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Cross Record's new album, Crush Me, is steeped in the pressures and wonders of existence—a profound statement, especially coming from artist and death doula Emily Cross. A two-and-a-half-year gestation period offered challenges, disappointments, and joys reflected in the cramped space of the album, which explores how we handle the weights we carry. Emily Cross had held hundreds of Living Funerals and was as many episodes deep into her podcast, What I’m Looking At. She was five years into serving clients as a death doula and fresh off a tour with Loma, her band with Jonathan Meiburg (Shearwater) and Dan Duszynski, when she began work on her fourth album. After moving from Austin, TX to Dorset, UK, she established the Steady Waves Center for Contemplation (named after a track from her second record, Wabi-Sabi ), where she hosted Living Funerals, met clients, scheduled mindful tea sessions, and showcased experimental music nights. All the while, she was scribbling down song ideas. Cross’s Tascam four-track demos finally reached readiness, and she sent them to an interested major independent label. She was encouraged to push her imagination to the limits of what a record could be. So, unlike her usual process of recording as inexpensively as possible, she prepared a two-week recording session in Germany with a group of skilled musicians from around the world. True to her previous work, Cross left plenty of room in her demos for experimentation, collaboration, chance, improvisation, and complete obliteration, then resurrection when necessary. Comfort and traditional structure were eschewed in favor of unaccountable magic, prayers whispered into The Void. Cross is comfortable with the chaotic and unpredictable, a perspective demanded by her work and writing style. The Berlin Airbnb was packed with people, instruments and luggage. During a ride down in a tiny elevator to the studio, Cross realized how central the sense of being crushed was to the album. “I thought of it later and it dawned on me that ‘Crush Me’ perfectly embodied the record,” says Cross. Yes, the weight of a body laying limply atop yours, or the tight squeeze of a hug, can be pleasant. Go too far, and you’re in the hands of a cruel, adolescent god. Upon leaving Germany, the record was unfinished, and without a roadmap. As passages were recorded as isolated parts, Cross and musician Marcin Sulewski collaborated, facing a haphazard brick pile, waiting to be assembled. Work dipped in and out of view like a buoy bobbing in a violent sea over many months. During that time, the aforementioned interested label went radio silent, suddenly not seeming so sure of a thing. Collaborators disappeared, continuing the themes of abandonment, surrender, and disarray that followed the project. Cross physically felt her entire body go numb: In a twist of fate, the record was rescued by long-time friend and supporter Ben Goldberg at Ba Da Bing Records who was eager to help realize the project. Cross worked for months on the album, all the while nursing a pregnancy and continuing her full-time funeral work. The last minute participation of Seth Manchester of Machines with Magnets, who mixed and mastered, was an essential liferaft. He gave true final form to the abstracted songs. Crush Me has the effect of a spell being cast, with songs balancing heaviness and levity. Vocals, guitars, and keyboards float above, as drums and upright bass (often bowed) lurch beneath. On “Rolling Backwards” percussion wanders about while feedback squeals and persists in the distance. “Dorset Area Of Natural Beauty” starts with a thick, unhinged church organ progression punctuated by the disquieting sounds of laughter reaching the point of hysteria. “God Fax” is a slow-moving panic attack, with shallow breaths in and out framing a guttural cacophony like a wooden freighter encountering increasingly turbulent waters and vocals struck emotionless by autotune. The album ends with “Twisted Up Fence,” a reflection on life from outside the wall--wistful, warm, and comforting. Cross, likely with a smile on her face, sings: “You say it’s an endless abyss” “And I say the abyss is the best”

For the first time on vinyl, J Rawls 1999 beat series offers scenes 1-3 and 6 never before heard tracks. All these beats are from the archives of Rawls in his early years (1996-1999) as a young producer in Cincinnati, OHIO. These beats are the essence of that Rawls sound and embody his entire style. According to Rawls, “I did this album because I have had so requests for my music from that underground hip-hop era. This record took me back to a time when making music was just for fun.”

Sunday At The Village Vanguard by Bill Evans, released 1 March 2025.

This version of Sunday At The Village Vanguard comes as a 1xLP. This release comes with (a) Liner Notes.

Fourteen records in eight years. Side-projects records, experimental EPs, a double album of B-sides, splits and collections of demos: in just a few years, Bordeaux-born Thoineau Palis has built up a discography as fascinating as it is plethoric, in which he pays tribute in his own way to the heroes of a rock pantheon all his own, populated by lofi geeks and beautiful losers of all kinds.

Negative Freaks, TH da Freak's fifteenth album, sets the record straight in a way, since it's the first album by TH da Freak "the band", a collective incarnation hitherto reserved for the stage. This first album, composed entirely by the five of them, breaks a pattern established several years ago, with Thoineau contributing finished compositions that were then reworked collectively for live performance. The 5 Bordelais impose on themselves the use of what they call the "negative scale", dissonant and disturbing sonorities that they apply to compositions initially structured as pop tracks. This approach, combined with the casual, surreal lyrics written by Palis (influenced by intensive listening to the likes of Oingo Boingo, Devo and P-Model), lends an unprecedented coherence to the tracks on the album. Negative Freaks sounds like a massive grunge monolith, driven by a collective, radical vision that is assertive from start to finish. Impressive for a debut album

Armagedda’s “Ond spiritism” (2004) is held in the same regard as the iconic releases by black metal contemporaries such as Funeral Mist, Watain, and Deathspell Omega. Boasting one of the best productions ever to emerge from Necromorbus Studio, the unique tonal quality of the guitars casts a hollow, haunting resonance – impeccably conveying the wistful, folk-infused dissonance. Creative basslines weave through sinister melodies, seamlessly integrated with the minimalist yet masterful percussion.

