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Note vinyl rel date is later. 10 Year Anniversary Reissue. 2LP / 2CD featuring the album proper & demos of each song + rarities. Colored clear vinyl, includes digital download. Recommended If You Like: The original ‘151a’ release, of Montreal, Regina Spektor, Andrew Bird. They say that you spend your entire life writing your first album, piecing every formative moment, scribbled turn of phrase, and thematic epiphany into a fantastical collage. Multi-instrumentalist K. Ishibashi (aka Kishi Bashi) disproves that old adage. The title of Kishi Bashi’s 2011 debut album,‑151a, is a riff on the Japanese phrase‑“ichi-go ichi-e,” roughly translating to “one time, one place.” That’s exactly what this debut is: A singular time, an inimitable place, a launchpad for bigger and better things to come. “It’s a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can,” Ishibashi‑told NPR at the time of the album’s release. “The saying reminds me to embrace my mistakes and move forward.” From the deconstructed Beach Boys-esque doo-wop of “Wonder Woman” to the menacing marriage of Eastern Hues and Western operatics of “Beat the Bright out of Me,”‑151a‑is a mediation between opposing drives, offering possible reconciliation but never promising it. The album’s emotional wellspring, “I Am The Antichrist To You” was reimagined in 2021 when it was featured on the animated sci-fi sitcom‑Rick and Morty, introducing Kishi Bashi to a new generation of awestruck fans. Kishi Bashi uses‑151a‑as a vehicle to explore his cultural background. Using Japanese refrains as a compositional and textural device (the polyrhythmic grandeur of “Bright Whites”; the gleeful surrealism of “It All Began With a Burst”), Kishi Bashi celebrates his heritage with earnestness. Japanese phrases and couplets are sung as the response to Kishi Bashi’s resplendent calls, offering listeners a conversation that dovetails with the album’s themes of love, sentimentality, and self-discovery. Today, the “one time” and “one place” that­151a‑inhabited seems further than ever, almost broaching celestial realms of time and space. But, rest assured, with each listen, the world that Kishi Bashi built springs back to life. The world of‑151a‑never left—it was just waiting to be rediscovered.

After the impact of Exist in Ramallah festival back in 2019, and how relationships between the artists got established and the attendees contribution that helped to shape the identity and the vision of the project itself. Exist decided to take the next step and expand the project with a label that is runned between Amman based and festival founder Odai Masri and Amsterdam based and label co-founder Chafik Chennouf with the same ethics that the festival is standing for. Some of the main principles Exist upholds include resistance to homophobia, and the ongoing colonization of various parts of the world by state actors or multi-national oligarchs. In turn, we think that this colonization leaves no one free, and that it especially targets communities (human and non-human) that are most marginalized by capital and historical racial and ethnic structures. The first release 'Marks of Existence' is a collection of mind-melds with some of the scene's most continuously exciting and refreshing artists: Drew McDowall, Muqata'a, CASKO, Adel Poursamadi & Tegh. The Scottish, NYC-based experimental musician, Drew McDowall, has been subverting the formula for many years now, having clocked up storied work with Coil and Psychic TV back in the day. His track 'Conceal the Wound' is a stunning, exquisitely chiselled piece of synth music. It's like waking from a dream, only to return to its febrile clutches. Ramallah's Muqata'a came through flawless with his cut 'Administrative Detention', a blast of chaotic chopped breaks and lurching neo-beat tape MPC programming. The breakcore influence in combination with referencing crimes against humanity makes the tune an intense headmelter. The ideal soundtrack for unorganized resistance from a firsthand perspective. ‘The Price You Pay To Be Unattached Flesh’ sees CASKO push the hi-tech dirt of his Opal Tapes, Leyla Records and Voidance releases down darker ginnels to claustrophobic, anxiety-raising effect in a collection of brilliantly neon explosions of colour and exuberance floating on a sleazy and slow beat with bags of North-African swagger. Experimental electronic musicians from Iran have marked their prints on the face of the universal experimental music scene for some time now, though the manner in which their status went from "non-existent" to "present" and from "silent" to "noisy" might somehow seem "unpredictable" to the naked eye. Tegh, known for his work on Opal Tapes joined forces with Adel Poursamadi to come up with a beautifully bittersweet synthetic orchestration in a staggering fashion to close this EP with.

