Search:love affair

NES label founder and Danish DJ Popup brings his signature deep house sensibilities to the Aurore 404 imprint. The release features three house cuts that showcase his dual love for groove-driven, Daft Punk–influenced rhythms and deeper, more hypnotic shades of deep house. DJ Central steps in on remix duties, rounding out a true Regelbau family affair.

SY3 (pronounced ‘sigh’) is a new project from LA-based Chinese-American artists Kelly Guan, Alex Ho, and Phil Cho. The trio started working on music together in 2023 after connecting over a shared love of Hong Kong New Wave cinema, Cantonese pop songs, r&b, and melody-driven dance music. Singer Kelly Guan aka Jia Pet has been independently releasing ‘bubbly’ pop music since 2022, and recently toured with the genre-bending indie artist Sasami. Multi-instrumentalists Ho (keyboards, saxophone) and Cho (guitar, bass) have collaborated frequently over the past decade, most notably on Ho’s 2021 debut album 'Move Through It' for Music From Memory.

Lead single ‘Tell Me,’ the track that initially caught the ears of MFM's Jamie Tiller and Tako, nods to the hazy downtempo explored by Chinese pop stars like Faye Wong and Zhou Xun in the ‘00s, while also recalling Japanese producer Yoshinori Sunahara’s iconic album 'Lovebeat'. Beyond musical influences, SY3’s neon-drenched pop songs draw from a cinematic language, particularly y2k-era films like Made in Hong Kong and Suzhou River, which speak to a generation of disillusioned youth in an increasingly fast-paced world. Guan’s lyrics depict characters caught in bittersweet love affairs (‘dial tone, when I’m alone, you promised we’ll be in touch') forever looking towards an escape from their current realities (‘I know the walls are high, these graceless hands are slipping’). Title track ‘梦游 Sleepwalker’ features a Cantonese spoken-word story about a sleepwalking young girl who sits alone on a balcony wondering where she might have gone the night before. The drifting ambient production loosely references a traditional Chinese folk melody, and closes out the EP with a delicate, layered saxophone solo from Ho.

Balancing intimacy with a wider emotional and visual language, SY3’s debut unfolds as a series of nocturnal pop vignettes shaped by memory, cinema, and place. Released digitally and on vinyl through Music From Memory on March 25th. Sleeve art and design by Michael Willis.

Since establishing his Stereo:type imprint, former Papa Records contributor Risk Assessment (real name Glyne Braithwaite) has released a dizzying amount of material, both digitally and on vinyl. His latest wax outing boasts four superb, tried-and-tested cuts. He gets straight to the point on opener 'Get Up', a chunky, emotive and life-affirming affair that appears to make liberal use of orchestral and vocal samples from what sounds like a luscious, maximalist Philly Soul workout of the mid 1970s, before going percussion crazy on 'Circus' (which also boasts samples from a much-loved disco record). 'I Had Enuff' is a colourful and piano-rich classic house number boasting fine vocals from Kathy Brown, while 'Man Like Mike Delgrado' is a swirling, filter-heavy chunk of swirling disco-house hedonism.

Backyard Babies was formed in 1987 in Nässjö and can by rights be called Sweden’s most influential glam punk act. Between 1994 and 2019 they released eight studio albums of which Stockholm Syndrome is their fifth. Here we have another collection of bangers brought to you by the babies with reckless abandon. This time they invited a whole slew of guest musicians such as the Ramones, Danko Jones, The Cardigans, Turbonegro, and The Hellacopters, elevating the whole affair to another level with no signs of stopping. This is the first time the album is available again on vinyl since ten years and features the songs "Minus Celsius", "A Song for the Outcast", and "Everybody Ready?!". Stockholm Syndrome is available as a limited edition of 1000 individually numbered copies on crystal clear & black marbled vinyl and includes a 4-page booklet with lyrics.

Represss!

Z Records continues its commitment to unearthing the obscure and
long forgotten tracks from the last 40 years through the ever-popular
Under The Influence series. Following on from Red Greg, Nick The
Record, Sean P, Faze Action, and last years Alena Arpels. It’s now the
turn of one of the scene’s most impressive collectors & DJs; Rahaan

Hailing from Chicago his love affair with muzik started in the late 70’s early 80’s, listening to muzik on the radio combined with his mom and dad playing their records every weekend. In the early 80’s on the South side of Chicago, he started hearing something a bit different, what they called ‘house muzik’. A combination of Disco, Jazz, Soul Funk, New Wave and Italo Disco. Here Rahaan digs deep into his impressive record collection that he has collected, built up and crafted over his many years of travelling, networking and DJin to showcase 22 of his finest and rarest cuts. Many of the tracks on the album would cost hundreds and that’s if you were even able to find the originals! As always with ZR compilations a lot of time and effort has been spent on creating these masters from the original vinyl, cleaning them up, removing all the clicks and pops resulting in the cleanest sounding copy possible.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel.

Elvis 56 is a compilation originally released in 1996 containing 22 of Elvis' best tracks from his first year at RCA: five singles with five B-sides, five songs from his debut and six from his second LP plus a previously unreleased alternate take of "Heartbreak Hotel". That means we see "Hound Dog", "Don't Be Cruel", "Blue Suede Shoes"; quintessential tunes that cemented Presley's status as a true rock and roll icon.

Elvis 56 is available as a limited edition of 2500 individually numbered copies on clear & black marble vinyl and includes a 4-page booklet.