Artwork by E. Danielsson (Watain)

International metal giants Misery Index have returned! The brand new full-length Discordia brings the bands punishing and articulate assault to a deadly new level. Commanding vocals roar incisive lyrics and spearhead a vicious swarm of forward-thinking metal. A crossroads where blasting metal, stark passion, and raw fury collide, Discordia is a compelling statement of intent from a band shaping the face of extremity-to-come. As seen on tour with Mastodon, Nile, Suffocation, The Red Chord, Dying Fetus and more!

Zur Feier des 50. Jubiläums von Venus and Mars wurde diese spezielle Vinyl-Edition mit halber Geschwindigkeit
geschnitten, wobei Miles Showell in den legendären Abbey Road Studios die Original-Masterbänder von
1975 in hoher Auflösung übertrug. Das Album ist eine sorgfältige Reproduktion der Originalpressung in
Großbritannien, mit Nachbildungen des originalen runden Aufklebers „Venus and Mars are alright tonight“
und des Lesezeichenaufklebers „comparative sizes of sun and planets“ und wird mit zwei Postern mit Fotografien von Aubrey Powell und Sylvia de Swaan geliefert. Das ikonische Album-Artwork von Hipgnosis
wurde sorgfältig nachgebildet und in einer Klapphülle präsentiert.

It has been over a decade since Anthony Mills created Wildcookie, his most celebrated project. With tracks like Heroine and Serious Drug, the album Cookie Dough gained worldwide recognition, landing on numerous radio playlists, including Gilles Peterson’s show. Even after all these years, it remains a favorite on streaming platforms. Now, fourteen years later, Mills returns, teaming up with Marek “Latarnik” Pędziwiatr to create Crack Rock—a bold evolution of Wildcookie’s legacy.
While Wildcookie’s signature warm, jazzy Fender Rhodes sound defined its identity, Crack Rock shifts toward 1980s-inspired compositions crafted by Pędziwiatr, known for his work with EABS, Błoto, and Zima Stulecia. The duo explored yacht rock, drawing inspiration from Fleetwood Mac and Michael McDonald, maintaining the genre’s clean vocals and catchy melodies. However, their experimental spirit pushed the sound further, distorting the polished yacht rock aesthetic—leading to Crack Rock, a clever wordplay reflecting both the music and its themes.
Anthony Mills is known for layered wordplay, and the album’s name nods to deeper personal struggles. “I listened to the song Crack on repeat—it brought me to tears. Growing up in the crack era was painful. The PTSD I endured is now a powerful source of inspiration.” This raw emotional backdrop adds an edge to Crack Rock’s themes of love and human relationships—what Mills calls “cold love”: alluring, grand, yet ultimately destructive. Like an addiction, you keep coming back for more.
This idea of addiction shapes the duo’s sonic exploration—beneath the catchy melodies lie deeper, pain-laden themes wrapped in metaphor. “I see this album as therapy, a testament to the magic we create in the studio,” says Pędziwiatr. “Our process is a mix of musical mastery and deep conversations about life. For me, it feels like soul cleansing.

The Marloes follow up the massive success of their debut album Perak by pressing two of the stand out tunes from the record on a 7". The A side 'Not Today' is right up there with the grooviest feel good songs you could ever play on a Sunday morning. Lead singer Natassya Sianturi reminds us to make space for ourselves no matter what life throws our way. From the message, to the music, to Natassya's gorgeous voice; this is a cool out, kick back, and enjoy anthem. The B side 'Over' starts out with a heavy drum break and evolves into an epic arrangement drenched in layers of gorgeous melodies that perfectly capture the havoc of a love affair that ends abruptly. Natassya's vocals soar over Raka's intricate production seamlessly as she tells a tale in three parts; attraction, intimacy, and decline that crescendos to an epic ending.

The internationally renowned double bassist and composer Dieter Ilg
releases his new work, 'Motherland'
As the album cover - featuring Ilg wearing a traditional Black Forest Bollenhut -
suggests, this project reflects his deep connection to his homeland and to Mother
Earth. Ilg is supported by his trio, as well as the master trumpeter Till Bronner, whose
trumpet and flugelhorn lend the compositions a unique atmosphere.
Having collaborated with numerous musicians such as Randy Brecker, Mike Stern,
Vince Mendoza, and many others, Dieter Ilg has released 25 albums as a leader or coleader, along with a series of recordings as a sideman. On 'Motherland', he reunites
with his long- standing trio, featuring German pianist Rainer Bohm and French
drummer Patrice Heral. This time, alongside their original works, they reinterpret two
classical pieces: Ilg's adaptation of Handel's "Minuet" from Water Music and his
rendition of "Glorious" from Alexander's Feast. For 16 years, Ilg, Bohm, and Heral have
journeyed together musically. The secret to their chemistry, according to Ilg, lies in
their openness to letting things unfold in the moment.
'Motherland' is both an homage to Ilg's roots and a reflection of the music and
experiences that have shaped the bassist, who hails from Offenburg in Germany's
Black Forest region. A standout track is "Schwarzwaldfahrt", in which Ilg transforms
the lighthearted melody of German pianist Horst Jankowski into a nostalgic
interpretation with an authentic second- line groove. Till Bronner delivers a stunning
trumpet solo on this piece, with Ilg commenting, "When Till plays, I know exactly
where we're headed. I can hear the path he's focusing on."
The album unfolds with remarkable diversity, ranging from harmonious, soothing
sounds to tender, fragile bass solos, rubato piano passages, and intricate stop-time
sequences. 'Motherland' is a work of profound depth, celebrating Ilg's heritage while
offering listeners an evocative and multifaceted musical journey.

