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Santa's Lager coloured Vinyl. Daddies don't always come home for Christmas. From the snow-covered plains of Wisconsin's Driftless region to the palm-lined avenues of Los Angeles, the loneliness of the holidays is a universal theme, best expressed by tear-in-thebeer country music hopefuls. Sung and strummed (and plucked) by an unlikely assortment of Nashville aspirants, our Christmas Dreamers spent the '60s gambling their futures on the AM airwaves of a forgotten America.

"My Lover The Killer" is the latest collaboration between Lydia Lunch and Marc Hurtado. They first worked together on the 'Sexodrone' track of the Etant Donnés's album "Re-Up" in 1999. Featuring Terry Edwards (Gallon Drunk), Ian White (Gallon Drunk), Mark Cunningham, We Are Birds of Paradise, David Lackner. "My Lover The Killer" is a collaborative project with Marc Hurtado. What began as a loose musical concept in the summer of 2012 became a prophecy written in blood by November of the same year. "My Lover The Killer" is a late night noir confessional. Sinister, sexy and mysterious, the music slithers, erupts and caresses the seductive vocals as they relay twisted tales rife with innuendo, promises and threats. The text is based on the murder/suicide of an ex-lover whom I had recently contacted for the first time in over a decade. Caught in the early fall hurricane which leveled the East Coast of America while enroute to Los Angeles, I had sent an invitation proposing that we meet for drinks. Two days later, during a alcohol fueled fight with his girlfriend about whether or not he should come to see me, he shot and killed her, called the police, turned the gun on himself, and died the next day on his 55th birthday. A tragic event, which "My Lover The Killer" attempts to make sense of. Each song is a rumination on the frightening effects of a mad love spun out of control and the haunting remnants of a lover who still stalks from beyond the grave.

Introducing ‘Total Blue’, the Los Angeles-based trio of Nicky Benedek, Alex Talan, and Anthony Calonico. Despite collaborating for over a decade, ‘Total Blue’ represents a new chapter in their artistic journey together as a trio.

Embracing chance, inviting the unknown, and guided by a spirit of sheer play and exploration, ‘Total Blue’ was driven by a desire to ‘touch the beyond’ in pursuit of an elusive vibe the three had been chasing for years.

Alex, Nick, and Anthony envision ‘Total Blue’ as the all-encompassing full picture, a place where the real and the imaginary begin to blur; a destination reached not through escapism but by expanding one's perspective; a widened scope of vision where personality both shines and disintegrates.

Across the album, their mission statement is expertly achieved with subtlety and delicate human touch; painting with a lush palette of digital synths, Akai EVI wind synthesizer, fretless bass, and guitar, the trio masterfully balance texture and color, evoking wide expansive vistas that stretch from Los Angeles right out to the furthest reaches of sky and sea. This is ‘Total Blue’ - a place of time and timelessness where echoes of history and tradition merge with rootless inhuman sonics.

Art and design by Michael Willis.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.

Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."

Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."

Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."

"Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.

Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.

Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as ""pop,"" they released several EPs and singles before debuting their album, ""Mercurial World,"" in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as ""synth-pop.""

Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed ""world-building,"" is central to their artistry."

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

Handling the Undead, the Original Motion Picture Soundtrack, is the latest in composer Peter Raeburn’s long and multi award-winning body of work. The music scores director Thea Hvistendahl’s extraordinary film. We are taken on an emotional journey experiencing grief, devastation, hope, the unknown and acceptance .Recorded at Soundtree Studios in London and Los Angeles and featuring members of Europe’s renowned 12 Ensemble, Peter Raeburn’s score offers unique textures and virtuosic performances amongst the ever-growing and transcendent sense of life and death that the score, as a whole, brings to the film. Raeburn’s score for Handling the Undead was awarded the World Cinema Dramatic Special Jury Award for Original Music at the 2024 Sundance Film Festival, and has been nominated for Best Score at Norway's Amanda Awards.

