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New single with echoes of Slowdive, Lush and the Cocteau Twins. Limited edition 7-inch on Precious Recordings of London comes with free badge – plus an exclusive B-side. Download card also included – with a bonus 'Popkiss version' of the title track.

Blueboy continue their extraordinary re-emergence after 20 years of separation with a magnificent new single that hits you in the solar plexus and then forces you to sing along.

At various times, their guitar-led sound has been described as having echoes of bands like The Smiths, Slowdive, Lush and The Cocteau Twins.

Darkness, light and shade, melancholy and euphoria, sadness and joy are Blueboy's natural territory; in ‘Deux’, an anthemic chorus is juxtaposed with quietly spoken verses, mood and emotion driven by
ever-present guitar.

The thread of you, through everything, pulls me upwards … Could it be I'm not one; we are deux?



Blueboy first got together in the early 1990s and went on to build a global following, touring Europe and Japan and featuring regularly in the UK independent charts with a series of acclaimed singles and well

regarded albums.



Having reformed in 2024, founder member Paul Stewart was joined by Gemma Malley (now on vocals) to play in London, Cologne and Paris; their comeback single ‘One’ was launched at a triumphant full

band show in London where drummer Martin Rose and bassist Mark Cousens rejoined the team from the 1990s line-up.



Later this month, Blueboy will play to 45,000 people at the Joyland Festival in Jakarta along with Bombay Bicycle Club, St Vincent and Air

Pacific Rhythm is elated to announce the forthcoming release of “Exiles”, a deeply life-affirming and introspective four-tracker from one of electronic musicʼs most prolific duos, Frank & Tony. This EP also marks the first release from the pair outside of their own imprint Scissor & Thread. Back in 2021 they approached us with the intention of contributing something that felt like a natural part of our catalog and itʼs safe to say they arrived right at home.

“Exiles” further explores the dubby, subtle energy theyʼve crafted since the project began in 2012 and refines it down to the pure essence of genre. Itʼs a deeply rewarding listen and we believe Itʼs a wonderful addition to the on-going soundscape weʼve been building for the last decade with Pacific Rhythm.

The Confidence of Knowing by Talib Kweli and J Rawls offers a quintessential hip-hop experience that honors the genre’s classic roots. This album marks the duo’s first collaboration since Rawls produced “Brown Skin Lady” on the influential Mos Def and Talib Kweli are Blackstar album, a hip-hop landmark from 25 years ago.

With this release, Kweli and Rawls showcase their artistic growth and maturity, blending masterful lyrics with authentic boom-bap beats to take listeners on a journey through hip-hop’s soul. Tracks like the introspective “Breath, Eyes, Memory,” the nostalgic “Turnstyle,” and the homage to the Native Tongues in “Native Sons” exemplify their dedication to preserving hip-hop’s essence.

Featuring an impressive lineup of guests—including Jimetta Rose, Blu, DJ Rhettmatic, TriState, Coast Contra, Buckshot, Skyzoo, Planet Asia, Phil Da Agony, IDK, Middle Child, Georgia Anne Muldrow, Diani, Solene, and NIKO IS—the album celebrates the depth and diversity of hip-hop culture.

The Equatoguinean Norberto de Nöah established in Madrid in the early 80s, where he became a firebrand of African culture in the vibrant Movida. In 1988 he self-released his first solo album, a blend of homeland sounds —modern and traditional— with new synth and drum machine touches. The vanished album finally gets its well-deserved reissue.

Edition of 500 albums on vinyl (Bandcamp download code included) - Original artwork with new 14 pages insert and poster

In the mid-1980s, the European media, music industry and public became increasingly interested in African music. This was a period of international success for King Sunny Adé, Salif Keita, Youssou N’Dour, Ray Lema, Touré Kunda, etc. Spain, with its own particular conditions, wasn’t oblivious to the phenomenon and the Equatoguinean Norberto de Nöah may be its best exponent.

Norberto moved in the early eighties from his hometown in the island Fernando Po (now known as Bioko) to its former colonial capital, Madrid. While studying dramatic arts, he created and led the band Nohkis, made up of African and Spanish musicians. In 1985 they released the maxi-single “Mujer española” / “África, ¿dónde está tu gloria?”, and the song “El loco”, was released on a compilation LP called Esto es increíble, both on the label Lollipop. According to the journalist Patricia Godes, they were first artists to record an African music record in Spain. It received positive reviews and a great impact on the most independent side of Madrid’s La Movida movement. Very soon afterwards, Nohkis’ band split up.