“From Birmingham and centred around the extraordinary songwriting talent of James and Patrick Roberts – initially as The Sea Urchins and since 1993 as Delta – they’ve only just got round to releasing their debut album, Slippin’ Out. It is a work of some beauty”. 9/10 NME ALBUM OF THE MONTH, 2000

“It’s classicist for sure, shot through with the influence of The Beatles, Byrds and Buffalo Springfield. In James’ downright beautiful closing ballad ‘I Want You’ one can also discern the school of ambitious English balladry that peaked in about 1968: The Casuals, Love Affair, Barry Ryan. The impression of accomplished old-schoolery is only furthered by the dizzying string arrangements penned by Louis Clark Jnr, son and namesake of the one-time orchestral chief of Electric Light Orchestra” – Mojo lead review, 2000


Having ended the 90s with the spirited ‘Laughing Mostly’ compilation of singles and demos (Guardian Album Of The Week) Delta finally released their debut studio album of twelve songs in the summer of 2000 on the Dishy Recordings label. Accepting that this might be their sole studio album the band threw everything at these recordings allowing it to exist in its own sphere, unbothered by their contemporary generation and disregarding the idea of even releasing a single.

Recorded at DEP International there was a notable difference to the scruffier, looser charm of their 1990s recordings, a tighter focus developed by having the experienced Lenny Franchi mixing the LP with them. Lenny had been working with a number of Island artists including My Bloody Valentine and Tricky so knew his way around a desk. There was also the question of budget (a few months passed between recording and mixing whilst funds were raised) so every day counted. Ultimately though you can hear the joy in the recordings, even amongst the melancholy and angst. As James recently recalled in an interview in Shindig! Magazine: “It was such a big deal for us. It’s one of my fondest memories doing that record. Everyone was happy. If there’s anything that I’d stand by, I think it would be that”

Louis Clark Jr joined the band towards the end of the ‘90s and brought a classically-trained element to the recordings particularly with his string arrangements. For ‘Cuckoo’, ‘I Want You’ and the prophetic ‘We Come Back’ Louis brought in eight players from the Birmingham Conservatoire; the baroque style is partly why the record often receives comparisons to Love’s ‘Forever Changes’.

On release ‘Slippin’ Out’ was a big favourite with writers at the NME, Mojo and The Guardian again and before long the band were signed to Mercury/Universal for their second studio album ‘Hard Light’, a far more expensive and expansive love affair. It was a temporary palatial home where things quietly fell apart again, but that’s another chapter.

“If long-term memory is nothing more than selective editing and only pop’s most weighty visceral works are built to last then it’s quite possible that in 50 years the Britpop era will be best recollected for the two bands it ostracised. Earlier this year we met Shack and thought their story of mercurial brilliance indicated the biggest music biz oversight of the 90s. We were wrong because we hadn’t met Delta yet. This is richer and more engrossing than anything by Shack” 

"Rough and ready blues played with unmitigated intensity…scorching and soulful, joyous and stomping.
—Living Blues

Electrifying and raucous…one of the few authentic links to pure Chicago blues.
—Chicago Tribune

Lil’ Ed & The Blues Imperials are the reigning champions of raucous, slide-stoked Chicago blues. They’ve achieved legendary status with over 40 years of critically acclaimed recordings and raucous foot-stomping gigs on club, theatre and festival stages all over the world. Slideways is a tour-de-force of old-school Chicago blues played with contemporary urgency.

Shows in support begin on street date in Chicago, followed by Milwaukee, Minneapolis, Columbus, Cleveland, Dayton, New York and Syracuse amongst others. Touring will continue throughout Spring and Summer.

Press, radio and social media focus on album and tour dates, pitching stories and reviews to over 1000 print and internet media contacts around the world. Over 1400 radio programmers worldwide will be serviced and solicited for blues specialty show and selected Triple A and Americana rotation airplay. The album is certain to be welcomed with open arms by the blues media.

Slideways is bursting with Lil’ Ed’s rollicking slide-work and rough-hewn vocals on a joyous blend of smoking slide guitar boogies, raw-boned shuffles, and heart-stopping slow blues. As always, The Blues Imperials supply rock-solid, road-tested and gloriously riotous backing."

Repress!

180 gram coloured vinyl now at new price. Spacemen 3's debut album "Sound Of Confusion", released in 1986, was a blistering affair - establishing their love of the two-chord song and also expressing their admiration for the likes of MC5, The 13th Floor Elevators and The Stooges. Sound of Confusion was 7 tracks of overdriven assault, with a strange bleakness and despair creeping through the hypnotic sprawl. R Hunter Gibson would later say: "It boosts the value of unlit rooms, unpaid debts and unfeigned terror and it would rather tackle the gradients than settle for level best. New digipack. Tracks : 1 Loosing Touch With Your Mind  2 2.35, 3 Little Doll, 4 MaryAnne, 5 Roller coaster, 6 Hey Man, 7 OD Catastophe.

On one hand, it could be bumming out the people who enjoyed hearing what the band evolved into. On the other hand, nostalgia sells...and daddy needs to eat! So...Nevermind 2! Broken Bones and Bloody Kisses has seen a few vinyl pressings in the past, but landing a physical copy of You Are My Canvas (which was only released on burned CDs, crafted in the Lovat- Frasers' basement) is almost impossible. And ooooooh boy...the pre- demo demo (or PDD) versions of "Sketch Artist Composite" and "The Anatomy of the Journey"? Those puppies - with me (Connor...hi!) on vocals/drums and Jeff playing everything else - were only available on the Y2K version and basically only used to recruit other band members. Smash all these old chestnuts together in one release and see what happens! Why not? It perfectly captures the whole spirit of early BOYS NIGHT OUT. But what title does one bestow upon such a sonic siphonophore? There are 3 versions of "Sketch Artist Composite".

