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Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

After blazing a trail with 2020's critically acclaimed Good Luck Seeker, The Waterboys waste no time in delivering again with the announcement of their brand new record All Souls Hill on Cooking Vinyl. First track 'The Liar' is a creeping, groove-laden masterpiece, taking a powerful, descriptive swipe at Trump and the lies and deceit that infest those in power. The video, featuring a haunting image by satirical collagist Cold War Steve, leaves nothing to the imagination and amplifies its subject matter in a dark, eerie fashion. "The Liar is a comment on recent and still-current events, and both the song and video speak for themselves." says frontman Mike Scott. "We were proud to work on this video with the brilliant Cold War Steve." All Souls Hill is nine tracks of Waterboys brilliance, all mixed by Scott himself. Announced off the back of the band's recent sold out UK tour and latest box set 'The Magnificent Seven: The Waterboys' Fisherman's Blues/Room To Roam Band, 1989-1990 ', All Souls Hill is current, on the money social commentary, but with an air of hope. "All Souls Hill is mysterious, otherworldly, tune-banging and emotional." comments Mike. "I made it with Waterboys old and new and my co-producer, brilliant sonic guru Simon Dine. Its nine songs tell stories, explore dreamscapes, and cast a cold but hopeful eye on the human drama."

After blazing a trail with 2020's critically acclaimed Good Luck Seeker, The Waterboys waste no time in delivering again with the announcement of their brand new record All Souls Hill on Cooking Vinyl. First track 'The Liar' is a creeping, groove-laden masterpiece, taking a powerful, descriptive swipe at Trump and the lies and deceit that infest those in power. The video, featuring a haunting image by satirical collagist Cold War Steve, leaves nothing to the imagination and amplifies its subject matter in a dark, eerie fashion. "The Liar is a comment on recent and still-current events, and both the song and video speak for themselves." says frontman Mike Scott. "We were proud to work on this video with the brilliant Cold War Steve." All Souls Hill is nine tracks of Waterboys brilliance, all mixed by Scott himself. Announced off the back of the band's recent sold out UK tour and latest box set 'The Magnificent Seven: The Waterboys' Fisherman's Blues/Room To Roam Band, 1989-1990 ', All Souls Hill is current, on the money social commentary, but with an air of hope. "All Souls Hill is mysterious, otherworldly, tune-banging and emotional." comments Mike. "I made it with Waterboys old and new and my co-producer, brilliant sonic guru Simon Dine. Its nine songs tell stories, explore dreamscapes, and cast a cold but hopeful eye on the human drama."

Between May and September 1970, pianist François Tusques recorded »Piano Dazibao«, an album on which he multiplied joyful escapades as a critical iconoclast. The following year Tusques recorded »Dazibao N°2«, which shows him as an incisive commentator of his times. Following in the footsteps of Don Cherry, who he had met a few years earlier in Paris, Tusques made a plea for “friendship between all the peoples of the world” to the sound of Universalist hymns which transported us from Africa to Asia. But it is really a song to America, evoking the assassination of the activist George Jackson and the mutiny in Attica prison, before covering “Seize the Time” by Elaine Brown – three years after the release of Dazibao N°2, she became the first (and only) woman to lead the Black Panther Party.

The turmoil of Piano Dazibao, was opposed, on Dazibao N°2, by long, labyrinthine tracks with alternating discords and repetitions. Often using prepared piano, Tusques was more percussive (even heady) than ever, exposing a melody with solid hammer strikes or painting an image which radiated peace in spite of the storms. Piano Dazibao and Dazibao N°2 thus form the two sides of one coin, which displays the effigy of François Tusques, an international national monument.

Orange Vinyl


With his second contribution to the Lost Palms catalogue, Swansea-based producer Tom Vernon takes us by the hand and leads us with him on a contemplative journey through Japan's rural landscapes and their urban surroundings.

Following the success of his debut EP released on Shall Not Fade's sub-label Lost Palms, Tom Vernon returns with a blissed-out 5-tracker. Taking its name from the ancient temple district at the foot of the Japanese mountain, Minobu EP sees the emerging producer fuse field recordings with the stylistic tropes of house and broken beat, creating intricately woven tapestries imbued with memory and place.

The wistfully amorphous opening track "Onjuku" captures the stasis of a declining-population seaside town, taking its cue from the futile whine of the tsunami warning system that echoes daily through its empty streets. On "Minobu In The Train", the EP discovers its pulse, translated into the shuffle of maracas, reverberating cymbals and a hypnotic piano melody that New Zealand brothers Chaos in the CBD would be proud of. With instrumental-sounding percussion, a modest, throbbing bassline and the ambient backdrop of Tokyo station, "Unexpected Departure" takes jazz-infused broken beat as its reference point, and sees the EP at its most transportive. Bringing things to a close are the complex drum workouts and acid-tinged melody of "Route E52" and the more upbeat deep house track "Could This Be" with low pass filtered funk-infused melody that oozes sex appeal.

Minobu EP drops 22nd April via Shall Not Fade.

Blue Vinyl

After getting glimpses of Denyl Brook's production prowess in recent collaborations with the likes of Shall Not Fade family members THEOS and Romeo Louisa, we welcome him to the groove-focused, dancefloor-oriented Killer Cuts series to which he delivers 6 feel-good house bangers in his signature funk-infused style.

If groove is the word, then Denyl Brook is your man. An incredibly prolific producer, in the space of his relatively short career the Marseille-born Silver Steps Records boss has been responsible for an impressive output, released via his own imprint as well as labels such as Basement Discos and House Cookin' Records.

Leaping Tenacity EP into action is the sunshine-dipped, serotonin-saturated "Baby It's You" which comes complete with a skippy house beat and syrup-smooth vocal licks before "Take Me Higher" takes things deeper, cool oozing from its funk-infused bassline. "His Name" takes us right back to the dance floor, where we will remain firmly-footed for the next two up. Arpeggiating synth tickles and luscious pads illuminate the aptly-titled "Bliss" before "Hear Me" awakens us from our reverie with a hard-hitting pulse and low-frequency acid melody. Finally, "My Friend Barry" sees the EP at its most stripped-back - deep house in its purest form: meditative yet steeped in sex appeal.

Belgian techno don Marco Bailey lands on Watergate with a debut that’s guaranteed to intrigue as he leans into electro territory, grabbing rerubs from Extrawelt & Biesmans while he’s at it. DJ, producer and label chief, his is a storied career that spans three decades, and it’s long been evident that Marco’s enthusiasm and passion remains resolute. He closed 2021 with the release of his sixth studio album Surreal Stage, an ambitious, introspective body of work that dropped via his booming imprint Materia. His own label aside, his discography is stacked with cuts across eminent labels Second State,
ARTS, Bedrock Records, as well as being one of the first artists to debut on Carl Cox’s seminal INTEC.
While it’s techno that he’s become firmly associated with, his adeptness in the studio isn’t limited to the nuances of one genre and this is a rare opportunity to showcase a different side to his musicality.
‘The Spirit’ floods in first, almost immediately engaging listeners as it ebbs and flows with complete abandon. If the promise of electro grabbed your attention, it’s ‘From My Mind’ that delivers and sticks in your mind - from the heavy synth bassline to the soaring ascendant melody, and distorted, robotic vocals.
‘Pulse’ slaps and packs plenty of punch power as it snakes its way through with dominating, ascendant chords.
German duo Extrawelt and Belgian export Biesmans step in with rerubs of ‘From My Mind’, and firmly grip some of the elements which make this electro excursion so memorable.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

"Glodetrådar", the commissioned work for Vossajazz 2016, is a sort of "back to the roots" for Nils Okland. The area of Voss has been an important part of his musical development, in the 80's as a student and later as the musical leader at Ole Bull Akademiet (1989-95). His time at the academy gave him important impulses that inspired his characteristic, personal style: the mix between jazz, free improvisation, contemporary music and folk music. In this work Okland holds true to his unique style with simple melodies and a sincere tone that go straight to the heart. At one moment it's calm and meditative, the next we find ourselves in a rock universe with the distortion turned to max.

Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

Contemporary pianist and composer James Heather announces his
second album, ‘Invisible Forces’, via Ahead of Our Time, Ninja Tune
founders Coldcut’s first record label.
 An album influenced by the sensibility of electronic, ambient, orchestral
and post-rock music but channelled through solo piano and Heather’s
classical and jazz grounding.
 With regards to his “superb” (Crack Magazine) and “masterful”
(Electronic Sound, Dummy) debut, ‘Stories From Far Away On Piano’,
the songs are grander, deeper and broader in emotional range and are
developed through a series of improvisation techniques. Heather
describes it as ‘pulse music’, with each track performed in a single take
and with their roots in this live improvisation, often honed on the road
where he moves between tender to more propulsive, trance-inducing
dynamics.
 For fans of Jean-Michel Blais, Sarah Davachi, John Carroll Kirby, Otto A.
Totland, Ólafur Arnalds, Nils Frahm, The Cinematic Orchestra.
 CD in slipcase with printed inner.
 140g violet vinyl with holofoil detail sleeve.
 “The sound Heather makes is captivating.” - Electronic Sound
 “Masterful contemporary piano.” - Dummy
 “A remarkable piece of music that yields more secrets the more it’s
played” - Clash
 Featured in Coldcut’s ambient compilation ‘@0’ alongside Suzanne
Ciani, Ryuichi Sakamoto, Kaitlyn Aurelia Smith, Helena Hauff, Skee
Mask, Julianna Barwick, Steve Roach, Laraaji and Mira Calix.
 Notable supporters of Heather’s music include James Lavelle (UNKLE),
Nils Frahm, Cillian Murphy, Flying Lotus’ Brainfeeder (via the live
session he did for them in 2021), The Cinematic Orchestra, The Bug,
Leandro Taub, Actress, Bicep, Martyn and Tim Noakes (Dazed).
 James has collaborated with the likes of Dawn Richard, Coldcut,
Mumdance and Roger Robinson (King Midas Sound).

Alan-Parsons-Fans dürfen sich 2021 gleich über zwei besondere Reissues freuen: Der britische Musiker, Tontechniker und Produzent legt seine Alben »On Air« und »The Time Machine« noch einmal auf, und zwar auf CD und LP. Die beiden Vinyl-Versionen kommen auf Translucent Blue Vinyl bzw. Transparant Vinyl, sind nummeriert und auf jeweils 1500 Exemplare limitiert.

»The Time Machine« erschien 1999 und ist das dritte Soloalbum von Alan Parsons. Es handelt von Zeitreisen und von der Erinnerung an die Vergangenheit.

Der Gesang auf dem Konzeptalbum stammt unter anderem von Tony Hadley (Spandau Ballet), Colin Blunstone, Maire Brennan (Clannad), Beverly Craven und Neil Lockwood (ELO).

»The Time Machine« klingt wie eine Kombination aus dem Alan Parsons Project der 1970er-Jahre mit einer Prise Pink Floyd und ist ein Klangerlebnis, das Fans von Parsons, New Age und Electronica begeistern wird.

Das Album beginnt mit dem Instrumental »The Time Machine (Part 1)«, geschrieben von Cockney-Rebel-Schlagzeuger/Komponist Stuart Elliott (später Al Stewart und Kate Bush u. a.), das der Art und Weise ähnelt, wie das Project sein Album zu eröffnen pflegte. Es gibt den sanften Song »Out Of The Blue«, mit Leadgesang von Tony Hadley von Spandau Ballet. »Ignorance Is Bliss« ist einer der schönsten Songs mit dem Gesang des ehemaligen Zombies-Leadsängers Colin Blunstone.

Canadian rock band Sum 41 formed in 1996 in Ajax, Ontario. In
2000 they released their debut extended play Half Hour Of Power on Big Rig Records, a subsidiary of Island Records. Officially it’s an EP, but many consider it to be their first studio album. It was produced by lead singer and frontman Deryck Whibley (also known as Bizzy D) in collaboration with Greig Nori. The release was well received and peaked at #36 on Billboard’s Heatseekers charts. Its cover features drummer Steve Jocz aiming a Nerf gun up in the air.

Eritrean-born and Amsterdam-based singer-songwriter RIMON returns with her latest six-track effort, I Shine, U Shine. RIMON brings some rather high-profile friends along for the ride, tapping Denzel Curry for "Got My Back" and Darrell Cole for the title track. I Shine, U Shine showcases a dynamic range of sounds, from the emotional electric guitar solos on "The Morning" to the soulful saxophone backing on the Denzel-assisted "Got My Back."

After a first amazing LP released in 2020, Mama put once again UF095 in charge, but this time, she said: « You’ve got 10 tracks to blow our mind sweetie. Use your difference to make the difference ». Same high-potential kid, no different outcome. And same singularity! Ride with UF095 and learn some good shit about weird techno, IDM and early gabber ! MTY006 brings you through one deep introspection looking for your own uniqueness: please explore yourself.

For this new Mama told ya’s LP, the fury(ous) artwork has been commissioned to french digital artist sltcamille. Her ability to tell melancholic fantasy stories let us all stand in awe. Diplomatie Studio took care of the design, mastering was entrusted to Sixbitdeep - no difference here.

No doubt that with this second Album released on the label, UFO95 shows once again that he has something more. A little ounce of digression that makes him very unmistakable.

Fueled on pizza and the spirit of dance music, Chef Sam O.B. has lovingly cooked up four courses for our aural connoisseurs to enjoy: "Just A Slice."

Like any good pizza, it all starts with the dough, and "Making Dough" gets us right on track. Borrowing elements from house classics of the past, it rises on a jackin' groove complete with a funky fermented low-end and dashes of vocals from the chef himself.

"Le Sauce" offers a tangy burst of flavor atop our dough foundation; a sort of subtle and seductive palate that only the most refined of sauces can provide. Twists and turns await as the layers of seasoned live instrumentation unveil themselves (best enjoyed past dusk).

Next, as you might have expected, is "Cheezin'" - many people's favorite part of a pie. This one is sharp; bursting with mouthwatering umami energy and, like any good chef, O.B. has added just enough to leave you wanting more of the catchy interwoven melodies and rhythms sprinkled within.

Finally, it's time to grab a piping hot "Just A Slice" out of the oven - an amalgamation of all groovin' ingredients added thus far and the title track. A bubbling and elastic bassline pairs with the percussion of various textures and savory synth lines, combining for a well-balanced meal sure to keep your senses engaged.

A satisfying listen, "Just A Slice" would do, but feel free to indulge in multiple spins.

Lance Ferguson is back for a killer follow-up 7" to his second volume of classic re-works and re-imaginings, Rare Groove Spectrum Vol. 2 - released on Freestyle in late January on LP, CD and digital formats.

We just couldn't resist putting this take on Pucho & His Latin Soul Brothers cover of Gladys Knight's Got Myself a Good Man on a 45. Keeping true to the source, yet somehow simultaneously sounding like no-one else, this version is 100% guaranteed to put a spring in the step of any crowd as the sun starts gradually to come out from hiding. Aside from the faithfully executed and expertly recorded drum-track, which sits pretty higher up in the mix than it's precursor, the star of this particular show comes midway through when Lance's lilting and sun-kissed guitar solo comes gliding in. If you can't move to this, even just a little bit, then you might actually be lacking a pulse. Backing things up is the undeniable latin-funk strut of Mandrill's Mango Meat. Given an instrumental work-out here with Remco Keijer's Flute and Daniel Mougerman's keys putting in work over a heavy-as-lead rhythm section, those delectable salsa-inflicted horns upping the spice levels.

Lance's work across the Rare Groove Spectrum series can often be looked on as something akin to a "live re-edit" on the originals, at times switching up sections or extending the groove. These two choice cuts however are a masterclass in subtly teasing out some of the original elements on the tracks that really make them work on a dance-floor, and bringing those to the fore while retaining 100% respect for the OG arrangements.

Getting ready, putting on your best gear, pre-playing with your crew to get a nice buzz before you hit the club. Dancing and watching people get down on the dancefloor, the nerds in the back leaning against the wall nodding their heads. Going to the afterhours, wastedly making new friends, making out with a cute stranger and passing out on someone's couch. This record is about all that.

Constructed in the initial chaos of the pandemic, Baby Blue’s dystopian debut LP “End Of Sleep” finds solace in the unearthly home of Planet Euphorique. 7 offerings from the Canadian artiste dive deep into a heightened reflective state; an amalgamation of memories stitched together via looped dissonance and destruction. A contrast of lightness and dark constantly working against each other and at times in harmony; a familiar connection that can be found in complex electronic music and mental states alike. Strap in and be guided through a wormhole of cyber analog journeys, thematic explorations and catastrophic calls to celestial beings.