Afterwards, Norberto would concentrate on his solo career, and Norberto de Nöah and The Böhöbé Spirits Müsic was released in 1988, definitely a solo album. Norberto created his own label, Kilimandjaro Productions, and composed, arranged and produced all the songs of the LP. Moreover, he sang and played all the instruments: a vast selection of organic instruments, a Yamaha RX-5 drum machine and a Roland D-50 synthesizer.

In the album he exposed his deepest roots, updating the lexicon of traditional Bubi music, the musician’s ethnic group, a compendium of ceremonial melodies that ancient troubadours composed for the court. Doing so he showed new possibilities to one of the oldest ethnic groups in the world. Besides all this, he was also inspired by American music such as funk, R&B, Latin American music and also by a wide range of African and Caribbean rhythms.

Mixing the traditional and the avant-garde in a spontaneous and natural way, the music contained in the record’s grooves flows freely and takes you to places full of magic and mystery, while still transmitting new and exciting sensations. Even more, according to the Equatoguinean musician and writer Baron Ya Búk-Lu based in Madrid, the album’s sound was “the perfect combination of all characteristics that defined the Equatoguinean Afropop music made in Madrid during the 1980s”, a story that still needs to be told in all its depth and intensity!

Following the release of two LPs and several singles, the activity of Norberto de Nöah and Kilimandjaro Productions (and the subsequent Bananas Podridas) ceased. Nevertheless, Norberto’s links to music continued, as a promoter and DJ in Madrid’s nightlife.

Norberto de Nöah contributed greatly to changing Spain’s musical landscape, breaking barriers and mental frameworks. He was the first to make contemporary and popular Guinean music known to the Spanish public.

The repercussions in the African market of a Spanish (and Bube) speaking African musical project, where English and French dominate, was very difficult. In addition, the passage of time and changes in phonographic formats have diluted the memory of Norberto's legacy. Now it’s time to reverse the situation and break all the outdated frontiers!

Norberto de Nöah and The Böhöbé Spirits Müsic, as every important music piece, was at the same time part of a universal phenomenon of recognition of African music and a very personal project, based on the artist’s nostalgic and heartfelt need to show and homage his ethnic group, the Bubis. In this process he also refreshed his hometown music legacy, giving it a new air and opening the door to lots of other great Equatoguinean artists coming afterwards, as well as being an inspiration for many musicians in Spain.

"This record explores the relationships between mid century architecture, consumerism and community. The gradual or sometimes brutal removal and change of places in the name of progress. These changes leave traces that people have to deal with on a psychological level but probably never really acknowledge. This record explores loss of community and loss or unsympathetic altering of shopping spaces. When something is unceremoniously knocked down or altered and something else replaces it then the thing before it becomes ghost like and is at risk of being forgotten. Not dissimilar to when the Christian faith built their buildings upon Pagan sites. It has a similar purpose (to pray or to shop in this case) but the older thing becomes dreamlike and is confined to folklore. The community is always fed the propaganda of progress but looking back, I certainly cannot deny the beauty of what has now gone. Maybe there is a sense of dissolution and denial about such matters. The record is also interested in the sense of community of these past spaces and how shopping centres have generally declined mainly due to the rise of neo liberalism and tech giants. When you see old footage of these spaces in their prime, you get a sense of a space age future, everything looks new but paradoxically the people look to be from an older time. Today I can see real poverty and complete disenfranchisement from being in these new spaces. It's not all doom and gloom though as spaces, especially the ones in Plymouth are not that much altered and could be brought back to the architects original dreams."

David A.

In addition to the unique musical proposals and the large body of work that they have developed separately, Amelia Cuni and Werner Durand have been performing together as a duo as well as in collaborations (Tonaliens, Born of Six) for more than 20 years. Fusing her Indian Raga singing in the Dhrupad style with his minimalist and experimental approach, they have expanded the reach of their soundworlds as well as proposed new paths for contemporary music.In this occasion, Uli Hohmann joins them in a range of hand drums from the Middle East and North Africa, plus a dulcimer-sounding hammered guitar. Durand's various self-made wind instruments, soprano sax, and blown kalimba shine along with Cuni's astounding vocals, which are sometimes sung through a mirliton (a medieval type of kazoo). Clearing is the trio's first published recording.

