic, and Network noted as a new label to watch.

“Indulge” hails from Chicago, but sounds like its’ DNA is Techno City Detroit.
A futuristic call to dance from Windy City mystery man Neal Howard, whose previous releases “The Gathering” and “To Be Or Not To Be” had already reached cult status. Those gems, and “Indulge” were recorded by Chicago label Phuture Sound. Plans were being laid for the transformation the Kool Kat label - the UK outlet for Kevin Saunderson, Derrick May and Juan Atkins - into Network, but the dilemma was finding something “really really special” for the first release. That search for the perfect beat ended when Network’s Neil Rushton on a visit to Chicago heard the just mixed “Indulge” on a cassette played by Phuture Sound boss Terry Baldwin, who after prolonged negotiations agreed to cancel a USA release so the new UK label could have an exclusive.

The label design for this release is a replica of the original DJ Promo 12” that introduced Network to the World with exactly the same tracks; Terry Baldwin’s much loved Club House and Deep House mixes of “Indulge”, coupled with “To Be Or Not To Be” remixes by Chicago’s Bad Boy Bill and Detroit’s Derrick May. network - it is what it was...

Reel People Music breaks new ground, in more ways than one, with the launch of fresh compilation series Broken, Deep & Dope. A spin-off from acclaimed compilation brand Soulful, Deep & Dope – introduced back in 2015 – this new series sees the much-loved independent imprint pushing further at the boundaries of soulful music. All with that customary Reel People feeling.

Broken, Deep & Dope 2024, the series’ first instalment, unleashes 20 superlative examples of the soulful ‘bruk’ (broken beat), nu beat and nu jazz sound that has so innovatively informed contemporary dancefloors around the world since its inception back in late Nineties West London.

Bringing together classic cuts from the Reel People Music stable (including those by Daz-I-Kue, Monkey Brothers and Reel People) and key productions from some of its closest affiliates and biggest inspirations (such as Vikter Duplaix, Jazzanova, Bugz In The Attic, Kaidi Tatham, and Sean McCabe), this white-hot selection nips and tucks beautifully between stuttered Latin and Afro rhythms, deep house-edged jams and soaring flights of soul-jazz fancy.

Reel People Music is a label borne out of the soulful success of acclaimed collective Reel People but representing so much more. Launched in late 2009, the imprint has built a fiercely loyal international fanbase through its passion for artist development, musicianship, song-craft and authentic soulful groove.

Broken, Deep & Dope 2024, with its scattered yet compulsive beats, frisky basslines and acrobatic melodies, promises to further expand Reel People Music’s reputation for soulful depth and drama. Gathering old and new favourites from some of the world’s finest taste-making DJs and producers, this is another scorching, oh-soul essential hustle. End of.

Death Is Not The End together all three LP volumes of the critically acclaimed If I Had a Pair of Wings LP compilation series for a bundled edition.

"...all of the music on this compilation is the result of the forward-thinking artists and producers that realised the worth of local Jamaican artistry during a time when the island's leading political figures had not yet managed to throw off the colonial yolk. These are sounds with a certain innocence and the optimistic promise of better to come, with the influence of American pop ballads and doo-wop looming large, yet already pointing to the innovations of the future. Listen keenly and take in the sounds of the Jamaican music industry at its very beginnings, its singers and players drawing from the popular styles of the island's larger neighbour and already changing those styles into something their own." - David Katz

Lauren Laverne's comp of the week on BBC Radio 6 Music w/c 11th Jan.

The Guardian wrote “the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist.” With Uncut describing his songcraft “as delicate and lovely as a rare orchid” and Record Collector praising the album’s “sublime alien balladry” such are the accolades that have accrued throughout Chenaux’s unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux’s solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux’s own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux’s previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux’s spartan home studio in rural France, Driver’s harmonically warped organ and Melanson’s electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux’s signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing “This Ain’t Life” that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux’s tunes have the uncanny ability to sound like jazz standards; songs you feel you’ve heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind

Repress! Now-Again Records is completing the trilogy started with "Forge Your Own Chains" and followed by "Tickets for Doomsday" with "Pale Shades Of Grey" - another batch of rare, largely uncompiled - and sometimes barely heard - heavy psych-rock. Pounding drums, scathing fuzz guitar and morose, contemplative lyrics will bring you up on a downer. "Pale Shades Of Grey," as the title hints, is and perhaps the most contemplative of the series, heavy on ruminations of dark themes of love, death, pain and triumph, as performed by high school and college bands, Brasilian intellectuals, Nigerian rockers and even an Irish pub band from Michigan. A unique and compelling listen, and surely a worthy companion for these times.

All-woman garage rock band from Phoenix return to pour another down one’s throat. Continuing to tour relentlessly around the world. Produced by Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx). The Darts can’t stop, won’t stop! Hot on the heels on last year’s groundbreaking album Snake Oil, The Darts have returned guns blazing with a brand-new album, Boomerang! While on a break from their intense international touring schedule, the band stopped at
Station House Studio in Los Angeles to work with producer Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx) with the mission of capturing the band’s raw rock spirit. From the opening chords of “Hang Around,” listeners are launched into an explosive garage party, with the Farfisa organ bringing a carnival and snarky gang vocals adding to the fray. The band doesn’t let up from there. With Nicole Laurenne on vocals and Farfisa, Christina Nunez on bass and backup vocals, Meliza Jackson on guitars, and Mary Rose Gonzales on drums, the tight lineup fuels the album’s themes of resilience and empowerment. Each track on Boomerang packs a punch, drawing the listener into a world of infectious hooks and soaring riffs. “Boomerang is a reference to the fact that, right after we released Snake Oil, we turned right around and went back into the studio to do a whole new full-length album! I can’t stop writing songs! But ‘boomerang’ also refers to a lyric on the album that describes toxic people and things that keep coming back into your life despite your repeated attempts to fling them as far away as possible. This album is my manifesto about finding strength the kind of strength it takes to do what you personally need to do to be peaceful and healthy. For me it meant cutting a lot of stuff out of my life, and that was really hard, but it also meant adding a lot of amazing stuff I never thought I’d see. I’m in a better place than I’ve ever been, and I think you can feel that power in this record.” – Nicole Laurenne

Big Wave, the sixth full-length release from the Catalan singer-songwriter, strides boldly in a new direction, its songs charged with a fresh power -- precipitated by changes in her personal life. On her previous albums, particularly Hardcore From The Heart and Dripping Springs, Joana's music engages in a tug-of-war between fragility and intensity, a dynamic that has caught the attention of major publications such as Mojo, Uncut, and The Guardian, as well as Lauren Laverne, Guy Garvey and Gideon Coe on their BBC 6 Music show. Her songs have been described as "torrents of familiar heartache made startling and luminous". Big Wave retains her characteristic use of reverb and pop melody, but is tighter, fiercer, shrouded in distortion. An emotional and sonic ferocity because "I wanted to be more aggressive," Joana explains. "Because I was going through a period where I was feeling very uncomfortable."

A Londoner with Iraqi and Belarusian heritage, Flo Perlin began learning the cello at the age of five, later falling in love with the guitar when her Colombian teacher Cesar Rodriguez- Duran (the same person who taught Michael Kiwanuka) introduced her to the world of Bossa Nova, which influenced her own finger picking style.

Combining this experience with a diverse range of influences from artists such as Zero 7, Laura Marling, Buena Vista Social Club, Suzanne Vega and Erykah Badu, enabled Flo to develop an accomplished talent, further enhanced by a unique vocal style and ability that is instantly recognisable - a rare gift in today's musical landscape. In addition to the soothing and hypnotic nature of her voice, Flo Perlin is able to create beautifully crafted, melodic and poetic songs that address common yet complex issues, intertwined with profound and personal perspectives. In light of this, BBC 6 Music have described her as "a true storyteller".

'Clay' itself is a metaphor for the human capacity to adapt and adjust to different experiences and challenges. Just like clay, we mould and change shapes

Das ursprünglich 2016 erschienene Album "Laugh Tracks" der amerikanischen Metalcore-Band Knocked Loose erscheint auf Vinyl in neuer Farbe.

The inspiration to record this Album came from a difficult period in Zito's life when he was dealing with the death of his late wife Laura. A outpouring of emotion expressing the vulnerability and longing associated with the love and heartbreak surrounding the passing of Mike's wife Laura. Recorded at the legendary Sunset Sound Studios in Hollywood, California, under the watchful eyes of producers Joe Bonamassa and Josh Smith, "Life Is Hard is a complete work of
art for me. I believe this is the best album I've ever made in my life. My wife Laura and I planned this idea of pouring my heart out in music after her death from cancer." - Mike Zito


Mike is a chart topping Contemporary Blues artist racking up numerous independent, international and Billboard No.1 Albums. 'Life Is Hard' was officially released 23rd of February 2024 and achieved six weeks in the top 5 on the US Billboard Blues Chart!

Alongside this Mike has consistently received accolades from the likes of the Blues Federation and The Blues Music Awards, this year Mike is nominated for "Best Blues Rock Artist" and "Best Blues Rock Album". Gulf Coast Records will be rolling out adverts in Blues Matters, Classic Rock, Living Blues and Mojo.

Palpitations“ ist Laurels selbstbewusster Schritt ins Rampenlicht der Popmusik, vollgepackt mit Ohrwurm-Hooks, verspielten Experimenten und gefühlsbetonten, bis ins Mark gehenden Texten.
Angeführt von der übersprudelnden Leadsingle 'Wild Things', die von Balladen ('Only One') bis hin zu Knallern ('45 Degrees', 'Coming Back For More') alles abdeckt, besteht das Album aus 10 Tracks mit schillernden, atemberaubenden Pop-Fähigkeiten.
Palpitations", das bereits von BBC Radio 1, GQ, The Observer, i-D, The Independent, Elle und vielen anderen gefeatured wurde, ist Laurels endgültiges Statement - eines der aufregendsten Pop-Alben des Jahres 2024 und ein Beweis dafür, dass Laurel einer der aufregendsten Stars dieses Jahres sein wird.

On the top floor of RG Scotts in Margate you'll find an assortment of tables _ tables that became field recordings, then programmed scatter rhythms, and eventually the foundations of the new solo album from Mike Lindsay: supershapes (volume 1). It's the first instalment in a series of records from the Mercury Prize-winning producer and mixing engineer (who's also the co-founder of UK acid folktronica band Tunng, and one half of electronic alt-psych duo LUMP, with Laura Marling), a series that explores "the miraculous in the mundane". Volume 1 looks widely at "everyday domestic objects, especially tables, coffee table books, and the daily rituals that shape us, heavily focusing on the majestic in the domestic". The album is a kind of table in its own right: those who sit round it include Anna B Savage and many other musicians and artists _ a sense of collaboration that has run through all of Lindsay's work.

John Grant, der Meister des Zwiespalts zwischen zerreißenden Balladen und progressivem Elektro-Pop veröffentlicht mit 'The Art Of The Lie' sein sechstes Soloalbum.

Obwohl es sich um eine John Grant-Platte handelt, die typischerweise Humor in Tragik einbettet und Wut in Mitgefühl umwandelt, hat 'The Art Of The Lie' eine neue musikalische Ambition, die die politischen und persönlichen Momente in den Songs untermalt. Der harte Kontrast von Schönheit und Grausamkeit macht das sechste Studioalbum des US-amerikanischen Songwriters so zu einem besonderen Hörerlebnis. Die elf Tracks verbinden Kindheitstraumata mit den verhärteten Nachwirkungen im Erwachsenenalter und verknüpfen beides mit der angespannten politischen Situation der Vereinigten Staaten im Jahr 2024.