With her second album SODA, Belia Winnewisser continues on the path she has been following for quite some time. Few share the Swiss artist’s knack for combining a sensibility to the enthusiastic potential of pop with an interest in niche references of experimental sound design. In recent years, her feel for this fusion brought Winnewisser to the attention of the electronic club music scene. This world and the various genres related to it leave their mark on SODA: sing-along anthems like “So Real” and the densely layered drone of “They Cry of the Sirens” stand alongside the feverish dance track that gives the album its name and rave bombs like “Solen.” A year without club nights allowed Winnewisser to fully embrace her flair for pop and experimentalism, which resulted in more than a mere series of nods to different genres and acts. SODA—both as a resonant title and as a collection of music—is a direct call without hidden meanings or implicit references. It’s simply the path she’s on and the way she’s going.

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."

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.

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.

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.

"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.

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.

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.

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.

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"…

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".

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.

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."

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.

The disjointed space between personal happiness and global sorrow is
where Smrtdeath's new album it's fine makes its home
Written and recorded during the pandemic, one of the most dramatically isolating
experiences of our lives, the album finds Smrtdeath's Mike Skwark in a
surprisingly contented state, newly coupled up and living in bliss.'It's Fine' was
produced by Matt Malpass, who Skwark calls "fucking incredible." He's a Grammynominated producer who has worked extensively with Blink 182, along with other
artists surfing across similar genre borderlines as Smrtdeath, like Trippie Redd,
Machine Gun Kelly, and 311. His bombastic approach to sound blends perfectly
with Smrtdeath's near-spiritual use of harmony.
it's fine is loaded with amazing featured artists, a who's who in the pop punk
scene. The first song recorded for the album , "Adding Up," features Blink 182's
Mark Hoppus on vocals and guitar, and his presence brings an epicness to the
track. On "Sober," it's clear that falling in love has helped him grow up—but not too
much. Skwark calls the song, which features both Lil Lotus and Lil Aaron, the
result of "an internal conversation I've been having." It balances both the
seriousness of the subject with the fun he wants to leave behind perfectly.
"I like this album the most out of anything I've done, and I want everyone to like it
the most," Skwark says. He hopes to tour the record when the pandemic allows,
with a live band. "I want to do something less familiar to everyone, something
more like, Whoa. Something where I'm larger than myself," he says.

Sounds move across the limits of space and time to leave imprinted in the mind an album of memories full of colors and emotions, a travel journal that from the farthest corners of the world burns every kind of distance and returns through warm and strongly evocative sounds the colors, scents, rhythms, the atmospheres of distant lands. The result is a rich and evocative soundscape, where images become sounds and sounds images, where the elements of nature echo voices of different places and cultures, distant in space but deeply similar and intimately connected.

Imaginária Records has commissioned the refined experience of Giovanni Santucci and LucaEffeSunset a journey through the sounds of the world, which from the enveloping wave motion of the warm Iberian beaches carry us to the crystalline dripping of waters and voices of the Mexican jungle, crossing Balearic rhythms and Brazilian brilliance, letting ourselves be captured by the persuasive voices and the chasing rhythm of the magical formulas of the masciare, ancient mysterious witches of southern Italy. In this journey, which represents the first stage of a wide-ranging project (a trilogy that will take the shape of new musical experiences gathered around the themes of the places first and then of the return), an exciting centrifugal movement that attracts towards a single center: the beating heart of a single Mother Earth; voices, suggestions, rhythms, emotions from the far/near, in order to confirm, together with Raymond Murray Schafer, that in the end "the whole world is sound".

Repress

Introversion is joining our collective with a must have record. Dystopia comes from the mind of a Young and Very determinated Artist from Germany, We are shure that this will hardly leave your bag. Youth is a dream, a form of chemical madness.

Classic Bill Evans Trio album on 180g vinyl LP, plus a bonus CD that
contains the complete album + 6 bonus tracks

The LP contains an extra track from the same session not included on the original LP. "If there's any doubt that Evans is one of the freshest things to happen to the piano in the last few years, this album should dispel any such feelings. The trio is a closely integrated unit. The interplay among the three men is best illustrated in 'Leaves', wherein they carry on a three- way conversation, with bassist Scott LaFaro leading the discussion. 'Witchcraft' finds LaFaro making pungent comments on Evans' statements and drummer Motian egging on both of them. Here is an album with meaning - here is truth." - Don DeMicheal, DownBeat

Next up on Time Is Now is a fresh cut from prolific Japanese producer Stones Taro: a kaleidoscopic EP which traverses the boundaries of genre to create something truly unique, occupying the intersection of UKG, electro, breaks and house.

