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The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

After five long years, Balance and Composure return with Too Quick To Forgive--newly signed to Grammy-nominated producer Will Yip's label, Memory Music, the alt-rock darlings sound more assured and adventurous than ever across two vulnerable tracks. Too Quick To Forgive is a reflection on personal perseverance in the wake of confrontation, told through two distinctly different scenarios. "Savior Mode" finds frontman Jon Simmons baring his soul in a way that is unparalleled in their discography, while "Last To Know" is an emotionally-resonant highlight that leaves a lasting impact well after its final notes play out. Simmons' vulnerability and emotional delivery across both tracks cut through with unflinching precision courtesy of Andy Slaymaker (guitar), Matt Warner (bass), Erik Petersen (guitar), Dennis Wilson (drums), and who the band considers their 6th member--producer Will Yip. In the fall of 2022, the group got together at his Conshohocken, PA studio, Studio 4, with a few ideas that Yip helped turn into these otherworldly tracks. "It was all magic," Jon says. With a renewed sense of purpose, Balance and Composure will return to the stage for a series of Too Quick To Forgive release shows in some of the biggest rooms they've ever played.

avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

Dubbed out new version of a Japanese reggae classic from 1982 by UK-based Tokyo Riddim Band. Recorded and mixed by the legendary Prince Fatty in South London, it's a fusion of past and present, East and West.
Three generations of female musicians from Japan come together, blending reggae drums, funky bass, and the smooth City Pop guitar, all magically dubbed-out live on stage. Tokyo Riddim Band is a culture clash phenomenon unlike anything else.

Championed by Gilles Peterson, and featured on NTS, Pitchfork and Bandcamp Daily, the group was born out of Time Capsule’s wildly popular compilation “Tokyo Riddim 1976-1985”. In just a matter of months they have sold out headline shows across London and supported Kyoto Jazz Massive at Jazz Cafe, conjuring a raucous, dubby dancefloor that brings the classic Japanese reggae sound of the ‘70s and ‘80s to life for a new generation.

Led by the inimitable pianist and composer Izumi ‘Mimi’ Kobayashi who featured on the original compilation, Tokyo Riddim Band are set to release a series of 7” singles in the coming months with more live shows planned throughout the summer 2024.

The first single, 'Denshi Lenzi', reinvents the Natural Mystic riddim of the original Japanese production, infusing it with dubbed-out vocals, sirens, and electrifying e-tom sounds, delivering an authentic reggae/dub experience with a distinct UK flair.

Bel Canto returns with a new album In 2024, a new chapter unfolds in the history of one of the true pioneers in the electronic music genre - the Tromsø duo, Bel Canto. The upcoming album, 'Radient Green' expected before the summer, brims with creative and musical abundance. It sounds fresh and new while drawing from the unmistakable sonic landscape of the band's remarkable musical treasury, which includes mega-hits like 'Shimmering, Warm & Bright' and the Spellemannpris-winning 'Magic Box,' to name a few. The journey has been long, with many notable names contributing to the process, including Gilles Martin, who co-produced the band's first two albums, Erik Ljunggren, and Matias Tellez, who has mixed the new album. It's been 22 years since Bel Canto last released an album, but now it’s finally due.

Radiant Green by Bel Canto, released 26 April 2024, includes the following tracks: "Lifeworld ", "Train Window Girl ", "Lake Ice ", "The Winds Of The Milky Way " and more.

This version of Radiant Green comes as a 1xCD.