Ivor Guests Produktionen mit Gastauftritten von Dave Okumu (Gitarre), Robin Mullarkey (Bass), Seb Rochford (Schlagzeug) und der schottischen Sängerin Rachel Sermanni sorgen für die nötige Dramatik auf Grants bisher opulentesten und filmischsten Album, die sich neben der beunruhigenden politischen Aufladung, wie in der ersten geteilten Single 'It's A Bitch' auch manchmal in elegantem Funk entlädt.

John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.

John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.

Limited Anniversary Edition: 180g vinyl, hand numbered, 1000 copies available!
In 1974, Cluster entered the sugar era. This doesn"t mean that they had finally arrived in their promised land, but they had simply moved from Berlin to the country, to a small place called Forst on the river Weser. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster.

Die japanische Postrock-Band MONO meldet sich mit "OATH" zurück, ihrem zwölften Album, diesmal mit genreübergreifender klassischer Orchestrierung und den typischen transzendentalen Gitarren-Klängen einer Karriere, die sich seit vier Jahrzehnte erstreckt. "Was tun wir hier?" Das Jahr 2020 hat das, was einst die Quintessenz des nächtlichen Kiffer-Existenzialismus war, zu einem täglichen Mantra für fast alle Menschen auf diesem Planeten gemacht. Was machen wir mit unserer begrenzten Zeit in diesem Leben? Was ist unser Ziel? Was sollten wir tun? In den letzten 25 Jahren haben MONO Themen wie die Beziehung zwischen Dunkelheit und Licht, Hoffnung im Angesicht der Katastrophe und die Dualität von Geburt und Tod erforscht. Auf ihrem 12. Album, OATH, denken sie über die Zeit nach, die das Leben ausmacht, und darüber, wie man das Beste aus dieser Zeit macht. Aufgenommen und abgemischt mit ihrem langjährigen Freund und Produzenten Steve Albini, beginnt OATH wie ein Sonnenaufgang mit einem langsam aufsteigenden Orchester und Bläsern, wobei sich die gesamte Band Zeit nimmt, die Atmosphäre zu genießen, bevor sie sich dem Glanz anschließt. Während der gesamten 71-minütigen Laufzeit des Albums meditiert MONO auf vielfältige Weise über das Thema Zeit und Leben. Die gemächliche Entwicklung eines Songs, die ein Markenzeichen von MONOs Katalog ist, ist von einer Eleganz durchdrungen, die OATH zu neuen Höhen erhebt. MONO haben sich selbst mit einer universell nachvollziehbaren existenziellen Untersuchung herausgefordert und mit OATH geantwortet, einem Album, das eher wohlwollende Reflexion als flüchtige Erholung bietet. "We live with a vow that hasn't changed since we were children. Hear the wind sing. We are part of the universe. We already know what we should do and what the most important thing in life is." - Takaakira `Taka' Goto, MONO

Die japanische Postrock-Band MONO meldet sich mit "OATH" zurück, ihrem zwölften Album, diesmal mit genreübergreifender klassischer Orchestrierung und den typischen transzendentalen Gitarren-Klängen einer Karriere, die sich seit vier Jahrzehnte erstreckt. "Was tun wir hier?" Das Jahr 2020 hat das, was einst die Quintessenz des nächtlichen Kiffer-Existenzialismus war, zu einem täglichen Mantra für fast alle Menschen auf diesem Planeten gemacht. Was machen wir mit unserer begrenzten Zeit in diesem Leben? Was ist unser Ziel? Was sollten wir tun? In den letzten 25 Jahren haben MONO Themen wie die Beziehung zwischen Dunkelheit und Licht, Hoffnung im Angesicht der Katastrophe und die Dualität von Geburt und Tod erforscht. Auf ihrem 12. Album, OATH, denken sie über die Zeit nach, die das Leben ausmacht, und darüber, wie man das Beste aus dieser Zeit macht. Aufgenommen und abgemischt mit ihrem langjährigen Freund und Produzenten Steve Albini, beginnt OATH wie ein Sonnenaufgang mit einem langsam aufsteigenden Orchester und Bläsern, wobei sich die gesamte Band Zeit nimmt, die Atmosphäre zu genießen, bevor sie sich dem Glanz anschließt. Während der gesamten 71-minütigen Laufzeit des Albums meditiert MONO auf vielfältige Weise über das Thema Zeit und Leben. Die gemächliche Entwicklung eines Songs, die ein Markenzeichen von MONOs Katalog ist, ist von einer Eleganz durchdrungen, die OATH zu neuen Höhen erhebt. MONO haben sich selbst mit einer universell nachvollziehbaren existenziellen Untersuchung herausgefordert und mit OATH geantwortet, einem Album, das eher wohlwollende Reflexion als flüchtige Erholung bietet. "We live with a vow that hasn't changed since we were children. Hear the wind sing. We are part of the universe. We already know what we should do and what the most important thing in life is." - Takaakira `Taka' Goto, MONO

Unveiling an unheard scene: Glossy Mistakes presents "Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993"
Glossy Mistakes is proud to announce the upcoming release of "Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993," a groundbreaking double LP compilation that offers a unique glimpse into the vibrant landscape of Portuguese experimental music. Set to launch on June 10th, this monumental release showcases the evolution and innovation of the Portuguese music scene during a transformative decade marked by political upheaval and artistic experimentation.
Compiled by Glossy Mario and featuring liner notes by Rui Miguel Abreu, "Atlantic Mavericks" captures the essence of a generation of artists who dared to challenge conventions and push the boundaries of what was possible in music.
The compilation stands as a testament to the eclecticism of the Portuguese music scene during this period, featuring a diverse range of genres and styles. From ambient and new age to electro, rock, and synth-pop, "Atlantic Mavericks" offers something for every listener, inviting them to explore the rich tapestry of sounds that defined the era.
The 1980s in Portugal were a time of profound transformation, marked by the aftermath of a peaceful revolution and a burgeoning desire for artistic expression. As the country emerged from political turbulence, a new generation of musicians began to explore uncharted territories, paving the way for a wave of experimentation and innovation.
From the emergence of artists like Rui Veloso and bands like UHF, who ushered in a new era of Portuguese rock, to the founding of independent record labels like Fundação Atlântica and Ama Romanta, the 1980s saw a surge in creativity and a desire for independence within the music industry.
"Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993" offers a comprehensive overview of this dynamic period, featuring tracks that span the spectrum of experimental music. Each song tells a story of artistic evolution and creative risk-taking, reflecting the diverse influences and eclectic tastes of the Portuguese music scene during this transformative decade.
Spanning from 1982 to 1993, the compilation includes contributions from a wide range of artists, including SPQR, Croix Sainte, Linha Geral, Balladium, Ban, Santa Maria, Gasolina Em Teu Ventre!, Fé de Sábio, and Telectu, among others. With each track carefully curated to showcase the breadth and depth of Portuguese experimental music, "Atlantic Mavericks" promises to be a must-have for music enthusiasts and adventurous listeners alike.
"Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993" will be available on June 10th as a double LP release, offering listeners a chance to immerse themselves in the sonic landscapes of 1980s Portugal. Whether experienced on vinyl or through digital channels, this monumental compilation is sure to leave a lasting impression on all who encounter it.

London based brothers, Timoti, launch their new record label, Below Surface, with 4 original tracks from French artist Nikizi.

A1 ‘Church Sound’ consists of groovy baselines, dreamy pads, topped off with an array of trippy effects to keep the mind occupied.

A2 ’We Moving Forward’ is a heavy hitting breakbeat with its rumbling low ends that will have the dance floor shaking.

B1 ‘Hey Back Off’ is an uplifting groover with a constant flow of rhythmical drums to keep the energy running high.

B2 ’Space Sex’ is a mind bending, hypnotic loop with its repetitive drums and dark bouncy baselines keeping the energy going throughout and its “space”vocal delaying and panning around the room will have the listener locked infrom start to finish.

12" EP. Since forming in Lansing, Michigan in 2014, Hot Mulligan have ascended from basements to the buzziest pop-punk band in the scene on the back of three beloved albums; 2018’s Pilot and 2020’s you’ll be ne, and 2023’s Why Would I Watch. Fenton + Honest & Cunning is a double EP with Hot Mulligan's rst two releases, both Fenton and Honest & Cunning releasing in 2015. These two EPs launches Hot Mulligan's career and started building thier buzz in the pop punk world. The band has since played many sold out tours in the US, Europe, and Australia and New Zealand, opened arenas for Fall Out Boy, and are set to continue their ascent in 2024.

Sugaray Rayford is a man with a message and a larger than life personality and voice to deliver it

Working with producer, songwriter Eric Corne for the past 3 albums, the soul-blues powerhouse has crafted an incendiary sound and narrative, combining classic soul melodies and funky R & B grooves with raw blues power.

The pair's first collaboration, 'Somebody Save Me', earned Rayford a 2020 Grammy nomination. Later that year he took home Blues Music Awards for 'Soul Blues Male Artist' and 'B.B. King Entertainer of the Year.' Rayford's follow up In Too Deep won a plethora of awards including the Blues Music Award for 'Soul Blues Album of the Year'.

His new release is entitled 'Human Decency'. The title track is a simple reminder that our similarities are stronger than our differences and in the end, there is no black or white or left or right, there are only hearts and minds.

About the leadoff single, "Run For Cover" a song that takes no prisoners, Q Magazine declares, "The bluesey soul of Rayford comes on full steam with this powerhouse single."

"We're calling people on their bullshit but we're having fun with them. That's my way. I'm gonna tell it to you straight but with love in my heart. I always bring some suga with the salt!" says Sugaray, bellowing with laughter.

An all-star cast lent their talents to the album, including guitarist Rick Holmstrom and singer Saundra Williams who are both from Mavis Staples's band, along with bassist Taras Prodaniuk (Lucinda Williams, Merle Haggard).

The Gloss is the second album from Cola. From their inception Cola have expanded on the d.i.y. ethic of the Dischord and SST eras, creating potent sounds from a minimal palette of drums/bass/guitar and lacing their songs with winsome one-liners and societal commentary. What’s another word for commentary? Gloss, apparently. Never basic, the lyrics reward repeated listening for deeper meanings. David Berman’s poetry-via-garage light pennings are an inspiration, as equally so are the lighter side of UK first-wave New Wave and the Dunedin sound. The results are in the pudding: at times sparse and poetic, at others a thrilling, hook-laden good time, as with the cheeky romantic sketch of a one-night stand that is so overflowing with innuendo-cum-journalism talk that it almost teeters over into self-parody. But the results are the right combination of lightheartedness and sincerity. Romanticism is never far from laughter, and equally never far from righteous anger in the music of Cola: “Pulling quotes now in the dark/Our outlook is restrained/Your tongue might weaken to be-fit your smile/Til nothing ill remains.” ‘nuff said. It's an album bursting with energy and wit and ideas–filled to the margins.