After the raging success of previous releases on Scuffed Recordings, Breaks 'N' Pieces and more recently on his own imprint, NC4K, the Kyoto producer makes his Time Is Now solo debut with Super Hot Floor EP. Kicking things off is the pacey, club-ready banger "Integration" with stuttering synths and a driving bassline which leave little room for respite beneath a fierce breakbeat electro rhythm. On "Straight Walk" Taro offers a new take on speed garage with a sharp two-step rhythm and the suggestion of acid-tinged synth stabs which lure you in before reaching their full form in high-energy intervals of 4X4.

After "Watching You" strips things back, the B-side brings the energy with Pulse X style stabs ("Super Hot Floor") and old school house-indebted Korg organ melodies a la Robin S ("Dry Flower").

Birthed in the bohemian enclave and epicentre of strange vibrations that is Calderdale in West Yorkshire, Hexen Valley’s story began in summer 2021 when a new formation of Gnod came together in a co-op house at the 200-year-old Nutclough Tavern. As always, the line-up of the collective shifted and morphed to fit circumstances, and soon they embarked on intensive jamming that was eventually captured by Sam Greenwood in Hebden Bridge Underground studios. Inspiration struck not only from the chemistry of the four musicians in this confined room but all around - the band’s Paddy Shine cites the likes of shop noticeboard messages and pub conversations in Hebden as lyrical sparks; channeling by his reckoning the ‘valley fever’ that exists somewhere in the chasms and contrasts between the amazing light and vivacity of the valley summit and the comparative darkness of the towns below. Meanwhile, musical shapes were making themselves known seemingly of their own volition, from ‘Still Running’, which takes shape across a sonic hinterland between Daydream Nation-style kineticism and sludged-out aggression to ‘Bad Apple’ - an entirely spontaneous piece of potent and angular post-punk intensity. Perhaps most surprisingly of all, Lou Reed’s tour-bus favourite ‘Waves Of Fear’ is hammered out with fearsome gusto into a salvo of first-take catharsis and alchemy, fit to transcend all or any oppressive atmospheres that surround.Hexen Valley is the sound of a band whose fearsome intensity is only matched by their evolutionary drive. It’s Gnod at full power, and it’s a haunted place you might struggle to leave

Birthed in the bohemian enclave and epicentre of strange vibrations that is Calderdale in West Yorkshire, Hexen Valley’s story began in summer 2021 when a new formation of Gnod came together in a co-op house at the 200-year-old Nutclough Tavern. As always, the line-up of the collective shifted and morphed to fit circumstances, and soon they embarked on intensive jamming that was eventually captured by Sam Greenwood in Hebden Bridge Underground studios. Inspiration struck not only from the chemistry of the four musicians in this confined room but all around - the band’s Paddy Shine cites the likes of shop noticeboard messages and pub conversations in Hebden as lyrical sparks; channeling by his reckoning the ‘valley fever’ that exists somewhere in the chasms and contrasts between the amazing light and vivacity of the valley summit and the comparative darkness of the towns below. Meanwhile, musical shapes were making themselves known seemingly of their own volition, from ‘Still Running’, which takes shape across a sonic hinterland between Daydream Nation-style kineticism and sludged-out aggression to ‘Bad Apple’ - an entirely spontaneous piece of potent and angular post-punk intensity. Perhaps most surprisingly of all, Lou Reed’s tour-bus favourite ‘Waves Of Fear’ is hammered out with fearsome gusto into a salvo of first-take catharsis and alchemy, fit to transcend all or any oppressive atmospheres that surround.Hexen Valley is the sound of a band whose fearsome intensity is only matched by their evolutionary drive. It’s Gnod at full power, and it’s a haunted place you might struggle to leave