"If you remember Woody Allen's Sweet and Lowdown masterpiece you will sure be aware of Sean Penn's character stage freight when confronted with the reputation of a certain ""Belgian gypsy guitarist"". Well, that guitarist is Django Reinhardt, probably the first jazz legend to emerge from the European scene, one of the most accomplished guitarists ever, and the undisputed king of manouche guitar.
Born Jean Reinhardt in 1910 and better known by his romani name, Django's legend started as early as 1928 with his first recordings at the age of 17. Right after that a brutal fire burnt his caravan - his wife and him escaped alive but he suffered extensive burns over half of his body, losing two of his right hand fingers. Far from stopping him from playing guitar he developed his own style in order to be capable to keep his passion. And his style became the fundation of manouche guitar sounds to come.
In the carly thirties Reihardt teamed up with French violinist Stéphane Grappelli (1908-1997) and they formed the Quintette du Hot Club de France, in Paris which became the most accomplished and innovative European jazz group of the era, and which you
can enjoy now through the legendary recordings collected in the present Shellac LP."

"10th Anniversary Edition Ghostface Killah, legendary Wu-Tang Clan member, invites you to rediscover the cinematic brilliance of 36 Seasons, his tenth studio album and unforgettable concept masterpiece.
Originally released ten years ago, this album tells the compelling story of Tony Starks as he returns to Staten Island after nine years, seeking a peaceful life but nding anything but. 36 Seasons is a testament to Ghostface’s storytelling genius and raw lyrical power.
To honor its 10th anniversary, 36 Seasons is being reissued in a range of special formats packed with exclusive bonuses. Fans can look forward to three vinyl editions, including a Deluxe Double Vinyl featuring all original tracks alongside instrumental versions."

"Pithecanthropus Erectus was Mingus’ breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. The tune that gave the album its name is one of Mingus’ true masterpieces: a four-movement tone poem depicting man’s evolution from pride and accomplishment to hubris and slavery, and finally to ultimate destruction. This was the first album where Mingus tailored his arrangements to the personalities of his musicians, teaching the pieces by ear instead of writing everything out.
THE COMPLETE ALBUM + 2 BONUS TRACKS 180-GRAM VIRGIN VINYL • LIMITED EDITION"

Das Londoner Ska-Punk-Pop-Indie-Quartett Buster Shuffle kommt mit brandneuem Album zurück, welches am 21. März 2025 erscheinen wird. Das elf Tracks umfassende Album "Together" ist ihr sechstes Studioalbum und verspricht, ihr bisher größtes zu werden, randvoll mit eingängigen Singalongs die garantiert für Aufsehen sorgen und Mitsingen animieren. Sänger & Frontmann Jet sagt: "Unsere Fans, die Shuffle Army, bedeuten uns alles und haben uns vom ersten Tag an unterstützt, also wollten wir ein Album schreiben, auf dem wir zusammenkommen und uns die Seele aus dem Leib singen können. Wir freuen uns riesig darauf, diese Songs zu präsentieren". Die Platte wird einige Überraschungen bereithalten, so z.B. als Jet und die Jungs es schafften, eine 2000-köpfige Menge dazu zu bringen, die Hookline für den Track 'Take a Pill' einzusingen. Ein Lied über den Zusammenhalt und das Navigieren durch eine schwere Zeit: "Die Zeiten sind im Moment für viele Leute wirklich hart, also müssen wir aufeinander aufpassen. Frag deinen Kumpel, deinen Partner, deine Liebsten, wie es ihnen geht, lege deinen Arm um sie, melde dich. Das Ethos dieses Albums ist es, offen zu reden, sich gegenseitig zu unterstützen und zusammenzukommen." Die Jungs veröffentlichen "Together" auf ihrem eigenen Label Do Nothing Records, und wie ihre vorherige Veröffentlichung "Go Steady" wurde auch diese von der Band selbst produziert. Zur Feier der Veröffentlichung dieses "We're In This Together"-Albums wird die Band vier große Städte mit vier Album Launch Shows bespielen, die ihre bisher größten Shows im jeweiligen Land sein werden. "Together" kommt als CD, MC & LP, Vinyl in unterschiedlichen Farben und Sleeve-Artworks erhältlich!

"10th Anniversary Edition Ghostface Killah, legendary Wu-Tang Clan member, invites you to rediscover the cinematic brilliance of 36 Seasons, his tenth studio album and unforgettable concept masterpiece.
Originally released ten years ago, this album tells the compelling story of Tony Starks as he returns to Staten Island after nine years, seeking a peaceful life but nding anything but. 36 Seasons is a testament to Ghostface’s storytelling genius and raw lyrical power.
To honor its 10th anniversary, 36 Seasons is being reissued in a range of special formats packed with exclusive bonuses. Fans can look forward to three vinyl editions, including a Deluxe Double Vinyl featuring all original tracks alongside instrumental versions."