The current lineup of New Haven's long running Mountain Movers (guitarist/vocalist Dan Greene, bassist Rick Omonte, guitarist Kr yssi Battalene, & drummer Ross Menze) have been playing together for over a decade now, making their recorded debut on a slew of singles released from 2011-2013, but it wasn't until 2015's "Death Magic" (released on New Haven label Safety Meeting) that the potential of that iteration of the group became clear; Mountain Movers are a force of nature. The camaraderie & sensitivity to each others playing has only grown over time, cr ystallizing on the group's trio of albums for Trouble In Mind; 2017's eponymous "Mountain Movers" served as a reintroduction of the group to a larger audience, while 2018's "Pink Skies" raged like a group confident in its strengths, and 2020's prescient "World What World" - written & recorded before the world shut down - slightly shifted focus away from the jams & back toward the weight of guitarist/songwriter Dan Greene's poetic tales of magical realism. The band's ninth album "Walking After Dark" finds a happy medium between both aspects of the band's strengths; Greene's lyrical compositions and the group's long-form improvised jams. To those that are tuned in, that feeling of communion is evident in the Movers' playing. The members swap & cycle effortlessly through instruments without missing a beat, utilizing the downtime of lockdown to write & record every jam in their practice space. Those piles of tapes would eventually get edited & sequenced into "Walking After Dark", a tour-de-force double-album that balances fried, stony brilliance with outré excursions of experimental serenity. Consider the opening track "Bodega On My Mind" that ambles in like a road-worn traveller, its lysergic folk strums peppered with acidic lead lines from Battalene's Telecaster, eventually giving way to "The Sun Shines On The Moon, where the group's sizzling guitars are buoyed by Omonte's pillowy bass & Menze's percussion. From there on out, tracks like "Factory Dream" give the listener a taste of The Movers' modus operandi here; a mixture of (more) traditional song craft interspersed between long-form, improvised pieces of modern psychedelia. The group shuffles through instruments; synths, drum machines, auto-harp, various forms of percussion (and whatever else was laying around) as well as the trad guitar/bass/drums configuration to craft a suite of songs that - while not necessarily similar in composition - feel unified in their overall sonic scope. Tracks like the 14-minute "Reclamation Yard", whose deep-space electronic pulse is juxtaposed against side C opener "See The City "s persistent acoustic strum that showcase similar ideas of the `spirituality ' of losing ones self in repetition, but executed differently. In many ways "Walking After Dark"s duality feels like a merger of "On The Beach"-era Neil Young & the collective freak-outs of Amon Düül, taking inspiration in the `incorporeality ' of free music and lacing it with Greene's hazy, haunting lyricism and is an exciting step forward for a band that's already a few steps ahead. "Walking After Dark" is released on black double-vinyl in a full color gatefold jacket & includes an insert with artwork & lyrics by member Dan Greene.

Remedy, a dynamic and cutting-edge melodic rock metal band originating from the heart of Stockholm, Sweden, burst onto the music scene in 2022 with an unmistakable presence. Their debut album ‘Something That Your Eyes Won't See' charted in Sweden and had a massive impact, including truly incredible positive feedback from the Rock and Metal World. Now it's the time for the second album ‘Pleasure Beats the Pain', co- produced with the Swedish S-Rock Music Production, a huge sound journey between catchy melodies, powerful riffs, huge sound and mesmerising guitar solos. With these new songs, the band presents a sound even more personal, pushing boundaries even further. Drawing from the lively sounds of the 80s, but adding a modern twist, Remedy captivates listeners with their contagious energy.

Their magic is driven by energetic guitars, powerful vocals, and catchy hooks across Rock, Pop, and Metal genres, blending retro vibes with fresh innovation seamlessly. In line with the production of Remedy's debut album, ‘Pleasure Beats the Pain' is mixed and mastered by Erik Martensson (Eclipse) at Mass Destruction Production. “Fuelled by the success of our debut album, stepping back into the studio felt like the most natural progression for us. With 'Pleasure Beats the Pain,' we reached a defining moment in Remedy's journey, solidifying our sound. With a balance of light and dark, day and night, pleasure and pain, love and hate, our music mirrors life's complexities, melding melodic rock & metal into a harmonious blend. Through this, combined with a distinctive approach to instrumentality and songwriting, Remedy emerges”, Rolli concludes.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

Late Night Load Out is the debut LP from Dublin five piece band Papa Romeo.

The release is a collection of work which catalogues their first two years of rehearsing and gigging together around Ireland, a process which has forged their sound. The tracks journey through sound palettes which variously touch on dreamy spaced out indie rock, moments of ambient contemporary jazz, and rougher post-punk influenced sounds.

The ‘Late Night Load Out’, became the term to describe loading gear out of venues late at night after a show, which is a moment to both dread and cherish, the (sometimes) hard work which follows elation.

