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LOCUS launches VA series ‘LOCUS Trax’, with the first volume welcoming Stephan Bazbaz, Julian Anthony, Sucasa and Ben Jones.

Since launching in summer 2020, FUSE’s sister imprint LOCUS has quickly become a go-to outlet for quality house material from emerging and established talent, welcoming releases from Chris Stussy, Sidney Charles, Lauren Lo
Sung, Rossi. and Casey Spillman amongst many. A new addition for 2022, the imprint now unveils its various artist series LOCUS Trax, with Volume 1 welcoming the return of Tel Aviv’s Stephan Bazbaz, alongside label debuts from
bubbling Dutchman Julian Anthony, London-based pairing Sucasa and Liverpool’s Ben Jones.

Stephan Bazbaz’s ‘Dars’ showcases a lively effort as swinging drums work beneath resonant chords and meandering basslines, while Julian Anthony lays the focus on cosmic pads, vibrant organ bass and shuffling percussion across
‘It’s Showtime’. On the flip, Sucasa dive into deeper spheres with the blissful yet impactful sonics of ‘Time Travel’, before handing over to Ben Jones for the peppy sounds and slinking grooves of ‘Get To Know’.

Steppin up, steppin in. Tom Esselle, one half of the minds behind the South London label and former Peckham record store, Yam Records, joins the WOLF Music fam for his first full length EP. And you best believe it doesn’t disappoint.

Following VA appearances on Rhythm Section and his own imprint, he goes all out for this first solo EP outing. Shuffling bumpers, SE LDN jazz-flecked deepness, tough drum workouts and broken beat heaters, all mixed down by Chaos In The CBD main man Beans, this really does have a cut for every occasion and shows an accomplished head rests on Esselle’s shoulders. Someone who’s been part of the scene for years, slingin records and throwing parties, he knows what makes people tick and even better what makes people move.

This is premium grade dancefloor business, tinged by a whole host of different influences and genres, strung together with that distinctive South London feel.

The Classic Greg Foat Group line-up returns with special guests Art Themen on Soprano Saxophone and Morgan Simpson (Black Midi) on Drums. Heavy Synth and percussive Grooves

International Anthem proudly presents Step on Step, a double LP collection of newly unearthed solo home recordings created by enigmatic producer, arranger, and composer Charles Stepney in the basement of his home on the Southside of Chicago during the years before his untimely death in 1976. Stepney’s signature “baroque soul” sound is known to many as it’s heard in his prismatic orchestral arrangements for Rotary Connection, Minnie Riperton, Howlin Wolf, Terry Callier, Earth, Wind & Fire, and many more. His sound has been used by countless samplers in the hip-hop world including Kanye West, The Fugees, and MF Doom. But in comparison to the post-mortem renown of his sound, or the artists he supported while he was alive, Stepney is a greatly underappreciated figure… a genius relegated to the shadows.

Step on Step is Stepney’s eponymous debut album, featuring 23 bare-bones, demo-style home recordings, most of which are Stepney originals that were never again recorded by him or any other artist. Highlights from those original works include “Denim Groove,” which hears Stepney on piano and congas alongside his first instrument (the vibraphone), and “Look B4U Leap,” one of several kinetic lo-fi dance numbers that feature Stepney having fun with an early-gen Moog synthesizer. It also features prototypical, seedling-style demos of Stepney compositions for Earth, Wind & Fire, including “That’s The Way of The World,” “Imagination,” and “On Your Face,” as well as the original version of “Black Gold,” which would eventually be recorded by Rotary Connection (as “I Am The Black Gold of The Sun”).

A collection of home recordings Charles Stepney -- the late composer/producer who worked with Earth Wind & Fire, Deniece Williams, Rotary Connection, Minnie Ripperton, Muddy Waters, Howlin Wolf, Terry Callier, and more, and was sampled by Kanye West, Madlib, MF Doom, A Tribe Called Quest, The Fugees, and more -- called Step On Step is coming out September 9 via International Anthem.

Chicago-born composer, producer and arranger Charles Stepney is known to some for his work with Earth, Wind & Fire, Deniece Williams, and Ramsey Lewis, or for his work with Chess Records in the 1960s, where he was an essential creative force behind seminal recordings by Rotary Connection, Minnie Riperton, Marlena Shaw, Muddy Waters, Howlin Wolf, Terry Callier, The Dells, The Emotions, and many many more. In the decades since his untimely death in 1976, the presence of his name in liner notes and on vinyl labels has become a seal of quality for record collectors, music historians, and aficionados, while his sound has been used by countless samplers in the hip-hop world including Kanye West, A Tribe Called Quest, The Fugees, MF Doom, and Madlib. But in comparison to the post-mortem renown of his sound, or the music he created and the artists he supported while he was alive, Stepney is a greatly under-appreciated figure... a genius relegated to the shadows.

The legendary record label Brunswick Records is home to a
plethora of amazing recordings from classic soul to rhythm &
blues. In this collection we trawl through the vaults to present you
with twelve of the finest funk inspired tracks which are sure to get
you perspiring on the dance-floor.

Classics come in the way of Gene Chandler’s scintillating cover
of James Brown’s There Was A Time, Erma Franklin’s Light My
Fire from her timeless album Soul Sister and Exit 9 with Miss
Funky Fox - a remarkable addition to the Brunswick catalogue
given these musicians were only between the ages 16-20.
Dig a little deeper and we have supreme album cuts from Jackie
Wilson, The Eliminators, The Young-Holt Unlimited, The Lost
Generation, Total Eclipse and Willie Henderson. All of which will
get your reaching for your original album copy.

Pressed on 140g black vinyl with a printed inner sleeve and
artwork reflecting the original Brunswick releases. This is an
essential addition to anyone’s record collection.