Do you call it Sketch Artist Composite Plus Other Songs? Do you go all in on a lyric- based title like Fuck Us Where We Breathe? Decisions, decisions! Probably best to follow Costa's sage advice and go with Nevermind 2. So, almost exactly two decades after our first show - July 19, 2001 @ The Oakville Pine Room with Sky Came Falling, Unearth, and Rise Over Run - may we present unto you, Nevermind 2! What's old is new again, probably?

Formerly one third of the much-loved trio Black Box Recorder, alongside The Auteurs’ Luke Haines and Jesus and Mary Chain guitarist John Moore, the British singer-songwriter Sarah Nixey has steadily gained acclaim as a solo artist who makes savvy, sophisticated and poised pop.

Delivering vocals with a detached elegance over opulent tracks, any perceived nonchalance in Nixey’s luxe, cut glass voice belies her empathy, where social commentary serves as protest, both explicit and implied. Like Billy Bragg deepfaked as prime Julie Andrews, this strange but effective juxtaposition radiates soft power. ‘Lies of the Land’ depicts a corrupt post-Brexit and Covid-19 world where inequality and division flourish. ‘England's On Fire’ delves into the nuanced concepts of patriotism and nationalism, and ‘Pleasure Bay’ narrates the story of a love affair with a deprived yet beautiful English seaside town, written after Nixey left London, drawn back to the Dorset coast.
More than just a political record though, Nixey was drawn to the poetic elements of living too, telling stories of life and death, love and loss, conflicts and symmetry, in an intimate and close-up way, as if whispering secrets to her listeners.

“Sea Fever explores the bittersweet beauty of human life amid a volatile world of changing seasons and brutal elements,” says Nixey. “These are songs of deep sorrow, remembrance, birth, and change, set against a backdrop of the sensuous natural world.”
‘Rolling Waves’ explores profound grief following her beloved grandmother's death, while ‘Spring Equinox’ celebrates the joy and awe of life after welcoming her first grandchild. ‘At the Edge of the Forest’ is a poignant story of someone losing their memory, and ‘On This Wide Night’ recounts the early hours return home of a teenage runaway.

Coming of age at the dawn of the bebop era, Art Farmer rejected the mechanical playing that much of bebop seemed to encourage. Instead, Farmer became known for his warm, fluid tone, and his ability to make the trumpet sing like a tender yet stately baritone voice. On Modern Art (his last small group collaboration with Bill Evans, with whom he had first recorded in 1956), Art Farmer emphasises style over technique. The group swings with both authority and subtlety on all eight tracks, making this album one of the best records of this period.

2026 Restocked!

If you've been following the Payfone story over the last 13 years, you'll know that Phil Passera and Jimmy Day's long-running collaborative project has specialised in one-off musical morsels - sublime songs cooked up in cahoots with all manner of guest musicians and vocalists. Never ones to rest on their laurels, Day and Passera have now delivered a full six-track tasting menu in the shape of Lunch, their hotly anticipated debut album.

Recorded over an 18-month period at Passera's Barcelona studio and Day's studio in Brighton, Lunch is an unsurprisingly assured and musically detailed affair that's entirely made up of previously unheard songs. Unlike acid-flecked recent single 'Volt To Volt', which delivered a tweaked take on late 1980s house music, the album's six tracks showcase the trademark sound the duo has been developing since first joining forces 13 years ago.

Trawl back through Passera and Day's high-quality catalogue, which includes outings on Leng, Golf Channel Recordings and Defected as well as their own OTIS imprint, and that distinctive musical recipe becomes clear. Rooted in their love of classic drum machines and their trusty JUNO-60 synthesiser, the Payfone sound combines equal amounts of electronic and organic instrumentation, warm and inviting downtempo and mid-tempo grooves, and pertinent and thoughtful lyrics delivered with panache by an impressive roll call of guest vocalists.

Lunch, then, is a standalone sonic statement - an initially vinyl only album on their own OTIS imprint - that continues this impressive lineage. Like all Passera and Day's collaborative work, it is free of samples, with the pair preferring to create their own sounds from scratch. Opener 'Movin' On', featuring the honeyed vocals of former XL Recordings artist Willis Earl Beal AKA Nobody and slap-bass from Jo Gabriel Harris (who also features on three other songs across the album), is a deep and effortlessly evocative mid-tempo delight that perfectly sets the tone for what's to come.

Brooklyn-born April Pittman and Russian/Armenian vocalist Zara Kian lend their talents to woozy, sun-baked shuffler 'Paperman' before regular Payfone collaborator Ludmilla Rodriguez headlines 'Joan of Arc', a veritable Mediterranean breeze rich in tumbling analogue synth synths, elastic bass and tumbling guitar solos. Those yearning for a touch of lightly disco-flecked dancefloor heat will savour 'Spend The Night', where Los Angeles singer Collette Tibbetts AKA Carmella The Balls, accompanied by virtuoso keys courtesy of Parisian pianist Gabriel Cazes, rises above a sweet, melodious, dub disco-adjacent backing track. In contrast, 'Pamela' is low-slung and hypnotic, with 'Sofian' vocalist Barbara Alcindor ushering us through a deep, heady groove-scape.