Mr Bongo is proud to present 'The Original Sound of Mali', compiled by Vik Sohonie & David Buttle.
Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a
selection of songs from across the country.
Compiled by Vik Sohonie & Dave 'Mr Bongo' Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He
already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world, legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire
Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge, Florent Mazzoleni. Florent has written the definitive book about Malian music - 'Musiques modernes et traditionnelles du Mali'. He
proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.
On this album you will find well-known artists sitting next to rarer
discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focussing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L'Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.
This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.
Dedicated to Malick Sidibé.

Es ist das Jahr 2000. Der Begriff „Kuschelrock“ muss neu bewertet werden. Nach dem Megaerfolg des Vorgängers „13“ soll ein neues Album her. die ärzte wollen es noch ein bisschen alberner. Also wird zum Aufwärmen mit „5, 6, 7, 8 – Bullenstaat“ erstmal eine Ultra-Deutschpunk-EP eingespielt. Die Entstehung des neuen Albumtitels ist zwar beschreib- aber nicht erklärbar. Und: Plüsch. Unter der flauschigen Hülle entpuppt sich „Runter mit den Spendierhosen, Unsichtbarer!“ als Füllhorn von Hits, die nahezu alle noch ein knappes Vierteljahrhundert später einen festen Platz im nicht gerade schmalbrüstigen Klassiker-Kanon der Besten Band der Welt innehaben und dabei dem Zeitgeist weit voraus eilen. Denn die ärzte sind – Überraschung! – vor allem bei einem Thema außerordentlich divers aufgestellt: Geschlechtsverkehr. Den gibt es in allen erdenklichen Spielarten, inklusive mehr oder weniger geläufiger Probleme, die den Spaß zwischen Männern, Frauen und allem dazwischen leider zu oft verkomplizieren. „Du nervst noch mehr als Yoko Ono“ ist nicht nur längst Alltagssprache sondern landet für das kurze, aber schmerzvolle Video sogar im Guinness-Buch der Rekorde. „Manchmal haben Frauen“ wächst sich ob des handfesten Themas fast zu einem mittleren Skandal aus, wird dann – dank des noch handfesteren Videos – zum Radiohit und zeigt letztendlich eine Option zur feministischen Selbstermächtigung auf. „Rock Rendezvous“ ist überaus F-Wort-intensiv und hemmungslos lustig. Aber auch sonst sind BelaFarinRod äußerst gut aufgelegt, reimen sich selbst für ihre Maßstäbe extensiv um Kopf und Kragen und sind außerdem noch total Rock.

Canadian go-slow master Eddie C is back with more of his sumptuous and sensuous grooves on the magnificent Funkyjaws Music. This new 12" kicks off with the emotionally intense and gospel-laced vocal sounds of 'Jesus Calling' with a passionate pastor lighting up the airways. 'Show Me The Way' is a more paired down sound this time with a raw soul edge and nice dusty drums, then 'Superior Disco' brings some lavish string stabs and funky basslines to some killer instrumental grooves. 'Loud Minority' closes out with some lovely jazzy organ work over more low-slung and dusty disco beats.

Reissued for the first time, the third album by the UK reggae band originally released on Vulcan in 1976, considered by many as their masterpiece. Including one bonus track.
Known as the first British reggae unit – often working as a backing band for several Jamaican musicians heading to the UK at the time such as Jimmy Cliff and Bob Marley - The Cimarons also worked as a session band for Trojan records. Propelled by a fantastic documentary on their career - “Harder Than The Rock” officially screened in UK cinemas in late 2024.

Soul Jazz Records" Studio One Showcase 45 features a roll call of classic Studio One reggae legends including Horace Andy, Cornell Campbell, Bob Marley and The Wailers, Jackie Mittoo, The Heptones, The Skatalites and more - seminal reggae artists who all launched their careers at the legendary Studio One label. The album was previously only ever released as a long-deleted limited-edition seven-inch box set for Record Store Day. This album has now been expanded into a super double-vinyl album edition as well as first time on CD, with both featuring a massive eight bonus tracks of wicked Studio One classics and rarities.

Barro Music Label sigue apostando por el techno más duro y oscuro y por eso, su lógico paso siguiente era publicar un EP de NX1. Necesitaríamos mucho espacio para describir todo lo que significa NX1, pero dejémoslo en que es el proyecto de los barceloneses Surit y Samot con el que llevan varios años reventando amplificadores y haciéndonos bailar hasta la extenuación. Con este AKA han publicado en sellos tan top como Bite, Semantica, Planete Rouge y Earwiggle, además de en Nexe Records, su propia casa (discográfica). Ahora podemos escuchar sus últimos temas en Barro, en un disco que reúne cuatro temas y una remezcla de Nöle. No será la última vez que los veamos juntos, ya que han unido fuerzas para crear un nuevo sello llamado Kätte que ya ha publicado su primera referencia.

En BR1 nos traen un contundente temazo de techno industrial post-apocalíptico dominado por un bombo atronador en el que destacamos el gran diseño de sonido. Los dos siguientes temas están más enfocados a la pista y son una gran muestra del lado más duro y oscuro de NX1. BR2 es una composición hipnótica con sonidos industriales y afilados con un bombo con una pegada tremenda y un bajo que se te queda marcado en la piel. Y aunque parezca imposible, el EP continúa con un tema incluso más duro: BR3. NX1 alcanzan una intensidad increíble en esta composición, marcada por unos sintetizadores saturados, un sonido duro y agresivo y un sample que te ordena obedecer. Para el siguiente tema, bajan los BPMs y se centran en crear una atmósfera industrial, que nos inspira imágenes de carreteras desiertas y ciudades abandonadas. Por su parte Nöle, pilla BR2 y le da protagonismo a los samples vocales mientras juega con el ritmo, creando otro irresistible rompepistas.


