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Luuk van Dijk has unveiled his hotly-anticipated debut album First Contact, out 11th November on his own Dark Side Of The Sun label. The Dutch DJ and producer’s maiden LP is the end result of a long and intense voyage of discovery.

Years in the making, it’s a project that Luuk can fully stand behind and be proud of. Next to a search for his own identity and his own place in music, it has also become a passage
through time.

By far his largest body of work to date, the 13-track release kicks off with the suitably-titled ‘Cosmiq’, a deep, grooving sonic exploration that immediately sets the tone. “Because of this
track I wanted to make an album to showcase my other kind of music that people won’t maybe expect of me,” Luuk explains.

Next up is the shimmering, ethereal sounds of ‘Love You’, a track that features the irresistible vocals of US singer-songwriter Dawn Richard and will be released as a single in October. “She really brought this track to a whole new level,” says Luuk. “I couldn’t be more happy with the result.”

Further collaborations come in the form of ‘Wolf’, a majestic, strings-led house cut featuring Steve Burton of oneofmanysteves; ‘Master Plug’, a deep, jackin’ number with Chicago artist
Kid Enigma; and the Detroit-indebted ‘Together We Rise’, punctuated by the spiritual vocals of MC Roga. “I tried making a track the way they used to make music,” Luuk says of the latter.

“With as few machines as possible, just a mixer, sampler and some synths.” Additional highlights include the enchanting ‘Let The Bass Kick’, orchestral ‘Lightning
Striking’ and hypnotic ‘Hot Stuff’, before ‘Knowing How To Love’ closes things out on a peculiarly wistful note. “The last track of the album, also a track that started as an interlude and
ended up being a full song,” says Luuk.

“This song basically sums up how I’ve been feeling the years 2020 and 2021, very emotional, sad, but also hopeful. Everything will be alright.”

One of the hottest new names coming out of Amsterdam’s bustling club scene, Luuk van Dijk is currently making waves in international waters with his infectious take on spirited house
music.

He has already released on labels like Hot Creations, Cuttin’ Headz, Solid Grooves Records and Eastenderz have established his name as a house music prodigy.

He launched Dark Side Of The Sun in 2020 with the aim of exploring a broader approach to his signature style.

First Contact represents a vivid sonic snapshot of one of electronic music’s brightest young talents.

Early DJ Support :

Jamie Jones
Marco Faraone
Carl Craig
Yuksek
Sasch BBC
CamelPhat
Paco Osuna
Stacey Pullen
Tocadisco

*Ltd Coloured Vinyl on Transparent Blue Vinyl* London-based musician and producer Ryan Lee West, aka Rival Consoles, creates driving, experimental electronic music that makes synthesisers sound human. His consistent desire to create a more organic, living sound, sees him forming pieces that capture a sense of songwriting behind the machines.

‘Now Is’ marks a new chapter in an ongoing quest for refinement and evolution. More playful and melodic, the album draws from much experimentation in minimalist songwriting and seamlessly blends synthesisers and acoustic instruments. “There are some pieces that are influenced quite strongly by the isolation and anxiety of these times. There are also pieces which are more optimistic and vibrant, which I think is a consistent attitude of my records, as I want art to express many aspects of life.”

From the elevating arrangements of ‘Beginnings’ and motorik beats of ‘World Turns’, to the isolation of ‘Frontiers’, influenced by the barren landscapes of Iceland, Rival Consoles’ eighth studio album subtly morphs and evolves. “The title of the record ‘Now Is’ interests me because it is the beginning of a statement, but it is incomplete. I like art that is open and suggestive of ideas even if they are inspired by very specific things. With my previous record ‘Overflow’ being very dark, heavy and almost dystopian, I wanted to escape into a different world with this music and ended up creating a record which is a lot more colourful and euphoric.”

For the sonic ‘Vision of Self’, West looked to create the kind of movement and colour a string section in an orchestra would construct, but with synthesisers. “I think there’s a lot of synergy between the two worlds. I wanted to create a hypnotic journey, where the synths and sounds weave in and out of each other, so you get lost in the music and don’t know where one sound starts or another ends.” This “journey” West refers to is symbiotic of the way he has approached music throughout a progressive career – an ongoing project that is never static and always moving forward.

A sense of euphoria is reached with the pulsating title track which bursts into colour like the appearance of the summer sun, while ‘Echoes’ is a vivid exploration of rhythm and sound for summer nights. The track starts with a dense collage of modular synths, fragmented metallic tones, broken sounding drums and a downcast melodic synth line. “This is a piece where the main melody has been in my head for a long time and was just waiting to come out. I kind of think of it as the sonic equivalent to an impressionist painting in that I wanted to explore the sensation of lots of small layers of different colours and textures that are constantly moving around each other.”

Rival Consoles is set to appear at festivals across Europe this summer, with headline shows expected to follow in the autumn.

ft. Cinna Peyghamy & Jay Duncan Remix

Soreab returns to Control Freak for a full length white label release - a masterclass in organic, dubbed-out, dancefloor psychedelia, featuring live recordings by sound artist and modular percussionist Cinna Peyghamy following a recent collaboration with Azu Tiwaline.

As a DJ, producer and co-founder of Baroque Sunburst, Italian-born Soreab has been a mainstay of London’s underground electronic music scene for over 5 years. On ‘Teleportation’, he manipulates and twists Cinna’s deft percussion work into a distinct range of UK styles, ranging from 170bpm euphoria to subby, half-time ex- plorations from the school of FWD>> and Plastic People.