Ethereal echoes of LSG break in the opening of the record, fleeting cries nodding to ancestry; yet A Rainy Trip To Netherworld Sequence embraces the storm. Knee jerk kick distortions disrupt the angelic hypnosis; reality rolling through the clouds. The sequential energy continues through A2 and A3, driving and rolling viciously with heavy contorted noise infiltrating the low end whilst flickers of melodious song sail unbothered, thriving amongst the destruction. The Spring Is Coming feels like a seasonal change, a melting and defrosting; thawed harmony shining through; textural and flowing with movement, a perfect bridge.
An arguably more delicate chaos emerges on the B side, elongated pads stream endlessly whilst drums cultivate and expand into sudden frisson. Fragile voices begin to gate and sweep in Equal Parts Damaged, lingering and ringing through ear drums whilst glued in rhythmic unison to induce a state of floating, a game of elevated push and pull. Syncopated howls of distortion leads the closing track, Violet summarizing the brilliantly confronting conversations pulsating through the record.

PE016 urges you to join the otherworldly personal journey and sufferings of Baby Blue, a moment to connect with her meditative dreams and struggles; sonic synergy expanding to anyone with the invitation to surrender.

The debut LP from duo Sunflower Aquarium offers a full spectrum bloom into the electronic ecosystem. Dylan Batelic (Paper-Cuts) and Thomas Martin (Furious Frank) fuse together for a 7 track collection of low-slung immersive deepness, embodying a cycle of life via the ebbs and flows of sonic seasonal evolution. A collaboration of cyber synthesis; written simultaneously Melbourne through Adelaide during late 2021, the result a refined yet spontaneous take on dubbed downtempo through to driving dance deviance.

Beginning with a birth, the stand alone Intro’s saturated glow cultivates a vivid timbre and sun kissed sub-stratosphere. Sprouting melodic constructions continue to blossom throughout the record and growing pains are welcomed with open arms, a mature moodiness brooding delicately through assured drums and fleeting Janet vocal fragments. Broken beat patterns group together and tessellate, the woven sunken bass leaves space for flickering hi hat fissure in SA-124, this groove based atmospheric momentum evolving cohesively track after track. Bright, refined concepts that linger and dissolve in your subconscious for weeks. The B Side preserves the introspective tip but dives deeper, faster; Birds Of Paradise melting organic field recordings into blissful synth voices and ricochet breaks. Bubble (Contagious Mix) feels like a midnight highway dub drive, shooting and gliding fluently; coloured lights iridescently blurred as if it was all a dream... then the closing track, which induces a sharp sense of hypnosis. Traditional techno expressions flirt with your ears, layers of repetition locked and loaded, dwindling into the abyss; conclusion of the cycle.

achyon Audio partner and artist Paradaux brings you the label’s eighth installment TAC008 the Fleeting Glory EP. The four-track release presents some hard-hitting functional and engaging beats with strong support from Los Angeles USA techno powerhouse Drumcell who contributes a scintillating remix of the records title track.

Side A begins with another of Paradaux’s gems in Fleeting Glory (A1). This title track is impeccably orchestrated and strikes a hard-to-find balance between being dancefloor-friendly driving and creative and heady with its synth work.

Drumcell brings his distinct sound and mesmerizing groove to the EP in Fleeting Glory (Drumcell Mutation) (A2). Engaging and unique drum patterns guide the listener through an expansive soundscape that tweaks the ears and pointedly reforms the core elements of the original retaining the strong mood.

Side B Mover (B1) continues the glory immediately with a strong trippy 303-oriented dive into the realm of drum-driven sci-fi techno. Leave no interstellar prisoners.

The last full track on the EP Pulsar (B2) finishes the record with Paradaux's strong and distinct desert techno acid vibe as it envelopes the listener with grimy and building synth work and broken and loopy percussive elements and noise manipulation.

The record is capped off with a vinyl locked groove from the National Aeronautics and Space Administration’s (NASA) audio collection Haquindar (B3) capturing a mission control audio test countdown from the Apollo moon mission’s Capsule Communicator.

Kailus Echo and IGC for life.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

Jesse Bru joins forces with Max Ulis this April for the collaborative ‘Similar Nature’ EP, comprising five original cuts from the duo and pencilled for release on SlothBoogie Records.

West Coast Canada producer and DJ Jesse Bru, as well as being a regular on SlothBoogie Records, has been releasing his twist on contemporary house via the likes of Happiness Therapy, Pulse Msc and Inhale Exhale amongst others in recent years. Here we see him team up with fellow Vancouver-based artist Max Ulis, who also operates as one half of the duo Sabota.

‘Banh Mi’ leads the way and much like the Vietnamese delicacy itself lays down a delectable soul-infused feel filled with dubbed out chords, distorted drums, and vocal chants. ‘Moisture Cult’ follows and retains a similarly dubbed out feel, fusing spiralling stab echoes and pulsating subs with shuffled drums. ‘TBH’ then shifts focus over to a modern electro feel with crunchy 808 drums, snaking arpeggio lines, resonant leads, and elongated subs.

Up next is ‘Semblance’ which twists and turns through choppy breaks, intricately intertwined bass stabs, plucked synths and airy atmospherics before ‘Big Chirp’ rounds out the release on a raw house tip with swinging drums, squelchy acid bass tones and sweeping ethereal pads.

What It Means To Fall Apart sees Mayday Parade wading in a wide range of complex emotions. The band shared the first taste of the album with the anthemic single “Kids of Summer,” which infuses nostalgic memories of their care-free formative summers at Warped Tour into song, followed by the self-confrontational and vulnerable “Bad At Love.” On the newest single “One For The Rocks And One For The Scary,” the band sings about making the most of the time we have with the people we love.

Their seventh studio album together, What It Means To Fall Apart was created with longtime collaborators Zack Odom and Kenneth Mount, and saw the band diverge from their typical path in the studio. With no final destination in mind and setting their sights on just writing the best songs they could, they started chipping away at something, letting go of any attachment to whether they left the studio with a single, an EP, or a full record. They arrived at a fully realized album, 12 contemplative tracks written through the eyes of a band moving forward with the knowledge they could only gain from looking back. Full track listing can be found below.

The band is looking forward to sharing these songs in venues around the world, noting that it’s not just about creating music for them, but how that music connects them with their fans and each other. “We all live in different states and have separate lives with different things going on,” bassist Jeremy Lenzo shares, “But just being able to get back together and play music is always a highlight.” Lead singer Derek Sanders mirrors that sentiment as well, sharing that the spark that started Mayday Parade still shines bright, “Even after all this time and plenty of other ways it could have gone or plenty of other things that we could be doing with our lives, we're lucky to be able to do this.”

Hailing from downtown Los Angeles, Nuklear Prophet, aka Erik Villalpando, is heavily influenced by West Coast Hip Hop and Electro. Winning multiple DJ awards, including 3x World Records DJ Competition under his DJ Dope-E alias, Villalpando cites his inspiration as coming from some of the most influential Los Angeles DJs of his childhood, including Tony G, DJ Joe Cooley, Julio G, and DJ Aladdin.

With releases on Urban Connections, Abseits Recordings, Diffuse Reality and Bass Agenda Recordings as Nuklear Prophet, the LA-based DJ/producer readies his full-length album 'Prophecies 11:21' for Utrecht-based U-Trax. Formed of an eclectic and energetic collection of gems mined from his overwhelming archive, the album takes in genres such as Electro, Hip Hop, Footwork, Juke, and beyond.
Leading the release is the 808 luminary Egyptian Lover's remix of 'L.A. Rockz', featured on the recently released 'L.A. Rockz' EP, kicking off the LP with his trademark 808-infused sound. A nod to Detroit-flavoured Electro is presented via the dark and brooding tracks 'Nuklear Prophet' and 'Compton', with the lighter atmospherics of the genre covered on 'Solar Winds'. The pounding electro killer '808 Plague' sounds like it came straight from the sewers of The Hague.
'Everlastin' Bass', 'Back Up Off My Tip', and 'The Train Ride To Coconino' offer Footwork inspired bangers, with the latter previously featured on the Legowelt curated U-Trax compilation 'U R Here!' earlier this year.
Moving across a spectrum of tempos, styles, and moods across the album, exemplified on the sluggish trip-hop of 'The Mars Goblin', Nuklear Prophet expertly touches on a range of bass-driven genres, displaying his widespread influences and knack for hard-hitting production throughout.

a 01: L.A. Rockz (Egyptian Lover Remix) feat. Krazy Dee & Nasim

Struck but not beaten, 777 crawls back out to present Nasty King Kurl's next mischievous achievement: Baba Bass Tunes

777_24! A barkin' bad electro bass release with five booty bustin' tracks leaving no body unturned!