Fittingly, Passera and Day round off Lunch via a vibrant and potent sweet treat, 'Pony Bar'. Headed up by the J.J Cale-esque lead vocals of man of mystery Leon Lace, the pedal steel-sporting song joins the dots between dusty Americana, kaleidoscopic Balearic beats and lilting, slow-motion disco. Like the rest of the album, you'll be thinking about it long after you've washed down the last few musical mouthfuls.

TO COMMEMORATE THE 10th ANNIVERSARY OF HIS PASSING

DEFECTED HONOURS FRANKIE KNUCKLES WITH SPECIAL EDITION ‘HOUSE MASTERS’ VINYL

Defected celebrates the life and legacy of house music pioneer Frankie Knuckles with a limited-edition vinyl offering of his notable ‘House Masters’ release.

Marking ten years since his passing, join Defected in honouring the enduring legacy of house music pioneer. All proceeds of ‘House Masters: Frankie Knuckles’ will be donated to Frankie Knuckles Foundation as it was when the compilation was originally released back in April 2015.

“Frankie Knuckles, whom many consider to be one of the architects of house music is still highly influential to a new generation. Since his untimely passing ten years ago it has been incredible to see the continued outpouring of love and respect that he has received. His legacy is why the Frankie Knuckles Foundation exists. Through our work we honour him by supporting initiatives that he was passionate about: music education, AIDS and diabetes research, prevention and LGBTQIA+ youth homelessness. This commemorative vinyl release of ‘House Masters’ in association with Defected will allow us to do just that!”

Frederick Dunson, Founder, President & Executive Director, Frankie Knuckles Foundation

The forthcoming vinyl releases will feature a selection of his finest productions and remixes including the seminal ‘Your Love’, ‘The Whistle Song’ and remixes for Chaka Khan and Sounds Of Blackness.

Find out more about Frankie Knuckles Foundation and its commitment to educating and supporting initiatives across LGBTQIA+ communities and AIDs prevention

“From Birmingham and centred around the extraordinary songwriting talent of James and Patrick Roberts – initially as The Sea Urchins and since 1993 as Delta – they’ve only just got round to releasing their debut album, Slippin’ Out. It is a work of some beauty”. 9/10 NME ALBUM OF THE MONTH, 2000

“It’s classicist for sure, shot through with the influence of The Beatles, Byrds and Buffalo Springfield. In James’ downright beautiful closing ballad ‘I Want You’ one can also discern the school of ambitious English balladry that peaked in about 1968: The Casuals, Love Affair, Barry Ryan. The impression of accomplished old-schoolery is only furthered by the dizzying string arrangements penned by Louis Clark Jnr, son and namesake of the one-time orchestral chief of Electric Light Orchestra” – Mojo lead review, 2000


Having ended the 90s with the spirited ‘Laughing Mostly’ compilation of singles and demos (Guardian Album Of The Week) Delta finally released their debut studio album of twelve songs in the summer of 2000 on the Dishy Recordings label. Accepting that this might be their sole studio album the band threw everything at these recordings allowing it to exist in its own sphere, unbothered by their contemporary generation and disregarding the idea of even releasing a single.

Recorded at DEP International there was a notable difference to the scruffier, looser charm of their 1990s recordings, a tighter focus developed by having the experienced Lenny Franchi mixing the LP with them. Lenny had been working with a number of Island artists including My Bloody Valentine and Tricky so knew his way around a desk. There was also the question of budget (a few months passed between recording and mixing whilst funds were raised) so every day counted. Ultimately though you can hear the joy in the recordings, even amongst the melancholy and angst. As James recently recalled in an interview in Shindig! Magazine: “It was such a big deal for us. It’s one of my fondest memories doing that record. Everyone was happy. If there’s anything that I’d stand by, I think it would be that”

Louis Clark Jr joined the band towards the end of the ‘90s and brought a classically-trained element to the recordings particularly with his string arrangements. For ‘Cuckoo’, ‘I Want You’ and the prophetic ‘We Come Back’ Louis brought in eight players from the Birmingham Conservatoire; the baroque style is partly why the record often receives comparisons to Love’s ‘Forever Changes’.

On release ‘Slippin’ Out’ was a big favourite with writers at the NME, Mojo and The Guardian again and before long the band were signed to Mercury/Universal for their second studio album ‘Hard Light’, a far more expensive and expansive love affair. It was a temporary palatial home where things quietly fell apart again, but that’s another chapter.

“If long-term memory is nothing more than selective editing and only pop’s most weighty visceral works are built to last then it’s quite possible that in 50 years the Britpop era will be best recollected for the two bands it ostracised. Earlier this year we met Shack and thought their story of mercurial brilliance indicated the biggest music biz oversight of the 90s. We were wrong because we hadn’t met Delta yet. This is richer and more engrossing than anything by Shack” 

Paul Murphy’s Claremont 56 label welcomes a genuine legend of UK music to its roster – Chaz Jankel, the man whose dizzying musicality and love of soul, funk and disco did much to shape the sound of Ian Dury’s Blockheads band in the late 1970s and early ‘80s.

A virtuoso keyboardist with a deep love of Black American music, Jankel’s arrangements and compositional skills were key to the success of their records, the funkiest of which not only became crossover pop hits – see ‘Hit Me With Your Rhythm Stick’ and ‘Reasons To be Cheerful, Part 3’ in particular – but also saw heavy rotation in now iconic New York clubs including the Paradise Garage and Studio 54.

This continued during the formative years of his solo career, with ‘My Occupation’, ‘Questionnaire’ and ‘Glad To Know You’ (later famously re-edited and dubbed out for nu-disco dancefloors by Todd Terje) all becoming club hits. The great Quincy Jones also covered Jankel’s infectious single ‘Ai No Carrida’, while experimental, club-ready synth-jam ‘3,000,000 Synths’ was also influential during the early years of the electro movement.