On the B2, Jay Duncan (Phantasy Sound / Intergraded) takes a decidedly minimal tack on her remix of ‘Untitled 1’, with deep, dubby chord stabs and immersive rhythms for late night dancefloor revelations.

For Fans Of: Om Unit, Shackleton, Al Wootton

Limited pressing of just 300 hand-stamped records - don’t miss your chance to grab one

Mastered & cut by Ruy Marine @ D&M, Berlin

Mit mehreren Milliarden Streams auf seinem Konto ist Maluma ein herausragender Künstler der Latin-Szene auf der ganzen Welt. Endlich veröffentlicht Maluma seine 6 Studioalben auf Vinyl

DJ Different dons his Terraform alias as he begins his journey in ‘Entering The Void’ on CYBERDOME; exploring phat electro bass-lines and party-starting ghettotech energy with its crosshairs fixated firmly on the club environment.

Born and raised in the culturally rich city of Malmo, the Swedish producer has previously released on London based label Deeply Cultured, Distant Hawaii, Mood Of Era, 1Ø PILLS MATE and Traxx Underground, spanning atmospheric techno, ethereal breakbeat and chunky electro.

‘Ultrasonic’ is an ear-wriggling cut of stripped-back psychedelia. As David Holmes would say, all the best electronic music tracks are made up of only a few components. Here, typical electro synth stabs, robotic vocal sampling and sparse precision allows the track room to breathe, whilst maintaining a deep and funk-driven groove.

‘Ghettotech’ sounds how you would expect it to; pounding kicks, frantic atmospherics and lairy screw-face hype combine on a certified fire-starter, before ‘Exiting The Void’ introduces itself on a footwork vibe that evolves into a sequence of interstellar-dungeon dub-electro.

‘The Rise of the Slavs’ takes its inspiration from the diverse group of tribes who lived in Central and Eastern Europe in the 6th to 10th centuries, establishing the foundations for the Slavic nations; it’s marching rhythm beaming historical context into 21st Century dance music.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

On the cusp of their 30th year with British indie Warp Records, Plaid return with a joyous new studio album, Feorm Falorx. From their playful early releases in the late 80's until now, they have explored diverse musical styles and embraced new methods of synthesis whilst maintaining a musical thread that spins back through the early Hip Hop scene of their youth and beyond to the sounds of the late 60s and 70s that inspired it.

Plaid have toured extensively and collaborated widely over the years, writing for and performing with sonic researchers, percussion groups, solo artists and orchestras, most recently for the BBC Concert Orchestra. They have written for computer games and scored several feature films, one of which, Tekkon Kinkreet, was awarded the Japan Academy Prize for Animation of the Year.

This eleventh studio album finds our duo, Ed Handley and Andy Turner, recreating a recent performance at the Feorm Festival, an intergalactic festival held on the planet Falorx. In order to survive the Falorxian atmosphere they were converted into light so the traditional recording devices they'd taken on 'The Campbell' were not functional. Fortunately, having consulted Earth's Space Agency, it was deemed safe to recreate the performance back in their London studio. Extensive testing of the resulting recordings have established a level of thought contamination deemed, “perfectly acceptable.”

Feorm Falorx will be released Universally on 11-11-22

The stage is set for an almighty celebration as Groove Armada approach a huge milestone and mark the anniversary with a return to the road. New music plays a key part of the GA25 celebrations, with the duo recruiting some of today’s leading underground artists to remix their most iconic tracks, packed into a box set celebrating an award winning career that has seen them produce an impressive, record-breaking body of work.

25 years on from their debut, Groove Armada have become one of the most influential and successful dance acts of the 21st century, a position they have maintained, proving to be an influential force in the UK and globally. Over two decades of prolific productions and tireless touring they’ve proved that it’s possible to daringly explore a multitude of sounds while achieving critical and commercial success.

From huge outdoor performances to intimate parties, travelling the world, delivering their diverse dance floor-focused sound to raucous crowds on every continent, the duo have done it all. Despite their extensive list of achievements, there’s still plenty of motivation to have another huge party and go the extra mile to make GA25 one to remember, for fans new and old.

Black Vinyl

Endlich können die Millionen Fans von "Stranger Things" ihre Leidenschaft für ihre Lieblingsserie durch den Kauf von physischen Produkten (vor allem LPs, aber auch CDs und sogar Kassetten, eine Anspielung auf die 80er Jahre als zentrales Thema der Serie) zum Ausdruck bringen! Noch mehr als in den vorherigen Staffeln spielt die Musik eine wichtige Rolle in der Erzählung, insbesondere das Kate-Bush-Phänomen "Running up that hill", das natürlich im Soundtrack enthalten ist, sowie "Pass The Dutchie" von Musical Youth und "You Spin Me Round" von Dead or Alive, die in den ersten Episoden sehr auffällig waren. Supererwartetes Kultprodukt: Vorbestellungsstart am 1. Juli, wenn die zweite Hälfte von Staffel 4 startet. Enfin les millions de fans de "Stranger Things" vont pouvoir matérialiser leur passion pour leur série préférée en achetant en physique (surtout le LP, mais aussi le CD et même la cassette, clin d'oeil aux 80's thème central de la série) ! Plus encore que pour les saisons précédentes la musique joue un role prépondérant dans la narration avec en particulier le phénomène Kate Bush « Running up that hill » évidemment présent sur la BOF ainsi que Pass The Dutchie de Musical Youth, You Spin Me Round de Dead or Alive très remarqués dans les premiers épisodes. Produit culte super attendu : lancement de précommande à ne pas manquer pour le 1er juillet, date de lancement de la 2e partie de la saison 4.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind.

Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet, before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood’s value of sound matured with a remarkably democratic and nonhierarchical approach and application.

Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood’s music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods, self-issued as a small vinyl edition in 1975.

Where Neighborhoods, a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood’s love for nature. Only recently discovered in his archives, the album dramatically expands his concept of “musical cinematography,” imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood’s extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world.

Condition Hüman, sieht Frontmann Todd LaTorre die Performance seines Lebens auf seiner nun zweiten
Aufnahme mit der Band. Produziert von Zeuss (Rob Zombie, Hatebreed, Sanctuary) in der Heimat der
Band, Washington, ist Condition Hüman ein neuer Berg, der viele der Gipfel und Täler der HardrockLandschaft überragt. Der Name der Band wird in einem Atemzug mit vielen der Gruppen ausgesprochen,
die sie als Einflüsse betrachteten, und anderen, die als Gleichgesinnte auftauchten. Queensrÿche baute eine
engagierte Legion von Fans auf, die mit anderen Rockgiganten wie Iron Maiden, Guns N’ Roses, Metallica,
Judas Priest und Def Leppard auf Tour um den Globus reisten. In den letzten Jahren haben sie konsequent
Live-Shows mit hoher Oktanzahl geliefert, die das hungrige Feuer einer neuen Band mit der temperierten
Erfahrung meisterhafter Schausteller kombinieren.

Singer/songwriter, violinist, and producer hunter Maya Killtron releases her sophomore album, Persimmon. A mix of modern boogie, funk, string quartet and yacht rock, the record is a definitive coming–of-a-certain-age for the Toronto native. The eclectic feel-good record came as a result of our collective pandemic upheaval. Tracks “Out Of My Life” and “Do It Again” that were created alongside producer HiFiLo, highlight the frustration with the status quo and a need to break the mold. Killtron keeps to her modern boogie roots with “Night Moves”—a glossy roller-worthy track made with long time collaborator Gil Masuda of Toronto’s Love Touch Records. She simultaneously evolves and returns to her roots as a classically trained violinist and arranger in her self produced track, Persimmon, which features her string quartet, Bowed Arts. Rounding out the record is “Guaranteed,” a co-produced track with UK’s Format-440 and also her tribute to “Reading Rainbow” through the lens of Ryan Farley’s Phil Collins-esque production in Del Rey. With Persimmon, Maya is solidifying her place as an established voice in modern boogie while breaking into new mainstream markets worldwide.

Iris DeMent released Infamous Angel in 1992 - Nearly 30 years later, the
album remains among the most singular and fully realized singersongwriter debuts since the invention of that category in the early '70s
The abiding strengths of the album are especially impressive ' even a bit startling '
because 1992 is not a moment usually associated with her intimate brand of
acoustic country music. In country history, the year 1992 is most immediately
affiliated with Garth Brooks, whose album, The Chase, topped both the country
and pop album charts that year, and with Billy Ray Cyrus' 'Achy Breaky Heart,'
which fueled a line dance craze. Squeezed into a playlist alongside such hits,
DeMent's doleful, hushed 'Our Town' would've sounded as if it were being
broadcast from another planet. 'People call me country,' she told journalist Ben
Thompson while on tour in Britain a couple years later. 'But country doesn't call
me country.' Let's call her country. The genre is always more expansive than what
radio stations program. It happened Infamous Angel is close kin to a different
sort of country music that was just then having a moment: specifically, country
singer- songwriters, focusing on personal, but universal, loss and hope and
favoring small acoustic combos. It may have been out of step with the
mainstream, but Infamous Angel arrived right on time

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Etceteral are a Slovenian experimental trio (saxophone & electronics, drums, visuals) who create a propulsive, polyrhythmic futurist jazz. It is a sound marked by abstract modular explorations, hypnotic drumming, ricocheted horn textures and crystalline production. Interzones between Dub, Krautrock, Afro-rhythms, free improvisation and quantized electronic music are brightly lit on this thrilling second album. The idea of musical elasticity is central to Rhizome, the sophomore album of the Slovenian audio-visual electronic jazz trio Etceteral, the newest member of the Glitterbeat family, who debuted in 2020 with the album Ama Gi for Kapa Records. Following a series of domestic and international gigs, the band consisting of Bostjan Simon (saxophone, synth, electronics), Marek Fakuc (drums) and Lina Rica (visuals) returned to the studio, taking their ambition to meld audio and visuals to a whole new level on their debut for the tak:til imprint. On Rhizome, the band explores the interzone between groove-driven contemporary jazz, quantized electronic music, abstract modular explorations and free improvisation. Like rubber that is able to stretch and be returned to its original shape, Etceteral expands its arrangements to the point of no return, pushing its sonic architecture to the maximum without ever letting it collapse onto itself. "I like to think in terms of sonic rubber bands. We can stretch our music both rhythmically and harmonically, change tonality and return to the main theme through a different key. This process opens up new space for discovery. We recently listened a lot to Joshua Abrams and Evan Parker, musicians who know how to make their music airy and spacious," says saxophonist Simon

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill

Beatservice Records are thrilled to present the hotly-anticipated third album from Oslo-based production maestro, Third Attempt. 'The Novel Sound' follows on from the widely acclaimed 'Beats From The Quarantine' album released in April 2021, and further compliments the young artist's deserved reputation as one of the dance underground's most exciting talents to emerge in recent years.

Third Attempt (aka Torje Fagertun Spilde) has been dazzling us with his far-reaching music since arriving in the Beatservice fold with 'Shoreline' back in 2018, and since then his ever-evolving repertoire has continued to serve up immaculate sonic surprises. The fast-rising 23-year old artist has wasted no time making his indelible mark, displaying a frenetic work rate alongside an impeccable ear for constructing compelling leftfield grooves.