Support from: Dave Clarke, Phase Fatale, The Hacker, Lokier, NX1, Unhuman, Alienata, Reka, and many more.


Texto: El Garaje de Frank

This best-of album, curated from his vast catalog, features eight carefully selected songs that highlight his genius. With exclusive access to the master rights to all of his works, P-VINE presents this showcase, a truly special collection that reflects the depth and breadth of Irvine's musical contributions.

Weldon Irvine was a musician whose cutting-edge style and emotionally resonant melodies won him widespread admiration across generations and genres, from the jazz and soul scenes of the 1970s to the club and rare groove movements of the 1990s and beyond. Known for his diverse musicality, Irvine left behind a legacy of timeless tracks. This best-of album, curated from his vast catalog, features eight carefully selected songs that highlight his genius. With exclusive access to the master rights to all of his works, P-VINE presents this showcase, a truly special collection that reflects the depth and breadth of Irvine's musical contributions.

A1. Mike Berardi is put in the spotlight with an incredible breaks original. Originally born and raised in Italy, Mike has been bringing exquisite sounds to the concrete jungle for over a decade. Mike Berardi has made a name for himself, even working with big names such as Chez Damier. Having an ear for what dance floors crave, his productions continue to land on huge labels around the world. 


A2. Samuel Padden is a producer who needs no introduction. His reputation for making incredible records has brought him around the world, with more and more DJs dropping his originals on the dance floor. The rising star generously delivers another banger to lucky listeners.

B1. Jay Tripwire is clearly an artist who is channeling energy from alternate universes. With a sound unmatched, and a discography like an encyclopedia, Jay Tripwire is undoubtedly one of the greatest producers of all time. We proudly present his mind melting 12-minute minimal masterpiece.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

A new artist appears on the streets of City HC Records, he is Andrey Orenstein
multidisciplinary artist, part of the alternative Rock band ‘Tequilajazz’, with several solo musical incarnations such as: Amor Entrave, for electronic Indie beats with tocuhes of IDM of broken beats, Do you like trains? for Acid House, and 50DIX, dedicated to street beats such as jungle, drum n bass, ghetto house, Juke and Footwork, and the pseudonym he uses for Go Ahead! EP, the new and multifaceted 22nd release from the Valencian label.

IF U WANT 2 is the elegant track that takes us into the bustling avenues of the 2st century megapolis, where the urban rhythms of the dance battles in Chicago, Footwork and Juke, along with brief Jungle passages alternate in a brilliant composition with funk and jazz nuances accompanying tight percussion and distorted kicks at 160 BPM.

Tough and Ghetto House and rugged acid define FOOLZ, second track of the A-side in which the demonic power of the 303 sounds embrace the thick and husky voice that together with infectious laughter set a rhythm as pugnacious as it is playful.

FETTA DI LIMONE, Juke, Footwork and Jungle, a perfect combination of American influences, legacy of Dj Rashad together with the English tradition around bass music, are fused by 50DIX with the unexpected and playful Italian lyrics of Tomasso Girardi, in perfect conjunction with the pianos, ethereal pads and mutant synths, that forge the development of the track. Already anthemic before the first beat sounds.

Juke, IDM, Halftime and abstract broken beats combine for the ultimate dance elixir, in the last track of the vinyl titled ICE FEELS KEEN, reaching 170 BPM in a catharsis of braindance, soul and acid exaltation in a dreamy harmony, where the syncopated notes of Oleg Egorov's bass and the velvety voice of Julia Garnits (Ice Hokku) commune.

Bonus digital track - 50Dix ICE FEELS KEEN (DZA REFLIP). Hypnotic, sharp and minimalistic, DZA's remix transforms the original track into an intimate and evocative experience, in which every sonic element acquires more prominence and presence.

Bonus digital track 2 - Fetta di limone (Kaxtelian remix) Inspired by the classic hardtrance sounds of the 90s, from Valencian dance temples such as Chocolate, Kaxtelian reinterprets the track with distorted drums, catchy melodies and Rave spirit at 165 bpm.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK), except for the Bonus track 2 mastered by Raszia.

Once again, artwork and design by Dani Requeni, giving artistic coherence to the label's aesthetic.

Back on track setting the tone for the new year with the highly anticipated EP "Speed to Burn" by T.E.C. This sonic journey blazes through a spectrum of tempos and moods, delivering five dynamic tracks that navigate effortlessly from floaty downtempo atmospheres to high-octane peak-time bliss. On the A-side, "Angle Grinder" takes center stage as a club-ready anthem with snappy drums and trippy chords, destined to elevate energy levels. Following suit is "Hi Set & Lo Set," a meditative piece that glides through a serene ambient landscape, offering a mixed excursion of airy textures and subtle dynamics.