For his Claremont 56 bow, Jankel has delivered an all-new workout recorded earlier this year, the simply titled ‘Rhumba Jam’. A typically warm, groovy and rolling affair, it features Jankel delivering infectious, stretched-out Rhodes electric piano solos over toasty bass, clipped guitar licks, warm bass, accordion-style synth motifs and a densely layered Rhumba rhythm. While relaxed and sun-soaked, it also has bags of Balearic dancefloor potential.

Murphy remixes under his now familiar Mudd alias, leaning into the track’s languid Balearic vibe while keeping a firm focus on the dancefloor. Beginning with an enticing mix of metronomic drums and jangly acoustic guitars, Murphy slowly layers up key elements of Jankel’s original – think rubbery bass, rhythmic handclaps, mazy synth sounds and those wonderful, stretched-out solos. It’s a version that pays due reverence to the quality of Jankel’s musicianship, production and arrangement while subtly extending it and reframing it for 21st century Balearic dancefloors.

In April 2003, Secret Affair returned to the stage at London’s legendary Scala for a show that captured everything fans love about the band: sharp songs, soulful playing, and the unmistakable fire of the Mod revival spirit.
Live at the Scala brings the energy of that night back to life, presented in stunning audio across double vinyl & 2CD. From the driving beat of Time for Action to the passion of Let Your Heart Dance and the punch of My World, the Scala setlist is a powerful reminder of why Secret Affair remain one of the defining bands of their era.
RECORDED AT THE SCALA, LONDON, 18th JUNE 2003 and released on vinyl for the first time.
The Original Secret Affair Line-up
Ian Page - Vocals, Trumpet
David Cairns - Guitar, Backing Vocals
Dennis Smith - Bass
David Winthrop - Drums
Paul Bultitude – Saxophone

A key label on the Berlin scene since the 1990s, Muller Records—famed for a deep and chunky club sound from artists like Dave DK, Claude Young and The Hacker—is back with a new EP from Beroshima feat Rummy Sharma with remixes from Namito and Pascal Hetzel. Beroshima, of course, is the production work of label Frank Muller sometimes accompanied by ethereal electronic music specialist Ulrich Schnauss. After more than twenty years together they have amassed a fine body of work that includes five albums and more than a hundred Eps!

Always mixing up acid, techno and tribal into something fresh, the Beroshima sound has its own unique signature.... For this latest single Muller steps up solo to produce another gem. The stellar Delhibelly is a slick and muscular cut that bubbles away on a bed of warming bass.... Smeared pads add soul and snares flap about like tin foil in a breeze. It's a futuristic cut that will always pack a punch in any context. The Techno Mix is just as soulful but is quicker and more expansive so as to carry dancers away on an uplifting groove. Namito is a Green Horn Records producer from Iran but based in Berlin. He is another veteran who is as relevant as ever and his mix slows things down to a deep, inviting roller with jazzy perc, absorbing synths and kinetic kicks driving things along in style. Finally Pascal Hetzel, fresh from his super CYRK release with Sierra Sam, completes this sterling great package.

His classy remix is another rounded affair full of warm synths and bass that is sure to keep energy and emotional levels high in any set. Once again here Muller Records have concocted a club ready record that both DJs and dancers will love.

Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician’s life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender’s is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably : Melchior is a perfect cover-boy, and his very existence has put our man back to work.



They set a path for phat electronic ventures (and by the way, mostly english-speaking). Sub- continental bass & massive drums, heavy-footed and unabashed : as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on “UFO” and “Waiting for the sign” : Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo, our favorite Japanese « it » girl in Paris, also sent her “Postcard”, more vapour than song, unreal musical cotton candy of arrangements.


Domotic, who mixes and co-produces, gives a nice spin to “Count to 10”, a hip-hop/kraut crossover with a BEAK> flavour. The Forever Pavot, once a big-band, will be touring as a bass/ drums/keys & vocals trio, with Melchior as guest.



Record after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. « Le robot gentilhomme », a skillful pastiche of baroque composer Jean-Baptiste Lully, would stand a few rounds against Wendy Carlos. His love for oldies also shines through “Skyway”, a nod to the late Pierre Arvay, France’s Colonel Sanders of library music nuggets.



Forever Pavot may have gone wild, but remains indebted vis-à-vis the golden age of film music. Forebears deluxe Ennio Morricone & François de Roubaix make Hitchcock-style cameos: discreet appearances that you’ll watch out for (those syncopated cascades of syllables at the end of « UFO », and I guess we can indulge with some clavichord/ondioline Victoria sponge). His new flirt is all but a toxic relationship. « Melchior, Vol. 1 »: the robo-bromance is not over yet.

The Dead 60s seminal self-titled album gets a timely Deluxe edition reissue on Vinyl for its 20th Anniversary, on Deltasonic Records



“Back in the day, punk and dub weren’t just sharing space—they were smashing into each other headfirst. Late '70s Britain was a pressure cooker, and for kids like me, growing up between Brixton’s bass bins and the chaos of King’s Road, that collision was everything. Jamaican sound system culture met punk’s raw spirit in a haze of smoke, sweat, and feedback. It wasn’t about genre—it was about energy. Identity. Defiance. so when The Dead 60s came along, post-Britpop and post-bullshit, it felt like someone had dusted off the blueprint and run it through a battered old tape echo. These weren’t just lads with good taste—they understood the assignment. They took the DNA of two rebel cultures and mutated it into something that could stand tall in the 21st century. Dub-soaked, punk-fuelled, dripping with that Liverpool attitude. I remember first hearing them and thinking—yeah, here we go again. Not in a retro way, but in a real way. Guitars that cut like sirens in the night. Basslines fat and warm, straight out the Channel One playbook. Lyrics that painted the grey corners of Britain like CCTV poetry. It was the sound of youth under pressure. The sound of not fitting in—and not wanting to.