Tape

Next up on VEYL is a new face on the label but no stranger to the music world. NEVER is the project of Stefano Santi, a multi-instrumentalist and electronic music producer who has been active since the early 2000’s. After several years of working as an audio engineer and touring the globe with bands, he has
always had a parallel life as a producer with a club affinity. NEVER began in his own SPVN studio during the pandemic amidst the isolation of lockdown. His inspiration reborn after abandoning all boundaries and giving little care to traditional songwriting structures.
The result is 'JXDY', the new album which showcases the project’s diverse voice and technical prowess. Not confined to a particular genre, the release masterfully touches on everything from post-punk and shoe gaze to hints of death rock and electronica. From the opening strings of 'RXBT', we’re taken to a
relentless world of shadows and bleeding emotion, which conjures nostalgia of days long gone while maintaining an ominous sense of future. From the euphoric, pulse pounding action of 'HVRXLD' to the utter heartbreak of 'CXLE', NEVER weaves in and out of agitation, rage and regret, fueling a fire that that
continues to burn from beginning to end.
Navigating to the crushing 'HXRNE' through the menacing tones of 'BLVCKBXRN'until finishing things up with the heartbreaking, cinematic feel of the title track, 'JXDY' is nine offerings of uncompromising passion and pain, leaving a lasting imprint on both the mind and body.

"Half a Klip" is a Vinyl Reissue of Kool G Rap's first solo release It was originally released in 2007: As is to be expected, G Rap fills out the lyrics sheet here with banana clips and stacks of body bags -- certainly not a disappointment (he played a big part in inventing this agenda after all), though the MC's steady, workmanlike approach and topical sameness leaves a lot of responsibility on the shoulders of his producers. t's open to debate as to whether there has ever been a rapper more influential, yet somehow less celebrated, than Kool G Rap. From his seminal work on Marley Marl's Juice Crew productions and Cold Chillin' Records, to the major contributions he gave to the blueprint of gangster storytelling in rap, the Kool Genius has remained relevant and consistent despite heaps of record label drama and the ever-diminishing attention span of the listening public. It's unlikely that the new Chinga Chang Records EP Half A Klip will do much to elevate G Rap's legacy, but there are still shining moments to remind us why the legendary MC is more than deserving of the little reverence he receives.IThus, the EP's best moments come when he is united with a strong hand behind the boards. Marley Marl's sinister keys and kettle drum composition for "With A Bullet" (inexplicably buried at track eight on this 11-track offering) is probably the best canvas for Rap's gangster mentality. DJ Premier contributes a strong track (merely serviceable by Premier standards, but a standout here) and the lesser-known Domingo also seems to be able to give G Rap room to run. Unfortunately, the rest is just middling with one true mistake, Critical Child's dismal "Turn It Out", which sounds like a cast-off from a Jim Jones studio session. In any event, this collection of new and unreleased material is not the next Road to the Riches. On the bright side, the MC behind Road to the Riches is still here (in every sense) and still doing it 20 years later.

The Covid Pandemic hit Germany in March 2020 and by the 15th of March all of the public life was shut down. It was the same day where my son Rio was born.
For me, this early stage of the pandemic had something very intimate and private, since I was forced to stay at home with my young family for weeks. In Mai 2020 I started to leave the house, for other occasions then just going to the shop or taking a walk and that was the time I started working on “Hotel Solaris”. It was an intense creative rush: in 8 weeks the album was written, performed and produced in one flow. I had two days every week, where I could go to the studio for 4 hours and that time the album was done. It had a corpus in a sense that I
knew I wanted a faster or a slower track at points, but the whole hotel idea came when I saw photos of the old Hotel Arkada on the Croatian island Hvar, that my extremely talented friend Marcella Zanki shot on her holidays.
They show a well preserved socialist-brutalist hotel architecture in the middle of the beautiful Adriatic and for me it was like looking at pictures from a timeless place, without knowing where and when it exactly was, totally surreal.
I liked that idea of a hote that stands as an escape symbol from the real world, which was something everyone needed when the pandemic was building stronger and stronger. I decided to call it Hotel Solaris, inspired by the novel from Stanislav Lem, where Solaris is a planet covered by an ocean which triggers our subconscious mind to
become reality. It all fit at the end and “Hotel Solaris” was done.

"We're a bunch of outsiders who refused to be kept out," says High Pulp drummer Bobby Granfelt. "We've never had an academic approach to jazz-most of us grew up playing in DIY bands-so it was the rawness and the energy and the absolute freedom of the music that called to us in the first place." Indeed, there's something defiant, something utterly liberating about High Pulp's remarkable ANTI- Records debut, Pursuit of Ends. Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band's brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion. While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpet?er Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that's as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.

"On his major label debut album, Kurt Vile pulls his talents as a singer, songwriter, multi-instrumentalist, and producer in unexpected directions — and the result is a vibrant, yet meditative record propelled by laid-back charm and curious spirit.

“Like Exploding Stones”

Kurt Vile’s signature brand of laid-back and meandering rock takes center stage on the lead single off his first major label album, (watch my moves). Produced by Kurt Vile & Rob Schnapf. A10
"

A co-production of Amazon Studios and the New York Times, based on the weekly same-titled weekly column in The Times. This anthology series explores love in all of its complicated and beautiful forms, as well as its effects on the human connection. Each episode brings a different story to life that has been inspired by the newspaper’s popular Modern Love column. The second season premiered in August, 2021 and stars Kit Harington, Jack Reynor and Minnie Driver.

The score of Modern Love Season 2 features both score music and original songs heard throughout the season’s eight half-hour episodes. The music was written by Jay Wadley in cooperation with Gary Clark and feature vocal tracks featuring Rosie Carney, Nerina Pallot, John Byrne and Adermo. In addition, the score feature never-before-released songs written and performed by Andy Shauf, Chong The Nomad, Morcheeba’s Skye Edwards and Gregor Philp.

Swedish sibling-duo Trummor & Orgel returns with new album Longevity – an album which clearly displays the two brothers to not be gearing down despite seven full-length prequels

Still energetic, curious and with a large portion of melodic groove they are still mesmerizing us the same way thousands of concert attendees have already had the pleasure to experience over the past one and a half decade. Born from a close- to- telepathic interaction, Longevity leads you through nine tracks underlining the wide musicality we have learnt to expect from the brothers: commencing with the gloomy Astral, followed by the intense beat piece Glow – Flatten the curve could be the soundtrack to your daydreams, and the ending organ ooze of Crystal leaves no-one untouched. The analogue feel is draped in a veil of electronica, but it’s familiarly dynamic, lively and present.

»Obsessions« is clearly a cult single of the era and one of their Neon's personal highlights. The band recorded the 4 track live in April 1982 and then reprocessed the take at Kindergarten Studio. The twelve inch was then released on the highly influential indie label Materiali Sonori. Neon is still considered as a legend of the Italian new-wave scene, one of the leading figure of the Florence underground movement that spread between the late '70s and the early' 80s.

Friends Of Hell draws from the most seminal of doom sources, saluting the great works of Pentagram, Candlemass, Saint Vitus and Cathedral along the way. But something nastier and grubbier lurks within the Friends Of Hell sound: a viscous, blackened streak that owes its leathery scars to Venom, Bathory and Hellhammer. The resultant hybrid makes perfect, horrifying sense, as songs like rampaging opener Out With The Wolves and the harrowing crawl of Gateless Gate conjure devilry, disgust and riff-driven destruction in equal measure. Heavy as hell but defiantly gritty and underground in spirit, Friends Of Hell avows that the old school is the only school. Not just one of the finest and fiercest doom metal records in recent memory, but also a subtly subversive twist on that arcane formula, Friends Of Hell once again confirms the timeless nature and the unerring, infernal power of The Riff.

- 2x LP Compilations featuring iconic tracks from the legendary US label Holland-Dozier-Holland (HDH)

- The trio behind HDH helped define the Motown sound and split from the label in 1967

- 20 tracks guaranteed to fill a dancefloor with hits from;.