'The Novel Sound' opens with the rolling deviance of 'Freak Out', where a dusty string sample makes way for vocal samples, scratches, and searing sirens permeating a bass-heavy groove, setting the tone magnificently for the music that's primed to unfold. Next, we arrive in the mid-tempo chug of 'Age Of Steam'. Evolving over a crisp, club-ready rhythm, heavy funk guitars, dancing keys and distant vocal stabs cascade over driving bass before soaring strings herald the arrival of a slick breakdown section. The icing on the cake arrives as bubbling acid joins sensational horn motifs, breaking down once again for a starry-eyed beatless passage that leaves us yearning for a reprise.

'My Girl' features amorous vocal samples hovering over an irresistible disco beat, with alluring rhythm guitars and dreamy e-piano chords setting the scene for rousing horns to blast off into blissful summer skies. Before we've found time to catch our breath, 'Nu Funk' arrives with snappy hip hop samples scratched over tight beats and a delectable bass guitar hook. The groove pauses for dubbed-out space delays to echo into the night before a singing lead guitar joins the rhythm elements to burst back into life, with flute motifs, elegant strings, and otherworldly sweeps elegantly meandering across the panorama.

Set over a groove that arrives like a cool summer breeze, 'Sunbeam Symphony' drifts over soul-soothing chords, weighted bass and slick, rolling beats. Hypnotic keys guide us into position as the drums build energy and the bass notes power us forward. Third Attempt's dextrous keyboard solo dazzles momentarily before subsiding for a dub-infused break, with spaced-out vocal chops and rising sweeps building tension before the groove resumes and the virtuoso solo once again majestically soars. Maintaining the sun-kissed meditations, 'Definite' effortlessly floats through waves of thick bass, funk guitar chops and elegantly fused samples, with seductive chords, hypnotic horns and laser-tight drums combining to create a near overpowering dream state.

The heavy trip-hop rhythms of 'Nightfall' enrapture the listener as rich chords discreetly beckon, with cascading congas, mysterious melodies and exotic refrains building before the glorious lead vocal appears like a hyper-luminous flash of light. The chords disappear into the nothingness, before the carefully selected sample of 'Working Man' drifts in to fill the empty space. Smokey drums soon arrive, joined by weighted bass, foggy chords and an enigmatic whistle lead, fusing to conjure a half-lit world lifted from the pages of an evocative film noir novel.

The enlivening tablas, glitchy effects and saucer-eyed sweeps of 'Greed' hide subliminal messages casting a knowing eye over the consumer-driven society and self-help culture that pervade our society, before we arrive at the album's charmed finale. 'Last Winter Of My Childhood' yet again manages to transport the listener into a gently hallucinatory realm, with drowsy bass notes, tripped out pads and emotive strings building to a profound and rush-inducing crescendo.

'The Novel Sound' once again sees Third Attempt dextrously merging expansive musical aesthetics that fuse trip-hop, funk, soul and disco to deliver a sound that – although endowed with vintage sensibilities – feels proudly up to date. Continuing his breathtaking development in dazzling style, the album feels destined to echo over blissed-out sunsets, back-room excursions and twilight skies for many years to come.

The Jak has returned with 2 new Dirty bLends in extremely limited quantity.

Introducing nU cOhort to the label:

The Falcon(a silent assassin)

this new artist alias to the label has contributed to the further effort
of maintaining the sound from the early inception of chicago tracks like the days of old that still lives and breathes in us today that honors and treasures enriched essential dance music history.

DirtyBlends Edition 7 both sides IZ straight HEAT!

The Jak kicks the A-Side into madness with a Jakbeat blueprint of energetic electronics and various bass lines on this obscure creation honoring Ron Hardy, Frankie Knuckles and Farley that resonates a confrontational question repeatedly saying “Who said i can’t beat U for the title track ‘An Offbeat Formation of Control’

The Falcon Flys fiLthY iLL on the B-Side wit a whiPLash idea influenced from Chicago’s south-side of rhythm styles Paul Johnson and Chip E!!! made 2 Jak 4 Crazies that is truly Definitive Jakbeat.

Available again. Note price increase. The contributions of the late Detroit producer James DeWitt Yancey –better known to the world as J Dilla to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) It's on Slum Village's 1997 studio debut, Fan-Tas-Tic Vol. 1, that all these elements come together in the most proficient manner. An instant hit among Detroit's underground hip-hop scene, the album seemed to combine all the best elements of the reigning alternative and gangsta styles of hip-hop into one cohesive style that was a hit among critics. Fan-Tas-Tic's influence extended far beyond Detroit, as its sound heavily influenced the sounds of D'Angelo, Erykah Badu, and The Roots just to name a few. (Roots drummer ?uestlove has even declared that: "Hands down this album birthed the neo-soul movement.") Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved and every freestyle line of T3 and Baatin has been re-created, to maintain the legacy of a late-90s rap classic, and the legend of one of hip-hop's greatest beatsmiths.