"The seven songs of Tombeaux comprise the Brooklyn-based composer and multi-instrumentalist’s third full-length recording, and her first written and arranged for a large ensemble. Frustrated by the limitations of self-production and solitary home recording, Sridharan set out to create something sonically broader, featuring sitar, vibraphone, woodwinds, horns, strings, and piano. Tombeaux is richly textured and deeply felt, weaving medieval and classical influences into a distinct art pop tapestry that will be much loved by fans of Laurie Anderson, Bel Canto, Anna von Hausswolf, and Julia Holter, who produced the record.

The record’s subject is as expansive as the ensemble; each song is a discrete tale of a death, imagined by Sridharan and told in the first person. From reimagining the work of 16th-century Indian poet Mirabai to exploring Ursula K. Le Guin’s Earthsea afterworld, The Dry Land, to writing about her own grandmother’s death, Sridharan teases out the varied nature of death, applying a broad range of historical and cultural lenses to this great inevitability.

Sridharan was raised by an Indian father who exposed her to Indian classical music and a mother whose passion for history, archeology, and medieval music informed and inspired her from an early age. Her upbringing in the woods of Michigan and high school years on the shores Lake Michigan perhaps further inspired her tendency toward reverie, imagined narratives, and the drama that unfolds between this shore and the next.

Though not intended as an exhaustive survey of ideas of death across cultures, Tombeaux’s scope is impressive, shot through with the feel of a book of short stories, or a performance of tales. It is enchanting and elegantly executed, sensitively shepherded by Holter’s production."

"Marv Won is a Detroit musical alchemist – a street poet laureate entrenched in the battle rap scene, as well as a cinematic world class producer as capable of channeling Dr. Dre as Donald Goines. Marv breaks new ground with his first Mello Music Group album “I’m Fine, Thanks For Asking” - a soul-baring endeavor, that weaves tales of struggle and triumph, drawing inspiration from his storied life in the Motor City.

As one of the most esteemed battle rappers, Marv Won brings a lyrical ferocity to his unapologetically raw and heartfelt rhymes. This album collaboration with Mello Music Group marks a pivotal moment in his career, showcasing a seamless fusion of his word play and production. The album, featuring collaborations with Quelle Chris, Elzhi, Freeway, Rapper Big Pooh of Little Brother and more, cements Marv Won's status in the rap game. Marv Won's storytelling transcends mere verses, painting vivid portraits of life in the D. Over ten self-produced tracks Marv showcases his ability behind the boards with tracks that blend epic orchestration and Joe Louis drums that hit like Tommy Hearns."

2010 release from the critically acclaimed Punk trio. Last year, Screaming Females toured relentlessly in support of their critically acclaimed third album Power Move. Their hard work landed them spots opening for Dinosaur Jr., Throwing Muses, and Jay Reatard, plus dates touring with Arctic Monkeys and the Dead Weather. The year brought them to a wider mainstream consciousness, gaining attention for their Punk Rock sensibilities and their raucous live shows driven by front woman Marissa Paternoster’s famed guitar heroics. On Castle Talk, the trio proves their abilities as more than just a pint-sized guitar shredder. Castle Talk showcases their growth together as a unit, as a band, with some of their most complex and confident songwriting to date.

At the frayed bottom-edge of Indiana - just a moderate bike ride north of Louisville, Kentucky - multi-instrumentalist, artist and songwriter Ryan Davis' Americana-noir soundwaves have been emanating for years in a myriad of forms. As driving force for the lauded State Champion, long-running member of Tropical Trash, administrator of the esoteric and excellent Cropped Out festival, and lone proprietor of the Sophomore Lounge label, Davis lays down his first proper 'solo' release with Dancing On The Edge, a rich, 2LP tapestry of tunes that absolutely glows over seven expansive cuts. It's a pure collage of modernity and heritage. Recorded in early 2023 with help both in-studio and remotely from peers like Joan Shelley, Catherine Irwin (Freakwater), Will Lawrence (Felice Brothers, Gun Outfit, John Early), Jenny Rose (Giving Up), Christopher May (Mail the Horse), Elisabeth Fuchsia (Footings, Bonnie "Prince" Billy), and Aaron Rosenblum (Son of Earth, Sapat), the results herein are melancholic, gentle, minimal yet colorful in mood: a lilting highway accompaniment of crisp instrumentation and a relaxed, amiable approach to vocals with rhapsodic wordsmithery. Fans of the aforementioned artists as well as those of Souled American, David Berman, Kurt Vile and 'Comes A Time'-era Neil should all easily find bounty. While bare-boned and uncluttered in presentation, many of these pieces track over 6 minutes allowing a fair amount of expansiveness. Dancing On The Edge stares down into the navel of the American Experience underbelly with a fair amount of outward reach. Besides the Kosmische-synth and violin stabs reaching into a European element, stately organ swells build a musical bridge between 1969 Southern California and Felt's latter era smooth moves, with layers of intelligent gesture taking this well beyond the realm of its archetypal indie troubadour/acoustic songwriter tag. Music and mint juleps never went down so well together." Originally released via Ryan's own label, Sophomore Lounge, in the US late 2023, it picked up some incredible reviews: best of 2023 in both Pitchfork and Rolling Stone, 9/10 lead review in Uncut, and a raft of other notable publications. "This is the sound of someone bearing a torch." - Bill Callahan (Smog) - RIYL Silver Jews, BPB, Lambchop, Cass McCoombs, Sparklehorse.

LP (coloured white vinyl) + Download Code + Poster Das Trio Topsy Turvy ist die jüngste Entdeckung aus dem scheinbar unerschöpflichen Pool der neuen Wiener Indie-Szene. Theresa Strohmer (Gitarre), Lena Pöttinger (Schlagzeug) und Victoria Aron (Bass) schaffen es auf ihrem Debütalbum, die Energie des britischen Post-Punk der 80er Jahre mit treibenden Surf-Einflüssen und schön schrägen Indie-Pop-Melodien zu verbinden. Auf ihrem knapp dreißigminütigen Debütalbum "Butt Sore", das von ihrem Siluh-Labelkollegen Peter T. von Euroteuro produziert wurde, erschaffen die drei Musikerinnen wunderbare Soundcollagen, die ihre Musik leichtfüßig und dennoch treibend durch die elf Songs ihres Debüts tragen und sich im Spannungsfeld zwischen dem Lo-Fi Spirit der Moldy Peaches und dem Rock'n'Roll der Black Lips bewegen. Trotz vielfältiger und teilweise gegensätzlicher Einflüsse lassen die Songs schöne, verrückte und organische Assoziationen entstehen, die den Hörer auf eine unruhig entspannte Reise mitnehmen. Jeder Song auf dem Debütalbum ist ein absolutes Unikat, ohne dabei gewollt oder wie ein Fremdkörper auf dem zeitlosen und trotz der verschiedenen Einflüsse homogenen Platte zu wirken.Topsy Turvy haben die große Gabe, Ohrwürmer zu kreieren. Diese Fähigkeit macht "Butt Sore" zu einem der spannendsten Alben des Jahres und die Band zu einem Aushängeschild einer neuen Wiener Indie-Szene, die sich mit Gruppen wie Salamirecorder, Telebrains, Potato Beach, Gardens, oder Laundromat Chicks rund um das Label Siluh Records formiert.

Zooparty ist laut Record Collector (UK) ,Schwedens beste Punkband"! Wenn du deinen Punk verdammt eingängig magst, dann kann ich dir das nicht genug empfehlen", so Maximum Rock'n'roll (USA). "No matter what you say" ist ihr sechstes Album und enthält 12 brillante, zeitlose neue Punkrocksongs. Original-Sex Pistols-Basist Glen Matlock ist als Gast mit dabei (und wenn man sich ,Elephants" anhört, ist das wie eine Rückblende/ Hommage an die "Holidays In The Sun"-Zeiten). Außerdem spielt Hans Östlund von The Nomads noch mit. Die Texte wurden zusammen mit Stephen Straughan (UK Subs) und Gaz Moore (The Reverends) geschrieben. Produziert hat Chips Kiesbye (Sator, Nomads, Hellacopters, The Boys etc.) und das Master stammt von Henryk Lipp. Bislang spielten ZOOPARTY dreimal auf dem Rebellion Festival in Blackpool, UK. Sie tourten durch das Vereinigte Königreich, die Tschechische Republik, Deutschland, Irland, Norwegen und Schweden. "No Matter What They Say" ist ein klassisch, zeitlose Punkrock-Juwel! 180gr. 180g-Vinyl Edition in einer Auflage von 300 Stück (weltweit) gesamt, erhältlich in klassisch schwarzem und sehr limitiert auf farbigen Vivyl! Ein Coop-Release von Sunny Bastards (Welt ohne Schweden) & Bollmora Records (Schweden)

Cameleon Records open their vinyl series with a powerful 3-track EP provided by its very owner, Oros. After his first appearance on We Are FTR last year, he wasted no time and launched his own label. On this EP he provides two signature tracks of his own, yet different in style, combining a deep, meditative state with a solid groove to shake the dancefloor. The remix comes from the talented Paul Walter, a figure we all got used to lately, seeing his productions being released on labels such as Pressure Traxx and his very own Meduka. Here he takes over the remix and delivers a bold reinterpretation that best describes his craft.

Zooparty ist laut Record Collector (UK) ,Schwedens beste Punkband"! Wenn du deinen Punk verdammt eingängig magst, dann kann ich dir das nicht genug empfehlen", so Maximum Rock'n'roll (USA). "No matter what you say" ist ihr sechstes Album und enthält 12 brillante, zeitlose neue Punkrocksongs. Original-Sex Pistols-Basist Glen Matlock ist als Gast mit dabei (und wenn man sich ,Elephants" anhört, ist das wie eine Rückblende/ Hommage an die "Holidays In The Sun"-Zeiten). Außerdem spielt Hans Östlund von The Nomads noch mit. Die Texte wurden zusammen mit Stephen Straughan (UK Subs) und Gaz Moore (The Reverends) geschrieben. Produziert hat Chips Kiesbye (Sator, Nomads, Hellacopters, The Boys etc.) und das Master stammt von Henryk Lipp. Bislang spielten ZOOPARTY dreimal auf dem Rebellion Festival in Blackpool, UK. Sie tourten durch das Vereinigte Königreich, die Tschechische Republik, Deutschland, Irland, Norwegen und Schweden. "No Matter What They Say" ist ein klassisch, zeitlose Punkrock-Juwel! 180gr. 180g-Vinyl Edition in einer Auflage von 300 Stück (weltweit) gesamt, erhältlich in klassisch schwarzem und sehr limitiert auf farbigen Vivyl! Ein Coop-Release von Sunny Bastards (Welt ohne Schweden) & Bollmora Records (Schweden)

Budapest’s Alley Catss wants m Helux to serve as both a new station in their work and an homage to the new age-influenced and sample-heavy synthesis of previous albums (such as 2020’s "compassion & paralysis", 2016’s ℶ, or 2021’s "exophage"), and it already feels like a genre unto itself: Absurd Ambient. Inspired by the emptiness and silliness of theatrical sets left empty, devoid of action, still and incomplete, m Helux is an awkward place of bleak humour; poured over and yet frozen.

Produced by Máté Janky over the course of late 2023 through to early 2024, this is an unpredictable collage of hefty symbolic audio mysticism, 90s sampling, dub influences, fractured R&B vocals. It’s nonetheless interspersed with the knowing cheesiness of new agey bells and chimes, at times cut up to cartoonish levels, melding their most laughable and wonderful connotations.