Their debut album dropped in 2005, and it hit like a flare in the dark. “Riot Radio” was a pirate broadcast from the concrete frontlines. “Control This” swaggered with menace and reverb. It was like someone opened a time capsule from the punky-reggae party and rewired it for a new generation.

Now, with this 20th anniversary vinyl reissue—complete with the full dub companion produced by Central Nervous System—we get to hear the bones and blood of it all. The dub versions pull the tracks apart and let the ghosts speak. Reverb, delay, space—it’s not just production, it’s meditation. Revolution slowed down to a heartbeat. It’s music that makes you move and think. What they’ve done here is more than remix a record—they’ve revealed its soul. That’s what dub does when it’s done right. And The Dead 60s, they got that. They weren’t tourists in the culture—they were students of it, shaped by it, and ultimately, contributors to the legacy. Liverpool’s long had a love affair with Jamaican music—you can hear it in the streets if you’re really listening. The Dead 60s tapped into that lineage, but they brought their own thing to the table. Punk's fire. Dub’s depth. Ska’s bounce. All filtered through a Northern lens and blasted out like protest graffiti. This 20th anniversary reissue ain’t about nostalgia. It’s a reminder. A celebration. A call to arms. Music like this doesn’t belong in a museum—it belongs on a system, shaking walls and waking minds. Crate diggers, completists, young punks, old heads—this one's for all of you.

So put it on and turn it up. Let the punk edge sharpen your thoughts, and the dub shake your bones ‘cos this isn’t just a reissue - it’s resistance on wax.....”

The third and final volume of Classic’s 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label’s tight-knit family of collaborators.

Like the volumes before it, this 2x12” release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic’s earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label’s long-standing commitment to design, artistry, and collectability.

Record One kicks off with a certified Classic family affair. Home & Garden’s ‘Sexuality...He's 2 Young’ features the unmistakable voice of DJ Colette, a staple of Classic’s early era. Included here is JT Donaldson’s Porno Beat Down Remix—a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry.

Brett Johnson’s ‘Jiffy Pop’, from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett’s playful, funk-laced production style. Infectious, weird, and entirely unforgettable.

On the flip, Tiefschwarz’s ‘Acid Soul’ delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut.

Roy Davis Jr. closes Side B with the propulsive ‘About Love’ (Solid Groove Remix)—a tough and driving interpretation by Dave Taylor that’s long been a DJ favourite in the Classic vaults.

Record Two showcases Classic’s more recent sonic evolutions. JT Donaldson’s return to the label in 2019 came with ‘Stay Inside’, a rich and breezy groove featuring the soulful voice of Liv.e. It’s an elegant and understated slice of modern house with timeless appeal.

Then comes Dam Swindle’s funk-charged ‘Hey Mister’. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it’s been lighting up dance floors worldwide since its release.

Luke Solomon’s catalogue on Classic is vast, but ‘Come on Over’, his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp’s passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch.

And to close, a modern masterpiece: Honey Dijon’s ‘Work’ (Extended Mix), taken from her ‘Black Girl Magic’ LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

A – Raise & Risk – The Itch

A tiny camel keyring tossed around on a contact mic and run through an ancient plate reverb makes up most of the percussions, odd ad-libs and wooshes in "The Itch". A 60 ton bass growl of mesozoic depth and some messed up hihats nicked from a previously discarded track round things off. Unfolds particularly well at high volume with ample Waterhouse-level low end.

B1 – Raise & Risk – Anthistamine
The initial minimalist groove of "Antihistamine" had already been in place for a while. But it was the log drums we added after a long night spent in a dark room surrounded by and partaking in mayhem that really tied it all together. Overall a moody and somewhat dissonant affair, the track breathes and oozes in unexpected ways, like we've never managed before.

B2 – Raise & Risk – Screwfix E17

Sirens wail, shouts compete for attention, a gnarly bassline tests your speakers and the drums switch between half- and doubletime 165 business. "Screwfix E17" is a rowdy loveletter to everyone's fav retailer of cheap tools and ambivalent service.

Eric Broucek war der Ur-Ingenieur der fruchtbarsten Ära der DFA Studios, etwa von 2003 bis 2008 (niemand weiß genau, wie es damals war, da alles im Nebel des Chaos verloren gegangen ist). Er hatte seine Hand im Spiel bei allen Remixen, LPs und Dance-12s. Er war fast jeden Tag in diesem überladenen Equipment-Keller, nahm auf, mixte und bemühte sich, Tim und mir nicht die Augen zu verdrehen. Und irgendwo in diesem Nebel veröffentlichte er still und leise drei limitierte 12-Inch-Veröffentlichungen auf seinem eigenen Label Stickydisc Recordings - zwei unter dem Namen Babytalk und eine als Watussi zusammen mit einem weiteren DFA-Stammgast, Morgan Wiley. Damals wollte Eric seine Musik nicht auf DFA veröffentlichen. Er wollte seine eigene Identität entwickeln, was ihm auch gelang, indem er Musik herausbrachte, die mit ihrer einzigartigen schrägen, umgekehrten und zurückhaltenden Kraft vom DFA-Pfad abwich. Seine Musik ist so anders als alles andere aus dieser Zeit, so einzigartig, dass sie immer noch völlig zeitlos klingt. Vor ein paar Jahren begann ich wieder, die Tracks aufzulegen, und sah, wie die Welt immer noch von dem überrascht war, was Eric geschaffen hatte, und so entstand die Idee zu dieser Compilation. Also, Eric, am Ende haben wir deine Platten doch veröffentlicht. Wir lieben dich, Mann. - James Murphy