Repress expected. Date TBA

By 1980 when this was originally released Pharoah Sanders was solidly entrenched with his own voice on tenor. The passing of John Coltrane and Sanders's fruitful years of playing with the prolific saxophone genius resulted with an unmistakable influence on his sound and explorations of the instrument. Beginning with "Greetings to Idris" the structure of the music is one that follows tradition yet opens up for the musicians to improvise within the arrangements. "Greetings to Idris" is in reference to the featured drummer Idris Muhammad who also played with Coltrane during his late period. Naturally Sanders is featured as the main instrument and his horn can be bold and demanding of your full attention. Always interested in other instruments from other cultures, much like Trane, he incorporates the Japanese instrument the koto, a beautifully harmonic stringed instrument to counter his soft rich blowing on tenor with only wind chimes and a harmonium for a delicious peaceful bit of music on "Kazuko"(Peace Child) that has the qualities of a meditative offering. Most of the music, eight tracks, is composed and arranged by Sanders and demonstrates his leadership. There is one John Coltrane composition entitled "After The Rain" that gets the Tranesque treatment by Sanders that makes it hard for even the most discerning listener to distinguish between the original version and Sanders impression. It is a bluesy duet featuring only sax and piano and leaves you wanting to hear it over and over again because of it's simple and haunting melodies. Another song that Coltrane recorded entitled "Easy To Remember" has a gentle swing to it built around a classic quartet (drums, bass, piano, sax) like that employed by Coltrane that results in a superb standard. Sanders incorporates the use of another "foreign" instrument to jazz by working in a tabla and sitar on "Soledad " that takes center stage before Sanders joins in on the music. The result is a thing of genius as the East and West merge and interface for composition that is peaceful. Sanders music on this LP fluctuates between the tranquil sounds of his mellow horn to the outer limits where he left off with the explorations of Trane's late period. What separates this LP from others is that it is a group playing under his leadership where he gives all others close to equal billing. The uptempo, "You've Got To Have freedom" is one such song where Sanders gets out there on some of his solos but works within the group structure as the other musicians, most notably Eddie Henderson on flugelhorn, bring the music back home. There is a chorus sung much of the time throughout where the the proclamation "Ya gotta have peace and love, ya gotta have freedom" is presented in Manhattan Transfer style but with much more soul. The use of vocalists is done again on the track entitled "Think About The One." The chorus features vocalese specialist Bobby McFerrin. This LP shows the different sides of Pharoah Sanders, a man always willing to explore the music, explore his soul and share it with you. The closing track "Bedria" is a mellow exploration of the various ranges of the tenor. It is a ten minute song that displays all the grace of his being, a gentle giant who can manipulate the horn to do extraordinary things, reverberating out and back in undulating waves of harmonic bliss. Sanders on this LP is next to perfect. One of his best recording from his post Impulse career. It belongs in your jazz collection right next to John Coltrane.

A meeting of the minds between two Israeli DJs and producers. Adam Ten & Mita Gami release a combined two-tracker in September on Crosstown Rebels, dipping into dark and hypnotising waters while maintaining a club-cut aesthetic.

The pair pen a slow-burning chugger on the title track, merging tones of tech house, progressive house and techno. A high-pitched vocal weave’s throughout, in tandem with a distorted synthline and oddball sound FX—one for a wavey dancefloor. On the flip, Night Shift glistens with emotion as tribal-tinged percussion collides with long, drawn-out piano notes. A cosmic creation that blurs the line between melancholia and warmth.

Adam Ten is a Tel Aviv-born producer and resident DJ of institutional club The Block, located in his home city. Ten is a key artist on the Israeli scene, recognised for his all-night sets that blend a myriad of moods in electronic music. He’s played worldwide, spanning stints in Miami, Cape Town and Mykonos, amongst several other regions, and he’s channelled his compelling sound on labels like Diynamic, Multinotes, Disco Halal and Selador. As a co-founder of the event series TERRA, Ten curates some of the finest nature-orientated parties in Israel. Mita Gami hails from Tel Aviv. A multi-instrumentalist from a young age, he goes beyond the trope of entertainer. Instead, Gami invites his audience into immersive and almost trippy journeys during his performances via a hybrid set-up and enticing energy on-stage. Releases on REALM Records and Diynamic display his metaphysical approach. Beyond producing, Gami co-runs the label Blue Shadow Records and the Sunrise Kingdom area in Midburn Festival, based in the Negev Desert in Israel.

Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet. Recorded live at ETA (referencing David Foster Wallace), a bar in LA’s Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depth-full & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan’s Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle.

While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group —just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It’s tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras —dub & Dilla, primary source psychedelia, ambient & drone— suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, “we sound like the Byrds” (to certain ears, the Clarence White-era Byrds, who really stretched it).

A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they’ve established in Parker’s -The New Breed- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker’s beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers —as distinctive a sonic signature as we have in contemporary acoustic drumming— bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom.

For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker‘s unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker’s music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power.

On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together. – Michael Ehlers & Zac Brenner

Maik Yells' new label Movetone Wax is finally here.

To kick off the first release Maik himself is in charge with 4 dancefloor-weapons 'Rima EP' a walk between UK sound and minimal house with Yells unique production style.

"Palomino" ist das mit Spannung erwartete neue Album von First Aid Kit, dem von der Kritik gefeierten schwedischen Folk-Duo, bestehend aus den Singer-Songwriterinnen und Schwestern Johanna und Klara Soderberg. Der erste Track des Albums, "Angel", wurde bereits vor der Ankündigung des Albums veröffentlicht. "Palomino" ist ihr 5. Studioalbum, bestehend aus 11 Songs und vom Schweden Daniel Bengtson produziert. « Palomino » est le cinquième album du groupe suédois First Aid Kit. Écrit et enregistré dans leur pays d'origine, la Suède, « Palomino » a été créé pendant cette période sombre de pandémie mondiale, mais s'avère être l'album le plus pop de First Aid Kit à ce jour. Composé de 11 titres, il a été produit par Daniel Bengtson. «C'est le premier album que nous enregistrons en Suède depuis notre premier album « The Big Black & The Blue » il y a 12 ans ! Nous avons travaillé avec le producteur suédois Daniel Bengtson dans son charmant studio Rymden à Stockholm. C'était une expérience super amusante. Nous nous sommes vraiment laissé le temps d'enregistrer, nous ne voulions pas nous précipiter. Les morceaux ont été principalement écrits pendant la pandémie. Durant cette période compliquée, la musique était synonyme d'évasion, une bouffée d'air face à ce qu'il se passait dans le monde. Nous voulions que cet album soit plus optimiste et joyeux que notre album précédent, « Ruins », qui était un album de rupture. Ce nouveau projet est probablement notre album le plus pop à ce jour. Nous avons trouvé de l'inspiration partout - auprès de groupes tels que Fleetwood Mac, Carole King, Tom Petty, T Rex, Elton John, mais aussi Angel Olsen, Whitney et Big Thief.''