Influenced by the likes of Klein, Alley Catss’ collaging and sampling techniques seek to sonify utopic scholastic visual concepts –poking a dose of fun at them along the way.

These seven tracks shimmer and shake, but never rumble. Alley Catss’ sui generis approach creates a beautiful parody of reference genres. Myriad tropes are desiccated and reworked into an exquisite corpse of blissed out sounds and voices. This is maddening music that’s monstrous and pretty, often all at once.

Octet supergroup lead by Eric Quach aka Thisquietarmy. Including 3 drummers, guitar, synth & brass players (who also play in bands such as Godspeed You! Black Emperor, Exhaust, Hanged Up, Avec Le Soleil Sortant De Sa Bouche & more); Pangea De Futura brings together the merged and emerging territories of Montreal's exploratory music scene.

War Milk is the debut studio album from the supergroup Pangea de Futura, an octet that has been exploring since 2019, the many ways of - slowly - constructing massive textural musical shapes and droning tribal post-rock ambiances. Each track simultaneously encapsulates its structure emerging from and within a flux, alongside its impending entropy, creating a suspended moment. This intense experience is crafted through the combined rhythmic contributions of Aidan Girt, Eric Craven, Samuel Bobony, the merging brass arrangements of Véronique Janosy, Reüel Ordoñez, Neboysha Rakic, the electronic textures provided by Charles Bussières, and the intense drones / soundscapes created by Eric Quach's guitar playing. Eight musicians, involved - in total - in some fifty projects from the Montreal scene (a.o. : Godspeed You! Black Emperor, Silver Mt. Zion, Fly Pan Am, Some Became Hollow Tube, HRSTA, BLD, Black Givre, Avec le Soleil Sortant de sa Bouche...)

Earth, Water, Air, Fire... the genesis of a complex and perpetually evolving life.

Yes, once again, CATS in SPACE are firing on all cylinders and ready to launch their long-awaited, blistering, double, live album this June, together with a documentary style film about their successful 2023 tour. FIRE in the NIGHT - Live was recorded during the ‘Kickstart the Sun - Part II’ theatre tour in 2023 when our fabulous sound crew captured the full two-hour show. As always, this release will be available in CD, vinyl and digital formats and due to the sheer length of the performance will once again be delivering both quality and value on double CD and limited double vinyl LP in a choice of colour variants - Fire red vinyl and spotlight white vinyl. A lead single, and crowd favourite, ‘Johnny Rocket’ was released ahead of the album in March 2024 on all digital platforms. 'For The Love Of It', a film made by James Heron of Carriage Return productions, chronicles the stage production from conception to delivery of the CATS in SPACE Kickstart the Sun tour. It is a detailed insight into the highs and lows of modern-day touring for original rock bands and shows the unique way that the tour was put together. All in all a fantastic opportunity to see behind the curtain before the release of the album! Whilst on the subject of ‘Johnny Rocket’, he is also set to appear later this year, in a full-length feature cartoon book designed and published by Sentinel Publications. The team are putting together the full ‘Johnny Rocket’ story that first appeared on the 2019 Daytrip to Narnia album and is set to be a very special publication. “We are super hopped-up with the recording of the album, thanks to our amazing live engineer Pete Russell and the fans who made every night so special throughout the tour. It really has captured the power and excitement of the band’s show...It will be a fitting finale to our time with Harmony Factory label, as we head down a new flight path for a very exciting future for all of us in CATS in SPACE. More to be revealed soon! As ever we have a LOT going on this year so keep your eyes peeled for updates…we are all thrilled to bits!”

Yes, once again, CATS in SPACE are firing on all cylinders and ready to launch their long-awaited, blistering, double, live album this June, together with a documentary style film about their successful 2023 tour. FIRE in the NIGHT - Live was recorded during the ‘Kickstart the Sun - Part II’ theatre tour in 2023 when our fabulous sound crew captured the full two-hour show. As always, this release will be available in CD, vinyl and digital formats and due to the sheer length of the performance will once again be delivering both quality and value on double CD and limited double vinyl LP in a choice of colour variants - Fire red vinyl and spotlight white vinyl. A lead single, and crowd favourite, ‘Johnny Rocket’ was released ahead of the album in March 2024 on all digital platforms. 'For The Love Of It', a film made by James Heron of Carriage Return productions, chronicles the stage production from conception to delivery of the CATS in SPACE Kickstart the Sun tour. It is a detailed insight into the highs and lows of modern-day touring for original rock bands and shows the unique way that the tour was put together. All in all a fantastic opportunity to see behind the curtain before the release of the album! Whilst on the subject of ‘Johnny Rocket’, he is also set to appear later this year, in a full-length feature cartoon book designed and published by Sentinel Publications. The team are putting together the full ‘Johnny Rocket’ story that first appeared on the 2019 Daytrip to Narnia album and is set to be a very special publication. “We are super hopped-up with the recording of the album, thanks to our amazing live engineer Pete Russell and the fans who made every night so special throughout the tour. It really has captured the power and excitement of the band’s show...It will be a fitting finale to our time with Harmony Factory label, as we head down a new flight path for a very exciting future for all of us in CATS in SPACE. More to be revealed soon! As ever we have a LOT going on this year so keep your eyes peeled for updates…we are all thrilled to bits!”

Originally released in 1987, Life Time is the full-length debut by Rollins Band. This reissue—released on ROLLINS’ 2.13.61 label—has been remastered for vinyl by TJ LIPPLE and includes updated artwork by JASON FARRELL. Henry Rollins on Life Time: “Life Time is the first studio record by the Rollins Band. We did our first practice on 04-07-87 and went out on a long tour of America and Europe. On the road we wrote songs and put them into the set. By late October we finished the shows in London, UK. We went up to Leeds where Chris had a place to live and booked studio time at the same place that he and I did the Hot Animal Machine recordings a year before. I had no producer for this record and feared that since everyone in the band had strong opinions on how it all should be done that if we tried to do it ourselves we would do more harm than good. I called Ian MacKaye and asked for help. He got on a plane and came right out. That's Ian. We got straight to work as we had little time or money. All twelve songs were cut and mixed in a few days. We would do a take and Ian would tell us that it was good and we were moving on. When someone would say that they wanted to do it over again, he listened patiently and then asked again which song we wanted to do next. We got it all done and dragged it back to America for about 3,200 dollars. My, how things have changed. The album cover was drawn on the back of a diner place mat by Stephen Myers as a gift for my then roommate, Laura. Only the offset reproduction of the piece remains as the original went with her when she gave up her room. She shot herself a few years ago. Special thanks to Ian for coming to the rescue on such short notice. Thanks to you for checking this out.” Download code for full album plus live tracks. Also comes with lyric insert.

We're old and familiar friends. These compositions represent the thing that happens when we get together. They aren't representative of one individual, one moment in time, or one chain of decisions. Some are ancient refrains, beginning life as habits and warm-ups, in-jokes; others are distilled jams; more still are refined from MIDI sketches and ideas whistled into voice notes. On whatever terms these elements become something we're happy to stand in front of you and play, to put on record, so be it.” So ANTA describe the process behind 2024's Organesson. Characteristic of the Bristolian Sci-Prog quartet, the record weaves together mesmerising, muscular riffs in insanely loud compositions that extend well into excess. Less typical is the polarisation at play, where granular polymeters will yield in an instant to passages of one or two-note simplicity. The record strides from one raging refrain to the next, lurching between devastation, joy, chaos, and stirring the themes accumulated along the way in exposition. “It comes down to those precious sweaty hours” the group suggest, “in which we get to vibrate these sounds into your face and chest, and you can dance and laugh with us. This is the stuff we remember and plan for, the moments we talk about the most when writing these songs.” ANTA's live shows, ceaseless onslaughts of deafening riffs, have been notable for maintaining the same intense energy among festival crowds or to three people in a basement. Walls of amps going full-pelt. Pounding, ornate drums and metals, wherein drummer James King is relentless in discovering strange and mighty rhythms. Full-drawbar organs, electric pianos, piercing synths from keys-man Alex Bertram-Powell. Joe Garcia's growling bass that strides rather than walks. Ben Harris' all-encompassing, dizzying guitars. Hypnotic, communal, compelling, indefinite energy. Organesson is the latest effort to put this feeling on record.

Worst Case Scenario started out in 1994 with Justin Trosper and Brandt Sandeno from Unwound as another of the many bands they formed together. That summer was a little slow for Unwound’s hoped-for tour schedule so they decided to start another hardcore-influenced band while working day jobs. As they began practicing in the basement of the Olympia punk house “Lucky 7”, long time friend and roommate Chris Jordan jumped in as the vocalist. Sandeno soon recruited his college friend, Scott Larsen, that had recently moved from Minneapolis. They quickly wrote about an album’s worth of songs and recorded them with Tim Green at the Red House for a “demo tape” that Tobi Vail released on her tape label, Bumpidee. 1995 saw another Tim Green recording with 7-inch records on Lookout Records and Troubleman. This LP contains all of the forementioned material. In 1996 they recorded a full length record with “Seasick” Steve Wold in Olympia for Vermiform which resulted in the self-titled vinyl LP and The Complete Works of Worst Case Scenario CD collection a year later. WCS played a few random shows, mostly in Olympia, with friends’ touring bands from 1994-96 and set up a national tour for the summer of ’97. Shortly before the tour Jordan was injured in a random accident and then Larsen broke his wrist in a work accident, rendering the band unable to embark on the tour. To cap it off, the one sheet of paper that had all the venues’ contacts for the tour was destroyed in a laundry related incident and the band was unable to properly cancel the tour. Apropos to their name. They disbanded amicably later that year with members moving away from town and taking on more demanding tour and work schedules.

Colored edition : Black & Silver vinyl. Standard edition is sold out.

Official reissue. New remastering vinyl of the 1979 LP by Colin Potter + "silver edition" Gatefold cover + complete NWW list on Gatefold inner


Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella is the debut album by British experimental unusual and absurd music group Nurse With Wound, released on their own United Dairies label in 1979. An unusual record which blends noise and jamming.

The album's equally unusual title is a quote from the surreal, poetic novel Les Chants de Maldoror by Uruguayan-born French author Isidore-Lucien Ducasse, written under the pseudonym Comte de Lautréamont.It has been included in the "100 Records That Set the World on Fire (While No One Was Listening)" by TheWire in 1998, and is one of the records that have had a lasting impact on avant-garde, experimental and psychedelic music.It was on this record that the famous "NWW list" appeared for the first time, featuring dozens of names of musicians and groups who had influenced Nurse With Wound - a list that now serves as a treasure map for many collectors of the genre and fans of outsider music. It's been replicated here in the innersleeve of the gatefold.

As the winds of music blow, a wise heart navigates the spiral, finding wisdom in each of its twists and turns.

As the releases of DUBBLACK’s catalogue pile up, the novelty and exploration for new music keeps on thriving.


A brand-new record is approaching, as always available both on a 12” vinyl – limited to 300 copies – and in digital format, featuring the presence of two Masters from the Electronic Music scene: A2 Abd El Monim and Tocchitek.


The two-track EP baptised “Dark Side” includes the gems “Euriale” and “Steno”; two expansive compositions that, also due to their length, masterly observe the task of narrating two complementary stories, each with its distinct moments, yet marked by a strong rhythmic temper. Both tracks are planned to share similar sonic elements: a pulsating 160 bpm kick drum, ghostly pads serving as an inevitable backdrop, and indispensable rhythmic details enriching the whole structure and arrangement.