Back in May 2019, Vancouver trio Corner Boys released their sole album… and promptly split a few months later. In retrospect, they couldn’t have known that the album’s title (‘Waiting For 2020’) would soon seem grimly ironic - and we all know why, right? No reason to go over all that shit again. But while the past two years have at least seen drummer/songwriter Patrick McEachnie staying active across two essential records with hardcore heroes Chain Whip, lockdown saw him switching roles. Basically, he bought a guitar and made an excellent record all on his lonesome, and as followers of his other projects will have come to expect, it’s fucking excellent. ‘Glad To Be Forgotten’ is the debut album by Pack Rat - in some ways you can see some level of crossover with Corner Boys in its manic energy and dedication to hooks (cuts like ‘Next Time Hit Me’ and ‘My Own Reality’ are so damn catchy, you could be forgiven for thinking you’ve already been listening to ‘em on repeat for the past 20 years). Familiar reference points show up (the melodies of the Pointed Sticks; the garage-slanted rifferama of Rudi or The Undertones) while a tinny budget synth keeps things ticking along nicely, just to remind you that this is a homespun DIY project. But honestly, this has the feel of a fully fleshed-out project and leaves you desperate for another fix of its sweet’n’sour tang. For anyone who loves the collision point between ‘New Rose’, powerpop sunshine and sheer rock’n’roll exuberance, this is essential. For everyone else, this is surely the gateway to all of that good stuff. You want to hear the tunes that’ll star on future generations’ equivalents to the Killed By Death comps? That’ll set your pulse soaring and your pogo muscles into overdrive? That’ll remind you of why this punk rock business still feels worth dedicating your life to, even after all this time? Hey, Pack Rat’s got ‘em. Now do your part

It begins with a rustle of noise, equally reminiscent of distorted factory noise and a cassette recording of cathedral bells unspooling, before a near-robotic beat and stuttering bassline enter the fray. Initially, you could be forgiven for thinking you’ve stumbled across the lost tapes of Joy Division’s early Warsaw incarnation, but the atonal blast of strafing guitars fading in and out soon make you realise this is a very different proposition. This is The Drin, and ‘Engines Sing for the Pale Moon’ is their debut album. It’s also one of the best things you’ll hear all year. Helmed by Dylan McCartney, drummer of the rock band Vacation, The Drin originally released this album as a hyper-limited cassette via Future Shock. It’s as much of a departure from McCartney’s usual output as it is for Drunken Sailor Records; songs don’t so much explode out of the gate as drift towards you like a creeping fog that turns your skin inside-out and leaves you sloshing organs all across the carpet. Second track ‘Guillotine Blade’ shows the pieces all coming together, a dubbed-out riot of claustrophobic noise that feels like Pere Ubu trapped in a cupboard one minute, and ‘Warm Jets’-era Eno trying on Bauhaus’ trenchcoats the next. Meanwhile, ‘Down Her Cheek A Party Tear’ unfolds across jittering, skittering rustles of drums and an undulating bassline, making you wonder why post-millennial post-punk so often settles for dickheads shouting non-sequiturs over landfill indie, when it could be entering these dark, unsettling territories instead. The Drin like to get weird. The Drin like to get wild. The Drin rarely cut loose, but that’s because the trip is already intense and haunting enough without things getting raucous in here as well. Hey kids, turn off those shite band name redacted records and get into this; you deserve so much better, and better’s right here. Fall into it, immerse yourself and step forward into a brave new world. I love this record

Big Joe Williams is seen by many as the ultimate incarnation of the Delta Country Blues player, and several of his songs have become standards in the Blues canon. Known for being rough on his guitars, it's one of the reasons for the ongoing tinkering that led to the construction of his first nine string instrument. This fine studio album was released in 1962 on the Folkways Label after being recorded the year before. It contains King Highway Blues, a slow and at times almost spoken track. Where as Somebody's Been Foolin' is fairly driven along by Ransom Knowling's Bass. In 1968 Downbeat Magazine, simply stated that "Big Joe Williams' Blues is a beautiful experience". Listen to this album and you'll agree.

Remastered vinyl reissues of the two essential albums by Turkish folk singer Tülay German, starting with the self-titled release (1980) and followed by "Hommage to Nazım Hikmet" (1982) in early 2022.

Referring heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) these two albums represent unique and modern interpretations of turkish folk songs unmatched to this day. A matured artist with full conviction at the height of her powers!
Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record "Burçak Tarlası" (1964) is now considered the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice.
But due to the increasing repression Tülay German and her lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later. In fact, an impending prison sentence for Erdem Buri for translating Hegel's "Dialectic and Science of Logic" and
Plekhanov's "Fundamental Problems of Marxism" led the couple to emigrate to France.

In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn't feel quite comfortable with this major deal. And thus, despite the success and recognition she had
gained, she decides to quit the contract with Philips!
Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths
in her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly
by Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and
justice. The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music.

The self-titled debut, which was awarded with the prestigious "Grand Prix du Disque" of Académie Charles Cros in 1981, is now seeing a vinyl reissue after 40 years.
Tülay German ended her musical career in 1987 and after the death of Erdem Buri in 1993 she retired from public life completely, leading a quiet life in Paris where she still lives to this day. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.