Initial copies / pressing on limited-edition coloured LP edition on blue transparent vinyl. The Milk Teeth mini album compiles singer-songwriter Suki Waterhouse's various non-album singles onto a physical release for the first time. It includes the song "Good Looking," which, in mid-2022, exploded on Tik Tok and hit #1 on the global viral chart. Suki Waterhouse catalogues the most intimate, formative, and significant moments of her life through songs. You might recognize her name or her work as an actress and model, but you'll really get to know the multi-faceted artist through her music. Growing up in London, Suki gravitated towards music's magnetic pull. She listened to the likes of Alanis Morissette and caught Missy Elliott live as her first concert. Meanwhile, Oasis held a particularly special place in her heart. She initially teased out this facet of her creativity with a series of singles, generating nearly 20 million total streams independently. Nylon hailed her debut "Brutally" as "what a Lana Del Rey deep cut mixed with Joni Mitchell's 'Both Sides, Now' would sound like." In addition to raves from Garage by Vice and Lemonade Magazine, DUJOR put it best, "Suki Waterhouse's music has swagger." Constantly consuming artists of all stripes, she listened to the likes of Sharon Van Etten, Valerie June, Garbage, Frazey Ford, Lou Doillon, and Lucinda Williams. In late 2020, she finally dove into making what would become her full-length debut album, I Can't Let Go Sub Pop Records with producer Brad Cook [Snail Mail, Waxahatchee]. Now, she introduces this chapter with "Moves" and "My Mind." Her first album for Sub Pop, I Can't Let Go, produced by Brad Cook (Bon Iver, War On Drugs, Snail Mail, Waxahatchee) and released in May of 2022, is a testament to her powers as a singer and songwriter. The Milk Teeth mini album rightly shines a spotlight on her pre-album material, giving these six songs their first physical release.

With this album I went one step further after years of mainly electronic production.

Except for a tape delay, it's all acoustic this time, piano and double bass. Hence the name of the album: "Off", all switches are off.
The focus is on my piano, a Danish small piano made by Brødr. Jørgensen from 1964. I have restored and partially prepared it, mainly with felt, recorded up close and personal. I tried to capture everything as naturally as possible to underline the character of this unique piano. Due to its organic sound and its own life, a few
distinctive pieces full of joy and warmth have emerged. Some of them are improvised, others have grown over time.

Deron Miller gives his life to the riff. Unrestrained by industry expectations and genre limitations, the boundlessly prolific guitarist and voice behind multiple beloved projects is best known as the founder, frontman, and songwriter in CKY. His authentic and effortlessly hooky heavy rock obsession returns with 96 BITTER BEINGS. Reinvigorated and ready to rumble all over again, Miller roars back with the same reverence for riffage that made underground hits out of CKY anthems like “Flesh Into Gear,” “Escape from Hellview,” and “Disengage the Simulator” from 1998 till 2011.

The familiar warmth, feel, groove, and unapologetic honesty which drove the song “96 Quite Bitter Beings” to 54 million streams (on Spotify alone) permeates the pair of albums unleashed by 96BB.

A successful crowdfunding campaign saw Miller, guitarist Kenneth Hunter, bassist Shaun Luera and Shaun’s brother, drummer Tim, conjure up 2018’s Camp Pain in limited release. North American and European touring followed, wrapping up shortly before the COVID-19 shutdowns.

“After CKY and a short break, I decided to continue, without changing the sound,” Miller explains. “Because that’s what I do. It’s what I love to do and what people say I do well. All of the guys who got in the band with me are great musicians. And each of them is hungry. They have priorities and ambitions about being in a rock band, no matter the grim state of pop music out there. If we can bring rock and metal back to the mainstream, in some way, that’s the dream.”