Now primarily based in London, Papa Romeo’s music has connected with London based DJs and broadcasters. Their debut single ‘Yellow Magic Orchestra’ was supported by Flo on NTS, as well as Avalon Emerson, and appeared as the A1 on a vinyl compilation from All City Records Dublin. Singles from ‘Late Night Load Out’ have also gained early support on BBC 6 Music and from Ross Allen on NTS.

In the meantime the band have been busy on the Irish circuit with appearances at Cork Jazz Festival, Other Voices, All Together Now and Another Love Story, as well as repeat sold out shows at Dublin’s Sugar Club. They have built a reputation as a versatile band who can bring the energy to a packed room, and were named an Artist to Watch for 2024 by Hot Press Magazine.

‘Late Night Load Out’ will be released on digital and vinyl in May 2024.

Papa Romeo is Paddy Rogers, Mark Rogers, Dan Coyne, Rob de Boer and Chris Wong.

Radio Support:

Ross Allen - Soup to Nuts NTS

Colleen Cosmo Murphy - NTS

Lauren Laverne - BBC 6 Music

Esk - Rinse FM

District Magazine (Ireland)

Peter Curtin - RTE

New Music Fix on BBC 6Music

Bill Brewster

Horace Andy a.k.a.Sleepy must process one of the sweetest and most distinctive voices in reggae music. 1951 in Kingston Jamaica. He cut his first track in 1966 for producer George ‘Phil’ Pratt, a tune called ‘Black Man’s Country’. But it was four years later his star really began to shine when he joined the stable of Clement ‘Coxsone’ Dodd’s Studio One. It was Coxsone Dodd who renamed him Andy after another of his leading artists Bob Andy, such was his belief in Horace’s writing talent and singing abilities. Still only twenty years of age Horace used his falsetto talent to the fore and cut some impressive tracks at 13 Brentford Road, Studio One’s headquarters. Such reggae standards as ’Skylarking’, ‘Just Say Who’, ‘Love of a Women’ and ‘Something on my Mind’ to name but a few. The early 1970’s saw Horace due to political reasons move on to work with producer Bunny Lee, a move that suited his talents and beliefs, Horace being an early advocate to the Rastafarian faith.The tracks which he cut with Bunny, which we concentrate on here gave his songs a rootsy feel. The rhythms often cut at Channel ONE and Randy’s Studio17 and finalised at King Tubby’s, provided a fine backbone for Horace to recut some of his earlier classics, along side his newer songs also to become reggae standards. Like ‘Money Money’, ‘Zion Gate’ the great ‘You are my Angel’ and a version of The Heptones ‘My Guiding Star’. The power of these recordings were such that the earlier tracks like ‘Skylarking’ became hits a second time around.Proving that the ‘you can’t keep a good tune down’ mantra was alive and kicking… …A golden time for Horace and Reggae music in general… Horace would go on to work with other producers like Everton Da Silva in 1977 creating the ‘In the Light’ album and the New York based Lloyd ‘Wackies’ Barnes in the 1980’s for his ‘Dancehall Style’ recordings. Most recently his work with Massive Attack has brought his majestic voice full circle and back into the arena once more. Those ‘Massive’ recordings and this dub collection here seem to fit side by side. Horace’s distinctive vocal riding over the rhythms adding a magic as only he can .....

RESPECT JAH FLOYD.

This record invites you on an extraordinary journey, in the form of a spatio-temporal and transgenerational sound collage, into the parallel and singular universe of one of the major counter-culture movements of the 1960s fantastic realism. A cross between thematic compilation and sound creation, it offers a selection of rarities and nuggets with psychedelic and esoteric tonesby groups from the late 60's - early 70's French psychedelic scene, such as Haira, Guy Skornnik and Martin Circus, as well as previously unreleased tracks by major current and emerging bands such as The Limiñanas, Zombie Zombie featuring Pacôme Thiellement, The Penelopes or Terrains vagues, Rubin et le paradoxe featuring Brigitte Fontaine, Tuxedomoon or Exotourisme (Perez and Dominique Gonzalez Foerster). These tracks were created especially for the occasion. All mixed and interspersed with audio archives by Jacques Bergier, Louis Pauwels or Eugène Canseliet and sounds from installations designed by visual artists (Veronique Belland, Alexis Chapelain). At once cutting-edge and accessible to the uninitiated, between fantasy and science fiction, esotericism and occultism, popular culture and contemporary art, avant-garde and pop music, this disc offers a poetic ode to the Strange, to curiosity, to the capacity for wonder and the desire for knowledge, with a view to re-enchanting reality. Conceived by Jean-François Sanz (author, director and curator) and Hermione Volt (visual artist), in collaboration with Laurent Paulré (founder of the Contours label and producer at Radio France), and with the complicity of Céline Du Chéné (author and journalist), this album, an atypical sound object, is the musical extension of the eponymous group exhibition UN AUTRE MONDE ///DANS NOTRE MONDE, which opened at Galerie du Jour in Paris.