- Freda Payne's 'Band of Gold', Chairmen of the Board 'Give Me Just A little More Time', The Honey Cone, Parliament, Barrino Brothers and more

- Featuring tracks sampled by Fat Boy Slim, The Avalanches, 2Pac, DJ Shadow

FLAPAAaaam!!! the first snare roll leaves no doubt: this is a dub album, reminiscing the pioneers of the genre like King Tubby, Lee "Scratch" Perry and Scientist and of course, it's a tribute to the revolutionary music of Bob Marley and the Wailers. The original record from which these dubs derive - "Bob" by Kapelle So&So feat. Cpt. Yossarian - was recorded in 2020, the year of Bob Marley's 75th birthday. Due to the strict lockdown all the tracks were recorded separately - which perfectly qualifies them for a dub rework. The musicians involved took great care to dig deeply into the original music, absorbing every note of the Wailers' recordings and translating it to their own instrument. But at this point we leave common paths, because what would be Aston Barrett's electric bass turns out to be a tuba and his brother Carly's distinguished bassdrum sound resurges on an old leather suitcase. We are talking of a traditional bavarian folk band (trumpet, cornet, tuba, accordion, guitar, drums) playing Bob Marley's sacred music. Simultaneously seriously sticking to the original score and adding color to the music by the masterful use of their rather uncommon instruments. What sounds like an impossible -almost blasphemous- endeavour actually sounds pretty neat and leads to the next big venture: A dub album paying tribute to the music of Bob Marley and the Wailers. The dub versions naturally lead on the abstract that was introduced by the uncommon orchestration by muting or emphasizing single instruments and sending them into the sonic orbit. The melody itself is almost completely left out. Nevertheless one never loses one's orientation since the defining elements of the songs alternate skillfully, vanishing in clouds of reverb, losing themselves in echo feedbacks and then popping up again, guiding us through the song. Despite being focused mainly on bass and drums you will catch yourself singing along Marley's part more than once thereby proving the profound impact of this divine music on our souls and our common musical knowledge. Bob Marley in Dub is the abstract of an abstract and still manages to transport the heart and soul inherent of the music. With all due respect to the original, Cpt. Yossarian manages to illuminate nuances of the material yet unheard and takes us on a trip through his conception of this otherwise well known material. Following the tradition of the before mentioned mentors of dub music he uses his mixing desk, a couple of studio effects and whatever odd sounding kids toys to present us with his approach to a musical genre that defined so many styles of music that followed.

It's no secret that Dutch artist and producer Reimer Eising aka Kettel is a Lapsus favourite, as well as being a leading proponent in Braindance/IDM over the last two decades. This makes him the obvious choice for the next release in our on-going Perennial series.

'My Dogan', was originally released in 2006 on Sending Orbs and is undoubtedly one of his most iconic works to date, and possibly the most popular album among his adoring fan base.

Even in trying times, “there is no love without electricity.” Electricity is the fourth and most progressive album from Ibibio Sound Machine, and like all good Afrofuturist stories, it begins with an existential crisis. “It’s darker than anything we’ve done previously,” says Eno Williams, the group’s singer. “That’s because it grew out of the turbulence of the past year. It inhabits an edgier world.”

Electricity was produced by the Grammy Award and Mercury Prize nominated British synthpop group Hot Chip, a collaboration born out of mutual admiration watching each other on festival stages, as well as a shared love of Francis Bebey and Giorgio Moroder. The fruits of their labor reveal a gleaming, supercharged, Afrofuturist blinder. Electricity is the first album Ibibio Sound Machine have made with external producers since the group’s formation in London in 2013 by Williams and saxophonist Max Grunhard. True, 2017’s Uyai featured mixdown guests including Dan Leavers, aka Danalogue, the keyboard jedi in future-jazz trio The Comet Is Coming, but Hot Chip and Ibibio Sound Machine worked together more deeply throughout the process, collaborating fully. Along the way, the team conjured a kaleidoscope of delights that include resonances of Jonzun Crew, Grace Jones, William Onyeabor, Tom Tom Club, Kae Tempest, Keith LeBlanc, The J.B.’s, Jon Hassell’s “Fourth World,” and Bootsy Collins.

The hook of opener “Protection From Evil” has Williams wielding a massive synth line from Hot Chip’s Al Doyle like a spiritual shield against unspecified, malign forces unspecified because Williams is speaking in tongues. Her lyrics are onomatopoeic: their meaning is defined in her energetic delivery. As Electricity takes off, so do Williams’ words towards a brighter future, alternating between English and Ibibio, sometimes within verses, and propelled by Joseph Amoako’s unabating afrobeat. She digs into this sentiment further on single “All That You Want,” coolly assuring her romantic interest while also requesting reciprocity. Meanwhile, Scott Baylis’ playful Juno synth guides the listener’s feet along the dancefloor.

Electricity is a deep and seamless realization of Williams’ and Grunhard’s ambitious founding manifesto to combine the singularly rhythmic character of the Ibibio language which Williams spoke growing up in Nigeria with a range of traditional West African music and more modern electronic sounds. While the band enjoys veering further into electronic territory with the help of mutuals like Hot Chip, Grunhard emphasizes, “For us, it’s not just a matter of embracing new technology. What’s key is to keep the music grounded in African roots.” Ibibio Sound Machine best exemplify this on Electricity’s “Freedom.” That track was inspired by the water-drumming rhythms of Cameroon’s Baka women, which in turn fueled its lyrics, which in turn prompted Hot Chip and Ibibio Sound Machine to layer joyfully kinetic electronic counterparts on top in the studio. As the track culminates with the mantra of “rage, hope, cope, soul,” it’s clear that Ibibio Sound Machine have channelled, harnessed, and distilled these words as guiding principles, both for the album and for the turbulent world that awaits it.

The Tribe Records co-founder’s lost album, rumored to exist no more. Mastered from the original tapes and lacquered by Bernie Grundman. “As I thought about reecting on an aggregate of music for this album, I projected my attitude and spirit while living and working here, in Detroit, Michigan. We are earning and learning a new way of life, which explicitly tells us to become self-reliant in taking care of our families and each other. Government hand-outs are not an option for us.” -Wendell Harrison The first ever issue of this Spiritual Jazz album. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

DJ Stingray 313's highly-praised FTNWO LP returns to heed its sonic warnings and powerful messages on his own label, Micron Audio. Originally released on WeMe Records in 2012, FTNWO displays the high-tempo, ever forward production DJ Stingray 313 is known world around for. DJ Stingray 313 says "FTNWO was conceptually centered on conspiracy theory, science, prepper doomsday preparation / survivalism and social commentary," and the foreboding introduction of "Evil Agenda" sonically explains just what lies ahead for the listener. The stark warning leads into DJ Stingray 313's stomping "Dark Arts", beginning the FTNWO experience. "Room Clearance" gets straight to business with raw, gritty and true-to-the-art Detroit electro sounds, along with a heavy, quivering lead to piece the track together.

FTNWO's cyber-explorations continue with "Denial Of Service". "I NEED a computer!" shouts a destitute voice throughout the track, as a hypnotic siren lead weaves through pounding 808s. The uptempo onslaught continues with "Interest Rate" - pads that give a feeling of falling accompany samples lamenting the realities of debt in modern society. These statements in the samples permeating the aptly titled track eerily foretell many present-day situations in 2022, as well as prove testament to DJ Stingray 313's ahead-of-the-curve production techniques. "No Knock" also carries on with arpeggiated square waves and dissonant FM stabs laced intricately over thundering drums. "Outsourced" has a call and response feel, with lush, bright tiny synths talking with each other over a thundering rhythm akin to a drum & bass arrangement.

DJ Stingray 313's sound also stretches to more melodic planes, as "Reverse Engineering" displays. Brooding pads and icy percussion engage in a sonic dance. In the same on "Image Search", cold drums and riffs intertwine the warmer layering pads and leads. Both create two powerful compositions on FTNWO that move unlike any other. "Remote Viewing" only moves lower in tempo compared to the rest of FTNWO, DJ Stingray 313's keen ear to melody still burning brightly. F.T.N.W.O. remains an ageless album - an ominous piece from a near-distant past, back again as part of the Micron Audio catalog to soundtrack the new and uncertain times we live in.

After 3 albums based purely on synthesizers, the danish duo take a leap by adding live drums & guitars to their latest album. A natural step, considering that Jakob Skott, one half of the duo, spends his time drumming in Causa Sui, as well as a slew of jazz-infused projects on El Paraiso. All basic tracks were recorded in an improv session at Jonas Munk's studio in Odense, capturing both synths and drums live. The expansion of drums adds a natural 70's groove, maintaining a spontaneous vibe that also soaks into the analogue synths of modular wizard Kristoffer Ovesen. The improvised sessions were later honed, edited & layered, bringing forth the best of both spontaneous ideas, as well a multi-dimensional approach bringing a new depth to Videodrones extensive cinematic undercurrent of sounds. With the addition of echo & reverb drenched guitars, the duo is tapping into sounds in new realms yet strangely familiar. After The Fall may conceptually nod it's head towards a gloomy state of affairs, but akin to the italian post-apocalyptic movies of the 80's, doomsday never felt this heady and funky before.