London-based British singer songwriter Jonathan
Jeremiah confirms his new album, his second for
PIAS Recordings, ‘Horsepower For The Streets’.
Contains the singles ‘Horsepower For The Streets’
and ‘Restless Heart’.
Much of ‘Horsepower For The Streets’ was written
in Saint-Pierre-De-Côle, the countryside beyond
Bordeaux, during breaks in Jeremiah’s first tour of
France, before the album was recorded in a
renovated monumental church in Amsterdam, with
Amsterdam Sinfonietta, a 20-piece string
orchestra.
For fans of Michael Kiwanuka, Black Pumas,
Villagers, Charles Bradley.
Radio - 6 Music Guy Garvey, Cerys Mathews, Huw
Stephens.

Sub Pop are excitedly finally repressing vinyl versions of three scorching ‘90s
psychobilly classics by Reverend Horton Heat. All three have been out of print on
vinyl since the mid-1990s, with original pressings going for considerable amounts at
the ol’ junk shop.

1993’s ‘The Full Custom Gospel Sounds Of’ stepped things up a bit, with fuller
production by fellow Texan Gibby Haynes of the Butthole Surfers. In addition to the
hilarious ‘Bales of Cocaine’, the album features the furious ‘400 Bucks’, the
atmospheric creeper ‘The Devil’s Chasing Me’ and ‘Wiggle Stick’. On seeing the
video for the latter, Beavis declared, accurately, “Yes! This guy RULES!” while
Butthead agreed, “Yeah… this guy ROCKS! ROCKS!!”

This is the third set in our Soul Slabs sets, which compiles tracks from our diverse 45 releases showcasing artists big and small. It's a great way for folks to discover some of our lesser known artists or just discover our label's sound. Record shops have previously described our compilations as their RSD soundtrack! Our previous compilations have always sold out the day of (nearly) and maintained demand even upon the black vinyl represses.

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Peggy Gou’s Gudu Records steps into 2022 with Brain De Palma’s second EP for the label, Purple Brain.

Although this is only his second release under the Brain De Palma name, Alexei Versino has been honing his sound for the best part of a decade, both solo (as Panama Keys) and as one half of the duo Stump Valley, previously releasing on labels like Dekmantel, Soul Clap and Off Minor. Born in Ukraine but settling as a child in Turin, he’s currently based in Berlin and makes up a key part of the Gudu stable.

Coming straight out the gate with an instantly impactful bassline, opening track ‘IQarus’ sets the tone for the rest of Purple Brain: bold melodies and basslines shot in high-definition, full of detail and idiosyncrasies. As with his last EP for Gudu, cinema is a key reference for Brain de Palma: ‘IQarus’ is a reference to his directorial namesake’s first film, while later in the EP, ‘(O.W.D.) Once Were Dancers’ nods to the 1994 drama Once Were Warriors, “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”

Elsewhere on the EP, ‘Purple Brain’ pairs an unforgettable arpeggio with stargazing stabs and a marching cowbell beat, while the Netherlands’ Deniro takes ‘IQarus’ into the depths of the night with a cosmic remix that grabs hold of a groove and refuses to let go.

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing a 2-colour blue and yellow cosmic swirl vinyl. Full download included as well. Blacklab are back. The self-proclaimed ‘Doom witch duo from Osaka’ are set to drop their 3rd album ‘In A Bizarre Dream’ this summer. Their debut ‘Under the Strawberry Moon 2.0’ saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two ‘Abyss’ added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. So what of the ‘difficult’ third album? Not so difficult at all it seems. ‘In A Bizarre Dream’ ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the ‘Doom Witch Duo’. The drums have a humungous ‘Fugazi’ like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko’s throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on ‘noise’ and ‘heavy’ and with ‘In A Bizarre Dream’ Blacklab add their own spin to that tradition. Gone is the lo-fi approach, here is Blacklab in full effect. ‘Cold Rain’ and ‘Abyss Woods’ (debuted at their storming set at London’s Desert Fest and appearing here in its full version) are two nuggets of epic fuzz heavy doom with added screamo and a neat and canny grasp of melody at its core. Very much a Blacklab trademark. ‘Dark Clouds’ is D-beat fuelled hardcore, fierce and ferocious, with Chia’s rolling thunder drumming underpinning the distorted guitar. It’s pretty exhilarating stuff that shifts the mood perfectly. ‘Evil I’ is just that, a riff as evil as it gets, morphing into a chugging punk wig out. Then followed by ‘Evil II’ a breather, almost mellow, melancholy, with layers of dark overdrive threatening to explode beneath a sweet yet menacing vocal. Then, the mid-point of the album drops a real surprise. Yuko has said before that the band’s name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. ‘Crows, Sparrows and Cats’ actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab’s Hawkwind meets krautrock sludge. It’s a stoner groove with pop at its heart ...Sludge Pop even, a surprising gem amongst the maelstrom of sound around it. The skewed, sludgecore of ‘Lost’ with its push-pull riffs and rolling thunder drumming, signals that it’s back to business as usual. And after the brief atmospheric instrumental interlude that gives the album its title, comes ‘Monochrome Rainbow’ a huge beast of a track so simple, yet so seductive, from its filtered bass intro to its massive ebb and flow groove and stomping ending. The vocals are all mystery and melody, and the music is kind of a Groundhogs meets Goatsnake ten-ton fuzz-fest, with a singalong, wave your arms in the air chorus. The new Japanese Doom-blues, and what could be the album’s defining moment. ‘In A Bizarre Dream’ closes with ‘Collapse’ verging on noise rock, complete with throat shredding vocals and a crushing wall of guitars, that switch from a stoner groove to full on punk assault, teetering on mayhem before finally ending with the sound of Yuko switching off her fuzz pedal. Perfect. Blacklab have negotiated that ‘difficult’ third album with aplomb and have created a sound that, despite their many influences, is all their own.