A2 Abd El Monim, born Alan Abd El Monim, is an Italian-Egyptian artist/composer. He expresses himself through the creation of music ranging from electronic to purely instrumental, and through the interaction between the arts. His poetics opens in a “dark” dimension that considers and interprets the facts through the notion of shadows and darkness but also through penombre. His “dark” vision stands as a filter through which he reads the world and its interactions, therefore using also the notion of light. His music has been performed in Festivals including Musica d’arte (Riccione – Italy), Luci d’Artista (Salerno – Italy), GAMO (Firenze – Italy), Spazio Musica (Cagliari – Italy), On Air – On site (Den Haag -Netherlands), Sound Spaces (Malmö – Sweden), etc.


He composed songs for the solo exhibition “La pelle degli oggetti” and for works Lui&Lei by the artist Giovanni Oberti. In 2020 he undertook a collaboration with the poet Milo De Angelis , putting to music the lyric “A volte , sull’orlo della notte, si rimane sospesi”. He wrote music for several theatre performances by director Emily Tartamelli and has written music for several directors films including Reto Gelshorn, Enea Francia, Paola Piscitelli and Fabio Corbellini. He collaborated with the London based fashion brand B DODI and was invited as an artist to participate in the collective exhibition “Instructions to Light-Keepers” (Milano – Italy). In March 2023, “Periodo Nero”, its interactive and generative installation music and video, was selected for the tribute to Picasso in the city of Florence, will be presented at the Certosa of Florence in September of the same year. In 2017 he won the International Competition of Composizione Silenzio Musica, in 2020 the diploma from President and Artistic Director of Winterreise International Composition Competition Moscow, in 2021 the Call For Scores banned by the Cultural Association Esecutori di Metallo su Carta. A2 Abd El Monim is signed to international label F.M.T Records and Dubblack Records, with which he regularly publishes his electronic music.


Tocchitek is an underground Tekno producer and performer born in Milan, Italy. He started playing live in 2007 as part of the “Approdo Caronte” sound system based in Milan. His first significant appearance as a live performer was at a “Mayday Parade” in 2008 in Milan. In 2009, he joined the “R909 Records” chapters crew based in Milan, bringing his live set to many local club dance floors. Meanwhile, he collaborated and played with many crews around Europe, spreading his music in the free Underground Tekno movement. In 2021, in Milan, he launched “F.M.T Records”.


Simplicity is often the hardest thing to achieve when producing this type of music, primarily designed for uncompromising dance-floors, but the duo successfully channels their message with purity and truthfulness.


The visual aspects of layout and design are once again entrusted to Vittorio Valigi, who puts a greyscale spiral at the center of the cover. A spiral within which one an eye can be glimpsed – the eye of the musical soul of DUBBLACK harmoniously fused with that of A2 Abd El Monim and Tocchitek, who become worthy ambassadors of the Dubblack’s sonic mission.

Der Produzent, DJ, Songwriter und Musiker Roosevelt veröffentlicht sein mit Spannung erwartetes neues Album auf Counter Records! „Embrace“ ist der Nachfolger seines gefeierten Albums, „Polydans“, aus dem Jahr 2021 und ein klanglich lebendiges und zutiefst persönliches kreatives Statement des deutschen Multiinstrumentalisten, der sich schnell einen Ruf als eines der innovativsten Musiktalente der Welt erarbeitete.
„Embrace“ wurde komplett von Roosevelt (bürgerl. Marius Lauber) geschrieben, aufgenommen und produziert. Das Album enthält zutiefst persönliche Texte und gefühlvolle Instrumentalstücke, wie man sie bislang von früheren Roosevelt-Veröffentlichungen noch nicht kennt. Da er sich von der Musikindustrie entfremdet fühlte und mit dem Impostor-Syndrom kämpfte, nahm Lauber sein Heimstudio mit auf Tour, um sich wie nie zuvor voll und ganz in den Schreibprozess zu vertiefen. Mit improvisierten Setups in Städten auf der ganzen Welt hat Lauber ein Album geschaffen, das gleichermaßen intim und groß klingt, mit kaleidoskopischen Synthesizer-Arrangements und süchtig machenden Disco-Basslines. Der Titel des Albums entstammt Laubers Erkenntnis, dass viele seiner Freunde aus der Kindheit mit 30 Jahren „richtige Jobs" gefunden hätten, während er immer noch on the road war und den Lebensstil eines Künstlers lebte - der Titel „Embrace“ fungiert dabei als Hinweis an den Künstler selbst - eine Erinnerung daran, die unvorhersehbaren Wendungen des Lebens zu akzeptieren. Roosevelts ohnehin schon sehr geschäftiges Jahr 2023 folgt auf frühere hochkarätige Kollaborationen mit Nile Rodgers, Classixx und Washed Out sowie auf wichtige Remixe für Künstler:innen wie Taylor Swift, CHVRCHES, Glass Animals und Charlotte Gainsbourg.

Folly Group become the first band on Ninja Tune imprint Technicolour
(Elkka, Sofia Kourtesis, VTSS) with their new EP ‘Human and Kind’.

The four-piece of Sean Harper, Louis Milburn, Kai Akinde-Hummel and Tom Doherty formed in the tumultuous melting-pot of the London musical circuit. They released their debut EP ‘Awake and Hungry’ last year, receiving wide acclaim for their electronic infused post-punk sound and furiously brilliant live shows, landing coveted slots at Pitchfork Music Festival, in NME’s 100 Artists On The Rise and a co-sign from IDLES’ singer Joe Talbot.

Speaking about the EP, Folly Group said: “Where ‘Awake and Hungry’
doubled as a diary of the band’s formative months and encapsulation of our live show, ‘Human and Kind’ is a projection of our ambition, and our desire to push ourselves through what we might previously have
perceived as the ceiling of possibility for four players.”

For fans of Black Country, New Road, Squid, Yard Act, Black Midi, Dry Cleaning, Shame, Do Nothing.
140g crystal clear vinyl in 12” sleeve with spine and printed inner, plus
digital download code. Pressed sustainably within a 99% circular
environment at Deepgrooves.

“Every track is so good. They haven’t released anything that isn’t
amazing.” - Joe Talbot (IDLES, speaking on BBC 6 Music)
“thriving in well-crafted chaos.” - NME
“brilliant, experimental jungle rock” - i
“Give me that post-punk syncopation any day of the week” - Lauren
Laverne, who has made the band’s last three singles (including ‘I Raise You…’) her While You Were Sleeping Track Of The Day.
Headline UK Tour starting 31 March, taking in London, Bristol,
Manchester, Leeds, Birmingham, Nottingham, Margate, Newcastle,
Southampton, Milton Keynes and more.

To celebrate its 25th release of its regular series, long-standing Minimood unleashes a 2x12" monster assembling Tobias Oliver, Die Wilde Jagd, AU Cheek, Ray Okpara, Bluetrain, JS, and Anton Kubikov. The sleeve has been designed by Milano based sculptor Tillmann Lauterbach and every record also contains a limited art print of his as a mighty extra.

The 9th studio album of the band tumido features trumpet player Alex Kranabetter (Soap and Skin, Vodoo Jürgens). For more than 20 years Tumido has been on the lookout for something new, always on the move, focused on energy in any form, driving rhythms, powerful bass, spacey drones. Trumpet has always been a big part of their sound universe, so it felt very natural to collaborate with a master of trumpet sounds, Alex Kranabetter and record an album together.
Lithox - a maelstrom you can't escape, sucked in by a hypnotic bass & driving rhythms into a trance world you don't want to leave Dwa - a summer hit out of Hades on the slide to hell.
180° - a volcanic eruption on a lonely island - pure energy; Dirt Rodeo - the branches of the fire tree dance with laughter, clouds of smoke cloud the senses and the landing is a success.

‘Empires into Sand’ is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early 80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep.
‘Empires into Sand’ came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record ‘Return of the Ranters’ (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. Normil Hawaiians played a launch show for that ‘lost album’ and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO. They were even chosen by Richard Dawson to perform with him in London.
Throughout this time, Normil Hawaiians revisited their original songs for live performance. However for a group always so interested in evolving their sound, it came as no surprise that they shirked at the idea of a faithful retread. The band pushed their songs into new inventive dimensions, still progressive at core, but now imbued with a cosmic uncanny. A cinematic approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world.
When Normil Hawaiians write and record music they prefer to gather in a remote location and live together for a while, such is their communal ethos. Being far-flung across the UK, the Family Hawaii (numbering seven key members) decided to encamp to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains the process neatly: “we set up and began playing, slowly and patiently, allowing the music to take its own shape based on where we were staying and our ongoing friendship. We recorded for days, capturing everything. A lot of new and rich ideas began to emerge”.
Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also performing in the band, this marked the first time the band had total control of their own sound. The last few years has seen the band reconvene in Herne Bay, Faversham, London and Leith to record new parts, constantly responding to the changing form of these quietly spectral songs of defiance.
‘Empires into Sand’ incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short wave radio and satellite transmissions also embellish the work. In fact the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. ‘Exiles’ opens the album amid swirling atmospheres, synth flights and recordings of Vilnis Egle (father of Zinta Egle from the band) retelling his experience of fleeing his home in Latvia during Soviet occupation in 1942. George Bikandy also features on this track talking about his flight from Syria in 2014. ‘Ghosts of Ballochroy’ is a winding river of a song featuring a lively discourse in Scots courtesy of Rodney Relax. There’s a commitment to truth telling present across this hopeful album populated with angels, incoming tides, long shadows and the rose-washed sun. “From our broken windscreen, we feel the breeze” soars Guy Smith triumphantly over the driving beat of ‘Waterfalls : Bedford 330’. ‘Big City Sky’ flutters and sparkles with rapid synth runs, tape-looped drums and Jimmy Miller’s commanding vocal. With ‘In The Stone’ Zinta’s melody is deliberately jagged and blunt, exaggerated by octave-layered vocals and interjections from Guy.
This is thought-provoking, boundary-bothering music. Honest in intent, a solidarity of vision. The album’s title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group’s wish for the album: “we wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges.” ‘Empires into Sand’ certainly does that, it’s an echo from the past, an echo from the future.

Radiosoul", das zweite Studioalbum von Alfie Templeman, ist eine anspruchsvolle Sammlung von Tracks, die eine neue, mutige Acid-Pop-Richtung des
in Bedfordshire geborenen Multitalents aufzeigen. An der Produktion des Albums waren neben Templeman auch Nile Rodgers, Dan Carey, Karma Kid,
Oscar Scheller, Will Bloomfield, Justin Young, Josh Scarbrow und Charlie J Perry beteiligt.
Es ist ein Album der Selbstfindung, das nach Lust und Laune zwischen den Genres hin und her springt und Templemans Lyrik mit neuer Schärfe und
bissigem Humor präsentiert, ohne dabei die Freude zu verlieren, die seine früheren Veröffentlichungen auszeichnete. Es ist das Werk eines
ungeheuer talentierten Songwriters, der wirklich zu sich selbst findet.