Judee Sill was an American singer and songwriter. She released two albums and partially completed a third album before her death in 1979. Sill encountered Graham Nash and David Crosby and toured with them for a time as their opening act, a year before the release of her debut album. She was hired by the Turtles to write songs, on which a few of them appeared on her debut album, such as 'Lady-O'. Two of Sill's biggest influences were Bach and Ray Charles.

Judee Sill's eponymous debut album of the same name was originally released in late 1971. Backing musicians include John Beck and Jim Pons from the Leaves. The majority of the album was produced by Henry Lewy, noted for his work with Joni Mitchell throughout the 70s. Graham Nash handled the duties for the single 'Jesus Was a Cross Maker' with his production designed to aim for radio airplay before the release of the album. Judee Sill featured Sill's voice in multiple overdubs, often in a four-part chorale or fugue. The songs are delivered in an acoustic style on guitar and, for 'Jesus was a Cross Maker' and 'Enchanted Sky Machines,' on piano. The songs on the album feature elements of folk, country, and gospel, but also strong classical influences.

Equal parts Sheffield bleep, fractal IDM and interstellar ambience, Hyper Nu Age Tekno sees Taro Nohara (aka Yakenohara) plotting a star map on a faded rave flyer. Let the billionaires blast into orbit while you explore your inner space with Growing Bin.

From the LP's earliest moments, the whomping subs and crystalline chimes of "Space Debris", it's clear that we're a long way from Hamburg. Taro pilots this craft on a deep space exploration way beyond the run out groove, to a place where heartening chords herald a twin sunrise and any broadcasts are lost in translation. The polyrhythmic pulse of "Ill Ell" follows, its concentric chimes and rapid fire kicks summoning the teknoguild to a watery altar in the engineering department. Sticking with interstellar mysticism but taking a turn for the transcendent, "Baker Baker Paradox" spins Reich-ian repetition into a graphene gossamer embellished with chrome, crystal and shoegaze shimmer.
The B-side begins on the observation deck, bathing in the beauty of "Celestial Harmonia"'s sci-fi exotica, before the entheogenic "Use Your Head" prompts a delirious dash to the holodeck. Laying serene pads over a techy 4/4, Taro turns out the most danceable and dreamy track on the LP. As ambient chords ring out into the aether and rhythmic pulses shift out of phase, "Airplane Without People" is the loading screen for your virtual fantasy, soon rendered through the woody percussion and spheric bass of "Music For Psychic Liberation". Leave your body behind as you pick mushrooms in a CGI forest.

Tolouse Low Trax, Sacha Mambo, General Purpose and newcomer Berkay Mate get on the remix of Ex Ponto’s ‚ Neka Neka' LP. Neka Neka is a nod to ex-Yugoslavian experimentalists of the 80s (Rex Ilusivii, Kozmetika, Miha Kralj etc) and the thriving, late-night hedonism of Belgrade's Club 20/44

Tolouse Low Trax provides a remix to Middle Path that is experimental, deep and pulsating. The track is obscure, but has a pulse that you can feel in your chest and ears listening to be beautiful spoken words which will leave you in a trance.

Sacha Mambo reworks 20-40 into a vivid melodic trip that goes into the explorations of the cosmos. The movement of this track is groovy and uplifting, it will keep you on the move. The eclecticism and craziness of Sacha Mambo are definitely heard in this remix.

General Purpose remix Ex Ponto into psychedelic drug chug. This mid-tempo acid banger will keep your body moving, melt your mind and the break down will set you off. Close your eyes and immerse yourself in the vivid journey.

Berkay Mete serves up a remix of intoxicating Eastern sounds. This track is ideal for a sun soaked dancefloor or in the darkness of the nightclubs. Wherever it is played it will, the rhythm will grab you and keep you.

Classic Julian "Cannonball" Adderley LP featuring Miles Davis, Hank
Jones, Sam Jones and Art Blakey, pressed on 180g black vinyl, plus a 7"bonus single on yellow coloured vinyl

The exclusive 7" single includes "Alison's Uncle" (Aka "Bangoon") from the Somethin' Else session, plus the classic "Work Song".

Lieve is the long-awaited second LP by British electronic music producer Holy Other, the first new music since 2012. Emerging from an extended stay at Bidston Observatory on the Wirral, Lieve was recorded throughout 2020 in the North West of England. Using the acoustics of the observatory — the cavernous basement and the geometrically-perfect wooden domes — Holy Other recorded and resampled material that would become the bedrock of Lieve.