Slyder Smith first swaggered onto the stage as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on Ray Records & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading Slyder Smith & The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion. Stepping out of the shadows and into the spotlight, the self-confessed ‘frustrated lead singer’ has been forced to delve deep into his own psyche, to carefully craft lyrics and melodies that speak from the heart. Slyder’s emotive vocals are powerful, yet melancholic, the perfect balance of light and shade sitting effortlessly within the sonic landscape of his varied rhythm guitar sounds and highly melodic & anthemic lead lines. “This album has been a real labour of love for me, I’ve really put my heart & soul into it. Over the last year or so I’ve been working very hard developing my guitar playing, music & lyric writing pulling myself in all sorts of directions, really stretching myself. I feel I have accomplished what I set out to do, create songs from the heart in no specific genre & perform them to the best of my ability on the record. I guess for years I have been a frustrated lead singer so I have relished the opportunity to showcase what I can do vocally too.” – Slyder Smith - Stage left, Slyder is joined by Tim Emery, a towering enigma, whose stylish bass lines are the only thing to outshine his impeccable apparel and at the back sits the Oblivion Kids’ powerhouse and beat master, Welshman, Rik Pratt. A man of few words but whose presence is palpable in this rock steady rhythm section. But this is no ordinary guitar-based rock album; together with producer Pete Brown (George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths and Sam Brown), Slyder has allowed the songs to dictate the direction they have gone in; discovering melodies and hook lines along the way. Making use of Hammond organ and piano with the help of Neil Scully (Richard Davies & the Dissidents), a 1950s Phillicord organ, lap steel guitar & even a bit of banjo. A chocolate box of sonic sensations offering up a little something for everyone - from heavy riffage with walloping drums akin to the brothers Young to the anticipated sleaze rock shades of Hanoi Rocks. However, this band is not afraid to step away from their rock roots, instead, with nods to the likes of The Doors, Velvet Underground, The Stranglers and The Kinks from the past and the alternative rock sound of Manic Street Preachers, The Oblivion Kids have reimagined an 80s synth pop classic and mastered singalong pop, gothic, dark Americana, and dare I say it, funk rock?! There are a few firsts for Slyder on here too in the form of an instrumental track with a western feel and to a duet featuring the ethereal vocals of Nina Courson (Healthy Junkies). The result is an idiosyncratic 14 track album of outstanding versatility. A Charming debut, I’m sure you’ll agree.

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

The long-running Kompakt imprint will release an EP by German DJ and producer Sascha Funke in September. Sharing five tracks that traverse quirky house and techno, Treets marks Funke’s monumental return to Kompakt since his Zug um Zug two-tracker in 2014.

Speaking about Treets, Funke says he is "very happy to be back on the mothership Kompakt" after an eight-year break. As one would expect with Funke, the EP fits the cosmic world of Kompakt to a tee. The title track conveys a weird, tripped-out atmosphere as an alien-like vocal burbles between an acid bassline and squeaky percussion. It's a tantalising glimpse of Funke's freaky underworld. E_Plus follows a similar wonked-out vein, only this time, the vibe is ominous. Funke pairs an orchestral vocal with bleepy pads and signature acid-drenched melody — a solid offering oddball of energy. On Alles Paletti, a 2-step drum pattern and string of bright claps create a sunny soundscape, complemented by a robust bassline and ethereal synth notes. It's fairytale house music, the kind only Funke can produce. The penultimate track Haus More is subdued, as chugging drums slither between a wobbly melody. The Other Version feels futuristic, as Funke goes full-force electro. Extra-terrestrial vocals return, but the pace is cranked up by strident sound FX and thudding drums. An eccentric end to an eccentric EP.

Sascha Funke is a Berlin-based producer and DJ with two decades' worth of releases building his back catalogue. BPitch Control, Turbo Recordings, Endless Flight, Running Back, and several more esteemed imprints have released his work. Today, he continues to create sleek sounds that weave various genres from house, techno, disco, Krautrock, wave, electro and unclassified anomalies. As a DJ, Funke is just as free-wheeling as his productions. He's played E1 in London, Caos in São Paulo and Renate in Berlin, amongst others, displaying his sweeping sound to a worldwide audience. Having been exposed to euro-dance pop as a youngster, you can hear flashes from the genre stitched throughout his work but blended in a way that's quintessential to Funke. Never one to change his sound according to the latest trend, Funke stays true to his creative vision — one of the most significant challenges for producers today.

Das traditionsreiche Kompakt-Imprint wird im September eine EP des deutschen DJs und Produzenten Sascha Funke veröffentlichen. Mit fünf Tracks, die sich durch schrulligen House und Techno auszeichnen, ist “Treets” Funkes monumentale Rückkehr zu Kompakt seit “ Zug um Zug” im Jahr 2014.

Im Gespräch über Treets sagt Funke, er sei "sehr glücklich, nach acht Jahren Pause wieder auf dem Mutterschiff Kompakt zu sein". Wie bei Funke nicht anders zu erwarten, passt die EP hervorragend in die kosmische Welt von Kompakt. Der Titeltrack vermittelt eine seltsame, abgedrehte Atmosphäre, wenn eine außerirdisch anmutende Stimme zwischen einer Acid-Bassline und quietschenden Perkussionsinstrumenten dahinplätschert. Es ist ein verlockender Einblick in Funkes freakige Unterwelt. “E-Plus” geht in eine ähnliche Richtung, nur dass dieses Mal die Stimmung bedrohlich ist. Funke paart einen orchestralen Gesang mit bleepigen Pads und seiner typischen Acid-getränkten Melodie - ein solides Angebot voller Energie. Auf “Alles Paletti” schaffen ein 2-Step-Drum-Pattern und eine Reihe heller Claps eine sonnige Klanglandschaft, die durch eine robuste Bassline und ätherische Synthesizernoten ergänzt wird. Das ist märchenhafte House-Musik, wie sie nur Funke produzieren kann. Der vorletzte Track Haus More ist zurückhaltend, da tuckernde Drums zwischen einer wackeligen Melodie schlittern. “Treets (The Other Version)” fühlt sich futuristisch an, weil Funke hier voll auf Elektro setzt. Der außerirdische Gesang kehrt zurück, aber das Tempo wird durch schrille Soundeffekte und stampfende Drums angezogen. Ein exzentrisches Ende für eine exzentrische EP.