GG Allin singles compilation reissued on vinyl. If you had an immense amount of courage (as well as a strong stomach), then you may have been 'lucky' to have experienced G.G. Allin the way he was meant to be -- on-stage. In the studio, G.G.'s recordings more times than not did not match the fire of his live performance (and after watching some of his brutal shows on video, how could they'), as they were issued on a variety of little-known indie labels, and of varying quality. One of the first compilations to truly pull tracks from throughout G.G.'s controversial career is 2004's Expose Yourself: The Singles Collection 1977-1991. A few selections have been impossible to find for years, such as the early G.G. single "Love Tunnel" b/w "Devil's Triangle," which makes its first appearance in years here. Elsewhere, you'll find tracks that have appeared elsewhere -- "Snakeman's Dance," "When I Die," "Gypsy Motherfucker," etc. -- but are among G.G.'s best. Since it touches upon most of his different eras, Expose Yourself: The Singles Collection 1977-1991 is easily one of the better G.G. comps to appear. ~ Greg Prato

GG Allin singles compilation reissued on vinyl. If you had an immense amount of courage (as well as a strong stomach), then you may have been 'lucky' to have experienced G.G. Allin the way he was meant to be -- on-stage. In the studio, G.G.'s recordings more times than not did not match the fire of his live performance (and after watching some of his brutal shows on video, how could they'), as they were issued on a variety of little-known indie labels, and of varying quality. One of the first compilations to truly pull tracks from throughout G.G.'s controversial career is 2004's Expose Yourself: The Singles Collection 1977-1991. A few selections have been impossible to find for years, such as the early G.G. single "Love Tunnel" b/w "Devil's Triangle," which makes its first appearance in years here. Elsewhere, you'll find tracks that have appeared elsewhere -- "Snakeman's Dance," "When I Die," "Gypsy Motherfucker," etc. -- but are among G.G.'s best. Since it touches upon most of his different eras, Expose Yourself: The Singles Collection 1977-1991 is easily one of the better G.G. comps to appear. ~ Greg Prato

Blue House Rockin’ is the result of a unique collaboration between Soul Sugar and Dub Shepherds — two projects united by a shared love for roots reggae, vintage studio gear, and warm analog sound.

The album was recorded live over two intense days at Blue House Studio by Christophe “French kiss” Adam, using ribbon and tube microphones from the ’50s and ’60s from the ’50s and ’60s, a Hammond organ, upright piano, Fender bass and Gibson guitars, classic amps and preamps, along with drums, syndrums and percussion. The sessions were transferred to a 24-track tape machine, and final mixes were crafted the old-school way by the Dub Shepherds at their own Bat Records Studio, using analog consoles and hardware vintage effects.
The tracklist brings together deep cuts, timeless classics, and original compositions. Curtis Mayfield’s Give Me Your Love and Aaron Frazer’s My God Has a Telephone (Colemine Records) — two soul gems, one vintage, one modern — are reimagined in reggae style, both featuring the great Jolly Joseph on lead vocals, working wonders with his falsetto. He also shines on Hold My Hand, a sweet and mellow original composition with lovers rock flair, written on the spot during the session.
Other standout moments include the soulful fire of UK singer Shniece McMenamin, who lights up Family Affair (Mary J. Blige / Dr. Dre) — flipped into a fiery hip-hop-meets-reggae version packed with energy and attitude.

Instrumentals like Disco Jack, Choice of Music, and Drum Song — all originally composed by Jamaican organ legend Jackie Mittoo — bring Guillaume “Booker G” Metenier’s Hammond work to the front. The playful exchange between organ, guitar, and a rock-solid rhythm section is elevated by swirling spring reverb, dub echoes, and filter sweeps.
The album’s explosive title track — Blue House Rock — was composed and recorded on the spot at the end of the session. A raw, greasy groove that sounds like The Meters jamming at Studio One or a lost instrumental from a Beastie Boys B-side.
Blue House Rockin’ is a vibrant blend of soulful roots reggae and funk, wrapped in the deep, dusty tones of analog tape. A joyful and authentic studio experience, captured live — and played loud.

Die legendäre Vinyl-Serie für alle Italo Disco-Fans geht in die nächste Runde!

Mit The Italo Disco Collection Vol. 3 erwartet dich eine exklusive 4LP-Box, randvoll mit den größten Klassikern der Italo Disco-Ära der 80er Jahre – ein Muss für Sammler, Nostalgiker und Liebhaber des typischen Synthie-Sounds.

Diese Box bringt den Sound der Tanzflächen der 80er Jahre zurück – authentisch, analog und mit jeder Menge RetroFeeling. Ideal für DJs, Fans der Italo Disco-Szene oder als stilvolles Geschenk.

As with The Limiñanas, rock is here an affair of the heart. Between new wave pleasures, psychedelic sensibilities and nods to the great sixties icons, Her Wild Love maintains the passion, without ever curbing the love of risk. Faithful to its intuitions, the duo refines the contours of a singular style. From Sarah's words to Rafael's notes, the pieces embroidered by Her Wild Love find their own balance. Crossed by cinematographic atmospheres and melancholic effluences, their music evokes the black magic of Mazzy Star, the incantations of PJ Harvey, but also the audacity of a band like Warpaint.