Flipping to the B-side, "Myriad" goes off with a trippy, pumping jam that’s as captivating as it is infectious. Next up, "7001 On Plastic" kicks in with a fast-forward techy chugger—a proper peak-time weapon designed to ignite the dance floor. Closing out the EP, "Wasp" delivers a phased-out, downtempo voyage that lures listeners into a hypnotic state with its breezy, introspective flow. With "Speed to Burn," T.E.C. delivers a masterclass in versatility, showcasing a rich tapestry of sounds that perfectly encapsulate Serenity Now’s ethos. This EP promises to light up dance floors while offering moments of introspection—an essential addition to any selector's collection

One of the rarest and most sought after roots grails in existence from enigmatic Jamaican Canadian singer Prince Robinson aka R. Man Prince.

Funny Dream, an apocalyptic roots stepper from 1976 is a 45 so rare that it has developed its own mythology in the small circle of collectors who know of its existence.

One rumour suggests that so few copies exist because Robinson’s Russian wife took all the records from Canada back across the iron curtain in the late 70s when they split up. Some suggested he had died.

Shella Records eventually tracked down Prince Robinson not far from Toronto and learned the true story of why the original 45 is so impossibly rare- almost all copies were destroyed shortly after they were pressed, tragically reduced to ashes inside an incinerator.

Thankfully Prince has kept the original mastertapes stored safely in a briefcase for almost 50 years knowing that his music had value and biding his time.

Valuable vinyl reissue for this historic four-handed work by Gigi Masin and Giuseppe Caprioli. The concept of multitude combined with the figure/symbol of the labyrinth suggests orders of thought relating to the multiple states of being that inhabit the dark labyrinths of the soul, the hidden regions of the human psyche. All in Multitude In Labyrinth leads us to look for keys to understanding the ultimate meaning of a test as enigmatic as it is powerful. A congeries of paramusical phenomena in continuous evolution, expression of an internal feeling strongly concentrated on itself, disguised in the plastic flow of sound events that evolve on the gravitational maps of low-frequency drones, of the changing waveforms and of the elliptical-circular loops warped with scientific skill in the electronic workshop used for this purpose. A cinematic symphony in nine movements that direct the listening towards the frontiers of unexplored parallel worlds, ready to recreate the infinite maze of aural multitudes that materialize, dissolve and regenerate impulse after impulse for the duration of the work. Music whose remote echo makes us think of the harmony of the spheres that governs the mechanics of the cosmos and of being.

Experience the dramatic pulse of Italian crime cinema with the first-ever vinyl reissue of Bruno Nicolai’s iconic soundtrack for "L’Onorata Famiglia (Uccidere È Cosa Nostra)", the 1973 masterpiece directed by Tonino Ricci.

Renowned for his prolific work in Italian film scores, Nicolai blends atmospheric jazz-rock, brooding fusion, and haunting melodies to perfectly capture the tension and intrigue of the era’s mafia-centric storytelling.

This long-overdue release brings new life to the score with Luca Barcellona meticulous restoration of the original artwork, preserving its bold, cinematic aesthetic, along with vinyl mastering handled by Davide "Bassi Maestro" Bassi, lending his mastering expertise, ensuring the music resonates with modern audiophiles while maintaining its vintage warmth.

Whether you’re a collector of Italian soundtracks, a fan of dramatic jazz-rock fusion, or an appreciator of timeless cinematic artistry, this vinyl is a must-have for your collection. Dive into the world of suspense and style that defines "L’Onorata Famiglia", limited to 500 copies!

©℗ 1973 – Beat Records Company. Reissued by Holy Basil Records under license by Beat Records.

*Repress*

180gr) 10 YEARS ON, ARTHUR VEROCAI'S ENCORE GETS A VINYL RELEASE. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to createa modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
To celebrate the album's 10th anniversary, Far Out Recordings announces the first ever vinyl edition of Arthur Verocai's 2007 masterpiece Encore. Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.

In the mid-2000's, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of 'Encore' of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in 1972 critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 - aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth - playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, 'As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds'.

Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become 'Encore' were being laid down. Produced by Dave, 'Encore' sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.


Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4 and Marcos Valle, among others. In the 1970s he was hired by Brazil's biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album "Agora", Arthur recorded his self-titled debut album on Continental Records. 'Arthur Verocai' challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.

After many years of artistic collaboration, the long-awaited album, KILLING TIME, bringing together London-based MC Killa P and Italian Bass music collective Numa Crew, has finally arrived.

Killa P, a name synonymous with potent lyricism and raw energy in the Grime scene, delivers a vocal masterclass throughout his debut long-player, soundtracked by the stellar production of the Numa Crew. Together they expertly navigate genres including dubstep, grime, dub, and jungle, while maintaining a distinct and cohesive musical identity.

Not simply a collection of individual tracks, Killing Time is a meticulously crafted journey through sound system music. There are no stylistic boundaries, as the long-player encompasses the entire musical spectrum that unites the Italian crew with the London-based MC, with Killa P free to showcase his evolution as an artist. Alongside them, the album also brings together a diverse cast of friends and collaborators, vocalists, and producers, each adding their own unique flavor.

From the pulsating dubstep-infused Boys in Blue, a searing commentary on social inequality, to the reggae-tinged steppa tune Love Inna We Heart featuring Charlie P and Long Range, a plea for unity and love, Killa P's lyrical dexterity shines.

Tracks such as Champion Sound, Badman City Pt.2 featuring the French Ragga legend Big Red, and No Laugh featuring Big Chain and Bristol’s Buggsy are a nod to Killa P's roots, beautifully showcasing his mastery of grime's signature sound, while the sped-up tempos of the Fleck collaboration Jungle Leng, and Can't Get Me Down featuring Ras Demo, inject a jolt of Junglist attitude. Different Life is a vibrant ‘carnival’ jam, that infuses grime and dancehall moods and sees the great Lady Lykez on the second verse.