Sascha Funke ist ein in Berlin ansässiger Produzent und DJ mit einem Backkatalog von zwei Jahrzehnten an Veröffentlichungen. BPitch Control, Turbo Recordings, Endless Flight, Running Back und einige andere angesehene Labels haben seine Arbeiten veröffentlicht. Heute kreiert er weiterhin geschmeidige Sounds, die verschiedene Genres wie House, Techno, Disco, Krautrock, Wave, Electro und unklassifizierte Anomalien miteinander verweben. Als DJ ist Funke genauso freizügig wie seine Produktionen. Er hat unter anderem im E1 in London, im Caos in São Paulo und im Renate in Berlin aufgelegt und seinen mitreißenden Sound einem weltweiten Publikum vorgestellt. Da er schon als Jugendlicher mit Eurodance in Berührung kam, sind in seiner Arbeit immer wieder Anklänge an dieses Genre zu hören, die aber auf eine Art und Weise vermischt werden, die ganz typisch für Funke ist. Niemals verändert Funke seinen Sound nach dem neuesten Trend, sondern bleibt seiner kreativen Vision treu - eine der größten Herausforderungen für Produzenten heutzutage.

Last Temptation with their 2nd album "Fuel For My Soul". Founded by guitarist Peter Scheithauer (Killing Machine, Belladonna, Temple of Brutality) and singer Butcho Vukovic (Watcha, Showtime), with bassist Julien Rimaire (Los Dissidentes Del Sucio Motel) and drummer Vince Brisach (Mitch Ryder), the band has a whole new rhythm section that supports them. Fuel for my Soul has a completely different production style than the band's debut album. The band had over 40 demos before finally narrowing them down to 11 hard-hitting tracks, all the rhythm tracks, bass, drums, and guitars were recorded live, and the songs are far more versatile than the previous release. While Last Temptation still maintain their Ozzy/Black Sabbath influences, they add a grungy twist, along with big choruses that add an 80s vibe. A big step forward for Last Temptation.

2002-2022, that’s 20 years of Pingipung! The German record label celebrates its anniversary with exclusive tracks by a fine selection of artists from the label roster as well as new names. Instead of looking back at the classics, Pingipung chose to compile a kaleidoscopic preview of possible future directions for the label. The line-up features playfully melancholic songs by Museum Of No Art, Peter Power or The Notwist, an excursion to the desert by RVDS or a psychedelic take on Dub in Tolouse Low Trax’ remix for the Ainu singer Umeko Ando. Artists such as Anadol, Y Bülbül, MD Pallavi & Andi Otto, M.RUX, Sven Kacirek, Schlammpeitziger, Peter Presto and F.S.Blumm are already well known to the Pingipung audience. They contribute exclusive new tracks, adding to their existing output on the label.

It’s impossible to file this compilation under a genre, which is exactly the case with Pingipung in general - bull’s eye. The collection of tracks is pressed in the perfect format to match the Pingipung jubilee: A 2x10’’ vinyl in a gatefold sleeve.

Da die Geschichtsschreibung von Punk eine überwiegend männliche ist, war eine "Rache der She-Punks" längst überfällig. Verfasst wurde diese feministische Abrechnung von keiner geringeren als der Post-Punk-Pionierin Vivien Goldman, die aufgrund ihrer Arbeit als Musikerin und Musikjournalistin eine Insider-Perspektive besitzt. Entlang vier Themenfeldern - Identität, Geld, Liebe und Protest - begibt sich die "Punk-Professorin" auf die Suche nach empowernden Momenten, die Punk speziell für Frauen birgt. Inspiriert vom Buch (die deutsche Übersetzung erschien 2021 im Ventil Verlag) hat Vivien Goldman die vorliegende Compilation neu zusammengestellt und mit Liner Notes versehen.

Blue Marbled Vinyl

The final chapter in the RATS: INFEST series adds a left-field twist. Mike Parker is one of the most important historical Techno artists for us and has recently released two halftime EPs for Donato Dozzy & Neels Spazio Disponibile label which have been some of our favourite releases by another label in the last few years. Once we heard these EPs, we were on the hunt for some Mike Parker music on Samurai.

Mike Parker creates music live on an all-hardware setup and has done so since the mid-'90s. There is not really anyone that sounds like Mike and we're excited to have him on board at Samurai.

Mike has recalibrated his machines and created an all-new halftime sound specifically for this remix of 'Mainliner' and his upcoming EP for Samurai. Slightly more quirky and less dense than his usual approach, the machine pulses wind around a steadfast step. An unexpected, but perfect mood shift to re-imagine the Mainliner sinisterism.

Baby T makes a welcome return to the label following on from her debut EP Portra. This time the versatility of the Baby T sound is on display with a 140 Breakbeat killer re-sculpture of 'The Spell'. Dealing out euphoric vibe peaks with 4/4 punctuations and Reese/break combinations, this one is a guaranteed peaktime dancefloor weapon. We love Baby T!