Seconds of Thirst, recorded in one session at Uli´s studio in Bavaria in early 2014, is truly a conjuring where distinctive balances come to gather. A deep drone unfolds patiently in a hypnotic manner, comprised by Werner's characteristic PVC clarinets, a hammered guitar played by Hohmann, and subtle electronic tones. Above all, Amelia's singing voice, filtered through the mirliton, drifts buzzing along the gradually shifting harmonic waves, meandering through serpentine melodic lines and microtonality.

In the middle pieces, vocals turn into an ethereal multi-layered chorus, an exotic and astonishing instrument pulsing delicate and vaporously, like a gliding silk sail without a mast to bind it. Misty ambiances linger on as the soft atmosphere disperses the weight of undelivered syllables. Just intonation aligns the pan-ney's winds with vocal navigation. Foe to scattering, hurry, and affectation, Clearing's pace has lifted a fog translucent enough to reveal treetops calmly appearing, efficiently condensing damp into definite drops that fall drumming, forecasting what's yonder.

With a condensing sound going from Buddhist morning chants down to Indian festive traditional music, the title track, which closes the album, is the most vibrant of all, permeating a bit of commotion through buzzing drones and galloping percussion. Without disorder, yet without measure. Clearing is therefore this shuttle into the distance, this space that weaves, unites, and tenses the different cords that we are made up of.

When the clouds advance silently, gray, until they become dark in a few minutes, it means that the monsoon is coming. It reaches us without apparent noise, but then resounds in its images, leaving behind lightness, freshness, clarity, and a tremendous luminosity that comes from so far away: from the Himalayas, from so ancient, from Sanskrit, from a sound where the darkness and the divine, where the concrete and the landscape, where the rock and the humidity leave a mark that brings together and ties a sky loaded with new clouds.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

(Platipus 30 Years vinyl part 5/12, remastered audio) Platipus Records proudly announces the highly anticipated release of the 4th vinyl installment in the Platipus 30 Years series, featuring four iconic tracks that epitomize the label's storied sound.



Tracks by L.S.G. (Oliver Lieb), Moogwai, Terra Ferma and Adam Dived.



Iconic electronic UK music label Platipus proudly marks its 30th anniversary with the highly anticipated fifth installment of its exclusive vinyl series. Showcasing the timeless artistry that has defined the label for three decades, this special release features a stellar lineup of tracks: the ethereal Hidden Sun of Venus by German legend Oliver Lieb under his L.S.G. alias, the masterpiece The Labyrinth by Moogwai, the classic Lunar Sunrise by Terra Ferma, and the rediscovered gem Headfirst by Adam Dived. This meticulously curated collection encapsulates the essence of Platipus’ groundbreaking journey through electronic music, making it a must-have for fans and collectors alike. Celebrate the legacy with this stunning release, a true testament to 30 years of innovative sound.

Ever wish you could travel back in time and be in the thick of the 1960s rock explosion? Well, until an actual TARDIS is perfected, this album is the next best thing. Recorded in the wee hours of May 26, 1966, A Session with the Remains is a no-holds barred romp through their club set, captured live-to-tape in Capitol Records' studios. Recorded as an audition for the label, the albums seethes and snarls, twists and shouts, rocks and rolls and generally embodies the force of nature that was the Remains. Performing a mix of originals and current hits, the band is in command at every step, rocking one minute and pausing to kibitz between songs the next.

In attempting to describe this album, reviewers have used words like "blazing," "explosive," "delirious" -- but honestly, none of these descriptions comes close to what is contained in the grooves. It's like trying to tell a stranger 'bout rock & roll, ya know? All you really need to do is listen. After all, one guitar lick is worth a thousand words.

This BLAZING, EXPLOSIVE, DELIRIOUS album was painstakingly sourced from the one-and-only original two-track analog mono master tape and wrestled onto high-quality vinyl and compact disc for your review. I'd like to thank you on behalf of the group and Sundazed for listening and I hope they pass YOUR audition!

"A religious totem of all that was manic and marvelous about mid-'60s pop." - Rolling Stone

"Blazing through a mix of originals and covers, the Remains explode in a torrent melody, searing guitar leads and furious drumming. This quartet's ability to play with such delirious abandon yet still nail the tunes' sharp hooks and abundant vocal harmonies marks it as one of rock's more talented and incendiary units. - Chicago Tribune -

Obscure & outstanding free jazz album reissued for the first time since it’s original release in 1969. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton’s debut album, Nature’s Consort, was a DIY effort in every sense—recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period.

Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the "loft jazz" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present.

Naughton’s journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane’s funeral, and move to New York to pursue jazz full-time.