A marker in the sand as his first output since 2012’s critically acclaimed Held, these recordings — including the voice of NYX’s Sian O’Gorman, violin from Simmy Singh and saxophone from Daniel Thorne — were cut, manipulated and pieced together to form Lieve.

“How do you break up with a place?”

Have you ever tried to leave your problems behind? No matter how hard you try to reshape yourself, your past remains. This is an album about L(i)eaving, coming to terms with the past, and trying to live in the present.

Much like his past work, Holy Other leaves the listener to draw their own semantic conclusions from the record. The lyrics are ambiguous — ghostly voices, whispers and stutters interwoven with his signature sound palette.

Still, the expressive mood from prior releases remains intact, even if these intimate textures and deft rhythms pick up more mature questions about false starts and failed escapes.

The title track single Lieve breaks almost a decade of silence, finding the language to articulate painful feelings, exhaling, and moving forward.

After turning heads with the densely orchestrated Riddles, produced by Dan Deacon, the Baltimore-based duo Ed Schrader’s Music Beat have given us another giant leap forward with their fourth record Nightclub Daydreaming. The whiplash-inducing stylistic shifts between aggressive noise rock and operatic gloom pop that have become the band’s trademark have given way to a single aesthetic that fuses both impulses. On Nightclub Daydreaming, menace teems just below the surface as propulsive, stark arrangements leave space that Schrader fills with strident, reverb-soaked narration.

LIMITED GOLD VINYL w/ Download Card

When Ed Schrader and Devlin Rice began writing the record in 2019, the idea was to make a fun, danceable album, but an underlying moodiness proved unshakeable. As Schrader puts it, “The cave followed us into the discotheque.”

The duo road-tested the songs “This Thirst,” “Echo Base” and “Black Pearl” with drummer Kevin O’Meara on tour with Dan Deacon in February 2020. COVID restrictions cut the tour short, squashed plans to go immediately into the studio and sent the touring party on a sprint from LA to Baltimore. “We broke down outside Roswell,” Schrader recalls. “And these cops laughed at our dumb asses as we used all our pent-up stress and fear to propel our half-submerged bus out of the muck, yelling epithets to the sky.”

It was one of the last experiences they had with O’Meara, whose death in October 2020 weighed heavily on Rice and Schrader’s minds as they worked on the record. It was also a cathartic moment that presaged the aesthetic that would permeate the songs on Nightclub Daydreaming: “mad euphoria in the face of doom,” as Schrader puts it.

“This Thirst” is an alienation-fueled barn burner barely restraining itself through musically sparse, lyrically dense verses to culminate in a howling, synth-saturated chorus that beats horror punk at its own game. “Came from the north with a twisted planetarium, rock salt, nervous tic and novocaine,” Schrader sings, assuming the guise of a vagrant whose irresistible urges lead him through a fever dream of chemicals, back-alley bartering and existential threats.

The hyperactive “Echo Base” exudes agitated-cool, with breakneck drum fills and a relentless bass line. The narrator is stranded in a frozen landscape and running out of options. “She is just a night train away,” we are assured, and yet we sense that may not be an altogether good thing.

The band recorded and mixed Nightclub Daydreaming over a two-week period with Craig Bowen at Tempo House in Baltimore with David Jacober on drums, turning demos with artificial sounds and placeholder melodies into fully realized songs playable by a live band. The end result is not the album of “sunny disco bangers” that Rice says the band set out for, but something deeper, darker and more rewarding.

Emerging DJ and producer Yemi brings the soulful groovers to the Time Is Now white label series.

Having already received support from the likes of UKG mainstays Sammy Virji, Conducta and Smokey Bubblin' B during his relatively youthful career, Yemi is certainly an artist to watch. For justification, look no further than the vibrant, uplifting 6-track EP which combines luscious vocals and blissful piano chords to create a sound which is at once nostalgic and fiercely forward-facing.

Its two opening tracks get things off to a buoyant start, with a bouncing 4x4 rhythm and the syrup-smooth vocals of emerging artist and long-time friend, Bria Keely. Pair these with rattling bongos on "Never Let You Go" and the gleeful trumpets of "Smooth Talkin" and you have two tracks which make it impossible to keep still.

"My Heart" welcomes a change in mood with a loose two-step swing and moody vocals: a track made for the feels. But before you get too self-indulgent, the deep bass grooves of "Soul Food" bring the energy right back and "Tension"'s euphoric piano chords leave things on an ecstatic high.