LP on classic black vinyl. The long-awaited new album from the best pop band in Scotland... The Orchids were making sophisticated pop music right back in the early 1990s when Sarah Records first started. Their songs were as emotionally pure as anything else on that label, but they were always a step ahead of their peers in terms of song arrangements and musical ambition. With a casual, unpretentious air they made writing perfect pop songs seem easy, almost accidental, and several great releases followed. The Orchids gained a passionate following: people knew a good thing when they heard it and they hugged it close. But maybe now it’s time for the rest of the world to be let in on the secret. The songs themselves are a beautiful mix of strength and gentleness. They wrap you in a powerful embrace, making you feel comfortable and secure – and then whisper their insecurities and anxieties into your ear. They say: ‘it’s OK to admit weakness. It’s OK to be fragile. That’s where true strength comes from’. From Glasgow, and proudly Scottish, the band shares a musical lineage with other great groups from that city, from Aztec Camera to Orange Juice, Lloyd Cole to Teenage Fanclub - bands that specialise in song-writing that can tell big stories through small personal fragments, that can make the ordinary extraordinary. Ian Carmichael has helped the band create a perfectly produced masterpiece. He subtly accentuates the drama of the songs, with a sophisticated choreography and gloss that never overwhelms the tenderness of the music. In ‘This Boy Is A Mess’ (the first single from the album), the lyric confesses frailty while the arrangement gets stronger and stronger. It is bittersweet and exhilarating at the same time. ‘I Want You, I Need You’ has harmonies as big as a house – but the yearning message remains intimate and close. ‘I Don’t Mean To Stare’ is an elegant version of the song that first appeared on Skep Wax compilation Under The Bridge. Album opener ‘Didn’t We Love You’ daringly opens up empty spaces where the reverb of the drums is the only thing you can hear... and then floods your ears with a harmonised chorus, sweet guitar melodies and sweeping effects. Even then, the lyrical lament, expressing the desire to live in a better place - a place unspoilt by the greedy phonies who’ve taken over – comes across as clearly as if Hackett were leaning over for a friendly chat in the snug bar of The Orchids’ favourite Glasgow pub. Dreaming Kind will be released as a CD, digital download and vinyl LP.

The iconic US blues-rock guitarist Walter Trout is set to release his 30th
solo album, Ride on 19 August via Provogue/Mascot Label Group.
However fast or far a man travels, he can never truly outrun his past
On his new album he found himself eyeing the horizon and the green shoots of
his triumphant late career. There was a new record deal with Mascot/Provogue. A
move from California to Denmark with his beloved family. Even now, aged 70,
Trout was still writing fresh chapters of his life story.
The last time we saw Trout stepping out, he was on the road in support of 2020's
Ordinary Madness. The campaign ended in frustration, when Covid rendered live
work too dangerous, both for this liver- transplant survivor and his fans,
condemning Trout to an enforced downtime in Denmark that he hadn't known in a
half- century. "I've been at this since '69, when I started out in the New Jersey
bars," he reflects. "Suddenly, I'm sat on my ass for sixteen months, although I did
still practice guitar every day. My wife and manager Marie knew I needed to make
music. So her present to me for my 70th birthday was a brand-new record deal
she had negotiated. My producer, Eric Corne, scoped out a new studio in LA, and
my plan was to fly home to make a new album."
The result is Ride, providing an emotional release-valve – both for its creator and
his loyal listeners – perhaps this veteran artist can reconcile with his past, accept
his future and live in the present as it unfolds. "I think you can interpret this album
title a few different ways," he concludes. "I mean, this album is definitely a
musical ride and I certainly tried to cover a lot of ground. But, really, life is kind of
a ride too, isn't it? And I want to live mine to the fullest."

The iconic US blues-rock guitarist Walter Trout is set to release his 30th
solo album, Ride on 19 August via Provogue/Mascot Label Group.
However fast or far a man travels, he can never truly outrun his past
On his new album he found himself eyeing the horizon and the green shoots of
his triumphant late career. There was a new record deal with Mascot/Provogue. A
move from California to Denmark with his beloved family. Even now, aged 70,
Trout was still writing fresh chapters of his life story.
The last time we saw Trout stepping out, he was on the road in support of 2020's
Ordinary Madness. The campaign ended in frustration, when Covid rendered live
work too dangerous, both for this liver- transplant survivor and his fans,
condemning Trout to an enforced downtime in Denmark that he hadn't known in a
half- century. "I've been at this since '69, when I started out in the New Jersey
bars," he reflects. "Suddenly, I'm sat on my ass for sixteen months, although I did
still practice guitar every day. My wife and manager Marie knew I needed to make
music. So her present to me for my 70th birthday was a brand-new record deal
she had negotiated. My producer, Eric Corne, scoped out a new studio in LA, and
my plan was to fly home to make a new album."
The result is Ride, providing an emotional release-valve – both for its creator and
his loyal listeners – perhaps this veteran artist can reconcile with his past, accept
his future and live in the present as it unfolds. "I think you can interpret this album
title a few different ways," he concludes. "I mean, this album is definitely a
musical ride and I certainly tried to cover a lot of ground. But, really, life is kind of
a ride too, isn't it? And I want to live mine to the fullest."

Banoffee Pies Records, in its eighth year of operating, hit the 20th release milestone in their Original Series. Joining the roster, Cairo based producer Hassan Abou Alam steps up with a 4 track solo EP entitled "Fasla".

A decisive selection of attitude packed wormhole bass lines and dark basement jams.

The A side was produced in a special collaboration with local artist SHBL-LBSH who's vocal works feature across "Kesibt" + "Fasla". The B side delivers a series of sharp and cutting synth lines in "Mawkif" and breakneck low end rumbles in "Hanshoof".After a series of works on the likes of Naive, Not For Profit and Rhythm Section, Hassan fittingly joins the Berlin based, Bristol born label with more boundless sounds that slice through the fabric of styles that BPR have fostered since inception. Tailored club music fromone of Egypts new wave of producers.Hold your hats and check your Bassbins. BPR. X

After a thirty eight year hiatus, the rejuvenated band have just completed putting the finishing touches to the first Altered Images music since the album "Bite" was released in 1983. It's an upbeat and contemporary sounding album which sounds like a natural progression of the Altered Images journey and sound, all topped with the instantly recognisable vocals of Clare Grogan. The album is produced by former Altered Images band member and acclaimed producer Stephen Lironi and features 12 songs that Clare Grogan has co-written with Stephen, Bernard Butler and Bobby Bluebell.