The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.

Having worked together for several years on the project 'Zeitgeist Freedom Energy Exchange' Zeitgeist and Tucceri come together here in a very intimate and vulnerable setting. This recording offers a place of reflection and healing amongst an ever imposing and disposable pop culture. In a time where we fight for each others attention in 10 second social media grabs. The duo offer something of the opposite. An opportunity to tap out of the technological bombardment and allow the listener the place to reflect, to ponder, to imagine.

Attracted by a mysterious force that prompts him to leave his studio den, the Waxidermist embarks on a mystical quest, a hip hop adventure on the screen of which funk and soul collide, sampling and live.

Against the backdrop of an Asian fresco, The Waxidermist traces a musical journey that draws in its wake long-time friends and new crusaders along the way. United and united, becoming one to stay the course until the final revelation ...

"Tribe" is the new chapter in Waxidermist story : his journey cross the world & will be tell by all members of his tribe : From US with MC's RacecaR or DistantStarr, through France with Female singer Elodie Rama, the journey shines to the world : Netherland with wicked Female MC Starrlight, Africa with famous afro-soul singer Bibi Tanga, but also Japan with MC Ta-Ti.

After many adventures with famous musician (Erik Truffas, Gut, Versus, UHT°, The Herbaliser, Anna Kova…), The Waxidermist strikes back with a brand-new Hip-Hop Adventure, such an Imaginary Soundtrack and invite people to meet his "Tribe"…

Twice JUNO-nominated and two-time Polaris Prize listed, Toronto's soul songstress Tanika Charles unveils her album "Papillon de Nuit: The Night Butterfly".

"Papillon de Nuit: The Night Butterfly" is the third studio album from Canadian Soul/R&B powerhouse Tanika Charles and is slated to be released worldwide on Milan-based Record Kicks label on April 08th. Composed and recorded while in and out of lockdowns, "Papillon de Nuit" is an album anchored in growth and maturity. The thematic inspiration came from an unlikely source, a creature that soars after the sun sets, but often goes unnoticed until the light shines on it. It is the "papillon de nuit" to some, but drably referred to as a moth by others, revealing a bias in language alone.

"I always thought it was a strange insect. Once while in Paris, a friend swatted at one and I asked: 'Was that a moth?'. I was told: 'No, that's a papillon de nuit.' I thought that was the most beautiful description for this otherwise overlooked creature. When I later learned of the symbolism associated with it, I felt that really spoke to both my own situation and also what we've all been going through." Production on "Papillon de Nuit" was helmed by a mixture of old and new collaborators. The Safe Spaceship Records production team, consisting of Scott McCannell (Lydia Persaud, Claire Davis), Ben MacDonald and Chino de Villa (re.verse, Jessie Reyez), produced four songs on the album. The group also assisted as session musicians for songs produced by newcomer Todd "HiFiLo" Pentney (Allison Au Quartet, JUNO Award winner). "The Gumption" contributor Kevin Henkel ("Tell Me Something", "Look At Us Now") returned with three compositions, and old friend Jesse Bear (Sean Kingston, Stan Walker) contributed to one song.

Following the success of "Soul Run" (2016/17) and "The Gumption" (2019), Tanika had found a comfortable pace of releasing albums then hitting the road the following year to bring her show to new markets far and wide. So when things changed for all of us, and plans of touring "The Gumption" properly fell through, there was a realization that getting to work on the next project was the healthiest choice to make.

"I was in some dark places. My energy was stagnant and the only reliable constant was this perpetual uncertainty. I had gone from feeling like I was everywhere to only being in one place. From seeing so many new faces, to only my own, in the mirror, everyday and having to face that. Getting back to work on music allowed me to explore these feelings through the format I know best. And I wanted to make sure that when things were ready to resume, I'd be ready with something new for my audience too."

Tanika, who took part in the writing of most of the album, was also assisted by regular co-writer Robert Bolton ("Soul Run", "Remember to Remember") and accomplished solo performer Tafari Anthony (Priyanka, of RuPaul's Drag Race). Featured guests include the multi-disciplinary artist Khari McClelland and rising Toronto rapper, DijahSB. Both Dakarai Morris-James (Joanna Majoko, BeBe Zahara Benet) and Sean "D/SHON" Henderson ("Love Overdue", Serena Ryder) assisted with vocal arrangements across multiple songs.


"I think this album represents my best work to date. And yet, it also represents me coming to terms with who I am as an artist. For the first time I think I've actually accepted my own voice. I can hear beyond the imperfections, and I realized that when paired with the right music, it can sound pretty good. I still have my doubts and my dark places, but a little less of them."

Recorded during the first few periods of lockdown and originally released as a cassette midway through 2021, O Yuki Conjugate's A Tension of Opposites Vol. 1 & 2 is now to be released as a limited edition, double-disc gatefold LP via World of Echo on 1st April. The enforced conditions of its creation represented a new way of working for O Yuki Conjugate founders, Andrew Hulme and Roger Horberry, a pioneering duo who have worked as close collaborators on multiple projects for almost four decades now. As such, their writing is for the first time divided in two and recognised as distinct, Horberry contributing the shorter eleven tracks that make up Vol. 1 (subtitle: At Variance), and Andrew Hulme the longer four that constitute Vol. 2 (Into the Pleasure Garden). It's fascinating to hear their approaches separated.

At Variance is defined by its mostly short-form approach, characterised by an airless ambience that recalls the late 20th Century modern minimalism of Thomas Koner, Markus Popp and the Mille Plateux universe, while in other parts, an element of the grander aspects of Eno circa Discreet Music, though retaining a characteristically gritty feel. Into the Pleasure Garden provides a notable contrast, forgoing the lightness of the preceding eleven tracks and embracing what might be understood as some of the more 'classic' elements of the OYC sound: their storm cloud-forming, heavy weather, post-industrial, fourth-world dystopia. Together and apart, OYC celebrate their 40th birthday this year, but remarkably, even under challenging circumstances, their music still retains an almost mystical power.

Future releases in the series are planned for later in the year and will continue with this approach, charting the outer reaches of the individual members musical inclinations. In the meantime, it might be worth giving some thought to start considering this pair an institution of sorts, or at least their own cottage industry.

Nico Stojan set up Ouie with his friend and longtime collaborator Acid Pauli as a conduit for the unique and wonderful music they and their friends have become synonymous with. This latest release reaffirms the magical quality the label has cultivated, this time in the form of a teamwork between Nico and David Mayer. 'Fling' kicks off powerfully - a shuffling, organic groove leads the way before synth pads, jazzy piano riffs and a big breakdown amp up the atmosphere. 'Safari' employs a similarly swung, live feel to the groove, before dropping in a breakbeat to take things to the next level. The track builds tension as synths are layered and layered, resulting in a mystical leftfield bomb.

Exclusively premiered by Afrodeutsche on BBC Radio 6 Music and supported by Mr Scruff, the new Band on the Wall-released 7" from Manchester's Lovescene is a devastating encapsulation of the collective's multiple personalities.

Finding each other amidst the more soulful side of the Manchester club scene, Suits You/Overnight (Dancefloor Mix) comes out hot on the release of the group's debut album and is an irresistibly rich mix of velvet RnB, groove-laden soul and driving floor filler. The group deliver both in widescreen opulence, a direct link to their name which comes from band leader and vocalist Pops Roberts' love of cinema.

As we emerge into the Now with a fresh perspective and renewed vigour, Red Laser Records usher in a novel epoch of Manctalo movements for our post-COVID enjoyment.

Entrusting piloting duties to four well decorated RL commandos, the EP serves to remind us all that despite everything that's happened, we can still find solace in red lasers, smoke machines and high-powered strobe lights.

Splitting open the collective dancefloor inertia is Kid Machine's 'Only Machines Allowed'.

A cybernetic b-boy jam straight outta the planet MEGOH circa 4044. Guided by electrified vocoder lines and a plutonium-grade, armoured groove this impenetrable battle rocket should issue the much needed power boost to get your body kinetics firing again when they release the e-barriers to hedonism.