"Tagträumer" heißt das mit Spannung erwartete zweite Studioalbum von ErnstFall. Auf den 11 brandneuen Songs erzählt Frontmann Dominic Ernst von den Träumen die uns alle antreiben, Geschichten aus dem eigenen Leben, direkt aus den Straßen und Clubs, die er sein Zuhause nennt. Es geht um Höhen und Tiefen bis hin zu Träumen die ihn am Laufen halten. Dieses Album bietet eine unverblühmte Dartstellung dessen, was es bedeutet, ein echter Tagträumer zu sein.
Musikalisch haben ErnstFall im Vergleich zu ihrem Debütalbum "Jungs bleiben Jungs" noch mal eine Schippe drauf gelegt. Mit Features von Bands wie HERBST und dem renommierten Produzenten Warthy wird "Tagträumer" zu einem Kunstwerk, das die Vielfalt und die Gemeinschaft des Punkrocks zelebriert und dabei überraschend massentauglich ist. Mit ihrer Mischung aus deutschsprachigem Rock, Punk und Ohrwurm-lastigen Melodien führen ErnstFall ihren Weg nach oben kontinuierlich weiter!

"Tagträumer" erschein als limited Splatter Vinyl, Digipak inkl. Poster

SAM MORTON, das musikalische Duo, bestehend aus der Sängerin, Songwriterin und jüngst mit dem BAFTA (dem britischen Äquivalent zum Oscar) ausgezeichneten Schauspielerin und Regisseurin Samantha Morton und dem Musikproduzenten und Co-Songwriter Richard Russell, veröffentlichen ihr gemeinsames Debütalbum. Das Album trägt den Titel "Daffodils & Dirt" und wird am 14. Juni über XL Recordings veröffentlicht. In zwölf atmosphärischen Tracks bauen die beiden eine zutiefst persönliche musikalische Welt auf, die gleichzeitig intim und zart, aber auch kraftvoll und mitunter schroff wirkt. In der teilweise autobiografischen Songfolge bilden Russells spartanische Klanglandschaften das fragile Gerüst für Mortons wunderschönen wie ätherischen Gesang. Unterstützt werden sie dabei von einer Reihe musikalischer Freunde. Darunter Alabaster DePlume, Laura Groves, Jack Peñate und als zusätzliche Sängerin Ali Campbell (bei "Broxtowe Girl"). Obwohl Samantha Morton schon ihr ganzes Leben lang Musik liebt und sich mit ihr beschäftigt, ist dies ihr erstes Projekt als Musikerin überhaupt. Die Zusammenarbeit kam zustande, nachdem sie im Oktober 2020 in der BBC-Sendung "Desert Island Discs" auftrat und Russell zufällig zuhörte. Er war nicht nur von ihrer Songauswahl beeindruckt (einschließlich der gemeinsamen Vorliebe für ein bestimmtes Lied: "I Remember" von Molly Drake), sondern auch von der Art und Weise, wie die Musik ihre Lebenserfahrungen verwebt. Die beiden nahmen Kontakt auf und tauschten Ideen, Skizzen und Gedankenströme aus. Schließlich trafen sie sich Monate später im Studio und begannen eine spontane wie intensive und ergebnisoffene Zusammenarbeit, die sich für beide Künstler als kathartischer musikalischer Prozess erwies. "Daffodils & Dirt" wurde schließlich 2023 fertiggestellt und zeigt, wie es klingt, wenn Sound-Kosmen miteinander zu einer wunderschönen Fusionen verschmelzen. "Daffodils & Dirt" ist digital und als CD, LP und exklusive gelbe Indie-Vinyl erhältlich. Das Cover des Albums zeigt ein Archivfoto des renommierten britisch-amerikanischen Fotografen und bildenden Künstlers Nick Waplington, der das Leben in Nottinghams Broxtowe Estate zur gleichen Zeit dokumentierte, als Morton dort Mitte der 1980er Jahre aufwuchs. Bereits heute erscheint die neue Single "Let"s Walk In The Night" aus dem Album. "Let"s Walk In The Night" ist eine gespenstische, jenseitige Neuinterpretation des britischen Street Soul und wird von einem Video begleitet, bei dem Samantha Morton selbst Regie führte. Das Video wurde auf der jährlichen Goose Fair in Nottingham gedreht und ist das zweite Musikvideo, bei dem Morton Regie geführt hat, nach dem Video zu "Cry Without End", in dem sie auch die Hauptrolle spielte Anfang des Jahres.

SAM MORTON, das musikalische Duo, bestehend aus der Sängerin, Songwriterin und jüngst mit dem BAFTA (dem britischen Äquivalent zum Oscar) ausgezeichneten Schauspielerin und Regisseurin Samantha Morton und dem Musikproduzenten und Co-Songwriter Richard Russell, veröffentlichen ihr gemeinsames Debütalbum. Das Album trägt den Titel "Daffodils & Dirt" und wird am 14. Juni über XL Recordings veröffentlicht. In zwölf atmosphärischen Tracks bauen die beiden eine zutiefst persönliche musikalische Welt auf, die gleichzeitig intim und zart, aber auch kraftvoll und mitunter schroff wirkt. In der teilweise autobiografischen Songfolge bilden Russells spartanische Klanglandschaften das fragile Gerüst für Mortons wunderschönen wie ätherischen Gesang. Unterstützt werden sie dabei von einer Reihe musikalischer Freunde. Darunter Alabaster DePlume, Laura Groves, Jack Peñate und als zusätzliche Sängerin Ali Campbell (bei "Broxtowe Girl"). Obwohl Samantha Morton schon ihr ganzes Leben lang Musik liebt und sich mit ihr beschäftigt, ist dies ihr erstes Projekt als Musikerin überhaupt. Die Zusammenarbeit kam zustande, nachdem sie im Oktober 2020 in der BBC-Sendung "Desert Island Discs" auftrat und Russell zufällig zuhörte. Er war nicht nur von ihrer Songauswahl beeindruckt (einschließlich der gemeinsamen Vorliebe für ein bestimmtes Lied: "I Remember" von Molly Drake), sondern auch von der Art und Weise, wie die Musik ihre Lebenserfahrungen verwebt. Die beiden nahmen Kontakt auf und tauschten Ideen, Skizzen und Gedankenströme aus. Schließlich trafen sie sich Monate später im Studio und begannen eine spontane wie intensive und ergebnisoffene Zusammenarbeit, die sich für beide Künstler als kathartischer musikalischer Prozess erwies. "Daffodils & Dirt" wurde schließlich 2023 fertiggestellt und zeigt, wie es klingt, wenn Sound-Kosmen miteinander zu einer wunderschönen Fusionen verschmelzen. "Daffodils & Dirt" ist digital und als CD, LP und exklusive gelbe Indie-Vinyl erhältlich. Das Cover des Albums zeigt ein Archivfoto des renommierten britisch-amerikanischen Fotografen und bildenden Künstlers Nick Waplington, der das Leben in Nottinghams Broxtowe Estate zur gleichen Zeit dokumentierte, als Morton dort Mitte der 1980er Jahre aufwuchs. Bereits heute erscheint die neue Single "Let"s Walk In The Night" aus dem Album. "Let"s Walk In The Night" ist eine gespenstische, jenseitige Neuinterpretation des britischen Street Soul und wird von einem Video begleitet, bei dem Samantha Morton selbst Regie führte. Das Video wurde auf der jährlichen Goose Fair in Nottingham gedreht und ist das zweite Musikvideo, bei dem Morton Regie geführt hat, nach dem Video zu "Cry Without End", in dem sie auch die Hauptrolle spielte Anfang des Jahres.

Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the signing of the eagerly anticipated debut album by London singer-songwriter and renowned DJ Iraina Mancini. Iraina’s singular pop vision will be known to regular listeners of 6 Music, where her singles ‘Undo The Blue’, ‘Deep End’, ‘Shotgun’ and ‘Do It (You Stole The Rhythm)’ have all been enthusiastically embraced. Iraina's obsession with music stretches back into her early childhood, much of which was spent absorbing her parents’ collection of old 45s, in particular her dad’s Northern Soul records – an alternative education which meant that, by her early 20s, she was a familiar presence in the DJ booth at many discerning London club nights. Her love of French ye-ye, British freakbeat, Brazilian bossa nova, soul, and Turkish psych will be well-known to regular listeners of her Soho Radio show. Having always sung from a young age, Iraina embarked on a string of collaborators such as Jagz Kooner (Sabres Of Paradise), Sunglasses For Jaws (Miles Kane) and Simon Dine (Paul Weller, Noonday Underground) which truly saw her find her metier as a songwriter, conjuring melodies that stand shoulder to shoulder alongside her impeccable influences. Iraina describes her first single for Needle Mythology ‘Cannonball’ as “a celebration of that moment when you meet someone you really fall for and it knocks you for six. It can be a bit scary, but you’ve just got to go with what your intuition is telling you.” Written with Simon Dine, the vertiginous heart-in-mouth abandon of the song perfectly mirrors the circumstances that brought it into being. Iraina cites Jacqueline Taïeb’s 1967 single 7h du Matin as an early inspiration for the song: “There’s such a great energy about that song. Her vocal is amazing and all those stops and starts that grab your attention.” “This is an artist I absolutely love, one of our rising stars at 6Music.“ Lauren Laverne BBC 6Music “Iraina seizes on the best aspects of the past, blurring those impeccable 60s and 70s influences with a touch of modernity.” Clash “Full of femme fatale poise and swooning chanteuse flourishes.” The Times

Jetzt auch als Neuauflage in Ltd. Edition Rotem Vinyl erhältlich!

"Songs are like tattoos" - die berühmte erste Zeile von Joni Mitchells "Blue" - ist ein Gefühl, das für die kanadische Rockerin Lee Aaron schon immer eine große Rolle gespielt hat.
Im Laufe ihrer 18 Alben umfassenden Karriere hat Aaron Musik geschrieben, aufgenommen und produziert, die mit Gold und Mehrfach-Platin ausgezeichnet wurde. Sie gilt als eine der besten Rocksängerinnen Kanadas und hat auch Ausflüge in den Jazz, Blues und sogar in die Oper unternommen. Dafür erhielt sie zahlreiche Preise und Auszeichnungen und wurde 2023 in Kanadas Walk of Fame aufgenommen.

"Das Einzige, was ich noch nie gemacht habe, war ein komplettes Cover-Album", sagt Aaron. "Es schien mir ein wirklich cooles und superlustiges Projekt zu sein, das ich zu diesem Zeitpunkt in Angriff nehmen wollte..."

"Tattoo Me" ist eine klangliche Zeitkapsel, die die Jahrzehnte überbrückt. Einmal mehr zementiert Aaron ihren Status als Rock'n'Roll-Chamäleon, indem sie Altes mit Neuem verbindet und damit nicht nur beweist, dass die transzendente Kraft der Musik niemals aufhört, sondern dass auch sie selbst nicht bereit ist, dies in absehbarer Zeit zu tun.