The album wraps on a contemplative note with Dreaming, a collaboration with Abstract Sonance, and Heartless, featuring Killa’s son GK on production, revealing an introspective note that adds yet more depth to Killa P's artistry.

As the album’s second track, Family, proclaims: ‘man a deal with family, not friends’ - a fitting line to define the album as a whole… An ode to the unity and strength of family.

Aufbauend auf der Dynamik seiner "Stolid State" EP, die eine kraftvolle Kollabo mit à;GRUMH…-Sänger J3 sEUQCAJ und Remixe der britischen Industrial-Pioniere Test Dept und der französischen Innovatoren Maman Küsters enthielt, verspricht das neue Album des Stockholmer Underground-Elektro-Pioniers Majestoluxe Grenzen weiter zu verschieben. "Wretched Conditions" bietet 13 unerschrockene Industrial-Pop-Tracks, die die raue Essenz des 80er EBM/Industrial beschwören. Mit dabei sind einige der besten Alternative-Talente Stockholms wie Bodypop-Queen EMMON, Horror-Gothic-Sirene Aux Animaux, Post Kontrôl (von den Minimal Wave-Helden Hidden Lines) und der himmlische LIVMØDR. Das Album wurde von Jimmy Monell aka Mr Monell gemischt und gemastert.

Bambara, eine außergewöhnliche, zur Nacht neigende, modernistische Rockband, die von der Southern Gothic durchdrungen ist, hat ihre makabre Vision mit ihrem fünften Album „Birthmarks“ zur Perfektion weiterentwickelt. In Zusammenarbeit mit Co-Produzent Graham Sutton von den britischen Experimental-Pionieren Bark Psychosis (einem Mann, der auch maßgeblich für die bahnbrechenden Platten von These New Puritans verantwortlich ist) entstanden, handelt es sich weniger um ein Konzeptalbum als vielmehr um ein erstaunlich komplexes Werk der Erzählkunst, das unvergessliche Charaktere enthält, darunter die bereits erwähnte C&W-Karaoke-Bar-Sirene mit Heiligenschein-Haar und einem einäugigen Mörder, der um den elektrischen Stuhl bettelt – alles nicht gerade vertonte Musik, sondern tatsächlich daraus entstanden.

After more than two decades of taking the underground by storm, Nightstalker return with their most colossal and bold statement yet: "Return From The Point of No Return". More than just a continuation of their career, this seventh studio album is the moment they transcend everything they have accomplished in their thirty-year history. As soon as the rip-roaring, banger-heavy fire of the anthemic opening track "Dust" sets your stereo ablaze, you're in for an epic ride. On "Return From The Point of No Return", Nightstalker's signature sound of gritty, massive blues-laden riffs and hypnotic grooves crowned by the commanding vocals of legendary frontman Argy Galiatsatos has gone deeper, darker, and more expansive. It's a record that speaks to the soul as much as it pounds the body, leaving you wondering how you ever lived without it.

After more than two decades of taking the underground by storm, Nightstalker return with their most colossal and bold statement yet: "Return From The Point of No Return". More than just a continuation of their career, this seventh studio album is the moment they transcend everything they have accomplished in their thirty-year history. As soon as the rip-roaring, banger-heavy fire of the anthemic opening track "Dust" sets your stereo ablaze, you're in for an epic ride. On "Return From The Point of No Return", Nightstalker's signature sound of gritty, massive blues-laden riffs and hypnotic grooves crowned by the commanding vocals of legendary frontman Argy Galiatsatos has gone deeper, darker, and more expansive. It's a record that speaks to the soul as much as it pounds the body, leaving you wondering how you ever lived without it.

Mit einer bemerkenswerten Reihe von Veröffentlichungen in kaum einem halben Jahrzehnt hat Loraine James aus London ihre künstlerische Identität durch eine Mischung aus raffinierten Kompositionen, düsteren Experimenten und unvorhersehbaren, komplizierten elektronischen Programmen geschaffen. Während die unter ihrem Namen auf Hyperdub veröffentlichten Titel zu IDM-beeinflussten, vokallastigen Kollaborationen tendieren, reserviert James ihr bei Ghostly International unter Vertrag stehendes Alias Whatever The Weather für einen Blick nach innen, der die angeborene "emotionale Temperatur" und die Umgebung erforscht (was sich in den gradbasierten Titeln der Tracks zeigt). Ihr zweites Album ist im Vergleich zu seinem Vorgänger deutlich wärmer, was durch den Wechsel vom arktischen Coverfoto von LP1 zu den Wüstengefilden von LP2 deutlich wird. Beiden Alben gemeinsam ist die Mastering-Arbeit von Josh Eustis (alias Telefon Tel Aviv), der James' Komplexität ein feines Ohr leiht, um ein auffallend dreidimensionales Klangerlebnis zu schaffen. Von hypnotischen Atmosphären über gesprenkelte Rhythmen bis hin zu verarbeiteten Collagen aus tagebuchartigen Feldaufnahmen - "Whatever The Weather II" ist eine überzeugende Verbindung organischer und menschlicher Elemente von einem der einfallsreichsten Talente der elektronischen Musik. Die Leadsingle und der Schlusstrack der neuen LP von Whatever The Weather (Loraine James), "12°C", driftet von belebten Räumen in einen konkreten Groove und verwebt Melodie und Textur zu einer wahrhaft ungewöhnlichen, seelenbewegenden Fülle. In den letzten Momenten gesellen sich eine träge Akustikgitarre und ein sanfter, mit den Fingern getippter Beat zu ihrer in der Tonhöhe verschobenen Stimme. "Whatever The Weather II" ist voll von solchen Passagen, in denen die formale Gestaltung wie ein Film im Negativ erscheint und Konventionen mit Witz, Intelligenz und Geschick umgestoßen werden.