After a thirty eight year hiatus, the rejuvenated band have just completed putting the finishing touches to the first Altered Images music since the album "Bite" was released in 1983. It's an upbeat and contemporary sounding album which sounds like a natural progression of the Altered Images journey and sound, all topped with the instantly recognisable vocals of Clare Grogan. The album is produced by former Altered Images band member and acclaimed producer Stephen Lironi and features 12 songs that Clare Grogan has co-written with Stephen, Bernard Butler and Bobby Bluebell.

BLACK VINYL REPRESS

ITS 25 YEARS Since the first Heads album was released.. .so.. for 2021..Rooster has decided to get the album back in print on vinyl.. but changing the artwork. With some silver foiling and bordering, the single sleeve has been boosted to a sweet gatefold, Rooster also got the Radio 1 sessions from the time remastered, and re-cut along with the huge b-side to their Television 7” “Jellystoned Park”.
So there you have it, a double vinyl silver jubilee reissue of a fantastic debut album!

From the original reissue sales notes:
“The Heads had self-released a couple of 7"', and then Cargo Uk's inhouse label Headhunter UK got to release a further 7", and then the Debut album in 1996. Amidst a world suffocating in Britpop smarm, the Heads cut a timely swathe with their unkempt rock psychedelique. The album contained 10 tracks of guitar driven, amp destroying rock, with cues taken straight from the US underground, Stooges, MC5, Mudhoney, Pussy Galore, early Monster Magnet too but with a disitinctly British stamp, some of the drone and fuzz from Loop / Spacemen 3, some of the attitude of the Fall, Pink Fairies and Walking Seeds and overlaid with the spaced rock of early Hawkwind. It was obvious that the four members of the Heads were music obsessives. The debut album was recorded at Foel studios (owned by Dave Anderson from Hawkwind) and engineered by Corin Dingley, it was mastered by John Dent at LOUD.”


We’ve asked for some new appraisal of the Heads for the Silver Jubilee edition from good friends....

Stewart Lee February 2021
“The Halley's Comet victory orbits of historic heavy artefacts from Detroit, like The Stooges or The MC5, leave grateful onlookers aghast. But, hidden away in Bristol, The Heads are still with us now, our homegrown acid-garage godfathers, an ongoing thirty-two year old concern with a back catalogue arguably more consistent than the super-dense psyche-rock groups that inspired them. The Heads arrived fully formed and have spent three decades becoming more like themselves, a musical black hole that sucks in all surrounding matter. I love The Heads “

Phil Alexander February 2021
“The Heads make music for freaks in the know. If you were there in 1996, you’ll know just what that means…

Back then, they were gloriously out of step with the pop-cheese of the time and geezerly lumpiness of Britpop. Theirs was an altogether different take on music – a take inspired by the glorious burn-out of the ‘60s, the sonic overdrive of the ‘70s and the axis of joy created by the combination of excess volume and repetition.

We could name-check some inspirations and kindred spirits: The Stooges, Hawkwind, Floyd, Loop, Sabbath, Amon Düül II, Spacemen 3, Walking Seeds, Mudhoney, Monster Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room to jam their way through yet more mind-altering riffs and mood-altering rhythms.

Relaxing With The Heads is their first defining statement. It is also possibly their most straight-forward release, the sound of a band attempting to find structure in their playing rather than abandoning themselves to their wildest impulses. That would come later…

And yet, 25 years on, this album blasts forth like few records from that time, its slacker charm welded to super-fuzzed riffs that propel its 10 tracks ever onwards. Righteous is probably the only word for it…”

Highlights: Limey and the Yanks' A-side 'Love Can't Be A One Way Deal' is a garage song with a sound pitched somewhere between the Beau Brummels and the Beach Boys. 'Guaranteed Love', on the flipside, is an outstanding bluesy number with a stinging fuzz guitar, a concise harp solo and a rousing Bo Diddley-fied groove that has made its way to various compilations since the early 80s and now gets reissued for the first time on a 7" single. This release includes notes by Mike Stax (Ugly Things Magazine) Details: In California in the mid-sixties, with the British Invasion raging, having an authentic Englishman as the lead singer of your band was an ace in the hole that gave you an edge over the competition. Such was the case with Limey & the Yanks a quintet from Buena Park in Southern California's Orange County. Limey was young Steve Cook, and his Yanks by 1965 were guitarists Gregg DeLorto and Tim Gunne, bass player Bob Batman and drummer Wes Hunsinger. With his blonde Keith Relf-style hair, Steve was a striking front man who fortunately also possessed a decent voice, and with his father managing the group they were soon making waves throughout the area. A victory at a Battle of the Bands at the Hollywood Palladium put them on the map in Los Angeles, attracting the attention of producer Gary Paxton. By this time Wally Downing had joined on lead guitar, replacing Gregg DeLorto who had defected to the Spats. Paxton produced their debut single in late 1965, and it was released in January of the following year on his Starburst label. Paxton's business partner in Starburst was Lloyd Johnson, and the single's A-side was written by Lloyd's son Ken, who also recorded for Starburst with his group Ken & the Forth sic Dimension. Paxton had already produced a version of 'Love Can't Be A One Way Deal,' a couple of years earlier with the Rev-Lons, a girl group from Bakersfield, but the version by Limey & the Yanks took a completely different approach, turning it into a lovelorn garage number with a sound pitched somewhere between the Beau Brummels and the Beach Boys, with bright harmonies, mournful harmonica and a melodic twangy guitar solo. Swinging on a guitar hook based on Bobby Parker's 'Watch Your Step,' 'Guaranteed Love,' took a bluesier approach with a confident Limey vocal, stinging fuzz guitar, a concise harp solo and a rousing Bo Diddley-fied groove. The single was not a hit, but it added heft to the group's growing reputation. A second single, 'Out of Sight, Out of Mind,' was released in October, but it would be the group's last, although they did continue, through several lineup changes, into 1967. Limey's legacy lives on_

Somewhere in the middle of the first track, “Torres e Baldios”, there’s a sudden change of pace with percussion rhythms interfering with the trance-like sound of the first six minutes. It sounds like steps, people running away on a corridor bashing their feet. It dazzles you because of how unexpected it is, how unpredictable those sounds sound like and, most of all, how it makes perfect sense. It is a monstrous piece. And the beginning of a new age for Ondness, in the same year he defied his Serpente moniker to create an absolute classic, “Dias da Aranha”.