Nature’s Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group’s creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band’s repertoire. Jazz critic Nat Hentoff praised the album for its “high-risk improvisation” and the musicians' ability to anticipate each other’s moves. Though Nature’s Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton’s disciplined, improvisational approach to music.

Recorded by Grammy-winning producer Chris Dugan (Green Day, Weezer), this LP is a triumphant return after 7 years for the Cincinnati-based quartet Introducing "80/20," the highly anticipated new album from the acclaimed punk rock band, The Dopamines. Recorded by Grammy-winning producer Chris Dugan (Green Day, Weezer), this album marks a triumphant return to the scene after 7 years for the Cincinnati-based quartet, renowned for their raw energy, blistering melodies, and unapologetically honest lyrics. "80/20" perfectly encapsulates the true sound and character of The Dopamines. Each track is a testament to The Dopamines' evolution, blending their signature breakneck tempos with refined songwriting and complex arrangements. Chris Dugan's masterful production highlights the band's musicianship, capturing every nuance of their performance with clarity and intensity. Lyrically, "80/20" delves deep into themes of alienation, addiction, and the search for meaning through the lens of a chaotic punk band. Each song is a vignette of personal struggle and societal critique, written with the brutal honesty and sharp wit that fans have come to expect from The Dopamines. Chris Dugan's involvement brings a polished edge to the album without sacrificing the raw energy that defines The Dopamines. His expertise in capturing live performances translates into a recording that feels immediate and authentic, immersing listeners in the band's world. "80/20" is more than just an album; it's a declaration of The Dopamines' place in the punk rock pantheon. With its potent mix of aggression, melody, and emotional depth, this record is set to become a staple in the collections of punk enthusiasts worldwide. Don't miss out on this landmark release from one of the most compelling bands in contemporary punk rock

"_Syd Barrett fronting Queens Of The Stone Age- surefooted, inventive and buzzing with surprises." - The Guardian "A refreshingly bold alt-rock sound." Alfitude NJ White - aka WHITEY - explodes out of the shadows with the announcement of his highly anticipated double LP MENTAL RADIO, out on 3rd October 2024. Pulling in influences from across decades of sound and putting it through the Whitey blender to create something musically fresh, MENTAL RADIO is an album that in turn is furious, raw, amused, politically razor sharp and poignant... a satirical take on 21st Century life, a musical pop art collage. As an individual, Whitey prefers to speak via his work, and has eluded all interviews for well over a decade - leading one journalist to describe him as 'the musical equivalent of Bigfoot'. Despite this elusive stance, his music continues to rack up many millions of plays and draw fans from all ages across the globe. Across a string of acclaimed albums, Whitey's music has made its mark, from rock'n'roll clubs to electronic dance floors, fashion catwalks to movie soundtracks, television to computer games, from Breaking Bad and the Sopranos to Grand Theft Auto. Whitey has built a strange home in the shadows between mainstream entertainment and the vanishing underground, an outsider who celebrates his outsider ethos in his work- and yet whose music is embraced by both popular and alternative culture. Whitey is a prominent spokesperson for independent music - his viral letter about 'fair fees for artists' was shared 500,000+ times; and made Newsweek, The Times, BBC Worldwide and the front editorial of Music Week. Whitey's back catalogue has previously received praise from the likes of The Independent, The Guardian, Record Collector, Uncut and Rock Sound to name a few. Available as a Double Vinyl LP, CD and cassette through NO! LABEL, published globally by Mute Song and repped for live by William Morris Entertainment- this is set to be a benchmark album of 2024. Housed in a Gatefold Sleeve (Gloss Finish plus Silver Foil Trim) Including two Printed Inner Sleeves (Gloss Finish).

Global icon ROSÉ has announced her first studio album rosie - arriving December 6th via Atlantic Records. The 12-track collection marks ROSÉ’s most personal and candid release to date, with her co-writing and co-producing the project in its entirety.

As a member of BLACKPINK, one of the best-selling girl groups of all time, ROSÉ has shattered records, performed on the most heralded stages, and amassed millions of fans around the world. On her own, the Korean-New Zealand superstar’s 2021 single “On The Ground” debuted at #1 on the Billboard Global 200 chart and became the highest-charting song by a solo K-pop female on the Billboard Hot 100. Simultaneously, ROSÉ has been an unstoppable force in fashion as global ambassador for renowned brands including Saint Laurent, Tiffany & Co, Rimowa and Puma. Her influence in music, fashion and philanthropy has led to her having over 79M followers on Instagram as she is a testament to the growth of Korean influence in music and fashion on a global scale.