In 2022, 96 BITTER BEINGS unleash the long-awaited Synergy Restored, 11 songs of relentless power and vibe. Four-on-the-floor, fuzzy and visceral, proper rock n’ roll made by an actual band, rather than a bunch of overprocessed samples and otherwise stale shenanigans. Songs like “Vaudeville’s Revenge,” “90 Car Pile-Up,” and “Wish Me Dead” offer vivid reminders of the truth-telling prowess of guitars, bass, and drums. Miller is on fire, weaponizing the same knack for memorable musical epiphanies behind projects like Foreign Objects, World Under Blood, and CKY.
Miller co-founded Foreign Objects and later Camp Kill Yourself (a name born of his love of VHS slasher classics) in West Chester, Pennsylvania, in the ‘90s. Written by Miller, 1999’s Volume 1 appealed to metalheads, skaters, stoners, and punks. The album led to a stint on Warped Tour and a deal with Island Def Jam Music Group, which issued Infiltrate•Destroy•Rebuild• in 2002. Axl Rose chose CKY to support the ill-fated Chinese Democracy tour, and they also played with Metallica.
An Answer Can Be Found followed in 2005, producing the Billboard Mainstream Rock Top 40 single “Familiar Realm.” Extensive touring with Avenged Sevenfold and the like-minded Clutch followed. Carver City, in 2009, would prove to be Miller’s last album with the group he created and led. Across the four albums, Miller indulged his love of everything from ‘80s thrash metal to doom, as CKY blended high-octane ruckus with occasional bursts of Moog synths and cinematic storytelling.
Miller never stopped creating, with a handful of full albums written and released, a foray into horror movies, and parenting three children with his wife, scream queen actress Felissa Rose. Like Galactic Prey, the most recent Foreign Objects album, the 96BB records were recorded and produced by Miller and Hunter at Manifest Productions. Camp Pain was explicitly made for diehard fans who supported the creation of both albums through 96BB’s Indiegogo campaign. Synergy Restored was always intended for wider release, which it sees now via Nuclear Blast.
“I want my work taken seriously. I thank God every day that I was never overexposed, or even exposed enough commercially, to where I’m resigned to a specific moment,” Miller says. “I would rather have my self-respect, the respect of the audience, and a dedicated cult following.”

“Every time I go out, I see Nirvana, Metallica, and Misfits t-shirts. These kids may not know the music, but at least they are displaying a visual interest,” he adds. “Corporations spend millions of dollars promoting certain styles of music, but history proves that true rock will always sneak in.”

Transversales Disques proudly presents Ahmad Jamal Trio, Live in Paris 1971. Never heard before ORTF recordings performed live at studio 104, Maison de la Radio, Paris. This is the first official release with the full permission and cooperation of the National Audiovisual Institute (INA) coming in a Deluxe Edition - Classic Tip-On Jacket. Including exclusive pictures. Mastered from the original master tapes.

« While be-bop musicians practise one-upmanship in terms of speed, Ahmad Jamal develops a crystal-clear touch and praises silence: "I was an angel among devils! The boppers made notes explode. I let them resonate until the end of their lives".
A reputation as an artist on the fringes perhaps explains this lack of fame he suffered at one time. But despite the great whirlwind that is his life, Ahmad Jamal declares that he is searching for peace: "The quest is that of musical and internal peace. I cannot acknowledge that I am at peace, it would be dangerous to show it. A man at peace with himself doesn't say so".

If you cannot say it, you can hear it, especially during his first concert in Paris in a trio. Here we are transported to the upper echelons of the art of the trio: the master of the piano, in studio 104 of Broadcasting House, is surrounded by brilliant accomplices, Jamil Nasser on double bass and Frank Gant on drums... » (Jérôme Badini, France Musique).

For our next release, we're thrilled to welcome two new artists to the SNF family. Two of the most ubiquitous names in today's UK jungle circuit, it was only a matter of time before the raucous jungle of Tim Reaper and Dwarde found a home in Shall Not Fade's catalogue.

On End Of The Universe EP, the two join forces to flex their creative muscles, together worth more than the sum of their parts. Whilst the title track is easily imagined in a Sherelle set given its strong pulse and hardcore proclivities, the following two are equally suited to home listening as they are, raving. 'Midnight Sun' takes the focus away from the lower ends and puts it on melody and percussive texture, whilst 'Stretchpants' maintains the focus on building atmosphere with sounds reminiscent of Dat Oven's 'Icy Lake'. Finally, DJ Sofa steps up for the remix duties on the last track. This one is pure DnB, strap in.

End Of The Universe EP drops 28th October via Shall Not Fade.

Local Dub present their next offering on You&Me Records with a superb 3 tracker. They serve up a selection of retro vibes whilst keeping that signature You&Me energy amongst the EP. The tasteful vocal hooks, killer basslines and groovy drums across all of the tunes make for a mainstay in anyone's record bag.

This sampler compiles 14 killer tropical tracks for the dance floor, all taken from the vaults of Peru's MAG records, including cumbias to descargas, boogaloo to salsa. Classic songs such as 'Arroz Con Coco' or 'Aprieta (Oye Como Va),' and also obscure recordings like the stunning 'Ritmo Veregua' by Tito Chicoma or the totally under-the-radar -recorded in Lima- 'Mi Son Combinado' by Cuba's legendary Orquesta Revé. MAG will turn 70 in 2023 and is a pivotal label in Peruvian music, mainly focused on tropical rhythms although its extensive catalogue also includes rock, pop and jazz recordings. This compilation celebrates the recent addition of Discos MAG to the Vampisoul family, where the best and most elusive titles from the MAG archive will become available again. MAG has been, since its foundation in 1953, an essential label in the music scene of Peru, allowing the development of the careers of both tropical artists and musicians of other genres. At the head was Don Manuel Antonio Guerrero, its founder, whose name comes from the acronym of the label itself (M.A.G.). In 2021 MAG was acquired by the Spanish company Distrolux SL, owner of the Munster and Vampisoul record labels, after years of previous collaborations in which some of the most emblematic titles in the catalog were already reissued for the international market: Nils Jazz Ensemble, Sonora Casino, Traffic Sound, Al Valdez, Pax_ "14 MAGníficos" is a 14-track compilation that celebrates a new era in the history of the label, now under the Vampisoul umbrella, with a selection of astonishing dance floor-oriented gems. This is also a perfect introduction to MAG, showcasing the amazing musical variety sported by the Peruvian label throughout the years. The comp includes juicy Cuban songs like 'Mi Son Combinado', an outstanding original taken from the extremely scarce LP recorded by Cuba's finest Orquesta Revé for MAG in Lima, and the explosive guaracha 'Tin Marin' by Los Kintos, a group lead by guitarist Pancho Acosta. Also classic songs such as 'Arroz Con Coco' or 'Aprieta (Oye Como Va),' and obscure recordings like the stunning 'Ritmo Veregua' by Tito Chicoma.