What makes “Oeste A.D.” so remarkable is the intangible idea of nostalgia. “Aqua Matrix Alternative Nation” recreates with a slowed down mentality the theme of one of the main events of the Expo 98 in Lisbon. It’s nowhere similar to the original, what it does is to mess around with the global ideas that were such a big part of that event. The Portuguese musicians that were invited to collaborate with Expo 98 were mesmerized by the ideas of union and globalization, creating overpriced music that sounds like shit today. “Aqua Matrix Alternative Nation” messes around with that vibe in a positive way. Think Mark Leckey playing around with his rave memories. Same thing, but in Portugal we had Expo 98.

Jokes aside, B Side is more futuristic with “Torres e Baldios II” and “Endless Domingo”, a nod to “Endless Summer”, by Fennesz, and “Endless Happiness” (from “Beaches And Canyons”), by Black Dice, mashing up – freely - both covers and reminding of how great 2001/2002 was for experimental music. Both tracks are full of sci-fi drama and this sickness of the future that has been travelling with Ondness since its early days. But the approach here is somehow different. Before “Oeste A.D.” the Ondness sound was fragmented, sparse and intensively reflexive. There was this uncertainty to it that made the previously releases so good. But “Oeste A.D.” is full of clarity, the phrases are straightforward, and the music moves in one direction, continuously. Before, there were loads of unanswered questions. The only doubt is when will the world start to care and listen to Bruno’s brilliant music. Now sounds like a good time.    

Plying their own distinct breed of art-punk - taking
in fleet-footed guitar and drum motifs, bite-andbark vocals and popping electronics - Speedy
Wunderground’s The Lounge Society have made
quite the reputation for themselves in their short
time together.
 After releasing their debut EP, ‘Silk For The
Starving’, to universal acclaim in 2021 (“The
Lounge Society have the world at their feet” -
NME) the band toured extensively throughout the
UK performing sold-out, enthralling headline
shows across the country, before taking their first
steps onto European festival stages.
 This autumn, the Hebden Bridge outfit hit the road
again, playing the biggest shows of their career in
support of their very first long player, ‘Tired of
Liberty’, their highly anticipated debut album,
produced by Speedy Wunderground boss and
revered producer Dan Carey (Wet Leg, Kae
Tempest, Fontaines D.C.).
 Recorded over two weeks in November 2021,
‘Tired of Liberty’ is a stunningly ubiquitous
snapshot of instrumental meltdown, and timeless
adolescence. This is the sound of young England:
articulate, enraged and energised

Brain Feelings is the debut EP from South London band moa moa. With glitchy synths, pulsing drums and catchy choruses, moa moa are proving that pop can be weird and accessible at the same time; the perfect psychedelic soundtrack to the comfortable tedium of life.

2021 saw moa moa ramp up the excitement around them with a pair of exquisite singles including the kaleidoscopic pop of ‘Drive’ – which features on forthcoming EP ‘Brain Feelings’ – and their Speedy Wunderground single ‘Coltan Candy’ which came out to rapturous acclaim from 6 Music’s Steve Lamacq, Huw Stephens, Don Letts, and Shaun Keaveny, and publications including NME, DIY, Paste Magazine, and Brooklyn Vegan.

The band’s debut EP ‘Brain Feelings’ explores states of emotional suppression and emotional unintelligence. James says, “I often feel that, when balancing every aspect of my life, I don’t have time left to process and express my emotions. The feelings just get stuck in my brain, making me feel insular, disconnected and less able to participate in the world.

Die Pioniere des French House, Alan Braxe und DJ Falcon, alias Alain und Stèphane Quême, veröffentlichen ihre erste gemeinsame EP als Braxe + Falcon auf Smugglers Way, dem neuen, auf Dance & Electronic fokussierten Imprint von Domino.

Alain und Stéphane Quême, oder Alan Braxe und DJ Falcon, sind die unbestrittenen Architekten des French Touch - der gefühlvollen House-Musik, die aus geloopten Samples mit einem unnachahmlichen gallischen Flair gezaubert wird und Mitte der 90er Jahre in Paris entstand. Im Jahr 2022 werden diese beiden Originale ihre erste Zusammenarbeit als Braxe & Falcon in Form der Step By Step EP präsentieren, die auf Smugglers Way erscheint. Braxe ist bekannt für einige der wichtigsten und kultigsten House- und Popmusik-Platten der späten 90er und frühen 2000er Jahre, darunter "Music Sounds Better With You" (The Upper Cuts) als Stardust mit Thomas Bangalter von Daft Punk und offizielle Remixe für Beyoncé, Britney Spears, Kelis, Kylie Minogue und mehr. Bangalter arbeitete in den frühen Tagen auch mit DJ Falcon zusammen und veröffentlichte als Duo Together die French Touch-Hymne "So Much Love To Give". Neben wichtigen Remixen für Phoenix, Cassius und Justice hat Falcon zuletzt "Contact", den explosiven Abschlusstrack von Daft Punks Megalith "Random Access Memories" aus dem Jahr 2013, mitproduziert, geschrieben und mitgespielt.