"Ich bin neu in der Hamburger Schule" haben Tocotronic 1995 gesungen. "Die Lehrer sind alle ganz nett hier und die meisten meiner Mitschüler auch." Doch wer sind die "Lehrer" dieser 1993 gegründeten Band, die erst spät zu der unter dem Namen "Hamburger Schule" bekannten Szene gestoßen ist? Und wie blicken die "Mitschüler" heute auf die Musikszene, die sich ab Mitte der Achtziger an den Tresen, in den Übungsräumen und Konzertsälen der Hansestadt entwickelte? Zu einer Zeit als Deutschpunk stumpfer und die Neue Deutsche Welle schlagerhafter wurde, entstand irgendwo dazwischen etwas Neues, Eigenes. Noch ohne Trainingsjacken, Seitenscheitel und deutschsprachige Texte herrschte zunächst eine musikalisch wilde Mischung vor - Alternative neben Northern Soul, Punk neben Noise, Pop neben Instrumentalmusik. Erst nach und nach schälte sich der deutschsprachige, intellektuelle Diskurspop heraus, der zum Markenzeichen - und Klischee - der Hamburger Schule wurde und Bands wie Blumfeld, Die Sterne oder Tocotronic zu überregionaler Bekanntheit führte. "Der Text ist meine Party" begleitet zahlreiche Akteur:innen auf ihrem Weg aus der Provinz nach Hamburg. Viele der Musiker:innen hatten in der Punkszene die Selbstermächtigung, den Do-it-yourself-Ethos erlernt und gründeten Bands und Tonstudios, Labels und Konzertorte. "Der Text ist meine Party - Die Hamburger Schule 1989-2000" ist das musikalische Pendant zum gleichnamigen Buch von Jonas Engelmann (Ventil Verlag). Auf der Compilation finden sich viele Musiker:innen, die auch im Buch zu Wort kommen und einige mehr.

Brachiales Drumming, ein massiv drückendes Basslick und kreischende Gitarren - so eröffnet der heißeste Postpunk-Newcomer vom Monte Scherbelino - dem Trümmerberg aus dem 2. Weltkrieg auf dem Birkenkopf Stuttgarts - sein unverschämt souveränes Debütalbum "Scherbenhügel". Die 2021 gegründeten BERLIN 2.0, um die mit ihrer sonoren Stimme gesegneten Ausnahme-Vokalistin Elena Wolf, liefern damit ein absolutes Highlight ab, unter dessen waviger Oberfläche immer eine nicht von der Hand zu weisende, rohe Punkrockbasis lauert, die sich natürlich auch in den exzellenten deutschsprachigen Lyrics niederschlägt. Hardcore-Versatzstücke vermengen sich mit dem Einfluss von US Deathrock, bergen aber eben auch diese herrliche Pop-Affinität, die die 10 Stücke von "Scherbenhügel" gleichsam so fordernd und fragil wie dringlich und emotional wirken lassen. Zwar erwachen durchaus wohlige Erinnerungen an Bands wie Xmal Deutschland, II. Invasion, EA 80, Hysterese oder die Terrible Feelings, BERLIN 2.0 definieren auf "Scherbenhügel" aber meisterhaft ihren ganz eigenen wehmütig-desillusionierten Sound, der einen sofort einfängt und einfach nicht mehr los lässt.

Ella Fitzgerald was an great American jazz singer, sometimes referred to as the "First Lady of Song", "Queen of Jazz", and "Lady Ella". She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a "horn-like" improvisational ability, particularly in her scat singing. Louis Armstrong, nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz. Together Ella & Louis recorded various songs. On this 3 LP in a gatefold sleeve the complete “Ella & Louis”& “Ella & Louis Again” albums (30 tracks). All these tracks were recorded in Hollywood in 1956 & 1957 with on most tracks Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass. Buddy Rich played drums on Ella & Louis. Louie Bellson drums on the “Ella & Louis Again” tracks. This Classic Albums Collection is a must have for music lovers.

As part of the series - Blockhead presents his new album, Luminous Rubble, where the artist dives deep into KPM’s iconic music and sound design library. Blockhead has released 15 albums over the past 15 years and is regarded as one of the modern masters of instrumental hip-hop. It’s a producer’s dream: Being given access to a vast library of material to construct something completely new and exciting out of all of it and when Blockhead’s at the controls, the results are a listener’s paradise, too. The New York City-based hip-hop production legend’s Luminous Rubble is the latest missive in a particularly busy period for the underground hip-hop veteran, who’s spent the last decades lending his considerable talents to work from artists like Armand Hammer, billy woods, Murs, and Open Mike Eagle; in 2021, he released the critically acclaimed collab LP Garbology with rap legend and longtime collaborator Aesop Rock, just last year he unleashed his twelfth solo album, The Aux. “For me, as a producer who uses samples, there’s nothing better than free rein. That was so exciting for me. Their vault is the one I’m most familiar with,” he says with a laugh. “Back when I used to go record shopping a lot, I would pretty much buy any KPM record on sight. They were always a huge find at record stores. So to be able to tap into these records with no limitations was really nice. Having no boundaries can be overwhelming when it comes to the creative process. Working with these samples forced me to find middle ground in cases where I’d typically just walk away and look elsewhere.” After hearing Luminous Rubble, you’ll be happy he stuck around.

Multi-platinum country artist Sara Evans known for chart-topping hits like "Sud in the Bucket " and "A Little Bit Stronger," is poised for a new chapter. This March marked her debut on Melody Place Records with the release of the single "Pride" and her long awaited album, Unbroke. Simultaneously, she's preparing to unveil an updated version of her memoir, "Born To Fly," through Howard Books, a Simon & Schuster imprint. Expect this insightful memoir to hit shelves this Summer, offering readers a deeper understanding of Sara Evans beyond her musical achievements. Add in the recent launch of her lifestyle podcast and "Diving in Deep" and a plethora of TV appearances expect to see (and hear) Sara Evans everywhere.

"Grand Slam’s album Hit the Ground has been given a makeover and will be re-released as Hit the Ground – Revised on June 7th via Silver Lining Music. The re-issue has been remastered and features new Artwork.

Grand Slam was formed in 1984 by Phil Lynott and guitarist Laurence Archer before being forced to break up in 1986. Originally released in 2019, Hit The Ground signalled the Archer (guitar), Mike Dyer (vocals), Benjy Reid (drums) and Rocky Newton (bass) Grand Slam incarnation and is an unequivocal part of the band’s re-energising story.

With stylistic salutes and tips to the legendary Lynott melding with the energy and vocal performance of Dyer and Archer’s fiery fretboard forays in cuts such as the crunchy “Hit The Ground” and the thrusting “Crazy”, Grand Slam stride confidently back into the conscience of classic rock devotees who didn’t know what they were missing.

Grand Slam are a band firing intention regarding their future… Let the music do the talking!"

"Grand Slam’s new album Wheel Of Fortune is set for release on June 7th via Silver Lining Music. The four-piece band formed in 1984 by Phil Lynott and guitarist Laurence Archer before being forced to break up in 1986, have finally formed the appropriate return with a top-drawer of hard rocking songs which resonate with clear and present verve and energy.

Wheel of Fortune is the fully-realised modern Grand Slam sound, striding confidently back into the conscience of classic-rock fuelled devotees who didn’t know what they were missing. There are no more shoes to fill only boots`being worn on the ground, with Dyer’s style and swagger at the forefront of spirited leaders such as “There Goes My Heart”, while Archer’s fiery fretboard forays on the likes of the riffy “Spitfire” are a vital part of the Grand Slam architecture. With the lock-solid rhythm section of Newton and Reid underpinning affairs, Grand Slam not only stand on their own eight feet, they’re also able to directly engage with their talismanic, legendary founding energy with “Come Together (In Harlem)”, a moody, strutter of a song from the Phil Lynott days with (mostly) Phil Lynott’s lyrics.

But make absolutely no mistake: Grand Slam are not a band returning from their past, but a band firing intentions regarding their future, as the epic, multi-layered, steamy swing of “Pirate Song” suggests… Let the music do the talking."

Multi-talented US punk, Jeff Rosenstock releases fourth album on Specialist Subject Records (UK /EU) & Polyvinyl (Worldwide)! NO DREAM comes at a time of unparalleled chaos and confusion, division and despair, the depths of which would have been impossible to predict when much of it was being written over the course of the last few years. And yet the record feels prescient, unexpectedly and uniquely suited for this moment. Newly settled in Los Angeles after a lifetime on the East Coast (namely Brooklyn by way of Long Island), Rosenstock recorded NO DREAM with Jack Shirley (Deafheaven, Hard Girls, Joyce Manor) at Oakland's Atomic Garden, and even took on mixing duties alongside Shirley for the first time. Opting to stay off the computer "even more than usual" and record to tape with outboard gear, the result is a lived-in sound that gives each song its own individual voice and organic energy. After building a cult following with the acerbic ska-punk of the Arrogant Sons of Bitches and DIY heroics of Bomb the Music Industry!, Rosenstock's first proper solo record, 2015's We Cool?, was a step into uncharted territory, fully untethered from genre and expectation. Followed by 2016's WORRY. and the surprise New Year's Day launch of POST- in the early hours of 2018, Rosenstock was facing down that least punk of opportunities: a career playing music. Having taken some time away from his work as a solo artist to recalibrate and reset over the last year, Rosenstock stayed busy playing alongside Mikey Erg, recording and touring with the Bruce Lee Band, releasing a Neil Young covers record with frequent collaborator Laura Stevenson, reissuing two of his own out-of-print early albums, compiling a live album which was recorded during a run of four sold-out shows at Bowery Ballroom, making a 76 page photo book, and scoring over 80 episodes of the Cartoon Network series Craig of the Creek. In fully returning to his own voice, it's no surprise that Rosenstock's output has never been more eclectic, reflected across NO DREAM's 13 songs.

When I arrived in Geneva, Claude picked me up in his Aston Martin. He had a tape deck playing Lowell Fulsom – a guy who used to come to Memphis a lot and I knew some of his musicians. I grew up around the Blues, so this was a natural sound for me. Claude didn’t tell me until much, much later that he played Blues harmonica. He took us to the hotel where we had a warm and cordial welcome. Montreux was a quaint and sleepy town in 1967. However, there was a palpable excitement in the air and we could feel it. Everyone seemed to know that they were about to launch something great – the Montreux Jazz Festival - and there was no turning back. I was their first international artist to perform there with my quartet with Keith Jarrett, Jack DeJohnette and Ron McClure.

We played two concerts at the Casino one in the afternoon and one at night. That was the start of three great and lasting friendships; Claude Nobs, Montreux Jazz Festival co-founder, Rene Langel, and the engineer of the recording, Pierre Grandjean, from Radio Suisse. And - a fourth person, who was 6 at the time, Yvan Ischer. We did not meet until many years later and have become good friends. It is thanks to Yvan’s persistent belief in this music and Pierre Grandjean’s safe keeping of the tapes, that we hear them now, more than fifty years later. live at Montreux Jazz Festival, June 18, 1967. Featuring Charles Lloyd, Keith Jarrett, Ron McClure, and Jack DeJohnette.

2024 repress.

French saxophonist Laurent Bardainne summons the spirit of astral jazz on heavy-grooving album, 'Hymne au Soleil'

A dreamlike, cinematic excursion to the outer reaches of the solar system and the inner workings of the soul, Laurent Bardainne returns to Heavenly Sweetness with his Tigre d'Eau Douce group for a second album of genre- agnostic jazzfunk.Building on critically acclaimed 2020 album 'Love Is Everywhere', 'Hymne au Soleil' sizzles with Arnaud Roulin's Hammond organ licks, in-the-pocket bass work from Sylvain Daniel, and shuffling drum and percussion interplay from Philippe Gleizes and Roger Raspail, pinning Bardainne's soaring saxophone lines to the mast like a flag in the wind.