'If We Land On Water' is the first album from Spiral Wrack, a duo of Ali Wade (Frequency Domain) and Ralph Cumbers (Bass Clef / Myriad Myriads). Although the two have been good friends for decades and appeared on some of the same labels, this album marks their first musical collaboration, following a one-off appearance on Frequency Domain's 2023 compilation, 'Partials III'. Previous solo work from Ralph and Ali has appeared onPunch Drunk, Idle Hands, Pan, Trilogy Tapes and Werk Discs.

Here they present a full-length work of woozy, heavily processed guitar and synth duets, where beachcombed melodies wash up on unknown shores and strange flowers bloom at the high water line. Robin Guthrie meets Laurie Spiegel with Neptune at the controls. Rum and reverb, if you will.

Limited Edition Pressing of 200 Copies on Neon Yellow Vinyl. 2022's "Land of Kali" album was the first under the Essential Logic moniker for over 40 years and was released alongside a career-spanning boxset "Logically Yours".

Now Essential Logic head honcho and former X-Ray Spex member Lora Logic has compiled an eclectic and ambitious remixed version of "Land of Kali" entitled "Rekalibrated" featuring reinterpretations from noted artists across a multitude of genres and styles including Grammy award winners, living legends and UK Singles Chart toppers. Lora's work with Essential Logic and X-Ray Spex while Punk in DNA and spirit has always pushed at boundaries. Rule-breaking from the start by bringing the sax into Punk while the jerky, irresistible post-Punk Funk of Essential Logic's "Beat Rhythm News" and Lora's solo album "Pedigree Charm" sit comfortably alongside more contemporary records with one ear on the cerebral and the other on the dancefloor. "Rekalibrated" highlights the many strands that intertwine to make Essential Logic and how they may be unfurled. The lead single will be "Alien Boys" remixed by Dave Audé. Dave is a Grammy Award winning remixer and producer, famed for having more number ones than any other producer on the Billboard Dance Club Songs chart. He is responsible for a staggering 132 No.1 remixes on this chart and has worked with artists as varied as U2, Beyonce, Yoko Ono, Faith No More and Madonna among many others. He won his Grammy for his remix of "Uptown Funk" by Mark Ronson and Bruno Mars. Youth, legendary bassist of Killing Joke and producer of The Verve, Pink Floyd and The Orb lends his vastly experienced ears to "Mother Earth" while there are further interpretations from Rave-pop legend Adamski, Scottish Kandy-poppers bis and New Order/Duran Duran collaborators Daybreakers who put their own stamp on the Poly Styrene-penned "Prayer For Peace". Lora has recently been in the spotlight thanks to the recent re-release of X-Ray Spex's lost second album "Conscious Consumer" which features her trademark saxophone lines alongside typically acerbic lyricism from the dear departed Poly Styrene.

The first pressing reaches the Official Record Store Chart No.1 position over Christmas 2023 and quickly sold out. Favourable reviews in Uncut, Mojo and Record Collector alongside a Vive le Rock cover feature helped raise public awareness as well as radio features on Woman's Hour and Craig Charles' 6 Music show. Fans who missed out on the first pressing patiently wait the arrival of a repress.

Kumio Kurachi is a Japanese singer-songwriter who has been active since the 1980's.

This is his 11th solo album and only the second to be released outside of Japan following ‘Sound of Turning Earth’ (2018) on bison. Though his songs are written and performed primarily on guitar, “Open Today” is a return to Kurachi’s full, multi-instrumental recording style - featuring drums, bass, strings, keys and Kurachi’s rich, distinctive vocals in multiple voicings. Incredibly, all instrumental performances and arrangements were performed and recorded by Kurachi himself - marking a brilliant return to the fully fleshed out visionary world we fell in love with on Supermarket Chitose (Enban, 2006). The super fine detail and dense landscapes of ‘Open Today’ should come as no surprise really - Kurachi is an illustrator by trade and it bleeds right through to his music. Even to the non-native speaker Kurachi’s vocals hold centre stage - at times enormous and thundering over urgent guitar and toms, then switching to softly spoken words amongst keys. Frequently Kurachi multiplies, whether multitracking himself or summoning voices for the characters he writes from sightings on train platforms or supermarkets. His lyrics - translated to English for both formats - are more like poetry, and though written about the mundane they quickly become surreal, bringing the quality of dreams into the everyday. The hours spent on buses, trains or walking home towards a cheap flat - familiar to us all - are catalysts for microcosms of detail.