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

Aunes is a rare solo album from peripatetic Australian cellist-composer-performer Judith Hamann, presenting six pieces recorded across several years and countries. Developing the collage techniques and expanded sound palettes heard on their previous releases, Aunes makes use of synthesizers, organ, voice and location recordings alongside the dazzlingly pure, enveloping tones of Hamann's cello. The record takes its name from an old French unit of measurement for fabric, varying around the country and from material to material. Unlike the platinum metre bar deposited in the National Archives after the Revolution as an immovable standard, an aune of silk differed from an aune of linen: the measure could not be separated from the material. In much the same way, in these six pieces_which Hamann thinks of as `songs'_formal aspects such as tuning, pacing, melodic shape and timbre are not abstractions applied universally to musical material but are inextricable from the instruments and sounds used, even from the places and communities in which the music was made. Audible location sound embeds the music in its place of making, as in the delicate duet for church organ and wordless singing `schloss, night', where shuffles and cluttering in the reverberant church space form a phantom accompaniment, gradually displaced by a uneasy shimmer of wavering tones from half-opened organ stops. `Casa Di Riposo, Gesu' Redentore' documents a walk up a hill to an outdoor mass in Chiusure, layering voices near and far with footsteps, insects and other incidental sounds. Like in the work of Moniek Darge or Luc Ferrari, location recordings are folded on themselves in space and time, their documentary function dislocated to dreamlike effect. On other pieces, it is the emphatic presence of the performing body that grounds the music, whether in the intimate fragility of Hamann's softly sung and hummed vocal tones or the clothing that rustles across a microphone on the opening `by the line'. The idea of a music inextricable from its material conditions is perhaps most strikingly communicated on the album's briefest piece `bruststärke (lung song)', composed from layered whistling recorded while Hamann suffered through an asthma flare up, the results halfway between field recordings of an imaginary aviary and the audiopoems of Henri Chopin. More than any of Hamann's previous solo works, a strong melodic sensibility runs through Aunes, even when, like on `seventeen fabrics of measure', the music hangs together by the merest thread. At other points, Hamann's love of pop music is more obvious: the rich synth harmonies of `by the line' could almost be a melting fragment of a backing track from Hounds of Love. The expansive closing piece `neither from nor toward' exemplifies the highly personal musical language that Hamann has developed in recent years through constant solo performance (and a rigorous discipline of instrumental practice), pairing two overdubbed voices with the boundless depth and harmonic richness of just-intoned cello notes, calling up Ockegham or Linda Caitlin Smith in its elegiac slow motion arcs. Hamann's most personal work yet, Aunes arrives in a striking sleeve reproducing a section of a painting made from sewn pieces of dyed wool by Wilder Alison, a friend and fellow resident at Akademie Schloss Solitude, one of the temporary homes where much of this music was recorded.

Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. The band's eventual permanent line-up consisted of David Yow on vocals, Brett Bradford on guitar, David Wm. Sims on bass, and Rey Washam on drums. During their brief existence from 1982 to 1987, the band released 3 records, including a full-length album (Just Keep Eating) and two EPs (S/T EP, Berserker). On March 14, 2025, Touch and Go Records will release the Scratch Acid Box Set - limited to 2000 sets worldwide. Remastered by Bob Weston at Chicago Mastering Service, the box set includes 180-gram clear LP pressings of all three releases as well as a 24-page booklet featuring exclusive behind-the-scenes photos, liner notes by David Yow, Brett Bradford, and photographer/journalist Pat Blashill, as well as full-color paintings by contemporary artist Mark Todd from the same era as the cover art for the S/T EP and Berserker releases. In addition, this limited Scratch Acid box set includes an exclusive clear vinyl 7" with both tracks the band contributed to the 1986 Touch and Go Records compilation, God's Favorite Dog. The 7-inch includes cover art by Mark Todd as well.

Having built a solid reputation as a drummer over the years, Matt Stockham Brown is set to step into the spotlight with the release of his new project and self-titled debut album ‘6161’ (pronounced ‘Six One Six One’) set for release on 14th March 2025, via Bristolian label Severn Songs (run by Ishmael Ensemble, and home to Waldo’s Gift and Holysseus Fly).

6161 is the brand new project of Matt Stockham Brown who has previously received critical acclaim winning a Montreux Jazz Festival talent award in 2019, releasing two albums with Run Logan Run and most recently a 5 star Guardian review with Daniel Inzani’s triple release and sell out tour with Cosmo Sheldrake. He has also recorded/performed globally with the likes of Massive Attack, Rodriguez, This Is The Kit, Paraorchestra, Gregory Porter, Liz Lawrence, Cloth, Get The Blessing, Marc Ford, Squirrel Flower, Ghostpoet any many more.

“A well judged mix of Old-School acoustic values and contemporary Electro-Jazz” – Jazzwise