'Hex Dealer' ist das Debütalbum der New Yorker Electronic-Punk-Band Lip Critic. Produziert von Sänger Bret Kaser sowie Connor Kleitz. Ihr eklektischer Sampling-Stil wird durch die ansteckenden Breakbeats und knackigen Snares der Schlagzeuger Danny Eberle und Ilan Natter noch verstärkt.

12 rasante Tracks, eine einzigartige Mischung aus klassischem Punk/Hardcore und elektronischen Stilmitteln. Postmoderner Pop wie gemacht für eine Zukunft ohne Genregrenzen. Unverwechselbar, tanzbar, manisch und pendelnd zwischen den extremsten Emotionen.

NME ("auf dem Weg zur nächsten großen NYC-Band"), Paste ("ein apokalyptisches Ödland aus NYCs bestem Underground-Punk"), Rolling Stone ("Songs, die man kennen muss"), Loud & Quiet ("einer der meistdiskutierten Acts in NYC"), Mary Anne Hobbs auf BBC 6 Music und Matt Wilkinson ("absolut unverzichtbar") feiern Lip Critic schon jetzt.

'Hex Dealer' ist das Debütalbum der New Yorker Electronic-Punk-Band Lip Critic. Produziert von Sänger Bret Kaser sowie Connor Kleitz. Ihr eklektischer Sampling-Stil wird durch die ansteckenden Breakbeats und knackigen Snares der Schlagzeuger Danny Eberle und Ilan Natter noch verstärkt.

12 rasante Tracks, eine einzigartige Mischung aus klassischem Punk/Hardcore und elektronischen Stilmitteln. Postmoderner Pop wie gemacht für eine Zukunft ohne Genregrenzen. Unverwechselbar, tanzbar, manisch und pendelnd zwischen den extremsten Emotionen.

NME ("auf dem Weg zur nächsten großen NYC-Band"), Paste ("ein apokalyptisches Ödland aus NYCs bestem Underground-Punk"), Rolling Stone ("Songs, die man kennen muss"), Loud & Quiet ("einer der meistdiskutierten Acts in NYC"), Mary Anne Hobbs auf BBC 6 Music und Matt Wilkinson ("absolut unverzichtbar") feiern Lip Critic schon jetzt.

Mampön are back! unleashing their Afrobeat enchantment on a new 45 release.

Crafted for the dancefloor, "Si Algún Dia Has De Caer" combines party beats with Spanish lyrics. Hectór Rodriguez, the band's guitarist and lead singer, creates a deep connection between celebration and introspection on an enchanting vocal-rhodes introduction before the rhythm takes you for a dance.

On the B-side, Mampön maintains the Afrobeat tradition as more than just dance music—it's a protest, a resistance. "Papeles Rotos" portrays people as slaves with rights on wet, torn paper, urging listeners to forge their path regardless of the cost.

Mampön emerges as a true soft power, destined for every dance floor, spreading Afrobeat magic.

Reissue der sechsten Of Montreal-LP "Satanic Panic In The Attic" (2004) auf orange-schwarzem Swirl-Vinyl, die gleichzeitig ihre erste Veröffentlichung auf Polyvinyl war. Zuvor erschienen zwei Alben für Bar/None und drei für Kindercore. Die produktive Band aus Athens, Georgia ist fester Bestandteil der US-Indie-Pop-Szene. Der Sound von "Satanic Panic..." weicht leicht von früheren Alben ab, setzt jedoch die Tradition der ständigen Neudefinition der Band fort. Der unverkennbare Einfluss von 1970er Afrobeat und 1980er New Wave bietet den Fans eine neue Perspektive, die man bislang von Of Montreal nicht kannte.