Retro house sounds from Italy on this release... tunes that still go down well with some of the big name festival dj's during their summer tour! A track that remained unpublished for 33 years until Devil Dee decided to make it public and bring his own voice to the spotlight joined by jazz-blues singer Joan Faulkner, (former supporting voice of Boney M and Milli Vanilli, also known by her stage name 'Dee-Vah'). Devil Dee is Davide Mancori - a cinematograph with a flattering career as a club-dj from 80s-90s onwards - who lovingly produced this release which differs from most of the releases on Best Record by its housey vibe. 'And The Beat Goes On', was written in Germany in 1989 by Leonie Gane and Ryan Paris. Laying the crucial foundations for an evolutionary step of the italian disco music. A step forward for the 'Italo' movement which at the end of the 80s was been considered obsolete and defunct. In fact, the track is also referring to the latest Italo-Disco which entirely covered the scene of the 1980s with furious activity, If the meeting between Devil Dee and the famous interpreter of 'Dolce Vita' - Mister Ryan Paris - creates the alchemy, the explosive mix is completed with the precious work of Marco Magrini. The arrangement by Pierluigi Cerin and the executive work of Claudio Casalini close the magic circle. Five friends and a great singer from Indiana to fill the dance floors all over Europe, while the images of the provocative and surreal video-clip capture the audience by splitting in two. There are those who do not want to see certain issues publicized and those who appreciate their cheekiness, such as Best Record which by publishing the vinyl printed at 180 grams celebrates the 40 years of activity.

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

UTO are a duo from Paris who sound like they might be from outer space. Chic and alien, rhythm-centric yet diaphanous and ghostly, they are a group that thrive on contrasts and embrace paradoxes. Described variously as witchpop, dreampop and trip hop, they mine a rich seam of 90's British music from the peripheries, with added je ne sais quoi. Debut album Touch The Lock sees them present to the world their singular vision for the first time. It's an album grounded in reality that communes with hyperreality, unlocking the box where hard-to-reach emotions and thoughts often lay dormant and untapped.

Fresh and zesty with subtle tropical flavours, this is a delightfully listenable debut from Matthieu Beck on Growing Bin. Inspired by the lilting rhythms, jazzy instrumentation and slow listening gems found on his Love In The Afternoon radio show, the Frenchman has crafted a gorgeous collection of laid back sophisti-pop, perfect for long summer days or seasonally affected escapism.
Any suggestion of sorrow in the album title is actually a mislead - this may be a solo LP, but Matthieu's surrounded himself with the musical friends he's made over the years, serving as composer and bandleader to a willing troop of collaborators. Longtime friend and former Metronomy bassist Gabriel Stebbing, Source Ensemble drummer Emmanuel Mario, and of course Laetitia Sadier herself, stepped in to lend their services and bring Matthieu's music to life, before Jérôme Caron (Blackjoy) expertly mixed it all down.
Though the tracklist may read like a travelogue, these nine tracks all began at home with Matthieu sat behind a Fender Rhodes with a drum machine by his side. Soon live bass, saxophone and flute strolled into his unhurried arrangements, retaining the simplicity of his demos while expanding the emotion. Weighty synth drones and bubbling bass balance the airy elements of tracks like "California" or the dream-pop romance of "Rooftop Rome", while the mellow "Malika" and joyful "Retour De Plage" showcase the Frenchman's relationship with jazz. Elsewhere there's hints of digi-dub ("Island" and "Suede"), coastal boogie ("Tokyo Montana"), stripped back city pop ("California") and downtown nostalgia ("Dora"), before Beck arrives at the poetic, progressive but peaceful finale "Piano Fin", which recalls Air at their prettiest, without stepping outside Matthieu's well defined sound.

Obviously right after Sneak Illuminator Ep, Illumination Lp arrives. And it is an Illumination worthy of the name as the german musical blacksmith delivers here luminous musical landscapes for his first ever "gatefold 3 records lp" album. A very important addition in this artist's already extended disography and an important step for Goldmin too, mostly as we're celebrating our 10 years birthday this year.

Quiet Signs is the journey of an artist stepping out of the darkened wings, growing comfortable as a solitary figure on a sprawling stage.

Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with 'Opening Night', a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name, as well as to where this spare, beautiful collection of songs falls within the course of the California artist's career. Quiet Signs is also Pratt's first album fully recorded in a professional studio setting, her songs and guitar arrangements have been pared back to include only what is essential, while the home recorded haze of previous efforts parts to reveal the full scope of her vision. On the first single, 'This Time Around', Pratt hits on a profound, late-night clarity over just a couple of deep chords, evoking Caetano Veloso's casual coastal brilliance.

The album was written in Los Angeles and recorded at Gary's Electric in Brooklyn, NY over 2017/2018.

For the first time, 25 years of Steps hits come together on one package to celebrate the band’s incredible success. Including all their career highlights plus two brand-new tracks recorded exclusively for this release.

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators.

Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music.

Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others.

It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot.

Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave.

Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future.

“Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities.

As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like.

– exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

This release will have you dancing and crying at the same time. On his debut album, Paris-based producer and founder of the "raw poetry" aesthetic Loyce Demellier - AKA DJ Physical - takes us on a fast-paced journey through techno, electro, breaks and more. Whilst the music's indisputable home is the club, Physical teases out moments of playfulness and sentimentality amongst hard-hitting electronics.

"Silver Lake" LP resides on the colder, more industrial side of Demellier's sonic spectrum, following on from his latest release on London imprint 10 PILLS MATE which saw him depart from the more lofi quality of his previous releases in favour of a raw, club-focused sound. On the A-side, Demellier situates the release within the context of old warehouse raves, with euphoric acid melodies and a 140BPM propulsion ("Uranium"): and high-pitched synth stabs that ascend from darkness ("Gold Mines").

The B-side maintains the pace, but this time it's about electro and breaks. On "Overshoot", reverberating cymbals add another layer of depth to Amen break interludes whilst "Lawbreaker" harnesses a cheekier tone, offering respite from the previous tracks' venom. This air of playfulness sticks around on "Lunatic State" helped by MPC drum claps and a ludic electro melody, before fellow Parisian Ika Sile steps up for "Early Sprinter" and "Bootybounce": the former offering a slicker take on acid techno and the latter: rave music at its absolute with piano stabs and sleazy vocal chops. Silver Lake LP drops 22nd July 2022 via Lost Palms