“'Lyceum' is a fountainhead of unqualified greatness. It’s a strange, sad sound harking back to old school tunesmanship – Aztec Camera, ‘Rattlesnakes’, prime-time Felt – but the whole affair is permeated with a resonant, almost tearful quality. ‘Lyceum’ is reminiscent of Galaxie 500’s ‘Today’ in that it sounds like it cost less than a round of drinks to produce. But the lo fi sound merely enhances the misty glazed-pop sound and raises the hallelujah choruses to the forefront. Rather than drowning them in production mush. Don’t pass it by”.
– Bob Stanley, Melody Maker 1989
Hailing from the suburbs of Glasgow, this five-piece are best known for their three starry-eyed albums on the renowned Sarah Records - this being an expanded version of their first (an eight-track 10” at the time).
By the tail end of the 1980s the independent music scene in the UK was turning its back on the polish and over-indulgence of the mid-80s with its gated drums and wallpaper production. And those who weren’t stretching the boundaries of sonic innovation had tuned back to the post-punk ethos of ramshackle charm and zealous melody, even dousing the spirit with some political fervour once more. Influences were more likely to be Television and the Television Personalities than MTV.
The Orchids and The Sea Urchins were the first two bands to release 7” singles on the Sarah label having previously begun their recording existence on a shared flexi disc in 1987 (The Sea Urchins went on to become Delta, whose classic album ‘Slippin' Out’ from 2000 will be the second release on Circuitry). The Scottish five-piece released ‘I’ve Got a Habit’ and ‘Underneath the Window, Underneath the Sink’ as EPs before really finding their feet with ‘Lyceum’; the tracks, remastered from the original Toad Hall tapes are included on this reissue as are the three songs from the ‘What Will We Do Next?’ 7” (this collection closes with the frazzled stretch that is ‘Yawn’). 'Lyceum' was originally released in August 1989.
The album opens with ‘It’s Only Obvious’ and its gloriously youthful chorus of “who needs tomorrow when all I need, all I needed was you”. James Hackett somehow appears both forthright and rejected, something that one of their musical heroes The Go-Betweens also had down to a fine art. It barely takes a breath until midway through side two where ‘Hold On’ (sounding suspiciously like an unlikely objective) descends into the intro of ‘Blue Light’, the counted-in ‘1, 2, 3, 4’ whispered like the most hopelessly dejected rally. If that sounds depressing it isn’t. This record by The Orchids was a spirited source of comfort for an 18 year old at the time and still shudders with the best type of melancholy, one that’s spirited not indulgent. If you’re not familiar with the band’s charm, this is where you should begin.
'Lyceum' is released on double black vinyl by new label Circuitry.

Rivet’s new album for Editions Mego is an uplifting and joyous affair coming in the wake of tragedy and disenchantment. It is yet another rebirth from an artist willing to take a step back and reprise the current situation he is in. Mika Hallbäck has a long credible history in the Swedish underground. First recognised for his industrial techno works under the Grovskopa moniker he worked privately on more experimental works that eventually came out as On Feather and Wire, an album released on Editions Mego in 2020. After much acclaim for this bold new direction that blended electronic abstraction, pop and industrial forms into a heavy synthetic trip two tragedies struck. One was the passing of label boss Peter Rehberg and then the passing of his dog Lilo, who was as close as a companion one could have. These events led to the release of the more unsettling follow up L+P-2 (Lilo and Pita minus two) on Midnight Shift Records in 2023. Peck Glamour sees Rivet return to the reawakened Editions Mego with an album of optimism inspired by reconciliation with loss and further explorations of new mental/sonic realms.

Hallbäck defines his approach as not being married to any particular machine, instrument, process or genre. However he holds a particular affinity to sampling, of which, he says, provides the dirt and grit amongst what would otherwise be pristine, generic machine music. The contemporary crate digging method of scouring obscure download music bogs for unique sounds was his preferred research practice.

Peck Glamour is an album full of tracks brimming with the excitement of exploration. It's the results of a mind informed by punk, industrial, techno, dancefloor, disappointment, trauma and rebirth. Here the synthetic and authentic is viewed simply as the same means of human rationale and expression.

The opening, ‘Catch Up to Light’, sets the scene with ecstatic and odd fluorescent vocals sliding amongst crystalline likembe whilst synths swirl amongst the external festivities. ‘Orbiting Empty Cocoon’ is somewhat a homage to the alien sound worlds of The Orb, one which takes the listener deeper into a mind melting array of teased potential as visual elements are executed in a mask of audio wizardry and euphoric staccato rhythms, the later being a nod to Singeli music. ‘Patitur Butcher’ is more dance frontal utilising the Ghatam drum and a YouTube rip of a Chinese language lesson. ‘Plastic Bag Putain’ was made during the beginning of Russia's invasion of Ukraine and should be clear of its intent. ‘All that Heaven Allows’ is a marimba cover of an imaginary Love Parade anthem. 'Kyrie Geire’ potentially briefly fills the void left by the demise of Coil. The entire trip of Peck Glamour is sewn up with ‘We left before we came’ whereby extraneous recordings of double bass player Gregory Vartian-Foss (tuning/strumming/moving the bass) are superimposed with local field recordings to create a gorgeous bed of sounds acting as an exciting exit music to this sharp collection of cinematic ear excursions.