Again, we shouldn’t be surprised - Kurachi is well known in Japan for winning the national championship of NHK's "Poetry Boxing" in 2002, which also might explain his amazing Discogs photo. Poet, illustrator, multi-instrumentalist - Kurachi is thought of by many as a genius. He’s worked with Jim O’Rourke, Tori Kudo, Eiko Ishibashi and Taku Unami (who did the mastering on this LP). There are lines to be drawn between Kurachi and Kazuki Tomokawa or Kan Mikami, but also Francis Plagne and Fairport Convention.

Ultimately though there is nothing else like it - it’s a brand of strange songcraft that’s totally captivating.

Transparent green vinyl, limited to 300 copies. Comprised of individuals deeply rooted in the underground music scene, False Reality are a London-based hardcore band that formed in 2023. Renowned for their thrash infused, hardcore crossover sound and fiercely energetic performances they draw influences from bands such as Trapped Under Ice, Broken Teeth and Backtrack as well as early era Sepultura and even Deftones. Having recorded the debut EP 'Path of Self Destruct' with producer Steve Sears Jr (Gallows, TRC, Prowler, Conjurer), False Reality set out to prove why they stand apart, delivering a release that is in equal parts blistering as it is poetically cathartic. Lyrically delving into the complexities of life, exploring themes of betrayal, societal values, and tragedy. The first single released, 'Opposites React', is a groove-driven empowering track that features vocals from Jem of Aussie hardcore band SPEED, which has received support from Daniel P Carter and Alyx Holcombe on BBC Radio 1. Having initially been released digitally in April 2024, this is the first vinyl pressing of the EP, coming via Hassle Records. Limited to just 300 copies, this vinyl release marks a significant milestone for the band, as their reputation grows rapidly within the scene.

Located in a grey zone between ambient, post-natural sound design and hi-tech sacred music, the first long-form physical output from Milanese trio Cortex of Light, features two long compositions merging into one another without a specific beginning or end. This release marks also the first collaboration between A.R.X. and Krisis Publishing.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2006’s ‘Starless And Bible Black Sabbath’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what "Brainwashed" had to say upon it’s original CD only release back in 2006 …

“The title track is the meat of the beast, beginning with a minute of booms and gongs reminiscent of a thunderstorm before launching into some slow, heavy Sabbath-esque riffs. Squealing guitar and synth effects accompany the vocals of bassist Tabata Mitsuru, whose voice captures some of the sound and feeling of Ozzy's more than it does the melody. The pace is slower than most AMT fare, but things speed up considerably around the eight and a half minute mark. The group convincingly imitates the Sabbath guitar sound here and the rhythm section is particularly tight, giving listeners something on which to hang their ears or even providing them with a chance to gasp for air during Makoto's guitar explorations. Around the sixteen minute mark, everything comes to a wailing halt before the band returns to the dirge-like tempo that started the song. This pattern continues for the duration of the piece, until a couple of minutes before the ending, when the group makes a smooth transition to acoustic guitar and processed vocals to cool down.

Clocking in at nearly thirty-five minutes, the length alone may tax some listeners. However, the second track, "Woman From A Hell, "provides relief, which with a running time of six minutes is uncommon in the Acid Mothers canon for its brevity. This one condenses many of the ideas of the title track, and accomplishes much of the same evocation of Sabbath, but with the vocals in a more prominent role. The disc comes full circle, ending with thunderstorm sounds much like theones which started the album. Though the title track could have been shortened and perhaps an additional track included, this album remain some of the group's more accessible releases in some time and should please fans old and new alike.

According to the group's website, Makoto is reviving the Melting Paraiso U.F.O. line-up after a year of recording and touring with the Cosmic Inferno. This is a shame of sorts, since the Cosmic Inferno infused a much-needed vitality to the group that it had lacked since the departure of vocalist Cotton Casino. Yet the reformed Melting Paraiso U.F.O. has the potential to be even better since, if anything, Makoto seems to be the Mother of Reinvention.”

Acid Mothers Temple & The Cosmic Inferno are: Tabata Mitsuru - Bass, Vocal, Maratab - Hiroshi Higashi - Synthesizer, Dancin' King - Shimura Koji - Drums, Latino Cool - Okano Futoshi - Drums, God Speed - Makoto Kawabata - Guitars, Speed Guru