The female-led discodelic soul band Say She She, named as a silent nod to NileRodgers (C'est chi-chi!: It's Chic!"), release their sophomore album `Silver' on theheels of an epic break-out year that grows brighter by the day. The three strong voices of Piya Malik (El Michels Affair staple feature, and formerbacking singer for Chicano Batman), Sabrina Mileo Cunningham and Nya GazelleBrown front the band. This harmonizing trio was formed in a classic New York taleof friends that met by following the music: the downtown dancefloors, through theLower East Side floorboards and up to the rooftops of Harlem. `Silver' was entirely written and recorded live to tape at Killion Sound studio inNorth Hollywood earlier this year and produced by Sergio Rios (of Orgone). Whilethese analog recording techniques help root Say She She's sound in a bedrock oftonal warmth that only tape can achieve, it is also their process of cutting the trackin the moment and capturing the magic of communal creativity that has seen theirsound described as "a glorious overload of joyful elation and spiritualelevation" (MOJO) and "infused with the wonky post-disco spirit of early'80s NYC" (The Guardian). Silver, the element, is known as the metal of self-confidence and the mirror of thesoul. With that, the 16-song double-LP projects not only their growth in writingwith confidence, but also reflects a deeper exploration into their punk-chic, femme-forward sensibility. Ultimately, `Silver' oozes with quirk and adventure and embraces themultifaceted nature of what it means to be a modern femme. The She She'sfully embrace their role as beauticians, actively reminding people of the inherentbeauty in the world. They skillfully employ double entendres and humor toencourage open dialogue and fearlessly address important matters that demandattention.

Melbourne pop eccentric Gregor releases his fourth album Satanic Lullabies, his deepest and darkest record yet. In the years since his first album, 2016's Thoughts & Faults, Gregor's music has got progressively odder, more challenging and more rewarding. The spacious, acerbic pop of Silver Drop (2018), featuring touching single A Song About Holding Hands, was followed by the lovesick Destiny (2020), which put Gregor's inquisitive pop through a warped filter. Now Satanic Lullabies has polar extremes of wide-eyed innocence and deep despair. There are moments of great musical beauty that segue into harsh, bleak soundscapes. "I'm seeking to draw attention to the similarities between heaven and hell," says Gregor, "and to comfort anyone who recognises these." Satanic Lullabies is a modern epic, a bedroom odyssey, like if pre-MAGA Kanye made a Disney soundtrack. Gregor's live show ranges from solo mode up to a ten piece band, and he has played festivals such as Golden Plains, Dark Mofo, Inner Varnika, Boogie and The Others Way (NZ). He was nominated for Best Album and Best Solo Artist in the 2019 Music Victoria Awards, and Best Pop Act in 2021.

Following two standout albums, 2020's Flower of Devotion, and 2022's Blue Skies, each furthering Dehd's reputation as one of the best Rock bands of the day, Dehd return with biggest statement yet. New album, Poetry, is their best yet. Singles, "Mood Ring", "Dog Days", "Alien", and "Light On" are each, in their own right, the most exciting Dehd songs to date.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

10 Years Anniversary compilation LP. Ten years ago, on 21 April 2014, Russian enclave of the Baltic Kaliningrad-based trio Blind Seagull started off its adventure in the soon to be known as Sovietwave aka Russian post-punk underground. Tean years later they have accomplished to release nine full-length albums on all sorts of limited edition formats such as LPs, CDs, tapes with most of them being sold out for years. It was time to bring many of these tracks back to life, picking up the best among them and reissuing for the global post punk/darkwave niche. Fifteen cuts previously released by labels like Detriti, Sierpien, Pine Hill through which the band led by Denis Zarubin has shaped its own brand of icy coldwave, one pretty classic and extremely fresh and contemporary at once. On top of these we have one more track exclusive to this release which is a eurodance-oriented remix for their minor hit Animals Die in the Scaffolding. Think of a bunch of goth kids screwing around at the local carnival and you'll get the vibe! Decade Of Effort is due on April 21, 2024 on white vinyl LP limited to 300 with fairy-tale artwork by the band enhanced by the magical lettering of young Spanish artist Sara Fornés.