The 11- track album represents a consolidation of Bardainne's vision as a consummate jazz saxophonist, having made his name collaborating with the likes of Pharrell Williams and Cassius, afrobeat legend Tony Allen and co- founding Tigersushi electro outfit Poni Hoax.
That eclectic experience comes to the fore on 'Hymne au Soleil', which is named after a piece by trailblazing French composer Lili Boulanger. Beginning with the lilting, late-night smoker "Oh Yeah", which recalls the mellow funk of Khruangbin, the album rolls through a rich musical landscape, whether in the Motown-era soul breakdowns of "Adieu My Lord" or the roaring, dance floor- ready "Hymne au Soleil", that draw parallels with the high-octane sound of UK jazz outfit The Comet Is Coming..

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

Repress!

Landing next on Toolroom is our most recent instalment in our 4-track vinyl sampler with some of our biggest recent releases including Kurd Maverick vs Adeva, Friend Within, Retna, Toolroom head-honcho, Mark Knight and label favourite, GW Harrison.

First up is Kurd Maverick vs Adeva who makes a huge return with the infectious 'In & Out My Life'. A straight up cut of 90's house & rolling tech house influences mixed into one, sampling cuts from the feel-good classic 'In & Out My Life' by Adeva, turning the original on its head.

Next on the sampler is fresh heat incoming from DJ and producer Friend Within, the artist behind previous toolroom hits 'Lonely', 'The Truth' and 'Waiting'. Having been a secret weapon of choice for the likes of Paul Woolford, John Summit, Dombresky and Danny Howard to name a few, 'Monkeys Bars' has been bubbling for months and is now set to blow!

London based producer Retna returns to the label with Mark Knight as the pair deliver a debut collab that's been carving up dance floors worldwide in 2022. 'What I Need' takes things to the next level, focusing on Retna’s raw, arpeggiated synth line that cuts through the records tough, chunky bassline and groove. Throw in Mark Knight's magic touch for creating top-quality, club focused productions that'll tear through any system it's played through, and you'll get their latest outing – 'What I Need'.

Abode resident DJ and frontrunner GW Harrison completes the package with latest outing, ‘Feels Good’, enlisting the powerful voice of Laura Davie, the vocalist behind some of Toolroom’s most popular releases from Mark Knight’s ‘If It’s Love’ to Illyus and Barrientos’ ‘Disco Hearts’. Feels good’ offers a summertime piano house belter featuring a staunch bassline and pumping groove that pushes that euphoric, hands in the air feeling to the max.

Four killer cuts that you will not want to miss, this is ‘Toolroom Sampler Vol. 3’!


Radio:

Radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong
Alongside plays on Kiss Fm, Toolroom Radio, Sirius Xm, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse Fm, Select Radio, Tomorrowland Radio


DJ Support:

Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’attis, Mousse T, S-Man, Huxley, Dombresky, Gorgon City, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa

Repress!

Radio Slave drops ‘Strobe Queen’ this June, complete with Eric Kupper and Kirk Degiorgio Remixes

Following a string of massive singles over the course of 2022 and 2023, in tandem with the continued success of his acclaimed Rekids and RSPX imprints, Radio Slave prepares his latest single ‘Strobe Queen’, a 12-minute, slow-burning house epic landing this March.

Eric Kupper and Kirk Degiorgio remix Radio Slave’s ‘Strobe Queen’ this June.
Heard in clubs courtesy of Honey Dijon, Laurent Garnier, and Sean Johnston, amongst others, and on the airwaves via the likes of BBC Radio 1, Radio Slave now recruits two legendary remixers for thw remixes of ‘Strobe Queen’. Requiring little introduction, Eric Kupper and Kirk Degiorgio both turn in
exceptional versions of the original, while Radio Slave contributes a stunning reprise of his own, continuing to explore his love of slower tempos and long arrangements of golden era NYC, as seen in subsequent singles ‘Wild Life’ and ‘Wake Up’.

Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

Eclectic Beats Music release number 6 comes in the form of a vinyl 7” single with two Latin broken beat cuts!
The A side is a collaborative remix from Born74 and Fradinho, twisting Jorge Ivan Martin’s original track “Yo Tambien Baile La Conga” into a broken beat remix, enhancing the Latin flavours with a dance floor direction, topped up with Frank Santiuste’s trumpet solos.
On the B side, Fradinho digs out one of his earlier unreleased Latin tracks and gives it a broken beat flavour, with a Funk fusion through the bass line and synth solos and brass hits.

Jorge Ivan Martin bio

Cuban musician, composer, arranger and music teacher, Jorge Ivan Martin, spent 13 years teaching Tres in Cuba.
He is now based in Spain and still lectures at some universities in Madrid.
As a musician, Jorge blends Bossa, Reggae, traditional Cuban music with Jazz and Funk and is a Latin Grammy nominated artist with several other nominations and awards.
He has collaborated with a plentitude of Latin artists and also invited the trumpet player Frank Santiuste to add some flare to the Born74 and Fradinho remix on the “Latin Broken Beats” release.

Born74 bio

Andrew Nicholas, known as Born74, delves into the fusion of funk and Nu Jazz.
His music has been released on various labels such as Tru-Thoughts, Acid Jazz, Eclectic Beats Music, Ramrock Records, and Colin Colin presents.
Born74 has collaborated with Arema Arega (Havana Cultura), ONJ (jazz re-freshed, Tru-Thoughts), and Mark Norton (The Fantastics, BBE Records).
Additionally, Born74 is a member of The Earthsouls.
Noteworthy remix credits include Str4ta (Gilles Peterson), Nimbus Sextet (Acid Jazz), and Fradinho (Eclectic Beats).
Born74's tracks have been featured on jazz compilations like Jazz Dance Fusion (Z Records) and Sol Vibrations (MJDC).

Fradinho bio

Fradinho (Rui Fradinho) is Lisbon born Portuguese, having lived in London for 12 years and returning to Portugal in 2020.
Rui's musical base stems from a diverse range of music: rock to pop, house to techno, through jazz, soul, funk, world music, hip hop, drum and bass and from breakbeat to his main passion and current music production focus, broken beat / bruk / nu jazz.
Rui runs his own record label, Eclectic Beats Music, with 6 vinyl releases, and has released remixes for artists like Sentinel793 (Universal Magnetic), Deborah Jordan (Futuristica Music), Str4ta (Colin Curtis Presents), David Borsu (Broadcite) amongst other artists and labels.
Highlights of his DJ career so far (other than his 6-year residency at Sociedade Anonima), are the Bicaense Cafe and Lux club in Lisbon. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Peterson’s first edition of We Out Here festival in 2019, played Lisb-On festival in 2022 and currently guests at Birmingham’s BrukUp broken beat night (having played there 5 times with Adam Rock, Laura Crossley, Bruk Boogie Kru, Marcia Carr & Kwai and Yoofee).

Nachdem The National den Soundcheck für ihren Auftritt in Vancouver am 5. Juni 2023 beendet hatten, spielte die Band einfach weiter. Etwas braute sich zusammen: Die prägnanten Gitarrenparts von Aaron und Bryce Dessner trafen auf den Signature-Drumbeat von Bryan Devendorf. Als der Bassist Scott Devendorf loslegte, fing Matt Berninger an, einige Zeilen zu singen, die schon seit ein paar Jahren in ihm reiften. " Smoke detector, smoke detector / All you need to do is protect her", intonierte er. Ihr Tontechniker ließ die Aufnahme laufen und plötzlich war es ein 12 Minuten-Jam. Sie wussten, dass sie etwas Besonderes hatten, und nahmen die Live-Aufnahme bald darauf in Aarons Studio mit. Sie haben ein paar Minuten gekürzt, aber ansonsten das beibehalten, was auf der Bühne in Vancouver passiert ist. Dieser Song, "Smoke Detector", ist der krönende Abschluss von "Laugh Track", die überraschende zweite Hälfte eines Doppelalbums, das im April mit "First Two Pages of Frankenstein" begann. Es erwies sich als das letzte Kapitel eines Werks, das ansonsten neben dem Schwesteralbum geschrieben wurde - der Schlussakt einer Katharsis, die zeigt, was The National in den letzten drei Jahren durchgemacht haben. Vor zwei Jahren war die "Smoke Detector"-Zeile einer der wenigen Fetzen, die Matt während einer lähmenden Depression schreiben konnte und das zu einer Zeit, in der sich die Band fragte, ob sie jemals wieder ein Album machen würde. Nach der Pandemie belebte ihr neuer Glaube aneinander die kreativen Fähigkeiten wieder. "Weird Goodbyes", das bereits im August 2022 erschien, war ihr erster Durchbruch und der erste Vorgeschmack auf diese neue Ära. "Wir haben es wirklich schnell veröffentlicht, weil es wie ein Baby war, das in der Dunkelheit geboren wurde, oder so", lacht Matt. "Wir mussten es den Menschen zeigen". Aber als sie schließlich mit diesem umfangreichen Werk vorankamen, entschieden sie sich, "Weird Goodbyes" nicht auf das Frankenstein-Album zu nehmen. "Es fühlte sich an, als ob die Geschichte bereits erzählt worden wäre. Es war eine eigene Sache", sagt Aaron. "Aber es fühlte sich auch so an, als hätte es einen Bezug zu dem, was wir taten. Das war ein Teil der Logik für die Aufnahme einer weiteren Platte - wir wollten "Weird Goodbyes" ein eigenes Zuhause geben." "Laugh Track" ist das vielleicht musikalisch bedingungsloseste Album, welches die Band seit Jahren gemacht hat. Es ist aufmüpfig und dennoch leichtfüßig, doch es enthält ebenso viel seltene, ungebremste Schönheit wie Trostlosigkeit. Thematisch gibt es keine absichtliche Trennung zwischen "Frankenstein" und "Laugh Track". Während Matt auf "Frankenstein" eher auf der Suche nach einem Zufluchtsort war, hat er hier eine neue, klare Sicht auf das, was zählt. Sein dringendes Bedürfnis nach Intimität wird durch eine immer größere Angst vor der Unwirklichkeit des modernen Lebens noch verstärkt. Die Charaktere auf diesem Album (keine Vornamen, abgesehen von einer Tourmanagerin namens Alice - nur "ich" und "du") decken einander, träumen füreinander und helfen, den Schein zu wahren - und lösen damit das Versprechen von der gegenseitigen Fürsorge ein, das Matt auf dem Frankenstein-Schlusslied "Send for Me" gegeben hat. Wenn "Frankenstein" ein Zeichen für die Wiederherstellung des Vertrauens zwischen den einzelnen Bandelementen war, so ist das lebendige und neugierige "Laugh Track" das selbstbewusste Produkt dieses Prozesses und eine Absichtserklärung für jetzt und die Zukunft.

The new album from Hysterical Love Project is a moody collection of guitar-shimmered downtempo odes. Lashed by the blue-hot debris of missing, it reverbs with adoration for those dear and far. It says I'm sorry for taking photos of sunsets, I couldn't wait to be alive.

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Songs by Norwegian black metal drummer Einar
Selvik (Vikings, Gorgoroth, Wardruna), also known
by his stage name Kvitrafn (white raven).
Lyrics are sung in Old Norse and they mainly
consist of excerpts and edited Old Norse Skaldic
and Eddic poetry, except for the song ‘When Horns
Resound’, which was written by Einar.
Pressed on opaque white vinyl with printed inner
sleeve.