With Canne à sucre, the Parisian Hip-Hop/beats producer delivers his 5th album. This new project maintains a strong presence in Hip-Hop while being inspired by traditional Caribbean music such as Gwoka and Bèlè.

As Valet started his musical career in 2007 with his group Electric Conversation. As a solo artist, he has worked with japanese imprint Moamoo and released electronica / deep-house record for London based Futuristica Music imprint. After A.k.w.a and Inner Journey, Canne à sucre marks the 3rd collaboration between As Valet and a night on canopy.

With each new release, As Valet offers us a new experience, drawing both from its Caribbean roots and personal influences, forming its own golden triangle : New York, LA, Fort-de-France.

On August 26th Gwilym Gold releases his third album, Blue Garden, on SA Recordings. Alongside the record we are pitching the beautiful Blue Garden. Gwilym began playing improvised music as a pianist and may be fondly remembered as the singer and keyboardist in psychedelic pop trio Golden Silvers but has since worked widely as a soloist. 2012 saw the release of his high-concept solo piece Tender Metal which was composed and released using Bronze; a new music technology which Gold created with producer Lexxx alongside Mick Grierson. Using Bronze, a song is enabled to rebuild itself on each playback from the musical seeds and ground sown by the writer. Music composed with Bronze is not restricted to just one playback possibility, it is a dynamic, ever-transforming representation of itself where the artist builds a new model as part of each song’s writing process. Gwilym has since collaborated with artists such as Arca, Jai Paul, Philippe Parreno and Nicolas Becker, introducing them to this new technology. One of the hopes for Bronze is that it brings some of the characteristics of performance back into previously inert musical documents, and alongside his work with Bronze, Gwilym has maintained a wide performance practice. Performing recently alongside musicians such as Dave Okumu, Tom Skinner and Lucinda Chua and collaborating with artists Eddie Peake and Holly Blakey. His two recent collections of songs, A Paradise and Sky Blue Room, stem from this, the second being recorded almost entirely live in three days alongside Okumu and drummer Dan See. Blue Garden is Gwilym’s first collection written and recorded entirely in solitude and he hoped to unburden the process of anything beyond the most primary elements. Setting up a sort of hybrid harp in a small isolated room, the aim was to let the songs flow out unadorned and record them as they were. The only addition to the album is the accompanying sound of rivers and birdsong by sound recordist and founding member of Cabaret Voltaire, Chris Watson. Gwilym started to play the new album alongside Watson’s recording ‘The Drinking Boy’ which led him to reach out to Watson. Gwilym explains “I played it to a friend once I had recorded it with Chris’ field recordings, they said it almost sounded like the quarantine birds, there was a feeling of it being a little sanctuary”. The songs on Blue Garden were written during a bittersweet time, where Gold was experiencing moments of love, loss and rebirth. The album is a loose and abstract exploration of love in all its forms, how familial, platonic and romantic love are all intertwined.

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

After a year of releases exploring recent musics from the USA, Europe and the southern hemisphere the Horn of Plenty presents a survey of archival private, demo, and live tapes from local avant-anarcho-punks The Apostles. The tapes were (poorly) recorded in Islington & Hackney squats between 1981-1983 and they capture the fledgling band exploring various line-up’s, styles & techniques with limited means and ability. In 1983 The Apostles released their first vinyl EP and switched mainly to a more straight-ahead anarcho-punk style. They gained a strong following then called it a day in 1989. Their vinyl output is still regarded highly by fans and collectors and their ‘official’ demo tapes have become highly sought-after, particularly since being namechecked by Ty Segall in a 2014 interview. In a 2009 article charting the band’s history (frontman) Andy Martin gives these early tapes a mere footnote and states that, in his opinion, they are ‘Best Forgotten’. With respect Andy, I beg to differ. Best Forgotten shows the band grappling with the political, racial and cultural tensions of the time whilst exploring radical politics and issues around homosexuality and mental health. Their sympathies with The Angry Brigade’s ‘direct action’ ethos extended to their involvement with the squatted Centro Iberico and The Wapping Autonomy Centre where they worked closely with Crass, Poison Girls, Flux of Pink Indians and The Mob among others. Viewed retrospectively, it’s easy to draw comparisons with early Fall records, The Door and The Window etc… but also at their melodic best they echo 60’s beat groups and even 70’s blues-rock. A keen interest in tape collage (supplied here by Ian Rawes who later became established with his London Sound Survey project) and the avant garde also inform the mix. Highlights include a bleak reworking of Lemon Kittens’ Chalet D’Amour and a live version of Simon & Garfunkel's I Am A Rock segueing into their take on Alternative TV’s Splitting In Two recorded at The Recession Club in Ponsford Street, Hackney. The short-lived Recession Club, which The Apostles co-ran and where Andy Martin worked the door, also hosted the first ever Coil concert. On that night he refused entry to Death In June on account of their ‘inappropriate attire’. Best Forgotten comes in a hand stamped, stickered and assembled edition of 500 copies and includes an A3 poster and 32 page A4 zine collecting archival photos and images from The Apostles tapes & zines along with liner notes and reflections on the tracks written by Steve Underwood (Harbinger Sound), Chris Low (former Apostles drummer) and The Apostles frontman Andy Martin, who thought this whole thing was daft.