Returning star fleet lieutenant Count Van Delicious has been collecting entities from the outer galaxies since his appearance on RL EP 9 ('Dark Fruit' w/ Senor Chugger).
Here he announces his return with an end-credits epic, an #inabiteveryoneelse theme from this young vet on a pants-off permo-buzz, up-scrolling through technicolored c64 visuals and deploying his now trademark zoopa-arps, euphoric synth stabs and thunderous low end shudder to deadly effect.

Meanwhile, Ste Spandex continues his cybernetic realignment surgery, dissecting a well circulated disco meme and adding voluptuous gender-neutral enhancements that'll be getting the next generation of androids frisky, despite their lack of reproductive organs. Fizzling synths, spherical repetition and a multi-dimensional mix of high voltage rhythms leaving that vocal line permanently downloaded in your memory cloud. No sharing necessary.

Scottish deep space observer Ernesto Harmon provides some cosmic ruggedness to close off our mission. Reinforced & galvanised low-end rhymix coalescing with humanoid synth expression and an infinite, carbon-free energy source keeping momentum plateaued through the morning after the night before. There's no off switch baby!

For astral travellers seeking solace in the new Now, EP12 kindly acts as an upgrade to your possibly dormant dancing system as you stumble out into the new nocturnal environment. Hopefully reminding us that the simple act of moving alongside one another in a pitch black, laser-guided club space hasn't changed that much...

Limited press, with artwork which could be the next top selling NFT, we urge our RL family to bag this collectable chronicle from the Red Laser Corp.

The Vicious Seeds from St. Petersburg have been putting out 45s with their blend of raw cinematic grooves and deep funk instrumentals for a while, here they introduce us to vibraphonist Pavel Chiznik, who adds his midas touch to the group's well seasoned rhythm section. Reminiscent of early CTI recordings and - of course - Roy Ayers, the band delivers their own version of summer jazz dope beats, with sample-friendly drumbreaks, funky basslines, psych guitars and lush vibes. With communication to the group largely cut off or heavily censored, we leave it to the music to do the talking and spread the band's message. "Make records, not war".

West London's post-punk scene is showcased with an EP built on the raw energy of like-minded collective spirits of the time by the short-lived Hamburger All-Stars.

Primarily revolving around the ideas of Justin Adams, a recent arrival in London with his band, The Syndromes, they soon found themselves recording at Street Level Studios - a basement squat in then run-down Little Venice. With producers Kif-Kif Le Batteur (Here And Now / Planet Gong) and Grant "Showbiz" Cunliffe (Blue Midnight / The Fall), their open-minded techniques allowed Adams to develop his increasing interest in the "studio as instrument" principles he loved from the likes of Brian Eno and Lee Perry.

Not a band as such, but friends and musicians from other bands all contributing including The Impossible Dreamers, Alternative TV, Gong and more, this "All-Stars" collective would later go on to be part of, form or affiliated in The Invaders Of The Heart, The Pretenders, Moodswings and Mutoid Waste.

Appearing on just 2 releases, the now rare split 7" and LP for the aptly named 100 Things To Do / Fuck Off Records, the songs initial vocals soon shift into funk and dub improvisations. One Million Hamburgers, Swinging London Pt 2 and Studded Leather Jacket almost fall away into atmospherics, with guitar, bass, percussion and horns augmented by Dr Rhythm machine, shortwave radio and heavy doses of Space Echo that capture the period's rawness and naivety to perfection.

The second strike of Leipzig’s new electro offshoot sets
Friedrich Ernst on the offensive. With these four new tracks
he progressed his sound signature from a playful but
reected 8bit world soundtrack on SELF001 to a rm and
gritty b-boy attitude. With SELF002 the do-it-yourself label
team of DJ Unisex and Friedrich Ernst back up nothing less
than their label mission: "We believe in the human mind as a
self-learning system" – and it has the basement dance in the
eye. Classic electro otakus will parté about the succinct
elements that ts each other seamlessly on Class Beat while
the groove remains alert and phantasmagoric. Back 2 The
Ol_ Skool invites two breakdance crews to battle out who
owns the oor: the pale electro robot boys on the left and the
hoover sound loving UK hardcore girls on the right. Wildstyle
is the living proof that a tight 808 groove still smashes
especially hard when complimented with a proper breakbeat.
Best played loud and from vinyl. The last bit of the whole
enchilada is almost tranquilizing until you realise how far
your stone rolled already. Rhythm Control is a crowd pleaser
with endless qualities. Collaboration partner Dominik
Widmann delivers the stunning artwork again for their
ongoing conceptual series with his acrylic paintings.
Included as A2 inlay print in every record.

Dear is Pauwel's big step forward. His debut album on Unday (due April 2020) is a mature collection of songs about loss in all its different facets. Pauwel openly confronts his demons, without ever losing sight of the essence: rock-solid and captivating folk songs between hope and despair, comforting and disquieting at the same time. Dear turns out a record to cherish and completely disappear into.

Shortly after Pauwel finished his previous EP, his mother passed away. A few weeks later, Europe went into lockdown for a second time. Pauwel wanted to cope with this turbulent episode on his debut on Unday Records, but the isolation during the pandemic only cast more doubts. During the darkest winter months, the 31-year-old songwriter realized that loss comes in many guises: lovers come to leave, suddenly leave or turn out to have become strangers. "Dear" is the account of this dark period in Pauwel's life. A reckoning with all the bad that happened to him and his peers. It is also a bridge to whatever comes next, a hopeful glance at the future.

On 'Dear', Pauwel expands his musical universe considerably, without losing his characteristic melancholy and distinctive voice. With the help of musicians Sander Smeets, Koen De Gendt and David Broeders - his new backing band - the rough folk diamonds were polished into mature songs. The stunning voice of Catherine Smet (aka Bluai) serves as a comforting echo on a handful of songs.
"Dear" was recorded at three different locations by producer Bert Vliegen (Whispering Sons, Sophia). The opening track "Murderer" and the haunting "Bones" were created in a hut in Walcourt. The bulk of the record was recorded during an intense week at the GAM Studio in Waimes. While the TV news showed apocalyptic images of the floods in the province of Liège around the clock, Pauwel and his band finished the songs. Rich, spacy arrangements ("Lazy"), rambling country-rockers ("Deer" & "Sister") or a tearful one-taker on Fender Rhodes ("Mother"): during this session "Dear" finally came together.

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies.

Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv- later in Leningrad & now St. Petersburg, from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 - 1983, her repertoire included music for violin and later expanded to contemporary music composition.

The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one
in flux by way of earnest curiosity.

Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the 3 movements of ‘Metamorphoses’ embodying this textural approach to musique concrete.

The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’.
The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.

The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations
with new age tropes (inc. bell chimes and cavernous vocal mantras).

Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom
away from any academic strictures.

Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church.

Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the pas
to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.

American R&B and soul singer and producer Al Johnson debuted as lead singer of The Unifics in the mid 60's and enjoyed a successful career as songwriter and producer after leaving the group. He is also well known as a producer of Terry Huff's classic album The Lonely One.

His first album Peaceful was released from a minor label called Marina Records in 1978 and was produced by Lloyd Price.

Three decades on, Nick Lowe has evolved from British pub-rock pioneer
(with Brinsley Schwarz) to new wave godfather (producing Elvis Costello,
among others) to postrock crooner.
It’s a surprising but convincing transformation, begun with the country-inflected minimalism of 1994’s superb The Impossible Bird and pared to an even
leaner chamber pop on this subdued charmer. Bird found Lowe damping his
jokester’s instincts to dig deeply and soberly into romantic despair and a gnawing, midlife confrontation of self.
While the tracks on Dig My Mood suggest that some of the wounds have
healed, there’s still an elegiac air to songs like “Faithless Lover,” “What Lack of
Love Has Done,” and “Failed Christian” that qualifies these as songs of experience. Lowe’s baritone has deepened and acquired a deft finesse with redeeming glimmers of wit and no loss of intelligence.
The 2021 reissue of Dig My Mood is remastered from the original tapes.

Dark Green 12" Vinyl Limited to 1000 Vinyl Includes Exclusive bonus track 'Restless'

“The things you hear when you’re alone. Walking through Mount Royal or other wooded areas you might notice a branch break. As much as I value my alone time and the subtle things you can pick up around and within yourself in those moments, a certain loneliness and anxiety permeates the quiet at some point. The past couple years created ample opportunity for that anxiety and loneliness to stretch its legs and make itself comfortable. This record was born out of weeks of willing a form of peace and inspiration into my surroundings. A large part of that came from working with Leanne Macomber on some vocals. Through a desire to form new connections and throw more humanity into the work. We made a variety of song sketches that I mostly reworked into the final recordings here. We spoke a lot about where our heads were at, certain key phrases, triggers and emotions. Joel Ford, whom I worked on Dawn Chorus with, mixed the record and helped me wrangle a few cats to get this across the finish line. Restless at home in Canada, feeling the restlessness of all my friends and loved ones I kept in touch with as much as possible, trying to make something that made the quiet a bit more peaceful."