80s alt country punk outfit, Lone Justice, with Maria McKee, Ryan Hedgecock, Marvin Etzioni and Don Heffington are in full flight with the release of a brand new 7". Taken from their forthcoming album, Viva Lone Justice, 'Teenage Kicks' is a rambunctious slice of punk angst that sounds like it was recorded in one take. It's a timeless anthem with a joyous riff that explodes into a hail of feedback. A favour returned as Maria McKee, the songwriter of Feargal Sharkey's only solo hit 'A Good Heart', Lone Justice cover The Undertones' Peel-approved favourite with the artwork of the single being a nod to the original. "As much as we loved Merle Haggard, George Jones, and many other authentic hard core Country artists, we were also deeply impacted by Punk; from the Velvet Underground (we were playing "Sweet Jane" live as early as 1983) to the MC5 ("Sister Ann" is on the album "Viva Lone Justice")." Backed with 'Nothing Can Stop My Loving You' that's cut with a wild, squeezebox-powered interpretation of the George Jones and Roger Miller country stomp. "Speaking of George Jones, here's one written by George Jones and Roger Miller. Two of our favorites! We played this song at nearly every show starting in 1983. This ragged and right live recording captures the fire from a sold out show at The Palace in Los Angeles and features Jo-El Sonnier on lead accordion documenting the only time Sonnier played with LJ. "Nothing Can Stop My Loving You" is the only live track on Viva Lone Justice." // "A roots rock band that took Los Angeles by storm in the 80s and developed a smaller but deeply enthusiastic following outside the Golden State

Broken Keys, as you may know, is a multi-talented musician and producer based in Los Angeles. His cut 'Assorted Colors' has become a real underground house classic that now lands on wax for the first time as a special extended 12" remix that really locks you into the languid grooves. The legendary Galcher Lustwerk steps up to add his own distinctive take on the original and infuses it with a techy yet atmospheric groove. Then Broken Keys explores a different facet of his sound with three distinct cuts on the flip that range from blunted beats and sun-kissed Balearic to chilled-out future soul. They make for a diverse package that has something for many different situations.

So You Like Slippers? is the debut record from Slippers, the new project from Madeline B.B. from Los Angeles, California. Madeline is an illustrator and animator currently studying at Cal Arts, has directed music videos for Of Montreal, and also plays in the band Le Pain and was formerly in NYC's Yucky Duster.

-Daniel Zelonky (aka Low Res) has been producing records since 1978. Notable credits span from The Misfits to his own iconic club track "Amuck".
-His 2022 orchestral funk celebration of "Marvin Gaye's Trouble Man" has earned critical acclaim. This record, featuring many outstanding musicians, breaks the mold of history-conscious record making, eschewing the slavish copying of past styles which has become so common, and exemplifying the label’s stated mission of “Reimagining a futuristic past” where “weird vistas of fresh possibilities unfold before us...”
Suite Crude Revue is a rotating cast of outstanding performers committed to an unshackled aesthetic. Produced, composed, and arranged by Daniel Zelonky, this single presents songs for imagined films.
“Cowpoke Detox” might be termed “spaghetti jazz”. It’s a strange hybrid of spaghetti western style baritone guitar lines supporting jazz noir harmonies, creating a surreal backdrop for the tale of an unrepentant murderer, who feels regret only in terms of the consequences he’s facing.
“Blue Ramen #1” is a lover’s lament, set to what might be termed a “Hollywood samba”: One imagines Los Angeles session players emulating samba for a commercial film, not an authentic Brazilian band. The lush aural environment culminates in a dreamy closing vamp with the impassioned vocal set amid a swirl of improvised trumpet, violin, and piano. This haunting, yet ironic song may well have found its way into the popular consciousness ... if the movie had actually existed!

Yogisoul returns with his first album in 8 years, a timeless throwback offering & an instant classic that will leave you wondering if you somehow missed this record reminiscent of 90’s West Coast Rap. It’s that blunt rolling record, with deep G-Funk grooves, skits, and raps provided by US-based rapper Woof. A record inspired by the albums Yogisoul grew up listening to. A combination of his imagination of the West Coast California landscape portrayed by 90’s records on Death Row Records, and the real-life experiences of California-based rapper, Woof.

The first track they worked on - “94 Heavy - wastes no time setting a vibe and transporting you back to 1994. It’s an undeniable head nodder, with smooth horns & deep synth bass that will leave no question about the record's low-end power, and a dope drum swing.

Other notable tracks on the record are “Comin Thru”, which is a braggadocious, G-Funk, banger! It contains all the ingredients to classic West Coast Rap albums. A smooth beat for Woof to weave in and out of, talkbox, scratches in the hook, and samples of legendary Los Angeles voices. A track that will make you feel like you should have a forty and a doobie nearby.

The title track, “Let the Dopeness Begin”, the self-titled track on the album is an homage to the West Coast Classics radio station on GTA: San Andreas. A cruise with the windows down & a jam that slaps!

Introducing the inaugural vinyl release, envisioned by Ekaterina Arshanitsa, designer and founder of the progressive streetwear label, DESU Clothing titled "Fashion Show".

This exclusive LP marks the genesis of our limited vinyl collection, comprising of only 10 meticulously curated records, each edition being limited to 300 copies.

Articulating a fusion of progressive clothing design and intelligent music, "Fashion Show" will grace the shelves of our flagship fashion house in Bali, as well as select partner stores in global fashion capitals such as Paris, New York City, Los Angeles, Dubai, Tokyo, Moscow.

Renowned artists, who share a passion for DESU's innovative style, have composed exclusive tracks that embody our vision. Aquarius Heaven, eclectic singer, and stylish performer Monoplay, remarkable duo Kurt & DJ Nils, and Silas Hoppe, side project of techno producer Roman Shultz, all contribute to the first of ten collectible EPs. Each composition reflects a seamless blend of intellectual music and cutting-edge fashion, showcasing the subtle and profound synergy between sound and style.

We now present our first DESU "Fashion Show" - avant-garde electronic music with modern street fashion. Ready-to-Play!

Written with no big plan in mind, Reverend Baron's "Overpass Boy" becomes a Los Angeles meditation, an eight song prayer of poetic topography. The album gives the city its own sound, and its own songs to hum. Recorded in several different locations of LA, and loosely sketching the story of a young wanderer, the album is an easy current of observations and longings. Slices of soul and doo-wop emerge in stacked harmonies, while the percussion and grooves are the blooms that could only come from East LA. Garcia's investment to vocal tenderness and instrumental high style strikes our universal center. His soft serenade reconnects us to something misplaced. Playing almost every instrument on the album, Garcia's spirit is tailored into the sound, designing an amalgam of tones and frequencies as idiosyncratic as the singer himself. Traversing the alleys, passing the sous-chef's cigarette smoke, under the shaking bridges, behind a velvet curtain in a good suit, with a slide guitar in the rain, the titles quilt together for us: Every promise out here walks and waits in the little hours. Jackie and Jimmy drive away and we're left in that little valley, suspended. Recorded and digitally released in 2019, "Overpass Boy" will be re-released by Karma Chief Records on 8/2/2024

Written with no big plan in mind, Reverend Baron's "Overpass Boy" becomes a Los Angeles meditation, an eight song prayer of poetic topography. The album gives the city its own sound, and its own songs to hum. Recorded in several different locations of LA, and loosely sketching the story of a young wanderer, the album is an easy current of observations and longings. Slices of soul and doo-wop emerge in stacked harmonies, while the percussion and grooves are the blooms that could only come from East LA. Garcia's investment to vocal tenderness and instrumental high style strikes our universal center. His soft serenade reconnects us to something misplaced. Playing almost every instrument on the album, Garcia's spirit is tailored into the sound, designing an amalgam of tones and frequencies as idiosyncratic as the singer himself. Traversing the alleys, passing the sous-chef's cigarette smoke, under the shaking bridges, behind a velvet curtain in a good suit, with a slide guitar in the rain, the titles quilt together for us: Every promise out here walks and waits in the little hours. Jackie and Jimmy drive away and we're left in that little valley, suspended. Recorded and digitally released in 2019, "Overpass Boy" will be re-released by Karma Chief Records on 8/2/2024