Loraine James' new ambient-minded alias, Whatever The Weather, follows her 2021 solo LP Reflection (Hyperdub). In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she'd ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as "free-flowing, stopping when I felt like I was done," allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment - the location feels fixed while the conditions vary. The album opens at "25°C," a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James' proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, "0°C," its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout "17°C." Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. "2°C (Intermittent Rain)" ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side's opener, "10°C." The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. "4°C" and "30°C" display the range of James' vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones' Chino Moreno and American Football's Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at "36°C," while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake.

Der offizielle Soundtrack zur dritten Staffen von Star Trek Discovery auf Blue/White Marble Vinyl. Jeff Russo komponierte bereits die Soundtracks der ersten beiden Staffeln der Erfolgsserie.

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70's and 80's. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

Nach den Erfolgen der 3LP- (schwarzes Vinyl) und 4LP-Ausgaben (farbiges Vinyl) - jeweils mit 33 Tracks - erscheint nun mit der LP 'The Greatest Harry Potter Film Music Collection' die Essenz der Filmserien-Soundtracks mit den 11 besten Tracks von John Williams (der zwei Oscar-Nominierungen für die Reihe erhielt), Patrick Doyle, Nicholas Hooper und Alexandre Desplat, eingespielt von den weltberühmten Prager Philharmonikern. Schwarzes Vinyl.

The idiosyncratic musical style and production practices by Sheldon, Sidney Thompson (aka Sid Le Rock) are shaped by the DIY electronic-music movement that has encouraged his creativity to develop and thrive since the late ’90s. This is a contributing factor to his impressive discography that currently stands at twelve albums under his various aliases, including Sid’s collaborations with artists from various fields and musical genres such as Depeche Mode, DJ Koze, Placebo, and persistent impressions of the journeys he has made throughout the world as a result of his live music performances.

These invaluable experiences are the supplements for his next important leap forward as follows: As a tribal member of the Algonquin First Nations, Sid seeks to explore his ancestral heritage to uncover the traditional, ceremonial soundscapes of the Native American indigenous peoples as an integral component for his new solo album project – Invisible Nation. It is his respectful endeavour to bind this seamlessly together through his knowledge of music theory and his own distinctive production sound. Sid Le Rock’s current album concept is a fusion of traditional music and organic elements utilised by the Aboriginal peoples of Canada, combined with the modernisation of electronic-based music. Mixing of both sound styles achieve balance with a shared importance to rhythm as a source of impulse and functionality. It is his equitable attempt to produce and deliver a complementary synthesis of sonic peculiarities, modern electronic methods and the repurposed use of ceremonial music, to showcase a profound pride and pay homage to his forebears.

The Algonquin First Nations otherwise referred to as Anishinaabe, are a group of indigenous peoples present in the Great Lakes region of Canada. They consider music and dance to be sacred and an integral part of their lives. It is a culture in which it heavily relies on rich oral traditions to pass on its stories, teachings, history, and cultivates their verbal language. Membranophone, idiophone, aerophone, and chanting are traditionally essential components to our sacred sound, "Drumming is the heartbeat of Mother Earth, chanting is the heart”. This musical connection produces a narrative depth that can transport an effective atmosphere to dance-floors, bridged by the unconventional virtues, to which electronic music permits limitless possibilities. Sid Le Rock’s latest release, marks his eighth studio album – Invisible Nation, is an exploration into his cultural roots, combining myth and musical expression to bring forth a prideful nation.

"Satriani and his touring band, who all recorded remotely in separate areas of the world during lockdown, deliver an album-length journey that never dulls. The Elephants of Mars crackles with an exciting new energy, briskly traveling through stylistic roads that feel freshly updated, viewed through new eyes.
From the gripping, sci-fi madness of “Through A Mother’s Day Darkly,” to the isolation felt in a decaying urban landscape, as depicted in “Sahara,” to the general endorphin levels that peak as the elephants finally roar in the title track, The Elephants of Mars will stampede across your mind, leaving a sonic imprint that doesn’t fade.
Thanks to the pandemic removing all time constraints, The Elephants of Mars truly represents the album that Satriani himself hoped he could deliver with his band. “We did everything. We tried the craziest ideas. And we entertained every notion we had about turning something backwards, upside down, seeing what could happen.”"

"Satriani and his touring band, who all recorded remotely in separate areas of the world during lockdown, deliver an album-length journey that never dulls. The Elephants of Mars crackles with an exciting new energy, briskly traveling through stylistic roads that feel freshly updated, viewed through new eyes.
From the gripping, sci-fi madness of “Through A Mother’s Day Darkly,” to the isolation felt in a decaying urban landscape, as depicted in “Sahara,” to the general endorphin levels that peak as the elephants finally roar in the title track, The Elephants of Mars will stampede across your mind, leaving a sonic imprint that doesn’t fade.
Thanks to the pandemic removing all time constraints, The Elephants of Mars truly represents the album that Satriani himself hoped he could deliver with his band. “We did everything. We tried the craziest ideas. And we entertained every notion we had about turning something backwards, upside down, seeing what could happen.”"

Spain’s fastest-rising band, Belako are announcing a very specialedition of their 2020 album ‘Plastic Drama’. The new, deluxe double LP will be released on 8th April via BMG and includes exclusive remixes by the likes of Wolf Alice, The Vaccines, Hinds and Crystal Fighters.

Hailing from the small town of Mungia near Bilbao, Belako have been playing non-stop in Spain and beyond these past few years, building a dedicated fanbase in their native country, which has quickly been spilling out into other parts of Europe and the US.
2020’s ‘Plastic Drama’ was the band’s fourth record, but the first since signing a major international record deal, and certainly their most ambitious to date. Self-produced by the band, ‘Plastic Drama' searches for “the real meaning of things in a world that translates everything into assembly lines, manufacturing and the exploitation of living beings,” say the band. “It’s about the harsh reality our generation is facing and the only good use of new technology, which is the ability to spread the word and call for action. The title of the album has another message, as it also reminds us the first world issues we’ve come so keen to complain about. We can only hope for a more responsible human legacy”.

They were named best new band by Rolling Stone Magazine (ES) and ‘Plastic Drama’ picked up top UK support from the likes of 6 Music, Clash, DIY, Dork, The Line Of Best and NME who hailed the record as ‘a bold next step from a band who have never been afraid of the weird or the wonderful. Belako step up and earn their place among the major players of the scene’.

Relentless in their craft and a ferocious live act at their core, Belako were the first band to tour Europe in the summer of 2020, breathing new life into old forgotten Spanish cinema drive-ins across the country for their live shows. The ‘Belako Pandemic Tour’ documentary was premiered at the San Sebastian International Film Festival and will soon arrive on digital platforms.

Having supported the likes of DMA’s, QOTSA and Liam Gallagher at Finsbury Park, and played major international festivals such as Primavera, SXSW, Rock En Seine & Benicassim, Belako’s explosive live performances have excited crowds from small dive bars in their early days to huge international festivals. Their anything-can-happen stage attitude showcases the power, electricity and punk ethos of this exciting young band, which also lead to them being the first ever Spanish act to be booked for the main stage at Reading & Leeds Festival.

Fast forward to 2022, Belako reinvigorate ‘Plastic Drama’ with a 50-date world tour to be announced shortly, kickstarted with the release of their new deluxe edition album in April, featuring remixes by some of alternative music’s biggest names. The band will also celebrate the release with an album launch party on the rooftop of Madrid’s prestigious Riu Plaza on April 6th. Details for all UK dates this summer will be revealed in the coming weeks.

Loraine James' new ambient-minded alias, Whatever The Weather, follows her 2021 solo LP Reflection (Hyperdub). In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she'd ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as "free-flowing, stopping when I felt like I was done," allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment - the location feels fixed while the conditions vary. The album opens at "25°C," a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James' proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, "0°C," its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout "17°C." Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. "2°C (Intermittent Rain)" ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side's opener, "10°C." The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. "4°C" and "30°C" display the range of James' vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones' Chino Moreno and American Football's Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at "36°C," while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake.